LOVDOH. PUBLISHED BY J .T.Wi.oR.X'.'.V.j.fticii HOLBOKW, THOMAS HOPE, Esq. WHOSE KNOWLEDGE, TASTE, AND JUDGEMENT COMMAND THE ESTEEM OF ALL WHO PROFESS AND LOVE THE FINE ARTS; THIS WORK IS INSCRIBED, IN TOKEN OF GRATITUDE FOR VARIOUS ACTS OF KINDNESS, BY HIS MOST OBLIGED AND OBEDIENT HUMBLE SERVANT; HENRY MOSES, Digitized by the Internet Archive in 2014 https://archive.org/details/collectionofvaseOOmose PREFACE. Xh e study of the unrivalled works of the ancients is essential to the establishment of good taste and correct judgement, and has laid the foundation of those excellencies which have given celebrity to all the distinguished artists of modern times. Many of the most admirable productions of antiquity are however inaccessible to students, whose limited in- come will not allow of their travelling to see them ; and correct representations of them are only pre- served in volumes of enormous expense, or great scarcity. I therefore conceived that I should per- form an acceptable service to the lovers and profes- sors of the Arts, if I were to select from various Museums, Collections, and Cabinets, and to engrave in a manner the least expensive, such of the most IV PREFACE. esteemed monuments of ancient times, as would tend to improve the judgement, and refine the taste of the Student. These considerations, and the success which has attended a few productions of the kind, which have lately appeared in this country *, have induced me to venture on the present publication. Most of the subjects are selected from authentic collections, both public and private, to which I could gain access ; and others are copied from va- luable pieces on the Continent. * " Tatham's Etchings of Ancient Ornamental Architecture, drawn from the Originals at Rome," selected with taste and judge- ment, and etched with great freedom and skill. " The Vases from the Hamilton Collection," drawn and en- graved by that ingenious artist the late Mr. Kirk. " The Costume of the Ancients," from original drawings by Thomas Hope, Esq. 6< A Disquisition upon Etruscan Vases ; displaying their probable Connexion with the Shows at Eleusis and the Chinese Feast of Lan- terns ; with Explanations of a few of the principal Allegories de- picted on them, by Mr. James Christie." — A scarce and valuable work. PREFACE. V When the work was first commenced it was in- tended to consist of Plates only ; but in the course of the publication (as it was rewarded by a favour- able reception from the public) it was suggested, that these should be accompanied by some remarks and explanations concerning the nature and use of the Antiquities represented. This hint has been re- garded ; and I trust the illustrations will be found calculated to afford both amusement and instruc- tion. The Plates numbered 103, and the eighteen fol- lowing, may not at first appear connected with the principal object of the work : yet as they represent some of the vast and superb sepulchral chambers in which Vases, Cinerary Urns, and Sarcophagi were deposited, and are taken from Bartoli and other ce- lebrated authorities, it is hoped they will be con- sidered as an useful addition. It is with pleasure and gratitude I acknowledge my obligations to the several gentlemen and artists vi PREFACE. of eminence, who have bv their communications greatly contributed to increase the value of this Publication. HENRY MOSES. LONDON, m.dccc.xiv. ERRATUM. P. 57. 1. 3. for rams' read oxen's CONTENTS. AN ESSAY ON VASES. Page 3. Head- piece — From Bartoli's Admiranda. Tail-piece — From Tischbein's Ancient Vases. PLATE. J . From a very ancient Vase in the possession of J. P. Ander- ton, Esq. 2. From a Vase in the possession of Mr. George Cooke. 3* From a Vase in the possession of — Dodwell, Esq. at Rome. 4. From a very ancient Vase in the British Museum. 5. From a Vase in the collection of T. Hope, Esq. 6. From a very ancient Vase in the British Museum. 7. Fictile Vases in the British Museum. 8. Fictile Vases in the British Museum. 9. From a Vase in the British Museum* 10. From a Vase in the British Museum. 1 1 . Vases from Sir W. Hamilton's collection. 12. From a Vase in the possession of C. H. Tatham, Esq. 13. From a Vase in the British Museum. 14. From a Vase in the British Museum. 15. From a Vase in Sir W. Hamilton's collection. 16. A Vase in the possession of Thomas Hope, Esq. 17- From a Vase in the British Museum. 18. From a Vase in the British Museum. 19. From a Vase in the Antichita Siciliane, 20. From a Vase in the British Museum. 21. From a Vase in the British Museum. 22. From a Vase in the collection of Thomas Hope, Esq. 23. From a Vase in the possession of J. Soane, Esq. riii CONTENTS. PLATE. 24. From a Vase in the collection of Thomas Hope^ Esq. 25. From a Vase in the British Museum. 26. A Vase from the Galerie Mythologique. 27. From a Vase in the British Museum. 28. From a Vase in the possession of His Majesty. 29. From a Vase in the collection of Thomas Hope, Esq. 30. An antique Vase from Piranesi. 31. A Vase from Piranesi. 32. From a cast of a Vase in my possession. 33. From a Vase in the possession of T. Hope^ Esq. 34. A Vase from Piranesi. 35. A Vase in the possession of the Duke of Bedford. 36. A Vase from the Cavaceppi collection. 37. A grand antique Bacchanalian Vase in the possession of the Earl of Warwick. 38. A Vase in the Musee Napoleon. 39. From a Vase in a private collection at Rome. 40. From a cast of a Vase in my possession. 41. A Vase from Roccheggiani's Monumenti Antichi. 42. An antique Vase from Piranesi. 43. From a Vase in the collection at Naples. 44. From a cast of a Vase in my possession. 45. From a cast of a Vase in my possession. 46. From a Vase in the possession of the Marquis of Buckingham. 47. A marble Vase in the British Museum. 48. A grand Vase from Piranesi. 49. From casts of Vases in my possession. 50. The Portland Vase now in the British Museum. AN ESSAY ON ALTARS. Page 17. Head-piece — From a Bas-relief at Rome. Tail-piece — From the Arch of Constantine. 51. An Altar from the Museo Pio Clementino. CONTENTS. rk PLATE. 52. An Altar from the Antiquitates saerae et civiles RonianoruiB explicatae. • 53. From an Altar at Rome. 54. From an antique Altar at Rome. 55. An Altar from the Libreria di San Marco. 56. An Altar from the Libreria di San Marco. 57. An Altar from the Musee Napoleon. 58. An Altar from Cavaceppi. 59. An Altar from Winckelmann's Monumenti Antichi inediti. 60. An Altar from the Libreria di San Marco. 61. An Etruscan Altar from Roccheggiani's Monumenti Antichi. 62. From an Altar in the Borghese Collection. 63. An Altar from Bartoli's Admiranda Romanorum Ajitiquita- tum. AN ESSAY ON PATERA. Page 23. Head-piece — From Tischbein's Ancient Vases. Tail-piece — From ditto. 64. A Patera from the Museum Romanum of De la Chausse. 65. A Patera from the Museum Romanum of De la Chausse. 66. From a very ancient bronze Patera in the British Museum. 67. A bronze Patera in the possession of Charles Townley, Esq. 68. From a bronze Patera in the possession of the Bishop of Winchester. 69. A Patera from the Museum Romanum of De la Chausse, 70. From a Patera in the British Museum. 71. From a Patera in the British Museum. 72. A Patera from Millin's Peintures et Vases Antiques. AN ESSAY ON TRIPODS. Page 27. Head-piece — From the Musee Napoleon. Tail-piece — From Tischbein's Ancient Vases. 73. A Tripod in the Musee Napoleon. CONTENTS* PLATE* 74. A Tripod from Roccheggiani's Monumenti Antichi. 75. A Tripod from the Museum Worsleyanum. 76. An antique Tripod from Piranesi. 77. A Tripod in the Musee Napoleon. AN ESSAY ON LAMPS. Page 33. Head-piece — Lamps found in Herculaneum. Tail-piece — From Bartoli's Antiche Lucerne. 78. A Lamp from Bartoli's Antiche Lucerne. 79. A Lamp from Bartoli's Antiche Lucerne. 80. Lamps from Bartoli's Antiche Lucerne. 81. A Lamp from Bartoli's Antiche Lucerne. 82. Antique Lamp from the Museum Romanum of De la Chausse. AN ESSAY ON CANDELABRA. Page 39. Head-piece— From the Arch of Titus. Tail-piece-^ 'rom Tischbein's Ancient Vases. 83. Bronze Candelabra in the British Museum. 84. Bronze Candelabra found in Herculaneum. 85. Candelabra from Cavaceppi, &c» 86. Candelabra in the Musee Napoleon. 57. A Candelabrum in the possession of T. Hope, Esq. 58. A Candelabrum from the Musee Napoleon. 59. An antique Candelabrum at Rome. 90. A Candelabrum from Piranesi. 91. A grand antique Candelabrum from Piranesi. 92. A Candelabrum from Piranesi. 93. A Candelabrum from Piranesi. AN ESSAY ON TAZZAS. Page 47. Head-piece — From Bartoli's Admiranda. Tail-piece — From Tischbein's Ancient Vases. 94. An antique Tazza from Piranesi. 95. A grand antique Tazza and Pedestal from Piranesi. CONTENTS. xi AN ESSAY ON CIPPI. Page 51. Head-piece — From Tischbein's Ancient Vases. Tail-piece — From Bellorii XII. Csesarum Numismata. PLATE. 96. A sepulchral Cippus from Piranesi. 97. A sepulchral Cippus from Piranesi. 98. A sepulchral Cippus from Piranesi. 99. A Cippus from the Antiquitates sacrae et civiles Romanorum explicate. 100. A sepulchral Altar from the Antiquitates sacrae et civiles Ro- manorum explicatae. 101. A Cippus from the Borghese Collection. ^02. A sepulchral Cippus from the Musee Napoleon, AN ESSAY ON TOMBS, CINERARY URNS, AND SARCO- PHAGI. Page 55. Head-piece — From Sir William Hamilton's Vases, Tail-piece — From Bartoli's Admiranda. 103. Vignette. 104. Discovery of a Tomb, from Sir William Hamilton, 105. The Mausoleum of Hadrian. 106. The Mausoleum of Hadrian in its perfect state, as described by Procopius and other authors. 107. Section of the Mausoleum of Hadrian, from Bartoli. 108. The Tomb of Caius Cestius, with the Gate of St. Paul. 109. Section of the Tomb of Caius Cestius. 110. The Tomb of Cecilia Metella, commonly called Capo di Bovi. 111. Section of the Tomb of Cecilia Metella. 112. Section of the Tomb of Alexander Severus and Julia Mammea, commonly called Monte del Grano. 113. A sepulchral Chamber of the Family of Livia. 114. A sepulchral Chamber near the Gate of St. Sebastian at Rome. 115*. Section of a Tomb of the Equites Singulares. 115. The Tomb of P. Vibius Marianus. 116. View of a Tomb near San Vito. xii CONTENTS, PLATE. 1 17. Section of the same Tomb. 1 1 8. Interior of a sepulchral Chamber near San Vit6*. 1 19. From a sepulchral Chamber in the Villa Corsini. 120. From a sepulchral Chamber in the Villa Corsini. 121. Antique cinerary Urn at Castle Howard. 122. A cinerary Urn from Piranesi. 123. A cinerary Urn from Bartoli's Antichi Sepolcri. 124. An Etruscan cinerary Urn from Bartoli's Antichi Sepolcri. 125. An Etruscan cinerary Urn from Bartoli's Antichi Sepolcri. 126. An Etruscan cinerary U rn from Bartoli's Sepulcrorum Mo- nument a. 127. A Sarcophagus from Bartoli's Sepolcri. 128. A Sarcophagus in the church of St. Constance at Rome. 129. A Sarcophagus from the Museo Pio Clementino. 130. A Sarcophagus from the Museo Pio Clementino. 131 . From the front of a Sarcophagus in the British Museum. 132. A Sarcophagus from the Musee Napoleon. 133. A Sarcophagus found near Ephesus. 134. A Sarcophagus in the British Museum. 135. A Sarcophagus in the Musee Napoleon. 138. The ends of the same Sarcophagus. 137. A Sarcophagus from the Museo Pio Clementino. 13S. A Sarcophagus from the Museum Capitolinum. 139. A Sarcophagus from the Museum Capitolinum. 140. A Sarcophagus from the Galerie Mythologique. 141. A Sarcophagus from the Museo Pio Clementino. 1 42. A Sarcophagus from the Borghese Collection. 143. The ends of the same Sarcophagus. 144. An antique Sun Dial from Carlo Antonini. 145. A domestic Fountain from Roccheggiani's Monumcnti Antichi. 146. An antique Puteal from Roccheggiani's Monumenti Antichi. 147. A marble Chair of the Gymnasiarch from Stuart's Athens. 148. From Millin's Galerie Mythologique. 149. From Millin's Galerie Mythologique. 150. From Millin's Galerie Mythologique. VASES. PI. I. VASES. Fe w remains of antiquity have excited more interest than vases. The variety and the elegance of their forms, the singularity of the designs, the beauty of the compositions with which they are adorned, and the important instruction which the subjects of these pictures convey, have conspired to render them peculiarly attractive. By attentively study- ing the stones they record, the scholar has been enabled to throw much light upon the mythology, the history, the man- ners and customs of the ancients ; the artist has derived high improvement from copying their beautiful designs ; and even 4 VASES. the manufacturer, in the imitation of their forms, has ma- terially improved the shapes of many of those vessels and utensils which administer to the comforts or the elegancies of life. The earliest vases were made of clay hardened by fire. These, probably, were rude in form, and void of ornaments ; but as luxury and refinement increased, they were executed with greater elegance, and were made of more costly mate- rials; viz. of marble*, ivory, glass or a vitrified paste t, precious stones, bronze, silver, and gold. Those vases made of the precious metals were not always esteemed the most expensive. Vases made of clay, if they were remarkable for exquisite workmanship, of Corinthian brass, or of some un- common mineral, as were probably those called Myrrhine vases J, were most sought after, and brought the largest prices. Upon the earthen vases the figures are generally of a reddish colour, sometimes relieved by white, upon a dark or black ground § ; but in some of the oldest Greek vases the figures themselves are black, and the ground yellowish redjj. There have been many theories and opinions with re- spect to the mode in which the vases were coloured, and the figures drawn. The following, by Mons. D'Hancarvillefl", ■ ■ 1 ■ ' — ■ — > * Vide Plate 28 to 49. f Vide Plate 50. t Plin. Hist. Nat. lib. xxxv. § Vide Plate 8 to 27. || Vide Plate 1 to 8. 1 Recueil d'Antiq. Etrusques, Grecques et Romaines, torn. ii. ch, ii, VAS ES. 5 seems to be the most probable, and is founded upon the examination of various specimens. The earth of which the vases were made was extremely light and porous, and of a light yellowish red colour. When made and dried, but pro- bably previously to undergoing the action of the fire, some instrument rather hard, and capable of containing a portion of black liquid pigment of a certain consistency, was em- ployed by the artist in drawing the outline of the figures and composition. The reason for supposing that the instrument was pointed and hard, and the pigment rather thick, is, that upon a careful examination of some vases, a sort of sulcus or furrow is observable in the centre of the line which is made by the pressure of the instrument, and which the thick- ness of the pigment did not fill up : or perhaps the vase it- self was so porous as to absorb the moisture of the paint almost immediately. The artist then, probably with a brush, laid on a coat of the black close to the outline, of a certain width, and some inferior person filled up the other parts. The reason for supposing that this plan was pursued, is, that upon accurately examining the vases, there is almost always observed to be a thicker coat of the black paint close to the outline, from one eighth to a quarter of an inch wider than in the other parts, showing that it had, at the edge of this first black, been twice laid over. And that this part w 7 as done by the same artist who drew the outline is probable, because in some instances he has departed from the original line, particularly in parts of draperies, sometimes painting 6 VASES. over the first outline, and sometimes leaving a part of the vases still more uncovered ; and where this is observable, it generally improves the original lines. They were then done over perhaps with a sort of varnish of a reddish tint not highly polished, and baked. The earthen vases have been thought to have been Etrus- can by all the writers who have described them previous to the time of Winkelman. But this learned antiquary # has clearly proved that Etruria has but a limited claim to the honour of their production : for the greatest number of them have been found not only in various parts of Italy, but also in Sicily, and amidst the ruins of different cities of Greece. Since, therefore, they are not peculiar to Etruria, Winkel- man, Boettiger, and Millin have denominated them rather Grecian f than Etruscan vases : and the following circum- stances confirm the propriety of this appellation : the sub- jects which ornament them are all taken not only from the fabulous but from the real history of Greece; the manners they illustrate are, with little exception, Grecian ; and the inscriptions which have been found upon them are univer- sally in the ancient Greek characters. By what has been said it is not meant to assert that none of these elegant works of art were fabricated in Etruria ; for it is well known that Grecian artists settled early in Campania, and on the * Winkelman, Hist, de l'Art, liv. iii. c. iii. § 15. f Millin, Peintures de Vases Antiques. Introd. § vii. VASES. 7 borders of the Adriatic ; and that the Grecian colonies who established themselves in these places cultivated the fine arts to a very high degree, and that they made a greater progress in these new colonies than in Greece itself. If, then, any of these vases were made by the Etruscans, they must at least have acknowledged the Greeks as their masters. Objections have been made to their being called Grecian vases, because they are found also in other countries than Greece. M. Vis- con ti has suggested the name of Graeco-Itaiic or Xtalo- Greek. Mons. Lanzi has proposed that the vases which have been discovered at Nola, at Capua, at Naples, and at Psestum, should be called Campanian ; and those which have been discovered in Sicily or at Athens, &c. Sicilian, Athenian, &c. M. Millin has proposed that they should be denominated painted Campanian, or Sicilian, or Athenian vases, according to the country in which they were found ; and this appears to be an appropriate and definite name, as it not only declares the name of the country in which they were discovered, but further distinguishes them from, vases made of other materials than baked clay*. Vases differ exceedingly in their forms, which are univer- sally full of grace. They vary too from each other in the number, in the position, and in the shape of the handles, which are in general two, never exceed three, and are some- times only one. The devices of the handles are often taken * Millin, Peintures de Vases Antiques. Introd. § viii. s VASES. from the figure of a serpent, a branch of a tree, a swan's neck, the head of a faun, a satyr, or a ram, &a as the fancy of the artist suggests, or according to the purposes to which the vase is intended to be applied. The paintings or sculptured designs upon the exterior sur- face of vases are deserving of the most particular regard. Where the subjects are mythological they convey much im- portant information relating to the history of the gods, and to the rites and ceremonies used in their worship, particu- larly those observed in the sacred and solemn mysteries of the Greeks, and in the frantic orgies of Bacchus. They commemorate also the fabled achievements of the heroic ages, the labours of Hercules, the adventures of Theseus, the valorous acts of the Amazons, and the renowned events of the Trojan history. In the multiplicity of designs which these and numberless other subjects have suggested to the fancy of the artist, there is detailed a vast variety of particulars relative to the history, the dresses, and the cus- toms of the Greeks, which, but for these precious monu- ments, would have been entirely without a record. These designs as they exist upon vases are not always original. They were often copied from pictures of the most celebrated antiquity. Subjects taken from religious or civil history do not universally ornament the antique vases. They are not unfrequently, more particularly the vases of marble, adorned with single heads, masks, wreaths, borders of flowers, ara- besque patterns, and various fanciful designs. Whatever VASES. 9 these subjects may be, they were for the most part selected with a reference to the purpose for which the vase was de- signed. Those which were set apart for sacred use were adorned with designs bearing an allusion to the mythological history, or the religious ceremonies of the deity in whose worship they were to be employed. If intended as prizes to the victors in the public games, they contained allegorical representations of virtues which the gymnastic youth ought to be emulous to imitate, or actions which they should stu- diously avoid. If designed for funereal purposes, subjects were chosen which were illustrative of the history of the deceased, or adapted to the mournful ceremonies of the tomb. On the painted vases inscriptions * are often found which announce the names of the persons thereon represented ; and these are in many instances deserving of particular no- tice, as" they record names mentioned by none of the ancient authors whose works have been preserved to our own times. Sometimes the inscription only commemorates the name of the artist who made or painted the vase, and sometimes it contains a moral sentiment, or an affectionate remembrance of some departed friend to whose memory the vase was consecrated. An instance of this latter kind occurs in a vase in the British Museum, on the bottom of which was traced with a pointed instrument, before the clay was baked, an * Vide Plates 5, 6. 10 VASES. inscription to the following purport: My dearPhile, adieu* This vase to be placed in the second sepulchre. To state fully the various purposes to which vases were applied, or to ascertain the particular uses of such of them as have come down to our own times, would be a vain at- tempt. From what may be collected from the works of the Greek and Roman writers, and from the representations of their uses, as far as they are recorded upon the sculptured or painted remains of antiquity, it appears that they were employed in holding the lustral water used in the various purifications of the ancients, in receiving the blood of the victim to be sacrificed, or in containing the consecrated wine which was to bedew his devoted head. They served also for the presentation of the first products of the harvest, of the fruits of the vine, of the flowers, &c. which the grateful worshipper offered to the gods. A number of votive vases were to be seen in the lariaries or domestic chapels, where the images of their gods being very small, the vases conse- crated to them were proportionably minute. They were used in the celebration of the Eleusinian and other myste- ries, were carried in the public processions*, were given as rewards in the gymnastic exercises, were customary presents to a friend or a new-married couple, or to a youth upon his assuming the toga virilis. They were used for various pur- poses in the public and private baths j', in domestic enter-: * Vide Vignette I. f Vide Vignette II. VASES. 11 tainments. The larger vases were placed for splendour in the spacious halls of the Romans, or as ornaments in their gardens, where they frequently contained shrubs and flowers. The largest portion of the vases which have escaped the de- vastations of time have been discovered in the sepulchral chambers of the ancients. In some instances they have been found with human ashes in them ; but most frequently they have been found empty, placed upon the floor, arranged round an unburn t skeleton, or hanging upon nails of iron or bronze attached to the side of the walls*. In this state they are supposed to have held the provisions and the offerings which it w as customary to present to the dead. Of the sepulchral vases, the most celebrated is that known by the name of the Portland vase. The tomb which con- tained the sarcophagus wherein this exquisite production of art was deposited, was discovered about the latter end of the sixteenth century in the Monte del Grano, which is at the distance of near three miles from Rome, on the Fras- cati road. This elegant vase was long preserved in the Bar- berini palace at Rome, and called the Barberini vase. It came into the hands of Mr, Byres, who parted with it to Sir William Hamilton, who sold it to the late Duchess of Portland, and in consequence of its becoming the property of that family it has obtained the name of the Portland vase. By the generous indulgence of the present Duke of Port- * Vide Vignette XVII. VA SES. land it is at present deposited in the British Museum. The dimensions of the vase are nine inches and three quarters in height, and twenty-one inches and three quarters in cir- cumference. Its substance is semi-transparent, and is two bodies of vitrified paste, or glass of different colours, so closely united together as to make two distinct strata, like a cameo. The upper stratum, a beautiful white, serves for the figures, which are in relief ; and the under one, a dark blue, forms the ground. Thewhole is wrought with a lathe, after the manner of a cameo, and exhibits, along with the design and workmanship of the finest bas-reliefs, the minute and delicate finishing of the best gems. On that side of the vase which all who have set about to explain or describe the objects represented seem to have agreed in regarding as the first compartment, a female figure, draped, in the centre, is sitting on the ground at the foot of a tree. On her left side is the head and part of the body of a serpent. Her right hand is extended toward the arm of a young male figure on her right, which descends into the picture naked from a portal, composed of two square columns, with a plinth and frieze. A portion of drapery appears to be dropping from the left hand of the male figure. Over the head of the fe- male figure is Cupid, flying in the opposite direction of the portal, and carrying in his right hand what is either a quiver or a torch. On the left is a second tree, under which, in nearly an erect posture, is an aged male figure of grave aspect. On the other side are likewise three figures, In the VASES. 13 centre, under a tree, is a recumbent female figure naked to the waist, supported by the left arm, while the right is lifted up, and the hand laid upon the head. In her left hand is a torch, inverted, but not extinguished, and at her foot is a square thin stone, perforated in the centre. In her counte- nance, which is turned to the left, there is an expression which may be said to be that of grief and love. Her eyes do not appear to be directed toward any object in the group. On her right is a male figure naked, seated, and looking toward her. In his left hand he slightly holds a portion of drapery, upon which he rests his arm, and which is thrown over one thigh. On his right is a square pillar, surmounted by a capital, in each side of which is wrought a hollow of an oblong shape. On the left of the female figure in the centre is a second female, more youthful in her appear- ance, naked to the waist. Her right arm descends perpen- dicularly, and the hand is laid upon the rock or bank on which she sits, to support the weight of her body, which somewhat inclines backward ; her head is turned round, ap- parently looking at the male figure on the opposite side of the group. Her left hand holds a wand or spear perpen- dicularly. The beautiful and youthful face of this figure has a placid expression, but mingled, perhaps, with a cer- tain solicitude, of which the female figure in the centre might be supposed to be the object, and which she might be thought to direct toward the male figure, as if making an inquiry or seeking sympathy. A tree is on the left of 14 VASES. this figure, and to the left of this is the portal described in the first groups. The groups are divided in the upper part of the composition by heads, one of which ornaments the bottom of each handle. Under the foot of the vase is a head or bust representing either a male or female, in the Phrygian bonnet or pyramidal hood. One finger is raised to the mouth as if in token of silence. The head or bust is overshadowed by a tree. Of all these figures many explanations have been of- fered. Pietro Santo Bartoli*, by whom it was first pub- lished, thought that the subject engraved on this vase re* lates to the birth of Alexander the Great. M. d'Hancar- villef thinks that it represents the well-known fable of Or- pheus's descent into Elysium, to recover from thence his beloved Eurydice, so elegantly told by Virgil. M. Von Veltheim J supposes that the story of Admetus recovering his wife Alcestes from Elysium is engraved on it. And the learned M. Ennio Quirino Visconti § reckons that it re- cords the marriage of Peleus and Thetis. Subjects of the same kind are to be seen on many sarcophagi : they pro- bably all related to the fables of Elysium, and the state of the dead. But of the many authors who have mentioned * Gli Antichi Sepulcri. ^ f Recherches sur les Arts de la Grece, &c. torn. ii. p. 133. % Gent. Magazine, April 1792. § II Museo Pio Clementino, torn. vi. p. 71. VASES. 15 this celebrated vase, I think the philosophic poet Dr. Dar- win* has given the most probable account of it. He is of opinion that the figures of this funeral urn do not represent the history of any particular family or event, but that they express part of the ceremonies of the Eleusinian myste- ries : he therefore divides this vase into two compartments, and reckons that the first is emblematical of mortal life, expressed by a dying lady, or Libitina, holding an inverted torch ; she sits on ruins, under a tree of deciduous leaf, at- tended by two persons who seem to express the terror with which mankind look upon death : and that the second com- partment represents immortal life, expressed by a hero en- tering the gate of Elysium, conducted by Divine Love, and received by Immortality, who is to present him to Pluto, the judge of what company he is fit to keep in Elysium. Here by fall'n columns and disjoin'd arcades, On mould'ring stones, beneath deciduous shades, Sits Human Kind in hieroglyphic state, Serious, and pond'ring on their changeful fate ; While with inverted torch and swimming eyes Sinks the fair shade of Mortal Life, and dies. There the pale ghost thro' Death's wide portal bends His timid feet, the dusky steep descends : With smiles assuasive Love Divine invites, Guides on broad wing, with torch uplifted lights : Immortal Life, her hand extending, courts The ling'ring form, his tott'ring step supports ; * Botanic Garden, canto ii. 16 VASES. Leads on to Pluto's realms the dreary way, And gives him trembling to Elysian day. Beneath, in sacred robes the Priestess drest. The coif close-hooded, and the flutt'ring vest, With pointing finger guides th' initiate youth, Unweaves the many-colour'd veil of Truth, Drives the profane from Mystery's bolted door, And Silence guards the Eleusinian lore. ri.ii. From a very^dnciait Vase, in the Possession of J-Ednderdon, Esq? Published by H.ifostx, 0ct.i.i8n. From a Jas<>, i/i the Possession of 'J£*. 'George Cboke . Published byJLMosc.f, Oct. 1. 1811. Pl.s. From a Vase in the possession of — Do dwell Esq', at Rome. Eublislud by H.Mose.t .Oct.i.iSu. I n.i. HewhtB Inches. From a very ancient. Vase in the British Museum . Published bvKMoses. Oct.iudu. .Height J7 Y t Inches om (i Ta.vc in the Collection of That 'Hope Es Published hyEMoau, (ht.i.idu. n.o. jPub7Lf?i&L iyKMojcs Oct.udu . Si Tl.fi. Height a/i Inches. Height 23 Indies. ' Height A v-Jncius. Fictile Tfases in the British Museum . Published by H.Moses, Oet.7LJ.8n. Vasts /'nun William Eamfltons foUca I vn Published by 7/.3los<\i Ocl.i J .' ' ifiii. Ft. 22. From a T&se.in the Possession ofCJI.TaihamJSsqT Published hySJCafet, Oct.i.idn. / FI.J3. Height J 6 Indies. From a Vase in the British Museum . ful>lishrd byJZJfotar, (>ct.uSii. JfeitjJii if? Inches. From a Fase ui the British Museum . Published by F.Moses, Oct.M0n. From a lose in Sir Jlii/ia/n /[ //,'•>' (ol/ectitm . ZUbJlfhed by E-Mosej. Octj^idu. PI. 16. JTewlit 20 Inches. From a Vase in the British Museum. Published 2>y H.Mosm. Oct.z.iSu. 7Trig7i£L'> /nches From a Jose in the British Museum . fubluvlml l>yJf.3fo.*es.t>ct.z*8n. , I r/.i<>. From a Vase in iheJbvtLchita Sialianc. PublUfu.l M- MMo*v.0cCu6b. From a Va.se in tlie ^British Museum . PublLfTud bv aMbtea, OccJsSn. ft. ?L n.22. ( -a Sag /it y Injurs. From aVhse.in the Collection (?f ThotBopcEsqV Published In- HJloses. Oct. i.idn. 7TeialU 3FecC t /nch&s. From a Vase in The possession of J. Sonne Esq 7 . Published by B.lde*es Oct./.iSu. PI. 24. -rrr. ■ wtjxxwxss 9 \ A Prise from the Calcrir Mytholopigu&, Hublisltal bylLMusea, l>ct.L.i8n. PI. 27. H.28. From (i Vase in the Possession of Mis Jfa/esty, Published by B.Moscj. Oct-i.i8u. PI . 20. I Heights Inches. FromaVase in the Collection of The) f Hope Esq 7 ! Publi.?hed by H.Mose.(.Oct.i.ite,£s(/ r Ptitili.fhni by BJfbaet, Oet.xj.Stn. AVkse in the possession of Bis Grace the Duke of Bedford Published by mioses Oct.i.iSu. JlVZi&b from Cdvaceppis Collection. Published by B.Ml •.<<■..•. i'< i. i.i.ui. \ V / yi Tost in the Musee Napoleon . Published by Oct.t.itlu. £1.39. 1 n.do. -J Vase from Ifoccheggianis MorutmentL dniichi. fublithai bv H.ilosrs, Oct.i.iBn. n . 42. An antique Vase ff-om Pii\ ■/'. Published by E.Mose.i Oct.i.lPu. J'l . A'i. From a'lri.te, in a Collection at Xaple, Published by H.Mosrs. (>n ,.„tn. ri . 44. From /i Cast of a Jhsr, in rny Possession . Published bv H.Moses. Oet.i.iSn . IV. LI From a Cast of a Vase ia my fiosses&ian . /'/. 46. Froma Vote in the possession oftheJfaraias of ' Burkina hcuri. Published bv H.3foscs Oct.i.iSu . PL.l1. J£ag7it3 Feeb ^Marble Kisr /// the British Museum,. fuhtuth*/ HMoses. Oct.i.i8n. TL.4B. A Grand Vase from Piranesi. Published by H-Mosej OcCi.iSu. Fl.49. From Ca$ts of loses in mj' Possession . Published by H.Moses. Oct.zudn. P1.I1 1 ALTARS. In the religious system of every people, from the first mode of religious worship adopted by man, to the establishment of Christianity, the use of sacrifices appears to have been universal. The place reared for the offering of sacrifices of every kind was termed an Altar. The use of altars must therefore have been as ancient and as general as the prac- tice of worshipping by sacrifice. In the earliest times, when bare utility was only considered, altars were of almost in- stantaneous construction and temporary, and hence com- posed of a mound of turf, a heap of stones, or such-like rude materials. The altar which Jacob set up at Bethel was 20 ALTARS. apart. In the times of public calamity they were crowded with prostrate suppliants deprecating impending dangers or present evils, and amongst these suppliants the larger por- tion were women, who, in the phrensy of grief, tore their dishevelled hair, beat with wild fury their breasts, and mingled with their loud lamentations the most piercing shrieks*. The ancients also, on all solemn occasions, in making al- liances, confirming treaties of peace, and in taking an oath, swore upon and by the altar. Before them nuptials were solemnized, vows were made, and friendships were ce- mented. Altars afforded an asylum or place of refuge to slaves from the cruelty of their masters, to insolvent debtors, and to criminals ; where it was reckoned impious to touch them, and whence it was unlawful to drag them. We can trace their sanctity to the earliest times. Upon Troy being taken, Priam fled for protection to the altar of Jupiter f. Po- lyxena, who was to be sacrificed to appease Achilles's ghost, is advised to go to the altars J ; and they continued * Hae lacrymis sparsere Deos, hae pectora duro Afflixere solo, lacerasque in limine sacro Attonitae fudere comas votisque vocari Assuetis, crebris feriunt ululatibus aures : Nec cuncto summi templa jacuere Tonantis, Divisere Deos, et nullis defuit aris Invidiam factura parens. Luc an. lib. 1. f Pausanias, Corinth. J Euripides Hecuba, ver. 146. ALTARS. 21 to be sacred from the heroical times till the reign of Tibe- rius Caesar, who, upon consideration of the many inconve- niences which must necessarily be the effect of tolerating so many villains as were always harboured in them, dis- solved them all, preserving only to Juno Samia and one of iEsculapius's temples their ancient privileges. Suetonius, indeed, says, that he did abolish the privileges of asyla in all parts of the world*. But from Tacitus, a more exact historian, we learn that the privileges of sanctuaries were not then wholly taken away, but only regulated and re- formed f. # Tiberius, c. xxxvii. f Annal. lib. iii. 60—63. n.w. ' Q \v CTAtIvS • Q • F - M' E N S S I'LVANO ' D D • J/i'U • /rn//i tfaj4nt£qtrib)Bbes coerce et ctviles romaiwrum '\r/>li/-aiiz.' fudilislicd liy !f.AIoscs,Oet.i.iHn.. From an ylltar at Rome . Published. hySMue* OcoaM. 11.64. From an antique Altar at Rome. fubfched lyH.yfo.rcs.Occi.i8ii. n.:>o. AnAltcu* from tlw L ibreria diSanMarco. Published by U.Moscj. Oci i iSu. ri.56. n.67. An Altar front the, Musee Napoleon . Fublished by KJCate*, Oct.udn. * 1 ]'!.<;<>. i i An Altar from the Libreria di San Marco. Fubli.the/l by SMoau Oct.i.jSu. PI 61. jlnEtriiscan Altar front Roeche^eams Momimenri J/itic/ii . Puhlix/mi by //J/i>.tf.t. Oct. u8n. J 3 1.62. From an AUgr i/i the Borghzse Collection . FublUlud brHMoses.Oit.i.'Hii. PL. 6, Tl.V. PATERyE IjIBATION amongst the ancients was an essential part of the solemn service of sacrifices. In performing this reli- gious ceremony the priest poured upon the head of the vic- tim, or upon the offering of whatever kind it was, some wine, oil, milk, or other liquor, in honour of the deity to whom the sacrifice was offered. The vessel which contained the libation, as also that which received the blood of the victim destined for sacrifice, was by the Etruscans and Romans denominated a Patera. The utensil adopted for similar purposes by the Greeks appears to have had various 24 PATER M. names*. The patera was a broad, shallow, circular dish made of baked clay, bronze, silver, or gold. Those made of baked clay exhibit some of the most elegant specimens of these instruments. The paintings with which they are ornamented are executed in the same manner as those which adorn the earthen vases, the figures being of a yellowish red colour, sometimes relieved by white upon a black ground The Etruscan J bronze patera had a flat handle attached to it, about the length of the diameter of the patera, and which was sometimes ornamented at the outer extremity with the head of some animal. The Etruscan paterae are valuable, as they afford some remarkable examples of the state of the arts amongst this ancient and ingenious people, and still more so on account of the inscriptions § they bear, by which are preserved to us some of the few remains of the written characters and of the language in use among them : they exhibit moreover the earliest specimens of the art of en- graving upon metal, as the subjects with which they are adorned are not in relief, but cut upon their surface with a sharp instrument. These subjects seem confined to the mythology, the history, and the games of the Etruscans. The Romans adopted the Etruscan patera, occasionally * AAe«rov, Horn. II. xi. 773. Asirocs, Odyss. xv. 149. Apvew, Odyss. iii. 444. 2,. Published b\ SJttata Oct l*?ldu. I PI, 66. From a very ancient Bronze Patera, in the British Museum . rubhsherf by H.Moses, OctjuiSii. From (i Bronte Patera, in t/w Collection oftfw Ms/top of ' Winrhr.Hrr. A Patera from the Museum Romanian ofDe La Chausse. Published fy HMojcj. Oct.i.i8u. From a Patera in tJie British Musciarv. Puhbslial by ff.Mosej. Oct.uSa . n.7i. fro/// a Paten/ in the British Museum . liibluhai bv ILMoMrs.lht.i-iSn ■ Pl.72. A Patera from, Milluv, Peintures et Vases Antiques, Published by ti.Mos&s, Oct. l.iUn. ri.vn. TRIPODS. A TRIPOD, generally speaking, is any vessel, seat, table ,&c. standing upon three feet. The use of tripods is of the highest antiquity. In the earliest ages they were instruments appropriated to the services of religion. Of the sacred tri- pods the most celebrated was that used by the Pythia at Delphos. The first discovery of the famous oracle of Del- phos, and the origin of the tripod, which became afterwards an instrument in great use and veneration in the religious ceremonies of the ancients, is said to have been follows : TRIPODS. As some goats were feeding upon Mount Parnassus, (at the foot of which stood Delphos,) near a deep and large ca- vern with a narrow entrance, they were observed by the goatherd to frisk and leap after a strange manner, and to utter unusual sounds immediately upon their approach to the mouth of the cavern, upon which he had the curiosity to view it, and found himself seized with the like fit of madness, skipping, dancing, and foretelling things to come. At the news of this discovery multitudes flocked thither, many of whom were possessed with such phrenetic enthu- siasm that they threw themselves headlong into the open- ing of the cavern ; insomuch that it was necessary to issue an edict, forbidding ail persons to approach the cavern. This surprising place was treated with singular veneration, and soon converted into a kind of chapel. About the time when the oracle was first discovered, the whole mystery re- quisite for obtaining the prophetic gift was to approach the cavern and to inhale the vapour that issued from it, and then the god inspired all persons indifferently ; but at length several enthusiasts, in the excess of their fury, having thrown themselves headlong into the cavern, it was thought expe- dient to contrive a prevention of this accident, which fre- quently occurred. Accordingly they placed over the hole whence the vapour issued a machine, which they called a Tripod, because it had three feet, and commissioned a woman to seat herself in this sort of chair, where she might TRIPODS. 29 imbibe the vapour without danger, because the three feet of the machine stood firmly upon the rock. Great prepa- rations were made for giving mysteriousness to the oracle, and for commanding the respect that was paid to it. The priestess, before she ascended the tripod, fasted three days, and bathed herself in the fountain of Castalia. She drank water from that fountain, and chewed laurel leaves gathered near it. She was then led into the sanctuary by the priests, who placed her upon the tripod. As soon as she began to be agitated by the divine exhalation, her hair stood an end, her aspect became wild and ghastly, her mouth began to foam, and her whole body was suddenly seized with violent tremblings. In this condition she attempted to escape from the prophets, who detained her by force, while her shrieks and bowlings made the whole temple to resound, and filled the by-standers with a sacred horror. At length, unable to resist the impulse of the god, she surrendered herself to him, and at certain intervals uttered from the bottom of her stomach some unconnected words, which the prophet ranged in order, and put in form of verse, giving them a connec- tion which they had not when they were delivered by the priestess. The oracle being pronounced, she was taken off the tripod, and conducted back to her cell, where she continued several days to recover herself from her conflict. Lucan # * Pharsal. lib. iy. 30 TRIPODS. tells us that speedy death was frequently the consequence of her enthusiasm. The tripod, which, in its origin, was only the seat of the Pythia, became afterwards an object of reverence, and closely connected with the mysteries of the ancients. On the statues and representations of Apollo the tripod is one of the most common accompaniments of this god # . The tripod was frequently introduced alone in sculpture and upon coins as the symbol of this deity, and particularly upon the coins of those towns where Apollo was more particu- larly worshipped f. Tripods were prizes frequently bestowed upon the victors in the various public games celebrated in Greece ; and in those dedicated to Apollo Triopius, the rewards were entirely confined to tripods of brass. Herodo- tus, Pausanias, and others relate that the Grecian temples abounded with consecrated tripods. Though many of these were used as altars, upon which presentations of corn and fruits were made to the gods, and incense was fumed, yet for the most part they were the votive offerings made by nations and princes, by those who had officiated as the priests of the god of day, by the victors in the games, or by private individuals. The tripods thus devoted varied in costliness, in elegance, and in size, according to the opu- * Vide Vignette III. f Rasche Lexicon rei nummariae. Tripus. TRIPODS. 31 lence, the piety, and the taste of the donor. The Greeks, upon the occasion of the splendid victory obtained over the Persians at Platea, sent to Delphi a magnificent tripod of gold, the cost of which was the value of the tenth of the spoils taken from the enemy. The tripods which have been preserved to these times are those which were made of marble or bronze. A Tripod in theMitsee fflipoleori . TubUtTied by S.Moscj.Oct.i. utjj. n.74 ri. ?&. An antique Tripod ft'omTirancsi . l%blUheA by EMoter, 0rt.i.i8u. +i Tripod in t/ic JL/sc'e Nnpolrnn . PuMu'licd bv EMuat, Oct i.iSn. Pl.IX. LAMPS. Th e ancients, who have enveloped in fable the history of almost every thing, relate that lamps were first made by Vulcan, supplied with oil by Pallas, and lighted by Pro- metheus. This account the Greeks pretend to have received by tradition from the Egyptians # . Without pursuing the uncertain inquiry into their origin, it will be sufficient to know that their use is of the highest antiquity. They are alluded to in some of the remotest periods of the history of the Scriptures : hence it has been asserted that all other nations have derived the knowledge of their utility * Museum Passerii, torn. i. p. 3. 34 LAMPS. from the ancestors of the Hebrews. Their use in ancient Egypt was carried to a considerable extent, for there was no rejoicing, no festival of any consideration at all, unac- companied with illumination. At the sacrifice solemnised at Sais, the assembly was held by night ; they suspended before their houses in the open air lamps which were filled with oil mixed with salt ; a wick floated on the top, which burnt all night; this solemnity was called the feast of lamps. Such of the Egyptians as could not attend to the ceremony thought themselves obliged to observe the evening of the festival, and in like manner burnt lamps before their houses : thus, on this night, not Sais only but all Egypt was illumi- nated *. In the heroic ages public rejoicings were cele- brated with illuminations f. The Romans on their public festivals adorned the front of their houses with branches of laurel and rows of lighted lamps. Cassar, to give greater splendour to his triumph over the Gauls, went to the Capi- tol with elephants carrying lamps on candelabra J. Indivi- duals illuminated their houses with lamps upon their appoint- ment to some public office in the state, or upon their nup- tials. Lamps were usually placed in the tombs of the an- cients. Sometimes, in the sepulchres of princes, men were employed to watch the flame, and keep it perpetually burn- ing. Instances are upon record in which the opulent at their death released by will some of their slaves from ser- vitude, provided they occasionally attended to the tes- * Herod. Eut. 62. f ^Esch. Agam. 92. J Suetonius. LAMPS. 35 tators sepulchral lamp. The will of Maevius is one among the many of this kind which have been preserved. I set free Saccus my slave, with Eutychia and Irene my female slaves, on condition that each of them in their turn shall, from month to month, supply with oil the lamp which shall burn in my tomb. A notion formerly prevailed that the lamps which have been preserved from the ruins of time were confined to se- pulchral uses, and some antiquaries # have maintained the opinion that the ancients had " the secret of making lamps that were inextinguishable," alleging several that had been found burning on the opening of tombs fifteen or sixteen- hundred years old ; but these relations have long since been treated as fables, Passerif, who published engravings of a collection of 322 lamps belonging to the Museum at Pe- saro, has written with considerable learning and ability con- cerning the use of lamps ; and in his classification of them has arranged them into sacred, public, domestic, and se- pulchral. But though lamps were doubtless employed to all these purposes J, yet to distinguish, either by their form or their ornaments, the one kind from the other, to select those which adorned the temples of the gods, and gave bril- liancy to the pomp of religious festivals and ceremonies ; to determine upon those which were designed for domestic accommodation or splendour ; or to point out the characr * Licetus de Lucern. Antiq. + Lucernae fictiles Musei Passerii, 3 torn. fol. Pisaur. 1739. \ Polyb. lib. xxxiv. c. 3. Juvenal. Sat, 12. Mart. lib. x. cp. 6, 36 LAMPS. teristics of those which illuminated the gloom of the cham- bers of the tomb, is an attempt which, however specious in theory, facts directly oppose : for the lamps which have been found in the houses of Herculaneum and Pompeii resemble in their general character those which have by some writers been supposed to have been set apart for the service of re- ligion, or appropriated to the sepulchral chamber. The most ancient lamps were made of clay, and then hardened by fire; and as this was a material manufactured with facility, and at little expense, lamps of this kind al- ways continued to be in considerable demand. Those made of bronze were in the next degree most common. They were made also of iron and of glass ; but few remains of the former kind, and still fewer of the latter, exist in the cabinets of the curious. Pausanias # and Arhenaeust speak of lamps of gold and of silver. In the cabinet of the Na- tional Library at Paris is a magnificent antique lamp of marble made to receive ten wicks. Lamps with one wick were principally used by the poor. Their lights were more or less numerous according to the circumstances of those who used them, or the purposes to which they were applied. In the Museum at Portici are lamps made to receive five, nine, ten, twelve, and fourteen wicks. Callimachus J speaks of a votive lamp in the temple of Serapis which had twenty wicks; and Athenaeus§ makes mention of an- * Pausanias, lib i. 26. f Athenaeus, torn iv. p. 130. J Callim. Epig. xxiii. in Antholog. Brunckii. t. i. p. 466. § Athenaeus, xv. 19. LA MPS. other in the Prytaneum at Tarentum, which had as many lights as there were days in the year. Lamps varied ex- ceedingly in their form. Sometimes they were shallow, flat, and circular, or oval, with one or more orifices at their circumference to receive the wick, and with an aper- ture in the field of the lamp to receive the oil and to admit the air necessary to keep alive the flame ; sometimes they were made tall and deep, assuming every shape, whether real or grotesque, which the artist could imitate or imagine*. Their upper surface was for the most part ornamented with mythological or allegorical subjects in relief. When in use they were placed on candelabra, and on low tripods, or suspended from the wall or the cieling, or from stands designed for this purpose f. * Vide Vignette X. f Vide Vignette IX. l J l.X. n. 78. ^4 Lamp /ro//t Bart <>//'s Jnfir/ir Lucerne. yiZcunf) from Brwtolis Aritie/m Liwerne. Published bvJJ.Mojirs. Oct.uffn. A L arrup fro m Bcvrto Us A n tick e Lu cernc ~ RMishcA by 3.1{o.rej . Oct I'hdu.. Antique Lamp front (he Museum Romanum of Be la CTiausje. l*u2>Ushed by U.Moscj. Oct.i.iSu. Fl.XI. CANDELABRA. It would be a vain research to attempt to ascertain with precision the antiquity of the use of candelabra : thus much may, however, with safety be assumed, that as soon as man- kind began to study in the smallest degree the comforts, or to cultivate the more useful arts of life, these articles of fur- niture must have been amongst the earliest inventions. In the opinion of Visconti * the Egyptians are the people amongst whom is found the earliest trace of their existence, and hence they have been esteemed the inventors of them. * Museo Pio Clemcntino, torn. iv. p. 4. 40 CANDELABRA. Of their ancient usage among the Jews we have an unques- tionable record in the Scriptures, where the following di- rections are given for fashioning the magnificent candela- brum which was placed first in the tabernacle, and after- wards in the holy temple of the Jews : " And thou shalt make a candlestick of pure gold ; of beaten work shall the candlestick be made : his shaft and his branches, his bowls, his knops and his flowers shall be of the same. " And six branches shall come out of the sides of it : three branches of the candlestick out of the one side, and three branches of the candlestick out of the other side. " Three bowls made like unto almonds, with a knop and a flower in one branch; and three bowls mad e'like almonds in the other branch, with a knop and a flower; so in the six branches that come out of the candlestick. " And in the candlestick shall be four bowls made like unto almonds, with their knops and their flowers. " And there shall be a knop under two branches of the same, and a knop under two branches of the same, and a knop under two branches of the same, according to the six branches that proceed out of the candlestick. " Their knops and their branches shall be of the same : all of it shall be one beaten work of pure gold. " And thou shalt make the seven lamps thereof : and they shall light the lamps thereof, that they may give light over against it.' 1 — Exod. xxv. 31 — 37. This splendid candlestick stood on the south side of the CANDELABR A. 41 Adytum, or antechamber to the sanctuary, and served to illuminate the altar of perfume and the table of shewbread, which stood in the same place. When the Romans under Titus destroyed the hallowed temple at Jerusalem, the golden candelabrum with the other treasures were removed to Rome. Upon a triumphal arch erected at the foot of Mount Palatine in honour of Titus there may be seen at this day, in a most interesting bas-relief, a faithful repre- sentation of this candelabrum, which is exhibited as borne in procession among the spoils which were carried from Je- rusalem in triumph to Rome. A copy of this piece of sculp- ture forms the subject of the vignette placed at the head of this essay. In the earliest history of the manners and customs of mankind, as related by Homer*, we read that the flame which blazed upon the humble hearth answered the double purpose of conveying the comforts of warmth and light. The first improvement upon this mode of illuminating an apartment was to burn dry or resinous woods upon an al- tar; and when the use of oil was known, and lamps began to be invented, candelabra assumed their appropriate and characteristic form. The form of some of the candelabra which have been discovered in Herculaneum and Pompeii have given rise to a conjecture concerning their origin. Among those which * Odyssey, xix. 633. 42 CANDELABRA. were intended to be moveable, and were used for domestic purposes, there are instances of the shaft representing a knotted cane, or a spiry branch with truncated shoots and leaf stalks # . The ancients were remarkable for their taste in adapting ornaments to things of common use, to augment their utility, and at the same time preserve the type of the objects which gave rise to any useful invention. The buds and shoots represented adorn the shaft of the candelabrum, which would otherwise be too plain ; they are convenient in affording a firm grasp to the hand, and at the same time they appear to give the history, and agreeably recall the simple origin of these utensils, which in their primitive form consisted merely of a reed or shaft supporting a tablet, and fixed in a flat base or stand. Candelabra vary greatly in shape, and many of them present models of exquisite taste in form, proportion, or- nament, and execution. They consisted generally of a co- lumn let into a triangular altar or a flat base, resting upon three feet, and surmounted by a broad but shallow plateau or bason. The top varied in size or depth, as it was used for a lamp-stand, or designed for a brasier, on which in- cense was offered and perfumes were burnt. If the cande- labrum was made to hold more than one lamp, branches, from which the lamps were suspended, diverged from the top or from the sides of the stem f. The stem or shaft was * Vide Plate S3. f Vide Vignette IX. CANDELABRA. 43 sometimes formed of several pieces, each portion termi- nating with a flat top. When thus constructed they were made of marble, and used in their taller or shorter form, as suited the purposes of convenience or ornament. Candelabra were made of gold and silver, of bronze # , and iron, and marble f, and were adorned with the richest workmanship, as suited the circumstances of the indivi- duals, or the occasion for which they were designed. The most magnificent and splendid were placed in the temples of the gods. The figures and ornaments which graced them had always an allusion to the worship or history of the deity to whom they were consecrated. In Cicero J we have an account of a candelabrum designed for the temple of Jupiter Capitolinus at Rome, which was of vast magnitude, executed by the most skilful artists, and profusely adorned with the most brilliant gems. The candelabra which illu- minated the palaces, the public baths, and the spacious halls of the ancients, were frequently not less magnificent and costly than those which were destined to sacred pur- poses. Homer §, in his description of the palace of Alci- nous, king of Corcyra, speaks of candelabra of sculptured gold, representing youths standing upon altars, and holding in their hands flaming torches. Athenasus||, in describing * Vide Plates 83, 84, 85. f Vide Plates 85, 86, 87, 88, 89, 90, 91, 92, 93. t In Verrem, lib. iv> c. 28. § Odyss. vii. 100—103. {) Deipnos. 1. iv. c. 2. 44 CANDELABRA. the furniture of a splendid apartment, mentions candelabra of corresponding magnificence : and Cicero asserts that not a house in Sicily was without these utensils made of silver, Bronze was the metal of which they were commonly ma- nufactured. These measured in height seldom more than six feet, and oftentimes did not exceed one foot. The column of the candelabrum was for the most part round, either fluted horizontally or spirally ; or, as was before mentioned, re- presented a knotted cane, or a spiny branch, or a trunk of a tree, as the fancy of the artist suggested. In the Museum at Portici is one instance of a candelabrum with a square shaft. Candelabra were not entirely confined to the purpose of bearing lamps. In the temples they stood, in some instances, as emblems of that glorious luminary which is the source and fountain of light and heat. In the public and domestic sacrifices they were frequently used for holding the incense which fumed before the statues of the gods*. They have been found deposited in the dark chambers of the tomb, and their appropriate place there seems to have been at the head of the deceased f : they appear on the types of many medals J, and have been sometimes sculptured in bas-re- liefs on the outside of temples, where they were introduced to show that the building was consecrated to the gods. * Museo Pio Clementino, torn. iv. p. 4. f Vide Vignette XVII. % Rasche Lexicon rei nummariae. Candelabra. CANDELABRA. 45 Tarentum and the Isle of iEgina were considered by the Romans as the most celebrated manufactories of cande- labra # . Those made at the former place were esteemed for the elegance of their external form, and those at the latter for their finished workmanship. Candelabra which com- bined these excellencies were of the most expensive kind : and it is recorded by Pliny f to the reproach of Gegania, an opulent Roman lady, that she had given 50,000 sesterces for a candelabrum, which was the joint production of both those celebrated manufactories. * Pliny, lib. xxxiv. 3. f Lib. xxxiv. 6. n.xn. Fl.63. Bronze Candelabra, found in Herailaneunt . Ficblitrhed by /f.Jf/vea: Oet.iada. . Candelabra from Cdvaceppi Sec. Published by ILMoses.Oct.i.iflu. Candelabra in the Musee Napoleon . Fl.87. A Candelabrum, in the possession of Thomas HopcEsq'. TubU*hed I'v H.Moses, Oct.i.itiii . d Candelabrum from the Muse'e Napoleon. Published bvJIJloses. Orl.i. idttl. FL.89. Ati antique Candtlafo-ian at Rome. Published byH.Mo.te.?. OcZ.lmIu . A Candelabrum from PiranAfi. Published by H.Mi).u:t.0ct.l s , c l8ll. PI. 91. A Grand antique Candelabrum from Piranesi . ftihlishedby H.Mo.'cs.Pct.L iAu. ri.92 « A Candelabrum frcmi Firatwji. Published by H. Moses Oet.1.1811. PL 93 . A Candelabrum from Firanesi — , FtMUhcd bvEMoses. Oct.i.ithi. n.xiir. TAZZAS. Ta zz as were large basons or reservoirs of water set apart for the various lustrations which were in general use amongst the ancients. That the gods could not be approached by the impure, was a maxim inculcated in all the religious creeds of the ancients by a countless variety of modes of purification. The most universal symbol of purification was water. If we examine the manners and customs of the Indians, the Egyptians, and the Israelites, we shall find it to be of the remotest antiquity as well as in the most general use. The custom of lustration prevailed to a considerable extent 48 TAZZAS. among the Greeks and the Romans. In the temples stood tazzas containing the lustral water, beyond which the pro- fane (for such were all the worshippers esteemed before they had performed their ablutions) could not pass. Sacri- fices, offerings, vows, prayer and thanksgiving were reli- gious acts which were never performed by the devout wor- shipper without scrupulously observing in the first instance the ceremony of washing. Nestor presumes not to offer his vows to Jupiter for the success of the embassy to Achilles, before he has performed the rite of ablution*. The cere- mony of washing of hands is carefully observed by Achilles before he invokes the gods for the preservation of his friend Patroclusf, and by Hector before he pours forth a libation to Jupiter J. The same rite was observed by the Greeks when they offered the common sacrifice for the success of their arms§. In the sacred mysteries of the ancients various ceremo- nies of purification were among the earliest rites of initia- tion, Numerous representations are preserved on the Greek vases of the ablutions which preceded these mystical solem- nities, where large lavers form a principal object in the pic- ture||. Ablution was also one of the principal preparatory ceremonies of marriage Near the fountains in the neigh- * Iliad, ix. 171. f II. xvi. 230. f II. vi. 266. § II. iv. 499. || Tischbein. Recueil de Gravures apres des Vases Antiques, i. 59. ii. 28. 31. 36. 1 Vide Vignette XIII. Montfau§on I'Antiquite expliq. torn, iii.220 TAZZ AS. 49 bourhood of the Gymnasium, where the Athletse exercised before they presented themselves at the Olympic games, lavers were placed, which were destined for the use of the young men, who had always occasion to wash themselves after the gymnastic exercises. Of one of these sort of tazzas we have an example in the following vignette taken from a Greek vase in the Hamilton collection, described by Tischbein*. On the bason is inscribed the word AHMOSIA, which denotes that it was intended for public use. * Recueil de Gravures, &c. i. 58. pi.xiv: JPI.&4. An Antique Tazza n'orn FbrcQwsi. Published, by B.ytoses.Oct.i.ifiu . A Grand aniiq ue T&zza Je Pedestal from PiraJiesl. TublLilied by H.Mosa; Ocr. i.ifiu . F1..W. CIPPI. A. CIPPUS is a low column with an inscription, as a me- morial of something remarkable. Cippi were in form some- times square and sometimes round, and frequently without base or capital. They served for various purposes among the ancients. When erected by the road side, with distances engraved upon them, they were termed milliary columns. In this situation they were also set up to direct the way to travellers. The public roads were perhaps the greatest of all the stupendous works of the Romans ; (for they were made with amazing labour, at an enormous expense, and 52 CIPPI. extended to the utmost limits of the empire ;) the charge of them therefore was intrusted to men of the highest rank*, Augustus himself undertook the management of those round Rome. In commemoration of this fact cippi were erected on the roads under his superintendance, and medalswere struck with cippi upon themf. As the Roman burying-ground was for the most part by the road side, cippi were placed to mark its boundaries, or as memorials of affection and friendship in honour of the deceased. Sepulchral cippi were also placed in the magnificent mausoleums of the ancients. The cippi found in sepulchres have been often taken for altars, on account of the similarity of their forms, and the correspond- ing richness of their ornaments, especially when the inscrip- tion has not contained an epitaph, properly speaking. The distinction is, however, very slight, as these cippi were con- secrated to the infernal deities, and to the manes in parti- cular; and they are even sometimes excavated in the upper part in the form of a bason or crater : there are instances of cippi being perforated from top to bottom to receive li- bations, after the manner of some altars. The celebration of the secular games in the times of Augustus, of Domi- tian, and of Severus was recorded on cippi, as appears on the types of some of the coins struck in the reigns of each of those emperors J. Cippi were used for land-marks ; and * Bergier Hist, des Grands Chemins de l'Empire Romain, 2 torn. 4to. 1728. + Vide Vignette XVI. J Rasche Lexicon rei nummarise. Cippus. CIPPI. 53 when the circuit of a new city was traced by the plough, they were placed at equal distances, on which sacrifices were offered, and marked the situation of the towers. On vases, on medals, and on gems, cippi are frequently intro- duced, where they are placed near or support some deity or symbolical figure # . * Vide Vignette XV. Pl.XVI. tl.mi. A Sepulchral dppits /horn Firanesi Viihli.ilml t'V ll.ili>.Tf.(>cl. 11 Ail. PI. 98. n.99. J Gppus from the, Arttwuitatxs sacras et-drilqe romdnorum explicates! Fubbsluui bvH.Jfoscs. 0rt.i.i8n. Y I \ n.ioo. n.ioi. A Qppus from the Bonjhese Collection . PuMishr,/ bv /f.Mo«-r.t. Of/.i.idri . Pl.102. j£ Sepulchral Gppus from th& 'Jfusee Napoleon. hlMirhed by H. Moses, Ocl.i.iSn. I J SEPULCHRES. 1 HE rites of sepulture have been observed by all nations with a religious solicitude, and tombs and mausoleums are among the most eminent remains of antiquity. Where rocks afforded a convenient opportunity, it was an idea at once natural, and of peculiar propriety, to excavate in these silent retreats the habitations of the dead. The greatest part of the Hebrew sepulchres were hollow places dug in rocks; as for example, that bought by Abraham for the burying of Sarah*; and those of the kings of Judah and Israel. In * Gen. xxiii. 4. 6. 56 SEPULCHRES. Egypt the honours paid to the dead partook of the nature of a religious homage. By the process of embalming they endeavoured to preserve the body from the common laws of nature, by which every substance is decomposed, and returns to its natural elements. They also provided mag- nificent and durable habitations for the dead, proud tombs, the astonishment of all succeeding nations. Such are their stupendous pyramids; The common graves of primitive Greece were nothing but caverns dug in the earth, and called hypogea : but those of later ages were more elabo- rately wrought ; they were commonly paved with stone, had arches built over them, and were adorned with splendid embellishments in an equal degree with the houses of the living ; insomuch that mourners commonly retired into the vaults of the dead, and there lamented over their relations for many days and nights together. It was in one of these subterraneous sepulchres that the Ephesian matron (so fa- mous for her tenderness, levity, and fickleness) had resolved to terminate her days. Rome rivalled Greece in the splen- dour and magnificence of its tombs*. The mausoleums of Caecilia Metella and of Hadrian give a high idea of the riches and grandeur of the persons therein interred. Of the former noble sepulchre the lower part is square, and the upper part round. The walls are of a vast thickness, and * Vide Plates 105 to 120. SEPULCHRES. 57 incrusted with Tiburtine stones of an immense size. An ele gant frieze of marble runs round the whole, ornamented with rams' heads joined together with festoons, above which are paterae and other decorations. The beautiful sarcopha- gus, in which lay the body of Ceecilia, stood a few years ago in the court of the Farnese palace. Untouched by bar- barous hands this sepulchre would have lasted while the earth remained : but in the low age, during the civil wars of the Roman barons, it was converted into a castle, and they built a parapet and port-holes round its top. Pira- nesi # has not only published plates of this sepulchre, but has described the method by which the huge stones and marbles used in this building might have been raised. The Moles Hadriani, or Mausoleum of Hadrian, was the most superb sepulchral monument ever constructed at Rome. A square base of a great height supported a vast rotunda, sur- rounded with an open portico of Corinthian columns. Be- tween the columns and above the cornice of this portico were placed many statues. On each corner of the square base was a man holding a horse, much in the same attitude with those that stood in Constantine's baths on the Quiri- nal hill, which has led some antiquaries to suppose that Constantine had taken them from this monument. The whole of this stupendous tomb had been incrusted with * Ant. Rom. torn. iii. tav. 49, 50, 51, 52, 53, 54. 58 SEPULCHRES. marble. The elegant columns that ornament the church of St. Paul on the Ostian road to Rome, and some of those in the church of St. Agnese, are reckoned to have been taken from this sepulchre. The situation as well as the ex- tent of this mausoleum pointed it out for a place of defence when the barbarous nations invaded Italy. It was taken and retaken by the Goths and Belisarius. In these different attacks it must have suffered. It is said that the besieged broke the statues, and launched their fragments on the be- siegers. About the year 593, during the pontificate of Gre- gory the Great, Rome was afflicted with the plague. It was then pretended that an angel was seen on the top of this building, putting a sword into a scabbard, which was considered as a mark of the cessation of the plague; and in consequence of this vision the pope gave the name of Castel S. Angelo to the Moles Hadriani. The ancients had two different customs with respect to their dead ; for they burnt some and buried others. When the corpse was burnt, it was the office of the nearest rela- tion, as soon as the pile was consumed, and the fire extin- guished, to soak the embers with wine, to collect the ashes and bones of the deceased, to besprinkle them with the richest perfumes, with wine, with milk, and with their tears, and then to deposit them in a vessel destined for the purpose. Though it was sometimes the custom to place the ashes of the dead person in one urn, and the bones in another, hence SEPULCHRES. 59 the former were called cinerary urns, and the latter ossuaries # , yet it was the more general practice to deposit the whole of the remains of the burnt body in one urn. These urns, like other kinds of vases, were made of various materials, of gold, bronze, glass, clay, marble, or porphyry. Their shape was either round or square. The square cinerary urns were more sought after than the round ones, on account of the greater interest which they excite from their inscrip- tions, the greater variety of their ornaments, and the my- thological and historical subjects with which they are em- bellished. The cinerary urns were generally set in niches made in the thickness of the walls of the sepulchral cham- bers, called from this arrangement columbaria f. Some of the mausoleums consisted of several chambers or colum- baria. In the Villa Corsini^ thirty-four of these chambers were discovered ; many of them elegantly ornamented with stucco and painting, and f the floors enriched with mosaic work. These paintings perished soon after they were ex- posed to the air, but happily drawings had been made of them by Bartoli§ as soon as they were discovered. At Rome they burnt the bodies of the freed slaves, and their * Gutherius de jure Manium, 150. f Vide Plates 113, 114, 117, 118, 119, 120. J Vide Plates 119, 120. § Gli Anticlu Sepolcri, da P. S.Bartoli. fol. 1696. 60 SEPULCHRES. ashes were also preserved in urns. In the neighbourhood of Rome, where the Albano road separates from the Ap- pian, was discovered, in 1726, the sepulchre of the liberti and servi, &c. of Livia*, the wife of Augustus. This ex- tensive monument abounded with urns and inscriptions f. The liberti, &c. entered into societies for building these monuments, and deputed one or more of their number to oversee the work. Thus we find that the freedman Lucius, called Alexa, one of the curators deputed by a company to oversee the building of a sepulchre, executed his trust so much to the satisfaction of the company, that they allowed him to choose six places for himself, whilst the others drew lots for theirs When the bodies of the dead were buried they were simply extended on the floor §, or deposited in sarcophagi which were placed in the magnificent tombs erected for their reception. Sarcophagi were made of stone, of marble, or of porphyry; and in general were designed to hold only one corpse, though they were sometimes made sufficiently capacious to receive two|| bodies, or even the remains of a whole family^]". These monuments of the dead, which in * Vide Plate 113. f Piranesi Ant. Rom. torn. iii. tav. 21 to tav. 37. | Fabrettus, Inscrip. p. 449. § Vide Vignette XVII. I) Euripides, Orestes, 1052. f Visconti Museo Pio Clenientino V. tav. v. SEPULCHRES. 61 former times have been most solemnly consecrated to the gods manes, are, on account of the subjects with which they are ornamented, highly interesting to the scholar and to the antiquary; for they are of vast importance in the study of the mythology and of the manners and customs of the ancients, and they afford considerable information in tracing the history of the arts. Though the sculpture is not of the highest quality, yet it has for the most part merit enough to attract and fix the attention of the artist and the virtuoso. Sometimes their external surface is adorned with a simple fluting in perpendicular or oblique or spiral lines; some- times they bear the representation of the front of a temple, with its columns surmounted by a pediment; and sometimes again they are divided into several arcades, in each of which is one or more figures*'. It is seldom that all the four sides of the sarcophagus are sculptured; frequently no more than one of the sides and the two ends, but most generally only one of the sides, which was called the front. The subjects of the bas-reliefs are in some instances the pure works of the imagination, representing wreaths of flowers -and ara- besque ornaments f. In others they are adorned with his- torical subjects which in no degree correspond with the so- lemn purposes to which the sarcophagus is devoted, such * Vide Plates 131, HI. f Vide Plate 128. G 62 SEPULCHRES. as Achilles's discovery of Ulysses amongst the daughters of Lycomedes ; Venus surprised by Vulcan in the arms of Mars; Orestes pursued by the Furies; the battles of the Centaurs and the Lapithae. But for the most part, however, these bas-reliefs have an appropriate reference to the occa- sion upon which they are introduced * Sleep, which bears so close a resemblance to death, is a subject of frequent representation upon the sides of the sarcophagus. Some- times the sculptured figures were moral allegories, as the Seasons, which exhibited the various periods of human life; or the labours of Hercules, which represented the triumph of virtue over the passions y. At other times the sculptor selected for his design some particular circumstance in the history of the life of the deceased, his profession, his of- fices, his connections, or his pursuits. A daughter snatched from an affectionate parent by an untimely death was described by Proserpine run away with by Pluto ; or Ce- res, with flambeaus in her hands, in a car drawn by winged dragons, seeking her lost child : the figures of the Muses J adorned the tomb of the man of literature; the representation of a battle, or of some hero §, that of the warrior ; and the pursuits of Diana, or the adventures of * Vide Plate 134. f Museo Pio Clementino, torn. v. 88. t Vide Plates 131, 135. § Vide Plates 133, 138. SEPULCHRES. Acteeon*, that of the man devoted to the pleasures of the chase. The front of the sarcophagus was oftentimes surmounted by a frieze, which was adorned with a sculptured festoon, a border of flowers, or very minute figures f . # Vide Plate 142. f Vide Plates 129, 134, 135, 137, 138, 139, 140, 142, FINIS, PRINTED EY RICHARD AND ARTHUR TAYLOR, SHOE LANE, LONDON. n.io3. Published by U.Moscs. Oct. 1.1811. v Fl.104. The operwig of a tomb, as described by Sir William Hcmutton . Ptiblialutl In UJlojrrs, Oct. ufiji . n.109. Section of the Tomlt of Cuius Cesiius. Published In ■ H.M»s, l bti.--hed Irv H.Mos™. (h-t.i.iSn ■ ri.m. Interior of a Sepulchral Chamber near San Vito fiib Ushed by KMosn . Oct. i.idu. \ From a Sepulchral Chamber /// the Villa (brsiaa. lublishai I>v /Ufafnt, Oct.iSu. 11.120. Antique Cinerary Urn at Castle, Howard. Tubli.;hed by HMoscr ,Occ.i ,iBn. -A Cinerary Urn .irojn Piranest . J ii Etruscan Cinerary Cm, from Bartvlis ^dntichi Sepolchrv. PI. 125. M An Eti-iutran (znerary Urri, front Bartolis Aritichi Sepolcri. Rd>Ut7ud bvJiJTojrat, Oet.iaSn. n.i26. An Etruscan Cinerary Urn .YroniBtirtolis oepiderorum Monume/ita. TiiMskcd ty KMoses, Oct.i.i8n. i I 4 An antique Sun Dial Yrotn Carlo Antonini . 1-ublUhtd byKMotct Occ.i.iSu. 'Mi m A domrstir Fountain , from Roec/ieygea/iis Ifonwnenti Jntic/?i. Pitblislu-tl by H. Ifnfrs. ('rf.j.iSn . PI. 146. I I ri.Mi. A Marble Chair of the Gyrn no si arch from Smarts Athens Jhjb&ihfd by ]{.Mo.sfj.Oci.i.i(lji. I \ Front Millin .(rolerie Jfythohijique . fubUlhed hvllJfosn. Oct.i.iSn. From Mimn Ga. /eric Mrthologique . f&Hrttd tyHMote*. Oct. i. i/i, i. A LIST OF BOOKS ON THE VARIOUS BRANCHES OF ARCHITECTURE AND BUILDING, PUBLISHED BY J, TAYLOR, at the Architectural Library, No. 59, HIGH HOLBORN, LONDON. DOMESTIC and ORNAMENTAL ARCHITECTURE. 2. A RCHITECTURAL DESIGNS for Rustic Cottages, Pic* X\. turesque Dwellings, Villas, &c. with appropriate Scenery, Plans and Descriptions ; to which are prefixed some critical Observations on their Style and Character; and also of Castles, Abbies, and ancient English Houses ; concluding with Practical Remarks on Building, and the Causes of the Dry Rot. By W. F. Pocock, Architect. Elegantly engraved on 33 Plates, large Quarto, Price iL us. 6d. in Boards. 2. Designs for Lodges and Entrances to Parks, Paddocks, and Plea* sure Grounds, in the Cottage, Gothic, and Fancy Styles, with characteristic Scenery and Descriptions in letter-press. By T. D. W. Dearn. On 20 Plates, large Quarto, Price it us. 6d. bds. 3. Sketches in Architecture, consisting of original Designs for Cot- tages and Rural Dwellings, suitable to Persons of moderate For- tune, and for convenient Retirement ; with Plans and appro-* priate Scenery to each ; also some general Observations. By T. D. W. Dearn, Architect to His Royal Highness the Duke of Clarence. Elegantly engraved on 20 Plates, large Quarto, Price ih 7s. in Boards. 4. Designs for Villas and other Rural Buildings. By Edmund Aikin, Architect, with Plans and Explanations. Together with an introductory Essay, containing Remarks on the pre- vailing Defects of Modern Architecture, and an Investigation of the Style best adapted to the Dwellings of the present Time. On 31 Plates, large Quarto, il. 11s. 6d. Boards. 5. A Series of Designs for Villas and Country Houses ; adapted with Economy to the Comforts and to the Elegancies of Modem Life ; with Plans and Explanations to each ; to which is pre- fixed, an Essay on Modern architectural Taste. By C. A. Busby, Architect. Elegantly engraved on 24 Plates, large Quarto, il. 5s. Boards. 6. Plans, Elevations, and Sections of Hot-Houses, Green-Houses, an Aquarium, Conservatories, &c. recently built in different Parts of England, for various Noblemen and Gentlemen. By G. Tod, Surveyor and Hot-IIouse Builder. Including aHot- 1 louse and a G reen - House in H er M \jesty ' s Gardens at Frogmore. On 27 Plates, elegantly coloured, with proper Descriptions, (Folio.) 2I. 12s, 6d, in Boards, % Books published by J. TAYLOR, High Bottom. 7. Plans and Views of Buildings executed in England and Scotland in the Castellated and other Styles. By R. Lugat, Architect. On 32 Plates Royal Quarto, with descriptive Letter-press«r 2I. 2s. in Boards. 8. Lugar's Country Gentleman's Architect, containing a Variety of Designs for Farm Houses and Farm Yards of different Mag- nitudes, arranged on the most approved Principles for Arable, Grazing, Feeding and Dairy Farms, with Plans and Sections, shewing at large the Construction of Cottages, Barns, Stables, Feeding House-, Dairies, Brewhouse, &c. with Plans for Stables and Dog-kennels, and some Designs for Labourers' Cottages and small Villas. The whole adapted to the Use of Country Gen- tlemen about to build or to alter. On 21 Plates, with full Ex-j planations to each. Quarto, il. 5s. in Boards. 5. Lugar's Architectural Sketches, for Cottages, Rural Dwellings, and Villas ; with Plans ; suitable to Persons of genteel Life and moderate Fortune ; preceded by some Observations on Scenery and Character. On 38 Plates, Quarto. Boards il. us. 6d. to. Randall's Designs for Villas, Casinos, Mansions, Lodges, and Cottages, m the Grecian, Gothic, and Castle Styles ; engraved in Aquatinta, on 34 Plates, folio, 2I. 12s. 6d. — The same on Imperial Folio Paper, 3I. 13s. 6d. 1 1 . Gyfford's Designs for Small Picturesque Cottages, Hunting Boxes, Park Entrances, &c. Parti. On 20 Plates, Quarto, il. is. Boards. 1.2. Gyfford's Designs for Elegant Cottages, and small Villas, in Per- spective, with General Estimates. Part II. on 26 Plates, Quarto. 1 1. lis. 6d. Boards. 13. Flaw's Sketches for Country Houses, Villas, and Rural DwelU higs\ calculated for Persons of moderate Income, and for com- fortable Retirement. Also some Designs for Cottages, which may be constructed of the simplest Materials ; with Plans and general Estimates. On 42 Plates, Quarto, il. 1 is. 6d. in Boards. 14. Plow's Ferine Ornee, or Rural Improvements, a Series of De- signs, suited to Parks, Plantations, Rides, Walks, Rivers, Farms, &c. consisting of Fences, Paddock House, a Bath, Dog-kennels, Pavilions, Farm-yards, Fishing-houses, Sporting Boxes, Shooting-lodges, Single and Double Cottages, &c. cal- culated for Landscape and Picturesque Effects. On 38 Plates, with appropriate Scenery, Plans, and Explanations. Quarto, In Boards, il. us. 6d. 15. Plow's Rural Architecture, or Designs from the simple Cottage to the decorated Villa, including some which have been exe- cuted. On 62 Plates, with Scenery, half bound, 2I. 2s. 16. Laing's Hints for Dwellings, consisting of Original Designs for Cottages, Farm-houses, Villas, &c. plain and ornamental ; in- ceding some Designs for Town- houses. On 34 Plates, Quarto, it; 53. in Boards. Books published by J. TAYLOR, High Holborn. 3 17. Soane's Sketches for Cottages, Villas, &c. with their Plans and appropriate Scenery; to which are added six Designs for improv- ing and embellishing Grounds, with Explanations. On 54 Plates. Folio. 2I. 12s. 6d. half bound. 18. Soane's Plans, Elevations, and Sections of Buildings, executed in the Counties of Norfolk, Suffolk, York, Wilts, Warwick j Stafford, Somerset, &c. On 47 Folio Pates. 2I. 12s. 6d. 19. Plans, Elevations, and Sections of Noblemen's and Gentlemen'* Houses, Stabling, Bridges, &c. By James Paine, Architect. 2 Vols. 176 large Folio Plates. 81.8s. half bound. 20. An Essay on British Cottage Architecture, exemplified by fourteen Designs, with their Plans, &c. on 23 Plates. By James Malton. Quarto, Boards, il. ns. 6d. 21. Miller* s Designs for Cottages, Farm-houses, Country-houses, Lodges for Park Entrances, and wooden Gates, with Plans of the Offices. On 32 Quarto Plates. Sewed, 10s. 6d. ■32. A Series of Plans, for Cottages or Habitations for the Labourer, To which is added, an Introduction, containing many useful Observations on this Class of Building, tending to the Comfort ©f the Poor, and Advantage of the Builder; with Calculations of Expences. By the late Mr. J. Wood, of Bath. 30 Plates, large Quarto, il. is. $3. Crunden's Convenient and Ornamental Architecture, Original Designs ; calculated both for Town and Country. On 70 Cop- per-plates. 16s. Boards. 24. Middleton's Architect and Builder's Miscellany. Designs for Country and Town Houses, Temples, Bridges, Lodges and Gates, &c. On 60 Plates, coloured. Octavo, il. is. bound. 25. Middleton's Designs for Gates and Rails, suitable to Parks, Plea- sure Grounds, Balconies, &c. On 27 Plates. Octavo, 6s. 26. Decorations for Parks and Gardens, Designs for Temples, Prospect Towers, Cattle Sheds, Ruins, Bridges, Green-houses, &c. Also a Hot-house, and Hot-wall. On 55 Plates, Octavo. 1 os. 6d. sewed. 27. Soane's Designs for Temples, and other Buildings, for deco- rating Pleasure-grounds. On 38 Plates, Octavo; sewed, 6s. 28. Grotesque Architecture. Plans, and Elevations for Huts, Pier-* mitages, Chinese, Gothic, and Natural Grottos ; many of which mav be executed with Flints, irregular Stones, rude Branches and Roots of Trees ; 28 Designs. By W. Wright. Octavo ; sewed, 4s. 6d. 29. The New Vitruvius Britannicus ; consisting of Plans and Ele-e vations of modern Buildings, public and private, erected by the most celebrated Architects. On 142 Plates. By G, Richard* son, Architect. 2 Vols. Imperial Folio, half bound, ill. 1 is. 30. Chambers' s Designs for Chinese Buildings, &c. hf. bd. il. 1 is. 31. Ornamental Designs after the Manner of the Antique, by G M Smith, royal quarto, in parts, 5s. each Part. Five Parts iff published. 4 Books published ly J. TAYLOR, High Holborru 32. The Rudiments of Ancient Architecture; containing an Histo- rical Account of the Five Orders, with their Proportions, and Examples of each from Antiques ; calculated for the Use of those who wish to attain a summary Knowledge of the Science of Architecture; with a Dictionary of Terms; illustrated with. 1 1 Plates. Octavo ; Boards, 8s. 33. Designs for the Decoration of Rooms, in the various Styles of modern Embellishment; with Pilasters and Frizes at large. On 20 Folio Plates, drawn and etched by G. Cooper, Draftsman and Decorator, il. is. 34. A Collection of Designs for Modem Embellishments, suitable to Parlours, Dining and Drawing Rooms, Folding Doors, Chimney Pieces, Varandas, Frizes, &c. By C. A. Busby, Architect. Neatly engraved on 25 Plates, 15 of which are elegantly coloured, Price it. ns. 6d. PRACTICAL ARCHITECTURE. f . Observations on the Design for the Theatre Royal, Drary Lane., as executed in the Year 181 2; accompanied by Plans, Eleva- tions, and Sections of the same, engraved on Eighteen Plates. By Benjamin Wyatt, E. S. A. Architect. Royal Quarto. 2l. 12s. 6d. Boards. 2. Nicholson's Carpenter's New Guide; a complete Book of Lines' for Carpentry and Joinery, treating fully on Practical Geo- metry, Soffits, Lines for Roofs and Domes, with a great Variety of Designs for Roofs, Trussed Girders, Floors, Domes, Bridges. &c. Stair-cases and Hand-rails of various Constructions. The whole founded on true Geometrical Principles ; the Theory and Practice well explained and fully exemplified on 78 Copper- plates; including some Practical Observations and Calculations on the Strength of Timber. Quarto. 15s. 3. Nicholson s Carpenter and Joiner's Assistant ; containing Prac- tical Rules for making all Kinds of Joints, and various Methods of Hingeing them together; for fitting up Windows and Shut- ters to answer various Purposes, with Rules for hanging them ; for constructing Roofs in the best Manner from a given Quantity of Timber; for placing of Bond -Timbers ; with a new Scheme for constructing Staks and Hand-rails, &c. &c~ To which are added, Examples of various Roofs executed, with the Scantlings from actual Measurements; with Rules for Mortices and Tenons, and fpr fixing Iron Straps, &c. Also Extracts from M. Belidor, :V M. du Hamel, M. de BufTon, &c. on the Strength of Timber, with practical Observations. Illustrated with 79 Plates, and co- pious Explanations. A New Edit, revised. Quarto, il. is. bound, 4. Nicholson's Student's Instructor, in drawing and working the Five Orders of Architecture. On 41 Plates, Octavo. — A new Edi- tion, corrected and augmented, 10s. 6d. bound. Books published ly J. TAYLOR, High Hoilorn. 5 5. Mechawcal Exercises ; or, the Elements and Practice of Car- pentry, Joinery, Bricklaying, Masonry, Slating, Plastering, Painting, Smithing, and Turning. Containing a full Descrip- tion of the Tools belonging to each Branch of Business, and Copious Directions for their Use : with an Explanation of the Terms used in each Art; and an Introduction to Practical Geometry. Illustrated by 39 Plates. By Peter Nicholson, Octavo. 1 8s. Boards; 21s. bound. 6. Pain's Practical House Carpenter; containing a great Variety of useful Designs in Carpentry and Architecture ; as Centering for Groins, Niches, &c. Examples for Roofs, Sky-lights, &c. The Five Orders. Mouldings, &c. at large, with their En- richments. Houses for Town and Country, Lodges, Stables, &c. Variety of Stair Cases, with many other important Articles and useful Embellishments. To which is added, a List of Prices for Materials and Labour, Labour only, and Day Prices. The whole illustrated and made perfectly easy by 148 quarto Copper- plates, with Explanations. The sixth Edition, with large Ad- ditions. 18s. bound. — N.B. This is PAlN's last Work. ^. Langley's Builder's Complete Assistant, or a Library of Arts and Sciences. Exemplified on 77 large Quarto Plates. 2 Vols, Royal Octavo. Bound, 15s. 8. Langley's Gothic Architecture improved, 64 Plates, Quarto. 15s, 9. Richardson's Fancy Capitals and Frizes from the Antique. 1 5s. 10. Designs for Monuments, including Grave-Stones, Wall-Pieces, and Tombs. Quarto. 16s. 11. Elevation and Plan of Blackfriars' Bridge. 5s. 12. Plans, Elevations, and Sections of the Machines and Centering used in erecting Blackfriars Bridge. By R. Baldwin. On Seven large Plates. 10s. 6d. 13. The Bricklayer' s Guide to the Mensuration of all Sorts of Brick-work, according to the London Practice; with Obser- vations on the Causes and Cure of smoky Chimnies, the For- mation of Drains, and the best Construction of Ovens to be heated with Coals. Also a Variety of practical and useful Information on this important Branch of the Building Art, Illustrated by various Figures and Nine Copper-plates. By T. W. Dearn, Architect. Octavo. 7s. boards. 14. Aikin's Essay on the Doric Order, illustrated by Figures of the principal antique Examples, drawn to one Scale, on 7 Plates. Imperial Folio, il. 5s. boards. 15. Essays of the London Architectural Society, with Plates, Oc- tavo. Parti. 7s.— Part I L 8s. 6d. in boards. 16. Modern Finishings for Rooms ; a Series of Designs for Vesti- bules, Halls, Stair Cases, Dressing Rooms, Boudoirs, Libra- ries, and Drawing Rooms ; with their Doors, Windows, Chimney-pieces, and other Finishings, to a large Scale; and the several Mouldings and Cornices at full Size : showing their Construction and relative Proportions. To which are added, 6 Books published ly J. TAYLOR, High Bottom. some Designs for Villas and Porticos, with the Rules for draw- ing the Columns, &c. at large. The whole adapted for the Use and Direction of every Person engaged in the practical Parts of Building. By W. F. Pocock. On 86 elegant Quarto Plates. Price 2I. 2s. bound. TAYLORS BUILDER'S PRICE BOOK, NEW ARRANGED, Containing a correct List of the Prices allowed by the most eminent Surveyors in London, to the several Artificers concerned in Building, with the Journeymen's Prices affixed to each Article. To which are added a Variety of important Memorandums and Tables, useful to every Person concerned in Building, Esti- mating, or Valuing, now first selected and composed for this Work. — By an Eminent Surveyor. Corrected to the present Time — 35. 6d. sewed, MISCELLANEOUS. I. An Enquiry into the Changes of Taste in Landscape Gardening, to which are added some Observations on its Theory and Practice, including a Defence of the Art, by H. Repton. Octavo, 5s. h. A Treatise on Painting, by Leonardo da Vinci. Translated from the original Italian, and digested under proper Heads, by J. F. Rigaud, Esq. R. A. Illustrated with 23 Copper-plates and other Figures. Octavo. 9s. 6d. in Boards; royal Paper, 13s. 6d. 3. A Treatise on the Teeth of Wheels, Pinions, cWc. demonstrating the best Forms which can be given them for the various Purposes of Machinery; such as Mill-work, Clock-work, &c. and the finding of their Numbers. Translated from the French of M. Camus, with Additions. Octavo. Fifteen large Plates. Price I os. 6d. Boards. 4. Smeaton's Experiments on Under-shot and Over-shot Water Wheels, &c. Octavo. With Five Plates. Boards, 10s. 6d. 5. Venturis Experimental Enquir ies concerning theMotion of Fluids. Octavo. Two Plates. 4s. 6. Dr. Brook Taylor's Principles of Linear Perspective. Octavo. With 13 Quarto Plates. New Edition. Price 14s. Boards. furniture" drawings. I. A Collection of Designs for Household Furniture and interior Decoration, in the most approved and elegant Taste, viz. — Cur- tains; Draperies; Beds; Cornices; Chairs and Sofas for Par- lours, Libraries, Drawing Rooms, &c; Library Fauteuils ; Seats; - Ottomans ; Chaises Longue ; Tables for Libraries, Writing, Work, Dressing, &c. ; Sideboards ; Celerets ; Bookcases ; Screens ; Candelabri ; Chiffoniers; Commodes; Pier Tables; Wardrobes; Pedestals; Glasses; Mirrors; Lamps; Jardiniers, he. * with various Designs, for Rooms,, Geometrical and ii\ Perspective* Books published ly J. TAYLOR, High Holborn. 7 shewing the Decorations, Adjustment of the Furniture, &c. also some general Observations. By George Smith, Engraved on 158 Plates, with Explanations in Letter-press. Royal Quarto. Price, in Boards, 4I. 14s. 6d. and elegantly coloured, 7I. 17s. 6d. The Parts, each containing 50 Plates, may be had separate, to com- plete Sets, Price ll. us. 6d. each, plain 3 or elegantly coloured, 2l. 12s. 6d. a. Designs for Household Furniture, exhibting a Variety of elegant and useful Patterns, in the Cabinet, Chair, and Upholstery Branches. By the late T. Sheraton. Engraved on 84 Folid Plates. Price 3I. 13s. 6d. in Boards. GRECIAN ARCHITECTURE. The Nobility, Gentry, Amateurs and Artists, are respectfully in- formed that they may be supplied with good Impressions of that elegant and elaborate Work, The ANTIQUITIES of ATHENS, MEASURED AND DELINEATED Btj JAMES STUART, F.R.S. and F.S.A. and NICHOLAS REVETT, Painters and Architects. In Three large Volumes, Folio, Price 17I. 17s. in Boards. This Work contains 281 Plates, engraved by the best Artists, of Views, Architecture, Plans, &c. with Letter-press Historical and Descriptive, illustrating by a Research of many Years Labour and great Expense, the purest Examples of Grecian Architecture, many of which no longer exist, and the Traces of them can be found only in this Work. The Third Volume may be had separate, to complete Sets, Price 61. 13s. in Boards. A fourth Volume is in preparation, which will contain all the remaining Sculpture of the Temple of Minerva at Athens, with iundry Fragments found in the Greek Islands : also the architectural Details of the Antiquities at Pola, in Istria, from the Drawings left by the late Mr. Stuart. Price 61. 6s. — Subscribers names are received* ROMAN ARCHITECTURE. The Ancient Buildings of Rome, Accurately measured and delineated, By ANTONY DESGODETZ, With Explanations in French and English. The Text translated, and the Plates engraved, by the late Mr. George Marshall, Architect. Two Vols. Imperial Folio, with 137 Plates. Price 61. 16s. 6d. half bound, or jl» 15s. 6d. sewed. Desgodetz's Antiquities has ever been highly valued by Amateurs and Professors, for the Accuracy of the Measurements, and the Choice of elegant Subjects. t Books published ly J. TAYLOR, High Holborn* GOTHIC ARCHITECTURE. I. An History of the Origin and Establishment of Gothic Architect ture; comprehending also an Account from his own Writings of Caesar Cassarianus, the first professed Commentator on Vitruvius, and of his Translation of that Author; an Investiga- tion of the Principles and Proportion of that Style of Architecture . called the Gothic ; and an Inquiry into the Mode of Painting upon and Staining Glass, as practised in the Ecclesiastical Structures of the middle Ages. By John Sidney Hawkins, P. A. S. Royal Octavo, illustrated with Eleven Plates, Price 18$. in Boards. 1, An Historical Survey of the Ecclesiastical Antiquities of France^ with a View to illustrate the Rise and Progress of Gothic Archi- tecture in Europe. By the late Rev. G. D. Whittington. With a View of the Facade of the Cathedral Church at Rheims. Royal 8vo. 12s. boards. 3. The same in Royal Quarto, if* 6s. in boards* 4. A Treatise on the Ecclesiastical Architecture of England, during the- middle Ages, with 10 illustrative Plates. By the Rev. J. Milner, D.D. F. S. A. Royal Octavo, 15s. 5. Observations on English Architecture, Military*. Ecclesiastical, and Civil, compared with similar Buildings on the Continent ; in* eluding a critical Itinerary of Oxford and Cambridge ; also histo- rical Notices of stained Glass, ornamental Gardening, &c. with chronological Tables, and Dimensions of Cathedrals and Conven- tual Churches. By the Rev. James Dallaway, M. B. F.S. A. 129. 6. Essays on Gothic Architecture. By the Rev. T. Warton, Rev. J. Bentham, Captain Grose, and the Rev. J. Milner, with 12 Plates of Ornaments, &c. calculated to exhibit the various Styles of dif- ferent Periods. The third Edition ; with a List of the Cathedrals of England and their Dimensions. Octavo, ios. 6d. in Boards. 7. Specimens of Gothic Ornaments, selected from the Parish Church of Lavenham, in Suffolk. On 40 Plates. Quarto. 18s. 8. Plans, Elevations, Sections and Views of the Church at Batalha in Portugal. To which is prefixed an introductory Discourse on the Principles of Gothic Architecture. By James Murphy '. Imperial Folio, with 27 elegantly engraved Plates. 4I. 14s. 6d. half bound. 9. A West Elevation of York Minster, elegantly engraved by Land' seer, from a Drawing by J. Maltoiu 1 5s. Size 27 by 20. 10. An Essay on the Origin, History, and Principles of Gothic . Architecture. By Sir James Hall, Bart. Imperial Quarto, illus- trated by 60 elegant Plates in outline. Price 5I. 5s. boards. 11. The Architectural Antiquities of Great Britain, representing the most beautiful, curious, and interesting ancient Edifices, by J. Brittoiu Quarto, in Parts, 8 Plates, each ios. 6d.; on large Paper, 16s. published Quarterly. Thirty-five Parts are published. GETTY CENTT? L