BIOGRAPHICAL, AND DESCRIPTIVE 
 
 OF 
 
 THE OBJECTS EXHIBITED AT THE 
 
A, K. ELY 
 
 
 
Digitized by the Internet Archive 
 in 2018 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/historicalbiograOOparr 
 
YJB 
 
 
 
 
 
 
MAIN ENTRANCE TO THE GARDEN AND MUSEUM. 
 
HISTORICAL, 
 
 BIOGRAPHICAL, AND DESCRIPTIVE 
 
 CATALOGUE 
 
 OP 
 
 THE OBJECTS EXHIBITED AT THE 
 SOUTHAMPTON ART MUSEUM, 
 
 ESTABLISHED AT 
 
 Southampton, Urto got*, 
 
 BY 
 
 Samuel L. Parrish, 
 
 In the Year 1897. 
 
 NEW YORK : 
 BENJAMIN H. TYRREL. 
 1898. 
 
Copyright, 1898, 
 
 By Samuel L. Parrish. 
 
To 
 
 HENRY G. MARQUAND, ESQ., 
 
 PRESIDENT OF THE 
 
 METROPOLITAN MUSEUM OF ART 
 
 OF NEW YORK, 
 
 To whose Liberality and Devotion that most Complete 
 Museum in America is so Greatly Indebted 
 for its Success, this Catalogue 
 
 is, with Permission, 
 
 INSCRIBED. 
 
TABLE OF CONTENTS. 
 
 Preface, .vti-xviii 
 
 Bayeux Tapestry,.3-42 
 
 PERSONAGES REPRESENTED IN THE TAPESTRY: 
 
 Edward the Confessor, King of England. 
 
 Harold, Earl, and later, for about ten months, King of 
 England. 
 
 William the Conqueror, Duke of Normandy, and later 
 King of England. 
 
 Odo, Bishop of Bayeux, Half Brother of William the 
 Conqueror. 
 
 Guy, Count of Ponthieu. 
 
 Conan, Count of Brittany. 
 
 Robert, Count of Mortain. 
 
 Turold, a Dwarf. 
 
 Aelfgyva. 
 
 Ealdgyth, wife of Harold. 
 
 Stigand, Archbishop of Canterbury. 
 
 Wadard. 
 
 Vital, a Norman Scout. 
 
IV 
 
 TABLE OF CONTENTS. 
 
 Leofwine, Brother of King Harold. 
 
 Gyrth, Brother of King Harold. 
 
 Eustace, Count of Boulogne. 
 
 Norman and Saxon Knights, Soldiers, Sailors, Peasants, 
 etc. 
 
 The Royal Effigies,. 
 
 45 
 
 Henry III,. 
 
 47 
 
 Eleanor of Castile,. 
 
 48 
 
 Edward III,. 
 
 51 
 
 Edward “The Black Prince,” . 
 
 55 
 
 Richard II,. 
 
 57 
 
 Henry IV,. 
 
 Margaret Beaufort, “The Lady Margaret,” 
 
 64 
 
 Countess of Richmond, .... 
 
 66 
 
 Henry VII,. 
 
 70 
 
 Elizabeth of York,. 
 
 75 
 
 Henry VIII,. 
 
 77 
 
 Cardinal Wolsey,. 
 
 81 
 
 Mary Stuart, Queen of Scots, .... 
 
 85 
 
 Queen Elizabeth of England, .... 
 
 89 
 
 Catalogue of Pictures,. 
 
 95-108 
 
 Greek Sculpture,. 
 
 111-116 
 
 Athens and the Parthenon,) 
 
 The Parthenon Frieze,. ) 
 
 117-123 
 
 The Faun, by Praxitiles, .... 
 
 124^-128 
 
 Laocoon Group,. 
 
 129-133 
 
 Zeus (Jupiter) (Head),. 
 
 134 
 
 Apollo Belvedere (Head) *. 
 
 135 
 
 Wrestlers, The,. 
 
 136 
 
TABLE OF CONTENTS. 
 
 V 
 
 Boy Extracting a Thorn, .... 
 
 137 
 
 Psyche of Capua,. 
 
 137 
 
 Hermes (Mercury),. 
 
 138 
 
 Winged Victory of Samothrace, . 
 
 . 139-142 
 
 Narcissus or “The Echo,” .... 
 
 142 
 
 Ancient Historical Busts, 
 
 143 
 
 Homer,. 
 
 145 
 
 Pericles,. 
 
 146 
 
 Augustus Caesar,. 
 
 148 
 
 Tiberius Caesar,. 
 
 151 
 
 Antinous,. 
 
 . 156-157 
 
 Renaissance Sculpture, . . . 
 
 . 159-162 
 
 Donatello,. 
 
 163 
 
 Robbia, Luca della,. 
 
 163 
 
 Robbia, Andrea della,. 
 
 164 
 
 Rossellino, Antonio, .... 
 
 164 
 
 Mino da Fiesole,. 
 
 165 
 
 Benedetto da Maiano, .... 
 
 Ar t , rri , ) Plaster Copies ) 
 
 Madonna and Child, ( 1 I 
 
 165 
 
 Madonna and Child, f . . ( 
 
 ' Michael Angelo. J 
 
 . 166 
 
 La Femme Inconnue (Unknown), . 
 
 166 
 
 Renaissance Historical Busts, 
 
 Dante Alighieri,. 
 
 . 167-170 
 
 Michael Angelo Buonarroti, 
 
 170 
 
 Milton,. 
 
 . 172-173 
 
 Milton, 
 
SOUTH SIDE OP THE MUSEUM BUILDING. 
 
HISTORICAL, BIOGRAPHICAL, AND 
 DESCRIPTIVE CATALOGUE. 
 
 PREFACE. 
 
 The object in establishing this small Museum has 
 been to give to the people of Southampton, and the 
 surrounding country, and especially to the younger 
 generation, an opportunity to enjoy the influences gen¬ 
 erally recognized as incident to such an institution. It 
 is the desire and intention, so far as circumstances will 
 permit, to make it auxiliary, on its educational side, to 
 the Public School and Library. In most European 
 countries, the desirability of this form of education is 
 so strongly felt that the government itself, or the mu¬ 
 nicipality, generally takes the initiative, at least in the 
 larger centres of population. Owing to the concentra¬ 
 tion of population in the older countries, and the 
 
VIII 
 
 PREFACE. 
 
 greater interest there manifested in institutions of this 
 kind, the distance of the bulk of the people from some 
 point of educational and artistic interest is usually com¬ 
 paratively small. The result is that, in the course of 
 the year, large numbers will have often availed them¬ 
 selves of the opportunity offered to visit the museum or 
 gallery of the neighboring town. This fact will be 
 readily appreciated by any one who has had occasion 
 to watch the crowds that throng the English and Con¬ 
 tinental galleries on some holiday that brings together 
 the people from the outlying districts. In this connec¬ 
 tion it will be noted that there is already a tendency 
 in our own country to follow the example of the older 
 civilization of Europe. This tendency has recently 
 taken form by introducing, into the public schools of 
 New York, photographs and pictures that will excite 
 an interest in the study of the great works of architec¬ 
 ture and art that abound in foreign lands. Naturally, 
 under the conditions surrounding this undertaking, 
 there can be nothing in the nature of an attempt to repro¬ 
 duce the result accomplished by even the most modest of 
 the American and European institutions, inaugurated 
 and sustained as they are by such powerful influences 
 continually at work for their enlargement and improve¬ 
 ment. Especially is this limitation experienced in the 
 domain of painting and original works of statuary. In 
 regard to plaster copies, however, of which many 
 of the museums so largely avail themselves, the 
 situation is entirely different. Here we are on com- 
 
PREFACE. 
 
 IX 
 
 parativelv common ground, for the art of reproduction 
 has been brought to such a point of perfection, that 
 excellent plaster copies can be had of nearly all the 
 great works of antiquity that have come down to us, 
 as well as copies of the creations of later date, rivalling 
 in many cases even those of the classic period itself. 
 Thus, copies of the works of Phidias and Praxitiles and 
 Michael Angelo and Donatello, and others of the great 
 sculptors whose works have been, and will always con¬ 
 tinue to be, the admiration of successive generations, 
 are readily obtainable. It will, of course, be under¬ 
 stood that to the mind, and practised eye and hand, of 
 the sculptor, no reproduction can ever take the place 
 of the original work. On the other hand it is believed 
 that to those who find pleasure in the contemplation of 
 the beautiful in form, a skilful reproduction will very 
 strongly appeal, and have a valuable educational in¬ 
 fluence. This fact has been greatly appreciated in our 
 own country by the men who are at the head of the 
 museums in our principal cities. The result is that in 
 New York, Boston, Chicago, Philadelphia and Wash¬ 
 ington, and numerous other smaller places, the real 
 treasures, speaking broadly from the point of view of 
 artistic education, housed by the elaborate and 
 costly structures that have arisen as the result 
 of a desire to cultivate the fine arts, are not so 
 much the modern pictures, interesting and valuable as 
 many of them are, as the plaster reproductions of the 
 antique and Renaissance sculpture, those masterpieces 
 
X 
 
 PREFACE. 
 
 of the genius of man at its highest period of develop¬ 
 ment in the world of art. 
 
 This, then, is the motive of an attempt to create this 
 small museum, an attempt which could only end in 
 failure were it not for the possibilities afforded by the 
 art of reproduction. Nor is this art exhausted when 
 only forms of ideal beauty have been offered for exhi¬ 
 bition. Still another, and in some aspects more im¬ 
 portant element of value, is the opportunity afforded to 
 awaken and stimulate an interest in the study of history. 
 In a community like ours, based upon the general 
 intelligence of the people, and fostered by the common- 
 school system, the experience of other countries, so 
 necessary to a right understanding of our own, can only 
 be learned by the study of history. On this point the 
 following words of Carlyle will be recognized as spoken 
 with authority: 
 
 “In all my poor historical investigations it has been, 
 and always will be, one of the most primary wants to 
 procure a bodily likeness of the personage inquired 
 after, a good portrait, if such exists; failing that, even 
 an indifferent, if sincere one. 
 
 “In short, any representation made by a faithful 
 human creature of that face and figure which he saw 
 with his eyes, and which I can never see with mine, is 
 now valuable to me and much better than none at all. 
 It has always struck me that historical portrait galleries 
 far transcend in worth all other kinds of national 
 collections of pictures whatever; that, in fact, they 
 

 
 
 
 
 
 
 
 
 
LOOKIN’*; NORTH TOWARD THE ORGAN, WITH TIIE ROMAN IMPERIAL RESTS ON 
 
 SIDE OE THE HALL. 
 
PREFACE. 
 
 XI 
 
 ought to exist in every country as among the most 
 popular and cherished national possessions. Lord Chan¬ 
 cellor Clarendon made a brave attempt in that kind for 
 England, but his house and gallery fell asunder in a 
 sad way.” 
 
 What is true of portraits is also true of portrait 
 busts. In the case of the latter there is also the added 
 practical consideration that, owing to the greater dura¬ 
 bility of the material, we have now, and successive gen¬ 
 erations will continue to have, an opportunity to study 
 the features of many of the great men of antiquity, as 
 well as those of more recent times, which would have 
 been forever lost, had we been compelled to rely upon 
 the art of portrait painting alone. In a small museum 
 like this there can naturally be exhibited but a very 
 limited number of the hundreds of more or less 
 authentic and interesting portrait busts that have come 
 down to us through the ages, beginning as they do in 
 the very twilight of history. 
 
 In the selection of the marble and plaster reproduc¬ 
 tions here exhibited, no especial order or plan has been 
 observed, the intention being to have the hall contain gen¬ 
 erally such objects as have a world-wide reputation, 
 either from their artistic merit or historical associa¬ 
 tion. Accompanying each object exhibited is a bio¬ 
 graphical or historical statement, longer or shorter as the 
 case may be, giving in outline the history of the indi¬ 
 vidual, if a bust, or of the work of art, if an ideal 
 creation, with the name of the sculptor, when known, 
 
XII 
 
 PREFACE. 
 
 and in the case of copies of the antique, a statement of 
 when and where the originals were found, and their 
 present location. From time to time explanatory and 
 historical foot notes have been added, which, it was 
 thought, might prove of interest, and in some cases, for 
 the same reason, the text itself has been enlarged be¬ 
 yond the scope of a descriptive, or even strictly histori¬ 
 cal, catalogue as related to what is contained in the 
 hall itself. 
 
 Of the historical reproductions, it is believed that the 
 collection of the half length effigies of some of the 
 Plantagenet and Tudor kings and queens will be found 
 particularly interesting, especially to the students of 
 English history. The original effigies, in full length, 
 either in bronze, brass, or alabaster, being works of the 
 period, lie recumbent upon the tombs of the persons 
 represented, mostly in Westminster Abbey or in Canter¬ 
 bury Cathedral. The half length effigies here exhibited 
 are taken from electrotype reproductions now to be 
 seen in the National Portrait Gallery, an institution 
 established in London about two years ago, under the 
 auspices of the British Government. This institution 
 has carried out on a grand scale the opinion and 
 sentiment of Carlyle, as embodied in the quotation 
 given above. 
 
 The collection of pictures, shown here at Southampton, 
 has been made, for the most part, during several visits 
 to Italy in the past few years. The pictures were 
 obtained principally in Venice and Florence, and their 
 
PREFACE. 
 
 xm 
 
 respective neighborhoods, though some of them were 
 acquired in other continental cities, and a few in 
 London and New York. In most cases the name of the 
 artist is unknown, though the pictures themselves 
 belong to recognized schools or periods of Italian art, 
 ranging from about the beginning of the 15tli to the 
 latter part of the 17th centuries, and are generally 
 painted on panel. During that period Italy was 
 a vast artistic workshop, and following the sentiment 
 of the period, the subjects chosen for representation 
 were usually of a religious character, or portraits, in¬ 
 terspersed with large decorative pictures representing 
 festive occasions, generally with a bible story as the sub¬ 
 ject, or allegorical scenes taken from the classic poets. 
 Landscape, except as an accessory, and scenes from 
 common life, were seldom taken, in Italy at least, for 
 the purpose of artistic illustration, during the period 
 of Italian supremacy in art. 
 
 Some of the pictures here shown are therefore, doubt¬ 
 less, from the hands of pupils of some of the great Ital¬ 
 ian masters—pupils whose name and fame were perhaps 
 only local during their own time, but whose works 
 nevertheless contain something of the spirit of the 
 period represented by the Italian Renaissance. In cases 
 where direct attributions have been made to some of 
 the minor painters, the pictures are submitted to the 
 judgment of those who have made a study of this epoch 
 of artistic development. 
 
 In regard to the reproductions in plaster and marble, 
 
XIV 
 
 PREFACE. 
 
 we are on more certain ground, for these have been 
 taken from the authenticated original works which are 
 scattered, for the most part, through the churches and 
 museums of Europe. The actual reproductions here 
 shown were acquired in Florence, Paris, London and 
 New York. The “Laocoon,” “The Faun of Prax- 
 itiles,” “The Wrestlers,” “The Winged Victory of 
 Samatlirace,” and some others, were obtained from the 
 “Atelier de Moulage,” as it is called, or plaster cast 
 establishment, attached to the Museum of the Louvre 
 in Paris, and conducted by the government. The plas¬ 
 ter reproduction of the Parthenon Frieze was obtained 
 from the Metropolitan Museum of Art of New York. 
 
 The autotype copy of the Bayeux Tapestry was ac¬ 
 quired in London, and taken from plates in the posses¬ 
 sion of the British Government, Science and Art De¬ 
 partment. 
 
 It will be noted that the collection is confined 
 almost exclusively to such objects as illustrate or repre¬ 
 sent the history, biography, and art of Greece, Italy and 
 England; the three countries, above all others, to which 
 we in America, directly or indirectly, owe all that is 
 most valuable in our intellectual and political life. 
 
 In the reading-room, to the west of the main hall, 
 will be found, among the books relating to travel and 
 the history of art, certain volumes which will enable 
 the visitor so desiring to acquire more accurate and 
 extended information in regard to the biography of the 
 individuals represented by the statuary and casts, and 
 

THE LILY FOND AND ARBORETUM. 
 
PREFACE. 
 
 XV 
 
 of the history of the other objects contained in this col¬ 
 lection. 
 
 Surrounding the building itself is about an acre of 
 ground, containing the nucleus of a small botanical 
 garden. In the reading-room will be found a certain 
 number of books on botany. 
 
 Samuel L. Parrish. 
 
 New York. 
 
 March, 1898. 
 
 Since the preceding Preface was written, a swift and 
 uncontrollable current of events has swept the world 
 away from its old moorings, and brought our country 
 face to face with difficulties, dangers, and problems little 
 dreamed of but a few short months ago. Whatever may 
 be the outcome of the present Spanish-American war, 
 however, there is at least one fact that, in its far-reaching 
 import, stands forth clearly above all others; and that 
 is the inherent similarity of aim and purpose existing 
 between England and America in their relations toward 
 the rest of the world. 
 
 With their old and narrow bickerings and jealousies 
 now happily relegated to the background, let us hope 
 forever, so far as any serious or threatening develop¬ 
 ments may he concerned, there should be an ever-widen- 
 
XYI 
 
 PBEFACE. 
 
 ing interest in tlie sympathetic study, by each, of the 
 history and political evolution of the other. Looked at 
 from this point of view the burden of inquiry naturally 
 falls more particularly upon us, for from the time of the 
 Norman Conquest to the beginnings of the settlement 
 of our own country, a period of nearly six hundred 
 years, the history of England is equally the history 
 of all of us who are of English descent, and collaterally 
 the history also of all our fellow countrymen, who 
 enjoy the privileges of a government founded in 
 essentials upon the successful struggles for personal, 
 political and civil liberty, waged through the centuries 
 on English soil. The national character developed by 
 those struggles is part and parcel of our inheritance, 
 and the capacity to assimilate foreign elements shown 
 by us, becomes but an additional tribute to the solidity, 
 strength, and world-wide influence of the principles 
 derived from our English ancestry, principles accepted 
 in good faith by none more than by those of other 
 racial antecedents, who, by incorporation into our body 
 politic, have become too, the political descendants of the 
 race from which we spring. 
 
 In considering this subject further, it is well to re¬ 
 member that the Americans of 1776 were also but the 
 political (and in many cases lineal), descendants of the 
 Englishmen who stood for liberty in 1640 and 1688, and 
 that nowhere is this fact more cheerfully acknowl¬ 
 edged than in England itself. In the National Portrait 
 Gallery in London, England’s Walhalla, the portrait 
 
PREFACE. 
 
 XVII 
 
 of George Washington hangs on the line with the 
 great Englishmen of his time. Of the insignifi¬ 
 cant minority of Englishmen to-day who honestly 
 dislike, or even hate, America and its institu¬ 
 tions it would doubtless be found that in nine 
 cases out of ten, they are drawn from the ranks of the 
 political or actual descendants of the men who in 
 former centuries were willing to sacrifice the liberty 
 and well-being of their country to the prerogative and 
 claim of divine right of the King; men whose theories of 
 government, had they prevailed, would have landed Eng¬ 
 land where Spain now finds herself, namely, in the 
 rear rather than in the vanguard of modern progress 
 and civilization. 
 
 And yet another consideration. There are doubt¬ 
 less in America to-day hundreds of thousands of 
 men in whose veins, unknown to themselves, flows at 
 least some particle of the blood of the sturdy 
 English, Irish, and Welsh soldiers whose disci¬ 
 pline, courage, and constancy in the hour of danger- 
 turned impending defeat into victory, against vast 
 numerical odds, on the fields of Crecy, Poitiers and 
 Agincourt. Add to these the American descendants 
 of the Englishmen who fought on a dozen fields in 
 England itself to uphold their liberties against the en¬ 
 croachments of arbitrary power, and the numbers may 
 well be swelled into the millions. Thus can we 
 realize that in our common inheritance of noble tradi- 
 
XVIII 
 
 PREFACE. 
 
 tions the talk of “blood being thicker than water,” is 
 no idle figure of rhetoric. 
 
 These then being historical facts, it is beyond the 
 scope of this short note to consider what modifications, 
 for better or for worse, our strong national indi¬ 
 viduality may have grafted upon the parent system. . 
 
 In any event it is confidently submitted that the 
 developments of the past few months cannot but add 
 interest to the study of such objects in this collection 
 as tend to illustrate the history of England. 
 
 S. L. P. 
 
 Southampton, N. Y., June, 1898. 
 
PREFACE TO THE ILLUSTRATED 
 EDITION. 
 
 Since the Museum was established and this Cata¬ 
 logue written, in 1898, both the grounds and building 
 have been enlarged, the latter in 1902, through the 
 generous interest of my brother Mr. James C. Parrish. 
 Into the new fire proof hall presented by him have been 
 moved most of the original pictures described in the 
 Catalogue. The museum building is now in the shape of 
 a cross, and stands about one hundred and fifty feet back 
 from the street. It is built partly of brick and partly of 
 wood, with a maximum length and width of one hundred 
 and thirty-five and one hundred and two feet respectively. 
 It is situated in a park of about three acres in extent 
 at a central point in the village, its adjoining neigh¬ 
 bors being the Public Library and the Municipal 
 Building. 
 
 During a visit to Italy and France in the spring 
 of 1900 I became much impressed with the antique 
 busts of the Roman Emperors, to be found for the 
 
XX 
 
 PREFACE TO THE ILLUSTRATED EDITION. 
 
 most part in the galleries of the Vatican and the 
 Capitol at Rome, in the Uffizi at Florence, and in 
 the so-called “Hall of Augustus” in the Museum of 
 the Louvre at Paris. With the invaluable aid of the 
 late Mr. Augustus St. Gaudens, whose acquaintance 
 I had the good fortune to renew in Paris in the sum¬ 
 mer of 1900 at the time of the Paris Exposition, I 
 made a selection, by means of photographs, from the 
 many differing busts, of the first eighteen of the 
 Caesars, beginning with Julius and ending with Corn- 
 modus, and, in Florence, had them reproduced, in 
 marble, of uniform semi-lieroic size, with classic 
 shoulders added where the head alone had survived 
 the destructive hand of time. These busts of deco¬ 
 rative, but more especially of historical and archaeo¬ 
 logical value, now adorn the new hall at South¬ 
 hampton. In addition to the Roman imperial busts 
 other objects of artistic interest have been added to 
 the collection from time to time during the past ten 
 or twelve years, consisting for the most part of repro¬ 
 ductions in marble and terra cotta of Greek, Roman, 
 and Renaissance sculpture, but as a description of 
 these would have required a rearrangement of the 
 Catalogue it was thought best to confine the illustra¬ 
 tions to those objects which formed a part of the col¬ 
 lection at the time it was written. At a later date, how¬ 
 ever, it is my intention to issue an addendum to the 
 present edition in the form of a separate volume which 
 shall contain half tone reproductions of the eighteen 
 
PREFACE TO THE ILLUSTRATED EDITION. XXI 
 
 imperial busts, now to be seen at Southampton, together 
 with short monographs upon the lives and characters 
 of the emperors represented, after the manner of those 
 in this volume relating to Augustus and Tiberius Ceasar. 
 
 Samuel L. Parrish. 
 
 Southampton, Long Island, 
 August, 1912. 
 
LOOKING TOWARD THE SOUTH ALCOVE. 
 
BAYEUX TAPESTRY. 
 

 
NOTE. 
 
 The Bayeux Tapestry, of the exact size of the 
 original, has been reproduced by the autotype 
 process, and being colored by hand, the repro¬ 
 duction here shown at Southampton presents a 
 striking resemblance to the original work. The 
 plates are in the possession of the British Govern¬ 
 ment, but with that liberality which characterizes 
 the English in all matters pertaining to the acquisition 
 and diffusion of knowledge, are loaned from time to 
 time for the purpose of making copies. 
 
 One of these reproductions is to be seen in Lon¬ 
 don in the South Kensington Museum, and, besides 
 the one exhibited here, there is another in the 
 
4 
 
 BAYEUX TAPESTRY. 
 
 Pennsylvania Museum, in Fairmount Park, Phila¬ 
 delphia. 
 
 For those desiring to make a more accurate 
 study in detail of the various scenes, a running 
 commentary, compiled from various sources has 
 been prepared, and follows the general summary 
 here given. Especial recognition in this work is 
 hereby accorded to the very valuable catalogue which 
 has been prepared under the supervision of the au¬ 
 thorities of the Pennsylvania Museum, compiled from 
 Mr. Fowke’s work on the Tapestry, and that of 
 l’abbe J. Laffetay. 
 
EAST SIDE OF THE MUSEUM. 
 
BAYEUX TAPESTRY. 
 
 The so-called Bayeux Tapestry is in fact a piece of 
 embroidery on a linen band 20 inches wide, and 230 feet 
 long. It is a pictorial history. 
 
 The original embroidery, framed and covered with 
 glass, is now in a small museum, to which it was re¬ 
 moved from the Cathedral, in the little Norman town 
 
 * 
 
 of Bayeux. It is an authentic work of the latter part 
 of the eleventh century or the beginning of the twelfth, 
 though its actual authorship is a matter of conjecture 
 only. Some authorities attribute it directly to Matilda, 
 the wife of William the Conqueror, assisted by the 
 ladies of her court. Others assign it to English work¬ 
 men, acting under the direction of the Empress Matilda, 
 granddaughter of the Conqueror. The best authorities, 
 however, attribute it, largely on the basis of certain 
 internal evidence, to Norman workmanship under the 
 
6 
 
 BAYEUX TAPESTRY. 
 
 direction of Odo, Bishop of Bayeux, half-brotlier of 
 William, and believe it was made for the decoration of 
 the Cathedral of Bayeux, which was rebuilt by Odo in 
 1077. The last theory is the one maintained by Free¬ 
 man in his “History of the Norman Conquest.” In 
 any event, however, the tapestry is generally believed 
 to be a practically contemporary work with the events 
 it so rudely and yet so graphically describes. It re¬ 
 mained in the Cathedral of Bayeux for about four 
 hundred years before exciting sufficient attention to be 
 mentioned, at least so far as any existing record is con¬ 
 cerned, as the earliest reference to it now known is to 
 be found in an inventory of the effects of the cathedral 
 taken in 1476. In the next two hundred and fifty 
 years nothing is heard of it outside of the cathedral, 
 where it was used for decorative purposes on certain 
 feast days. It was then hung round the nave, and 
 being exactly sufficient to go around the walls, the 
 basis on which its length was originally determined is 
 thus indicated. In 1724 it came under the notice of 
 the French Academy of Inscriptions, when its extra¬ 
 ordinary historical value was at once recognized, and 
 from that time to the present day has excited the great¬ 
 est interest as being for practical purposes the most 
 valuable document that has come down to us of a period 
 so unfortunately lacking in authentic historical records. 
 It is divided into seventy-two scenes, each scene being 
 separated from its neighbor by trees or a building, em¬ 
 broidered simply for the purpose of marking the divid- 
 

 
 
 
 
 
 
 

 MUSEUM GARDEN ROOKING EAS I 
 
BAYEUX TAPESTRY. 
 
 7 
 
 mg line. The original is done with a needle in eight 
 different colors of worsted, and gives a history of the 
 Norman Conquest of England from a Norman point of 
 view, taking care to emphasize the points making for 
 the justice of William’s claim to the English throne. 
 By the crude employment of the different colors an 
 attempt is made to create some sort of perspective, 
 otherwise lacking. It will be noted, for instance, that 
 a green horse will have his off legs painted red, while 
 those of a yellow horse will be blue. In addition to its 
 interest as a pictorial narrative of events, it has an 
 especial value as furnishing us, in however rude a form, 
 with a fairly accurate idea of some of the costumes, as 
 well as the architecture and arms, of the time of the 
 Conquest, including points of especial interest to a 
 seafaring people in those scenes which represent the 
 embarking of Harold and the boat building of William. 
 In these respects it closely resembles some of the most 
 ancient Egyptian mural decorations, particularly those 
 to be seen in the rock tomb of Beni-Hasan on the Nile. 
 One of the features of the tapestry is. the embroidery 
 of a superscription, in Latin, above each scene, giving 
 a short, simple and at times almost quaint description 
 of the scene represented underneath. A short outline 
 ' of the pictorial story is as follows: 
 
 In the first panel Harold, son of the earl Godwine, 
 and brother-in-law to the English king, Edward the 
 Confessor, appears before the king in his royal palace 
 at Westminster, and is evidently being sent by the 
 
8 
 
 BAYEUX TAPESTRY. 
 
 king on a mission to William of Normandy, presuma¬ 
 bly to inform the latter that, upon the death of Edward, 
 William shall succeed to the throne of England. 
 Harold then starts off gaily with his retinue, and on 
 their way to the south coast of England to embark for 
 Normandy, a spirited hawking scene with hounds is 
 shown on the embroidery. Arrived at his manor of Bos- 
 liarn, Harold goes to church to obtain a blessing on his 
 journey, but quickly returns to the manor house for a 
 carouse, before setting sail. He and his companions are 
 seen pledging each other in bowls and horns of wine. The 
 next scene is one of the most interesting of all, showing 
 Harold and his companions in the act of embarking. 
 These panels should be studied carefully, as giving a 
 most interesting exhibition of the construction of the 
 ships of the period. Being driven by a stress of weather 
 on the coast of France, the English party are taken 
 prisoners, in accordance with the inhospitable custom 
 of the time, by the lord of that part of the country, a 
 certain count Gruy, of Ponthieu. Several panels are 
 devoted to this portion of their experiences. William, 
 however, hearing of Harold’s unfortunate position, 
 sends messengers to the count and commands that the 
 prisoners be set free and conducted to him at his 
 capital of Rouen. They arrive at Rouen, and, after 
 some interesting scenes at the Norman court, accom¬ 
 pany William on an expedition against the count of 
 Brittany. During this expedition, Harold has occasion 
 to show his great strength, for which he was famous, 
 
BAYEUX TAPESTRY. 
 
 9 
 
 bv rescuing some soldiers from certain well-known 
 quicksands which the company were obliged to cross. 
 The following scenes represent the defeat of Conan, 
 count of Brittany, by William’s troops, and Harold, 
 for his bravery, is knighted by the Duke. They then 
 return to Bayeux, when Harold takes his celebrated 
 oath. The tradition is that Harold swore to marry 
 William’s daughter, and to give his own sister in 
 marriage to the Norman Duke, and uphold the claim 
 of William to the English throne upon the death of 
 Edward. On the embroidery is shown the chest which 
 William caused to be filled with the holiest relics and 
 then covered with a pall. Harold has his hand upon 
 the chest as he takes the oath. The ceremony finished, 
 the chest is uncovered, and the relics then shown for 
 the first time to Harold. The next scene represents the 
 return of the Saxon earl, Harold, as he embarks for 
 England in a ship manned by Norman sailors, the 
 difference between Saxon and Norman almost through¬ 
 out the tapestry being denoted by certain distinguish¬ 
 ing marks, particularly the arrangement of the beard, 
 the Saxon wearing a moustache, while the Norman is 
 clean shaven. Upon his arrival in England, Harold 
 rides post-haste to Westminster to report to the king, 
 and is received by Edward, represented as enfeebled 
 by age and nearing his end. The king is seated upon 
 his throne with his sceptre reversed in his hand. 
 Harold, conveniently forgetting his oath, in the presence 
 of certain friends, whom he has assembled around the 
 
10 
 
 BAYEUX TAPESTRY. 
 
 deathbed of the king, prompts one of his friends to 
 urge Edward to name him, Harold, as his successor. 
 The king replies that he has already named Duke 
 William. Harold himself then personally urges his 
 claim, and the king in his feebleness replies: “Let the 
 English name the Duke or Harold, King, as they please; 
 I consent,” and saying this he dies. Upon the day of 
 the Confessor’s death Harold is chosen king, and two 
 of the nobles notify him of his election, and bring him 
 the crown and official axe, and he is crowned as repre¬ 
 sented in the scene. Then follows the incident of the 
 comet, this illustration being the earliest known 
 pictorial representation of this celestial object, and 
 supposed to be ominous of the coming invasion of 
 England. The news of Harold’s coronation was forth¬ 
 with carried to Normandy, and William, with his 
 accustomed decision of character, at once sets 
 about to build ships for the descent upon Eng¬ 
 land. The men bring stores and provisions for the 
 ships, which are being hauled down to the sea, and the 
 duke embarks in the historical ship “Mora,” given him 
 by his wife, and the next morning, being the 28th of 
 September, 1066, lands in England, at Pevensey, unop¬ 
 posed. Then follows the disembarkation of the 
 horses and men, who start out to forage for breakfast, 
 and we see the lasso being used for this purpose. The 
 country people fleeing from their homes at the approach 
 of the Normans, the foragers find it an easy task to 
 collect material for breakfast, and the following scenes 
 
BAYEUX TAPESTRY. 
 
 11 
 
 tell an interesting story of the preparation and enjoy¬ 
 ment of the morning meal. Bishop Odo, William’s 
 half-brother, a very notable person in those times, is 
 seen seated on the duke’s left hand, and asks a bless¬ 
 ing. Then follows a council of war between William 
 and his two half-brothers, the Bishop and count 
 Robert of Mortain. As a result of the council, orders 
 are given to build a fort at Hastings, and we see the 
 orders being carried out. After some intermediate 
 scenes the great battle of Hastings is begun, and at one 
 time Harold is shown alone wielding his two-handed 
 battle-axe against fearful odds. Bishop Odo is also 
 seen clad in armor, seeking to rally some of the Nor¬ 
 man troops who had been seized with panic. The 
 report having gone abroad that William had been 
 killed, and the Normans wavering, the duke rushed 
 into the midst of the fight, and, raising his helmet, ex¬ 
 claims, “I am here!” or perhaps makes use of the 
 very words embroidered on the scene, “Hie Est Wilel 
 Dux!” When the Normans at this time were hardest 
 pressed, William gave his celebrated order, “Shoot 
 upwards, Norman archers!” Of the falling arrows 
 one pierced the eye of Harold, while valiantly wielding 
 his axe in the thick of the fight. As he sought to 
 pluck the arrow from his eye, the shaft broke, and he 
 fell mortally wounded. The English, demoralized by 
 the loss of their king, flee, as represented in the scene. 
 The battle is over and the story of the tapestry is told. 
 
DETAILED COMMENTARY ON THE SEPARATE 
 SCENES OF THE BAYEUX TAPESTRY. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Pages 15-10. 
 
EDWARD REX. 
 
 King Eadward. 
 
 Tlie opening scene represents King Eadward the 
 Confessor, seated upon his throne, in an apartment of 
 the palace at Westminster, upon the site where now 
 stands Westminster Hall. Attention is called to the 
 checkered work on the face of the tower. Examples of 
 this kind of work are still to be seen in Normandy. It 
 will be noticed also that Eadward’s crown, as well as the 
 sceptre, is ornamented with fleurs-de-lys. Of the two 
 persons to whom his remarks are addressed the taller 
 is Harold, son of the earl Godwine, and brother-in- 
 law to the king (Eadward having married Editha, Har¬ 
 old’s sister). The more usual interpretation given to 
 this scene is that it represents Eadward giving instruc- 
 
16 
 
 BAYEUX TAPESTRY. 
 
 tions to Harold to proceed on a mission to Normandy 
 to inform Duke William that he has been nominated 
 by Eadward as his successor to the English throne. 
 
 VBI: HAROLD DVX: ANGLORVM: ET SVI 
 MILITES: EQVITANT: AD BOSHAM: 
 
 Where Harold, Duke of the English, and his knights 
 ride to Bosham. 
 
 Bosham was a manorial estate inherited by Harold 
 from his father on the southern coast of England. From 
 this point he prepares for his voyage across the chan¬ 
 nel. Hawking was a favorite amusement among the 
 nobles in England, as well as in France, at the time of 
 the Conquest, and Harold and his companions indulge 
 in this pastime on their way to the coast. Harold’s 
 dress is here worthy of remark, for the cloak he wears, 
 fastened at the right shoulder, with a clasp, is an evi¬ 
 dence of his rank, being worn only by people of high 
 birth. Observe, also, that here, and for the most part 
 throughout the tapestry, the Saxons wear moustaches, 
 while the Normans are generally clean shaven. That 
 the equipments of the horses, saddles, bridles and 
 stirrups, as shown in this scene, should so nearly cor¬ 
 respond to many of those of our own time, is an inter¬ 
 esting fact. 
 
 ECCLESIA. 
 
 The Church. 
 
 As soon as Harold arrives at Bosham he at once pro¬ 
 ceeds to the church to ask a blessing on the enterprise, 
 

 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
BAYEUX TAPESTRY. 
 
 17 
 
 but, this duty over, he forthwith returns to the manor 
 house to indulge in a jovial carouse before setting sail. 
 This interlude takes place in an upper hall reached by 
 a flight of steps on the outside, and the gay party are 
 seen pledging each other in bowls and horns of wine. 
 
 HIC HAROLD: MARE NAVIGrAYIT i • ET 
 
 VELIS: VENTO: PLENIS VENIT: IN 
 
 TERRA: WIDONIS COMITIS. 
 
 Here Harold set sail upon the sea and with sails filled 
 by the wind came to the land of Count Guy. 
 
 In this scene we see Harold and his companions 
 who have not forgotten their hawk and dogs, wading 
 out to the ship, which is fitted with one mast only, and 
 square rigged with a prominent figurehead. The ves¬ 
 sel is also arranged for rowers and is steered by a pad¬ 
 dle, in this case handled by Harold, who is evidently 
 also giving directions in regard to the setting of the 
 sail. The interlocked shields of the soldiers along the 
 side of the vessel are doubtless for the purpose of in¬ 
 suring a reasonably dry passage across the channel. 
 Arrived safely on the other side we notice the various 
 incidents of the landing, men taking in sail, poling the 
 vessel, and one man in the bow ready to let go the 
 anchor. 
 
 HAROLD 
 
 Harold. 
 
 Following the tradition, it would seem that Harold’s 
 ship was driven on the French coast by a storm, though 
 
18 
 
 BAYEUX TAPESTRY. 
 
 no attempt is here made to depict a shipwreck. The 
 landing, however, was probably in some way involun¬ 
 tary, as indicated in the following scene. 
 
 HIC: APPREHENDIT: WIDO: HAROLDV: 
 
 Here Guy seized Harold. 
 
 No serious resistance seems to have been made by the 
 English, who are taken prisoners by Guy and his com¬ 
 panions. In this scene the fine breed of Norman horses 
 is especially noticeable. 
 
 ET DVXIT: EVM AD BELREM: ET IBI EVM: 
 
 TENVIT: 
 
 And led him to Beaurain and there imprisoned him. 
 
 We here see Harold’s companions led away as cap¬ 
 tives on foot, though Harold himself is allowed to ride, 
 and is probably the first of the two horsemen, as indi¬ 
 cated by his costume. They each have hawks on their 
 fists. Guy probably obliged Harold to ride first, so 
 that he might keep an eye on him while on the way to 
 the castle of Beaurain. 
 
 VBI: HAROLD: “jWIDO PARABOLANT. 
 
 Where Harold and Guy converse. 
 
 They have now arrived at the castle and Guy gives 
 an audience to Harold in a vaulted apartment, the con- 
 
MUSEUM GARDEN LOOKING SOUTHWEST. 
 
BAYEUX TAPESTRY. 
 
 19 
 
 struction of which should be noted. The Count is seated 
 upon his throne with the sword of justice in his hand. 
 Harold has had his sword restored to him, and also his 
 attendant. In the midst of the audience a messenger 
 enters from without, and the reason for his appearance 
 is shown in the next scene. 
 
 VBI: NVNTII: WILHELMI: DYCIS: VENERVNT: 
 AD WIDONE. 
 
 Where Duke William’s messengers came to Guy. 
 
 In this and the two following scenes the order of time 
 is, for some unknown reason, reversed. Here we see 
 the messengers arriving, in the next they are on their 
 way, while in the third scene they are about to start. 
 The messengers are evidently not well received, the 
 count Guy doubtless taking the ground that his cap¬ 
 ture of the Englishmen was none of William’s business. 
 We shall see further on, however, that he finally con¬ 
 cluded that it would be safer to comply with the Duke’s 
 demand for the release of the prisoners. On the lower 
 margin of this section is represented an agricultural 
 scene, comprising ploughing, harrowing and sowing. 
 A boy driving away birds with a sling will also be 
 noted. The use of the sling in combat, however, no¬ 
 where appears, though in more ancient times the 
 
20 
 
 BAYEUX TAPESTRY. 
 
 slingers, as well as the archers, were an important 
 feature in warfare. 
 
 TVROLD 
 
 Turold. 
 
 In the dwarf holding the horses of the messengers on 
 their way to Beaurain, it has been suggested that we 
 may have a representation of the designer of the tapes¬ 
 try, though this is guesswork only. In any event, his 
 beard and shaven head leave no doubt of his Norman 
 nationality. 
 
 NVNTII: WILHELMI 
 
 William’s Messengers. 
 
 This third scene should have been, in the ordinary 
 sequence, the first of the three scenes here depicted. 
 The messengers are galloping toward Beaurain, and the 
 watchman in the tree is probably one of Count ,Gruy’s 
 men in the immediate neighborhood of the castle, who, 
 in the earlier scene, apprises the count of the arrival of 
 the messengers. 
 
 + HIC VENIT: NVNTIVS: AD WILHELMVM 
 
 DVCEM 
 
 Here the messenger came to Duke William. 
 
 We here see William seated upon his throne, while 
 his castle at Rouen is represented as a square fortress 
 
BAYEUX TAPESTRY. 
 
 21 
 
 flanked with towers. The Duke receives the little mes¬ 
 senger who conies to announce the capture of Harold 
 and his companions by the count Guy, and forthwith 
 despatches the two knights to demand the release of 
 Harold. 
 
 HIC: WIDO: ADDVXIT HAROLDVM AD WIL- 
 HELMVM: NORMANNORVM: DVCEM. 
 
 Here Guy conducted Harold to William, Duke of the 
 
 Normans. 
 
 In this scene we see the result of William’s demand, 
 for Guy himself brings Harold, who now wears his 
 spurs, and is accompanied by an armed escort of his 
 own. The figure of William is worked with unusual 
 care, and it has been suggested that the designer may 
 have been a contemporary of William' and endeavored 
 to give as nearly as possible in this kind of work, a 
 portrait of the Duke. 
 
 HIC: DVX: WILGELM: CVM HAROLDO: 
 VENIT: AD PALATIV SVV 
 
 Here Duke William, together with Harold, came to his 
 
 'palace. 
 
 In this scene William gives an audience to Harold in 
 his palace at Rouen. Just what was the nature of the 
 interview it is impossible to determine, but presumably 
 
22 
 
 BAYEUX TAPESTRY. 
 
 Harold delivered his message from king Edward. The 
 difficulty of interpretation arises from the following 
 scene, which apparently has no connection with its pre¬ 
 decessor, unless their conversation touched in some 
 way upon AElfgyva, who now appears as the mysterious 
 woman in the case. 
 
 VBI: VNVS: CLEEICVS: ET: iELFGYVA 
 
 When a certain clerk and Aelfgyva.... 
 
 This superscription is incomplete, whether by design 
 or accident it is impossible to determine. In any event 
 Harold is interested in the lady and learning that she is 
 at Dol, on the borders of Brittany, and is in danger, 
 begs William to assist in rescuing her. The request is 
 readily granted, more particularly as William was about 
 setting out on an expedition against Conan, count of 
 Brittany. 
 
 This and the following scenes suggest a sort of rude 
 mediaeval Trojan War romance. For an attempt to 
 unravel the mystery of Aelfgyva the reader is referred 
 to Mr. Fowke’s book on the Tapestry. 
 
 HIC: WILLEM: DVX: ET EXEECITVS: EIVS: 
 
 VENEEVNT: AD MONTE MICHAELIS. 
 
 Here Duke William and his army came to Mount 
 
 Saint-Michel. 
 
 We have have a view of Mont St. Michel on the 
 coast of Brittany. In this scene attention is called to 
 
BAYEUX TAPESTRY. 
 
 23 
 
 the different styles of military dress. Those with coats 
 of mail and helmets are the knights. Those in tunics 
 and caps are the common soldiers. We note here also 
 the appearance of the cross on William’s standard, 
 though the crusades were not yet under way. 
 
 ET HIC: TRANSIERVNT: FLVMEN: COSNONIS. 
 And here they crossed the River Conesnon. 
 
 This river is the boundary between Normandy and 
 Brittany, and empties into the Bay of Cancale opposite 
 Mont St. Michel. Here is a shifting quicksand and 
 the more cautious dismount, and pick their way on 
 foot, carrying their arms above their heads. 
 
 HIC: HAROLD: DVX: TRAHEBAT: EOS: DE 
 
 ARENA. 
 
 Here Duke Harold dragged them out of the quicksand. 
 
 Harold was famous for his strength, and is here shown 
 with one man on his back while he pulls out another, 
 who is about to be engulfed by the sand. Those re¬ 
 ported to have had experience with the quicksands of 
 Long Island, will particularly appreciate this scene. 
 
 ET YENERVNT AD DOL: ET: CONAN! • FVGA 
 
 VERTIT! • 
 
 And they came to Dot and Conan fled. 
 
 The siege of Dol by Conan was apparently unexpected 
 by William, for his men, galloping up to the walls, are 
 not in armor. 
 
24 
 
 BAYEUX TAPESTRY. 
 
 Conan’s soldiers are nevertheless represented as flee¬ 
 ing upon William’s approach, possibly anticipating be¬ 
 ing overpowered by numbers. 
 
 REDNES 
 
 Rennes. 
 
 This was the capital of Brittany where Conan is 
 supposed to have fled to gather reinforcements. 
 
 HIC MILITES WILLELMI: DVCIS: PVGNANT: 
 CONTRA DINANTES:- ET: CVNAN: CLAVES: 
 
 PORREXIT! • 
 
 Here Duke William’s soldiers fight against the men 
 of Dinan, and Conan reached out the keys. 
 
 Here we have an interesting scene representing the 
 attack and repulse of a fortified town in the eleventh 
 century. The Norman soldiers in armor are seen as the 
 attacking party. While the conflict is at its height 
 two knight are seen setting fire to the palisades, which 
 must therefore have been of wood, indicating a very 
 primitive method of defensive walls. The fire may 
 have induced a surrender, for Conan is now seen hand¬ 
 ing out the keys of the town on a lance, and William 
 receives them in the same manner. 
 
 HIC: WILLELM: DEDIT: HAROLDO: ARMA. 
 
 Here William gave Harold arms. 
 
 Harold’s conduct in the campaign against Conan was 
 evidently highly satisfactory to William, who forth- 
 

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 25 
 
 with knighted him after the affair at Dinan. Harold in 
 this scene is shown holding the banner which has been 
 given him as a symbol of his new dignity. 
 
 It may be mentioned here that the defensive armor of 
 the period both in Normandy and England was a com¬ 
 bination of leather and steel. The Norman weapons of 
 offence were bows and arrows, a lance, a sword, and the 
 mace. The English on the other hand, made the heavy 
 two-handed battle axe their principal offensive weapon, 
 though they used also the javelin and sword, and, to a 
 limited extent, the bow and arrow. The nose-piece, 
 somewhat after the manner of a modern football team, 
 is also worthy of remark as shown in some of the 
 scenes. 
 
 The size and strength of the individual soldier be¬ 
 came therefore a most important factor in every 
 encounter. Had the English cultivated the use of the 
 bow and arrow to a greater extent, the result of the 
 battle of Hastings, shortly to be recorded on the 
 tapestry, might have been different. 
 
 HIC WILLELM VENIT: BAGIAS VBI HAROLD: 
 SACRAMENTVM: FECIT ! • WILHELMO DVC1! • 
 
 Here William came to Bayeux where Harold made an 
 oath to Duke William. 
 
 The oath of Harold here depicted is one of the best 
 known and oftenest repeated episodes of Harold’s mis- 
 
26 
 
 BAYEUX TAPESTRY. 
 
 sion to Normandy. There is some doubt as to the 
 nature of the oath, but the commonly accepted version 
 is that Harold swore to marry William’s daughter, and 
 give his own sister in marriage to one of the Norman 
 nobles, and defend William’s title to the English crown 
 upon the death of Eadward. The story runs that Wil¬ 
 liam brought a chest filled with the holiest relics and 
 then covered the chest with a pall. Harold then took 
 his oath, as shown in the scene, with one hand on the 
 covered chest, and the other on the altar. After the 
 oath the pall was removed, upon the order of Wil¬ 
 liam, and Harold was made aware of the sacred con¬ 
 tents of the chest. Harold, in subsequently breaking 
 his oath, always claimed that both duress and deceit 
 had been practised upon him by William. In the tap¬ 
 estry we see the party approaching Bayeux over a 
 bridge on their way to the place designated for the 
 ceremony of the oath. On one of the columns of the 
 nave of the Cathedral at Bayeux is sculptured this 
 scene of the oath, borrowed from the tapestry. 
 
 HIC HAROLD: DVX! • REVERSVS: EST AD 
 ANOLICAM: TERRAM! • 
 
 Here Duke Harold returned to England. 
 
 Having secured the fidelity of Harold so far as lay 
 in his power, William grants him a safe conduct to 
 England and we see Harold returning to his native 
 
BAYEUX TAPESTRY. 
 
 27 
 
 land, in a ship apparently manned by Norman sailors. 
 The ship having been signalled, probably at Boshain 
 manor, the point from which the original party set sail, 
 the windows of the house are shown filled with gazers, 
 ready to welcome Harold after his many adventures. 
 Among others the one upon the balcony is probably 
 Harold’s wife Ealdgyth. 
 
 ET VENIT: AD: EDWARDV ! • REGEM ! • 
 
 And came to King Eadward. 
 
 Upon disembarking, Harold, sending a messenger 
 ahead to announce his arrival, proceeds forthwith to 
 Westminster to report to the king. The latter, repre¬ 
 sented as enfeebled by age and ill-health, is seated 
 upon his throne, with his sceptre reversed in his hand, 
 evidently taking very little interest in terrestrial 
 affairs. 
 
 HIC PORTATVR CORPVS EADWARDI REGIS 
 AD ECCLESIAM SCI PETRI APLI 
 
 Here King Eadward’s body is carried to the church 
 of St. Peter the Apostle. 
 
 Here again, as similarly noted in one of the former 
 scenes, the order of time, for some unexplained reason, 
 is reversed in the tapestry, so that the burial precedes 
 the pictorial representation of the last hours and death 
 of the king. The great lack of proportion among the 
 
28 
 
 BAYEUX TAPESTRY. 
 
 objects represented, is especially notable in this scene. 
 The funeral ceremonies are simple enough. The body 
 of the king is borne upon a bier, while boys, ringing 
 bells, walk beside the body, followed by the clergy. 
 
 The place of burial, Westminster Abbey, where the 
 remains of the king are still supposed to lie, was at that 
 time called the church of St. Peter the Apostle. The 
 hand issuing from the cloud above, doubtless represents 
 some religious portent indicative of the saintly charac¬ 
 ter of Eadward, for he was afterwards canonized. The 
 large figure of a man, much out of proportion, affixing a 
 weather-cock at the east end of the church, is supposed 
 to suggest the very recent completion of the structure, 
 which had been begun by Eadward himself. The archi¬ 
 tecture of this church, upon the present site of West¬ 
 minster Abbey, should be carefully noted. 
 
 HIC EADWARD VS: REX IN LECTO i ALLOQVIT: 
 
 FIDELIS! • 
 
 Here King Eadward, in bed, speaks to his Vassals. 
 
 Assuming that Eadward had the right to dispose of 
 the crown of England by nuncupative will, this scene, 
 as affecting the rival claims of Harold and William to 
 the English throne is the most interesting of all. Ead¬ 
 ward is upon his death bed, surrounded by English 
 nobles, and the English archbishop Stigand. 
 
 One of the English nobles entreats the dying king to 
 designate Harold as his successor. He feebly replies 
 
BAYEUX TAPESTRY. 
 
 29 
 
 that he has already named Duke William. Then Har¬ 
 old personally urges the king in his own favor. Over¬ 
 come with the weakness of approaching death, Ead- 
 ward finally replies: “Let the English make the Duke 
 or Harold king, as they please; I consent.” 
 
 In considering the legal effect of this scene it would 
 certainly seem that the Norman lawyers could, and 
 doubtless did claim “undue influence” on the part of 
 Harold and his friends. 
 
 ET HIC: DEFVNCTVS EST 
 And here he is dead. 
 
 The body is here being prepared for burial. The 
 ecclesiastic is probably the archbishop Stigand. 
 
 HIC DEDERVNT HAROLDO CORO-NA REGIS. 
 
 Here they gave to Harold the crown of the King. 
 
 Eadward the Confessor had passed his youth in Nor¬ 
 mandy, and was in reality more fond of the Normans 
 than the English. For this, and doubtless other rea¬ 
 sons, he had originally settled on his cousin William as 
 his successor. The English, however, had no intention 
 of receiving a foreign king in the form of a legacy from 
 a feeble old man. Upon the death of Eadward, there¬ 
 fore, the Assembly forthwith met and proclaimed 
 Harold, their fellow-countryman, king. 
 
30 
 
 BAYEUX TAPESTRY. 
 
 The scene here represents a committee of two, ap¬ 
 pointed by the Witan of England, offering Harold the 
 crown and official axe. 
 
 HIC RESIDET: HAROLD REX: ANGLORVM: 
 
 Here is seated Harold, King of the English. 
 
 Harold is here represented as having been crowned 
 by archbishop Stigand, a fact sufficient in Norman 
 eyes to invalidate his claim, as Stigand’s ecclesiastical 
 title was not recognized by the Pope. The coronation 
 takes place in an apartment of the palace at West¬ 
 minster, and the people are seen applauding without. 
 
 STTGANT ARCHIEPS 
 Archbishop Stigand. 
 
 The conspicuous position here given in the tapestry 
 to Stigand is probably meant merely to accentuate the 
 invalidity of Harold’s title. The archepiscopal see of 
 Canterbury had been bestowed upon Stigand by the 
 king’s writ, but Pope Alexander had refused him the 
 pallium. His subsequent investment by Benedict, the 
 anti-pope, had only complicated and embittered the 
 controversy. 
 
 ISTI MIRANT STELLA 
 
 These men are dismayed at the star. 
 
 The appearance of this comet is an historical fact, 
 commented upon by the chronicles of the time. It was 
 supposed to be a portent of the invasion of England. 
 
BAYEUX TAPESTRY. 
 
 31 
 
 It is particularly interesting as being the first pictorial 
 representation of a comet that has come down to us, and 
 is now recognized as Halley’s Comet. 
 
 HAROLD 
 
 Harold. 
 
 We see here a messenger who brings to Harold a 
 sword. Taken in connection with the ships on the 
 border, this scene may represent, by way of anticipa¬ 
 tion, news of William’s invasion. 
 
 HIC: NAVIS: ANGLIC A: VENIT- IN TERRAM 
 WILLEMI: DVCIS 
 
 Here an English ship came into the territory of Duke 
 
 William. 
 
 Eadward’s Norman affiliations had induced many 
 nobles of that country to follow him into England. 
 These, doubtless, kept William well informed of all 
 that was going on in England, and this ship may have 
 been chartered by a party of Normans returning to 
 their own country after Eadward’s death. 
 
 HIC: WILLELM DVX: IVSSIT NAVES: 
 EDIFIC ARE: 
 
 Here Duke William gave orders to build ships. 
 
 As soon as William heard of Harold’s coronation he 
 lost no time, but began at once his preparations for a 
 descent upon England. The prime necessity for a naval 
 expedition is evidently ships, so these are first attended 
 
32 
 
 BAYEUX TAPESTRY. 
 
 to, and we here follow their construction from the fell¬ 
 ing of the trees to their actual launching. In this scene 
 we notice for the first time Bishop Odo, William’s half 
 brother. He is designated by his tonsure. He was one 
 of the most active spirits in the whole enterprise, his 
 zeal doubtless stimulated by the thought of the part 
 taken by the heretic archbishop Stigand across the 
 channel. 
 
 o 
 
 HIC TRAHVNT: NAVES: AD MARE ! • 
 
 Here they drag the ships to the sea. 
 
 The size of the ships in the eleventh century evidently 
 did not require any very extensive dockyard facilities, 
 for in these scenes the ships are simply put together on 
 land and then hauled down to the sea. Comparing the 
 date of Harold’s coronation with William’s descent on 
 England it would seem that the whole preparation for 
 the expedition, including the building and equipment 
 of the fleet, did not require over six or eight months. 
 It is said that William crossed the channel with 3,000 
 ships and 60,000 men. 
 
 ISTI PORT ANT: ARMAS': AD NAVES: ET HIC 
 TRAHVNT: CARRV.M CVM VINO: ET 
 ARMIS: • 
 
 These men carry arms to the ships, and here they 
 drag a cart with wine and arms. 
 
 The custom of regarding wine as a necessary article 
 of subsistence for all classes of the population, which 
 
BAYEUX TAPESTRY. 
 
 33 
 
 still prevails in France and other European countries, 
 is shown in this scene. The invaders relied on England 
 for food, but knew they must carry their wine with 
 them. 
 
 +HIC: WILLELM: DVX IN MAGNO: NAVIGIO: 
 MARE TRANSIVIT ET VENIT AD 
 PEVENESiE! • 
 
 Here Duke William crossed over the sea in a great 
 ship and came to Pevensey. 
 
 The expedition set sail from S. Valery-sur-Somme on 
 September 27tli, 1066, and in this scene is shown the 
 historic “Mora,” the ship presented to William by his 
 wife Matilda. The invasion of England had received 
 the papal sanction, and the reigning Pope, Alexander 
 II presented William with a consecrated banner, which 
 is here seen at the masthead of the “Mora.” At the 
 stern is seen the effigy of his little son Rufus, who 
 later, upon the death of his father, ascended the Eng¬ 
 lish throne. At nine o’clock on the next morning after 
 setting sail William landed at Pevensey, in Sussex, on 
 the south coast of England, unopposed. 
 
 HIC EXiEVNT: CABALLI DE NAVIBVS:* 
 
 Here the horses go out of the ships. 
 
 Even at the present day it is no easy matter to trans¬ 
 port horses across the sea, so that the disembarkation 
 
34 
 
 BAYEUX TAPESTRY. 
 
 of the horses is here properly accorded a place in a sep¬ 
 arate scene. 
 
 ET HIC: MILITES: FESTINAVERVNT: HES- 
 TINGA: VT CIBVM . RAPERENTVR ! 
 
 And here the soldiers hurried on to Hastings to find 
 
 food. 
 
 The appearance of the invaders naturally demoralized 
 the unarmed peasants, who deserted their farms, leav¬ 
 ing the oxen, sheep and pigs an easy prey for the Nor¬ 
 man soldiers, who proceed to help themselves. We 
 note with interest the use of the lasso by one of the 
 foragers. 
 
 HIC EST WADARD 
 Here is Wadard. 
 
 This person is unknown to fame, except for the ref¬ 
 erence made here in the tapestry. That no mention 
 should have been made of him in any of the chronicles 
 has been advanced as one of the reasons for believing 
 the tapestry to be practically a contemporary work with 
 the scenes it describes. Wadard is here seen taking 
 part in the fun incident to the capture of a small pack- 
 horse, connected with which there was doubtless some 
 joke well known to the soldiers, just the sort of thing 
 
BAYEUX TAPESTRY. 
 
 35 
 
 for a contemporary to introduce into a work of this 
 kind. 
 
 HIC: COQVITER: CARO ET HIC: MINISTRAVN 
 
 MINISTRI: 
 
 Here meat is cooked and here the servants serve. 
 
 Here we see the result of the successful work of the 
 preceding scenes. The cooks and baker are hard at 
 work and the things are being served on the shields of 
 the soldiers, who have thus improvised a table for the 
 purpose. In accordance with a custom still sometimes 
 practiced in our own country districts, a blast on the 
 horn notifies those at a distance that dinner is ready. 
 
 HIC FECERVN: PRANDIVM: ET • HIC • EPIS- 
 COPVS: CIBV: ET: POTV: BENEDICIT: 
 
 Here they make a feast, and here the Bishop blesses 
 the food and drink. 
 
 Here we see the dinner under full headway at a table 
 in the form of a half circle. There are knives but no 
 forks, the latter being a modem invention. The ec¬ 
 clesiastic asking the blessing is the celebrated Odo, 
 
36 
 
 BAYEUX TAPESTRY. 
 
 Bishop of Bayeux, seated on the left of William, his 
 half brother. 
 
 ODO: EPS WILLELM:- 
 
 ROTBERT: 
 
 Bishop Odo. William. Robert. 
 
 The three are holding a counsel of war. Odo is the 
 speaker and the result of their deliberations is shown 
 in the following scene: 
 
 ISTE • IVSSIT: VT FODERETVR: CASTELLVM: 
 AT -• HESTENGA. 
 
 The latter commanded that a rampart should be 
 thrown up at Hastings. 
 
 ISTE refers to Robert of Mortain, the last name 
 among the three embroidered in the preceding scene. 
 He it is who looks after the details of the work. It 
 will be noticed that the spades have only one tread 
 for the foot. 
 
 CEASTRA. 
 The camp. 
 
 We see the fort on the mound that has been thrown 
 up. This fort is probably of wood and has been brought 
 

 
 
 
 
 
 
 
BAYEUX TAPESTRY. 
 
 37 
 
 over from Normandy, for such portable strongholds 
 were common at that time. 
 
 HIC: NVNTIATVM EST: WILLELM DE HAR¬ 
 OLD: 
 
 Here tidings are brought to William of Harold. 
 
 We here see William seated, with the consecrated 
 banner in his hand, listening to the story of an armed 
 knight, who is doubtless telling him of Harold’s great 
 victory in the north over the Norwegians, allies of the 
 Normans, headed by Tosti, Harold’s rebellious brother. 
 
 HIC DOMVS INCENDITVR 
 
 Here a house is burnt. 
 
 Previous to the actual engagement it would seem 
 from this that some excesses were committed. 
 
 HIC: MILITEs: EXIERVNT: DE HESTENGA: 
 ET: VENERVNT AD PRELIVM: CONTRA: 
 HAROLDVM: REGE i 
 
 Here the Knights left Hastings and came to give 
 battle to King Harold. 
 
 William comes forth from Hastings and puts himself 
 at the head of his army. Accompanying him is a 
 knight, together with two standard bearers, one carry¬ 
 ing the consecrated banner, of which so much is natur- 
 
38 
 
 BAYEUX TAPESTRY. 
 
 ally made, and the other a banner which is supposed to 
 represent the celebrated Black Baven of the Danes. 
 
 HIC: WILLELM: DVX INTERROGAT: VITAL: 
 
 SI VIDISSET HAROLDI EXERCITV : 
 
 Here Duke William asks Vital if he had seen the 
 army of Harold. 
 
 Vital is evidently one of a returning scouting party, 
 and his gestures, in replying to William’s question, in¬ 
 dicate that he and his soldiers had seen the English 
 army. 
 
 ISTE NVNTIAT: HAROLDVM REGE DE 
 EXERCITV WILELMI 
 
 One informs King Harold concerning the army 
 of Duke William. 
 
 Harold had taken up his position on the Hill of Sen- 
 lac, and also sends out scouts to learn of the position of 
 William’s army. We here see one of the spies taking 
 observations from a hill and then reporting to Harold. 
 
 HIC WILLELM DVX ALLOQVITVR SVIS 
 
 MILITIBVS VT PREPARAREN SE VIRILITER 
 
 ET SAPIENTER AD PRELIVM C’ONRA 
 ANGLORVM EXERCITV. 
 
 Here Duke William exhorts his soldiers to prepare 
 themselves manfully and discreetly for the battle 
 against the army of the English. 
 
 The battle is now about to begin. The policy of 
 Harold in risking everything in this one battle had 
 
BAYEUX TAPESTRY. 
 
 39 
 
 been much criticized by his brother Gyrth, who urged 
 him to harass the enemy and wear them out by delays, 
 the English having the great advantage of being in 
 their own country, and therefore able to obtain re-en¬ 
 forcements from time to time. Harold, however, doubt¬ 
 less flushed with his recent victory over the Nor¬ 
 wegians, was determined to hazard everything, and had 
 previously declared that he would either be the victor 
 in this one fight or die in the attempt to maintain his 
 throne. The archers, who were such a prominent fea¬ 
 ture on the Norman side, preceded the cavalry and the 
 battle is begun by a flight of arrows. The mounted 
 knights then rush forward, but are met by the inter¬ 
 locked shields of the English phalanx standing shoulder 
 to shoulder. Harold, surrounded by his standard 
 bearer and his four brothers, is seen wielding his 
 famous two-handed battle axe. The incidents of the 
 fight now begin to be depicted on the border of the 
 tapestry. 
 
 HIC CECIDERVNT LEWINE ET: GYRD: 
 FRATRES: HAROLDI REGIS. 
 
 Here fell Leofwine and Gyrth, brothers of King 
 
 Harold. 
 
 In this scene are shown Harold and his brothers mak¬ 
 ing a stand against the Normans. In the encounter 
 the two brothers above mentioned are killed, leaving 
 Harold with his battle axe to contend alone. As men- 
 
40 
 
 BAYEUX TAPESTRY. 
 
 tioned above, it was Gyrth who advised against risking 
 everything on the issue of a single battle. 
 
 HIC CECIDERVN SIMVL: ANGLI ET FRANCI: 
 
 IN PRELIO. 
 
 Here English and French fell at the same time in 
 
 battle. 
 
 Here we have the climax of the fight. The Normans 
 had been repulsed, or, according to one account, had 
 purposely retreated as though overpowered, in order to 
 deceive the English, only to rally suddenly and turn 
 upon their pursuers. 
 
 HIC. ODO EPS: BACVLV. TENENS CONFORM 
 TAT PVEROS. 
 
 Here Bishop Odo, holding a club, rallies the young 
 
 troops. 
 
 The activity of the upper clergy in the actual fight¬ 
 ing, both on the Norman and English side, was one of 
 the features of the conflict, only following, however, 
 the custom of the time. By the word “PVEROS” 
 is probably meant those who were having their first 
 actual experience of war. 
 
 hic est:- wilel dvx:- 
 
 Here is Duke William. 
 
 It appears, according to the chroniclers, that at one 
 time a report was spread abroad that Duke William 
 
BAYEUX TAPESTRY. 
 
 41 
 
 had been killed, and a panic was about to ensue among 
 the Normans. Hearing of this report William hurried 
 to the front and, raising his helmet and showing himself 
 to his troops, exclaimed: “I am here,” or perhaps 
 made use of the actual words of the inscription: 
 
 E....TIVS. 
 
 Eustace. 
 
 During the above scene Eustace, Count of Boulogne, 
 was at William’s side, and he seems to have been of 
 sufficient importance in the battle to accord him sepa¬ 
 rate mention in the tapestry. 
 
 HIC: FRANCI PVGNAN ET CECIDERVNT 
 QVT ER ANT: CVM HAROLDO ! • 
 
 Here the French fight and those who were ivith Har¬ 
 old fell. 
 
 This scene shows that the Normans had practically 
 won the day, and just at this time William gave his 
 celebrated order, “Shoot upwards, Norman archers.” 
 The border here illustrates this feature of the fight. 
 The shield-wall of the English was of no avail against 
 the falling arrows and demoralization quickly followed. 
 
 hic harold:- rex:- interfectvS: est. 
 
 Here King Harold was slain. 
 
 It was while still bravely wielding his axe that, fol¬ 
 lowing the chroniclers, a falling arrow pierced Harold 
 
42 
 
 BAYEUX TAPESTRY. 
 
 in the eye. Seeking to pluck it out the shaft broke in 
 his grasp and the English king fell mortally wounded. 
 With the death of Harold the battle is over and Wil¬ 
 liam becomes master of England. 
 
 ET FVGA: VERTERVN ANGLI. 
 
 And the English -fled. 
 
 It has been conjectured that the original tapestry was 
 still further continued by additional scenes so as to 
 include the coronation of William. If this be true, 
 there is at the present time no record of that fact, aiid 
 for us the story of the tapestry is told with the defeat 
 of the English at the battle of Hastings. 
 
THE ROYAL EFFIGIES. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
SOUTH SIDE OF THE MUSEUM. 
 
THE ROYAL EFFIGIES. 
 
 The royal effigies, in half length, here exhibited at 
 Southampton, are copies from electrotype reproduc¬ 
 tions now in the possession of the National Portrait 
 Gallery at London. The original electrotype copies 
 were made about twenty-five years ago from moulds 
 taken from the effigies themselves, which in full length, 
 made either in bronze, metal, alabaster or marble, 
 lie recumbent upon the royal tombs in Westminster 
 Abbey and Canterbury Cathedral. 
 
 The plaster copies here shown, made with the kind 
 permission of the trustees of the National Portrait Gal¬ 
 lery, are, curiously enough, considering the interest of 
 the effigies, the only copies that have ever been taken 
 from the original electrotype reproductions. The fol- 
 
46 
 
 THE ROYAL EFFIGIES. 
 
 lowing is a list, in historical sequence, of the effigies 
 and portrait busts of these Plantagenet and Tudor 
 kings and queens, with one or two affiliated royal per¬ 
 sonages, with the dates of their birth and death: 
 
 Henry III.1207-1272 
 
 Eleanor of Castile.1245-1290 
 
 Edward III.1312-1377 
 
 Edward, “The Black Prince” (the 
 only electrotype copy in this col¬ 
 lection ) .1330-1376 
 
 Richard II.1366-1400 
 
 Henry IV.1366-1413 
 
 “The Lady Margaret,” countess of 
 Richmond (mother of Henry VTI.) .1441-1509 
 
 Henry VII.1456-1509 
 
 Elizabeth of York (wife of Henry VII.) 1466-1502 
 
 Portrait bust of Henry VIII.1491-1547 
 
 Queen Elizabeth.1533-1603 
 
 Portrait bust of Mary Stuart, Queen 
 
 of Snots.1542-1587 
 
HENRY HI. 
 (1207-1272.) 
 Pflgp 4 7. 
 
HENRY III. 
 
 (1207-1272.) 
 
 Henry III., called of Winchester, was the son 
 of king John of England and Isabella of Angou- 
 leme. He came to the throne upon the death of his 
 father, and ten days after that event, at the age of 
 nine, was crowned at Gloucester, October 28, 1216. He 
 was king for fifty-six years, the third longest reign in 
 English history, being exceeded only by those of 
 George III. and Victoria. During Henry’s minority, 
 under the guidance of able counsellors, England en¬ 
 joyed a period of comparative peace, in marked con¬ 
 trast to the confusion and turmoil of his father’s reign. 
 The Great Charter, extorted by the Barons from 
 king John at Runnymede in 1215, was enlarged in its 
 scope and confirmed. In the earlier days of English 
 history, the character of the sovereign, as affecting the 
 peace and prosperity of the people, was of the utmost 
 
48 
 
 THE ROYAL EFFIGIES. 
 
 importance, and as Henry grew up it was discovered, 
 with ever-increasing alarm, that he had none of the 
 qualities of a ruler. Hampered by the provisions of 
 the Great Charter, he endeavored to throw off its re¬ 
 straints, and hence arose the Barons’ War, wherein the 
 rights and liberties of the people were championed by 
 Simon de Montfort, earl of Leicester. It is to Simon 
 de Montfort (more than to any other individual of those 
 early times) that the English-speaking race owes its 
 initiation into the form and substance of popular gov¬ 
 ernment, for it was he who, in 1265, having defeated the 
 forces of the king, summoned the first Parliament that 
 the people (though that word is used in a restricted 
 sense) had any real share in electing. 
 
 Henry III. was a feeble, extravagant, irresolute king. 
 He died in 1272 at the age of sixty-five. “He was as 
 much a king in death as he had ever been in life. He 
 was the mere pale shadow of a king at all times.” 
 
 The original full-length effigy in bronze, of which 
 this is a half-length copy in plaster, is a recumbent 
 figure upon his tomb in the chapel of Edward the Con¬ 
 fessor, in Westminster Abbey. 
 
 ELEANOR OF CASTILE. 
 
 (1245-1290.) 
 
 Eleanor of Castile, wife of Edward I., was the daughter 
 of Ferdinand III., king of Castile. At the time of the 
 

 ELEANOR OF CASTILE. 
 ri24r> 1200 .) 
 
 Rage 4S. 
 
THE ROYAL EFFIGIES. 
 
 49 
 
 death of his father, Henry III., in 1272, Edward (born 
 at Westminster in 1239) was away in the Holy Land 
 on a crnsade, accompanied by his popular and accom¬ 
 plished wife, and did not return to England until two 
 years after he became king. Arriving in England by 
 way of Italy, in 1274, at the age of thirty-six, he was 
 received with enthusiasm by the whole people who were 
 proud of their knightly king (it was the height of the 
 age of chivalry), who had acquired great distinction by 
 his conduct in the Holy War in the East, and he and 
 his queen were forthwith crowned with magnificence 
 in Westminster Abbey. 
 
 A resolute monarch, Edward I. introduced many 
 reforms, and, ruling England with a firm hand for 
 thirty-five years, extended his kingdom so as to em¬ 
 brace Wales and most of Scotland. The wars with 
 Scotland developed the character of Sir William Wal¬ 
 lace, who has remained down to our own day, the 
 typical hero of his country. After an heroic resistance 
 he was captured and brought to England, and executed 
 as an outlaw. 
 
 Just after Wales was subdued, queen Eleanor gave 
 birth, in the Welsh castle of Carnarvon, to a son, and 
 the king, showing him to the Welsh people as one of 
 their fellow-countrymen, called him Prince of Wales, 
 thus fulfilling his promise that one of their own coun¬ 
 trymen who could speak neither French nor English 
 should rule over them. At least so the story runs. 
 
50 
 
 THE ROYAL EFFIGIES. 
 
 This prince, his elder brothers having died before him, 
 after the death of his father, became Edward II. of Eng¬ 
 land. Ever since this episode the heir to the English 
 throne has been known as the Prince of Wales. 
 
 Following and preceding the disastrous reigns of his 
 father and son respectively, the reign of Edward I., from 
 the point of view of national development, represents 
 a bright page in English history. 
 
 One of the earlier English historians thus describes 
 the queen, incidentally mentioning the nine crosses that 
 were erected to her memory: “To our nation she was 
 a loving mother, the column and pillar of the whole 
 realm; therefore to her glory, the king her husband 
 caused all those famous trophies to be erected, wherein 
 her noble corse did rest; for he loved her above all 
 earthly creatures. She was a godly, modest, and 
 merciful princess; the English nation in her time was 
 not harassed by foreigners, nor the country people by 
 the purveyors of the crown. The sorrow-stricken she 
 consoled as became her dignity, and she made them 
 friends who were at discord.”* 
 
 *Of the crosses one was set up where the Charing Cross Railway- 
 Station now stands, near Trafalgar Square in London (Chere Reine-j-). 
 The official and court language of England was French up to the time 
 of Edward III. when the great English victories over the French made 
 the English language popular, even among the descendants of the old 
 Norman nobility, and by act of Parliament all pleadings in the law 
 courts were from that time on conducted in English. The poetry of 
 Chaucer and the appearance of Wycliffe’s translation of the bible had 
 also doubtless much to do with popularizing the change among the 
 upper class', for both were widely read by them, and our language then 
 began to assume the literary form it has since retained. 
 
THE ROYAL EFFIGIES. 
 
 51 
 
 Queen Eleanor died in 1290, and the full-length effigy 
 in gilt bronze, of which this is in part a plaster copy, 
 was made in London by William Torel, an English¬ 
 man, in 1291, and is a recumbent figure upon her 
 tomb in the chapel of Edward the Confessor in West¬ 
 minster Abbey. Near her lies her husband, whose tomb 
 is without an effigy. Their son, Edward II., succeeded 
 to the throne at the age of twenty-three, upon the death 
 of his father in 1307. After a miserable reign he was 
 deposed and murdered, and was succeeded by his son, 
 Edward III. 
 
 “If you ever come near Gloucester, and see the 
 centre tower of its beautiful cathedral, with its four 
 rich pinnacles rising lightly in the air, you may re¬ 
 member that the wretched Edward II. lies buried in the 
 old Abbey of that ancient city, at forty-three years old, 
 after being for nineteen and a half years a perfectly 
 incapable king.” 
 
 EDWARD III. 
 
 (1312-1377.) 
 
 Edward III was born at Windsor and ascended the 
 throne at the age of fourteen upon the deposition of his 
 father, Edward II, in 1327. 
 
 At the age of sixteen he married Philippa, daughter 
 
52 
 
 THE ROYAL EFFIGIES. 
 
 of the count of Hainault, reputed to be the hand¬ 
 somest young woman of her time, and their eldest son 
 was the celebrated Edward, “The Black Prince.” 
 
 During the reign of Edward III occurred the battles 
 of Crecy (1346) and Poitiers (1356), in both of which 
 the English, led by the Black Prince, with forces 
 greatly inferior in number to the French, inflicted upon 
 the latter disastrous defeats. To this day, among the 
 French, Crecy and Poitiers and the later Agincourt 
 (1415) have left their sting. 
 
 Regarded from the point of view of military success 
 in her many wars with France, the reign of Edward 
 III marks the culmination of England’s glory, rivalled 
 only by that of Henry Y. 
 
 In domestic affairs occurred many events which mark 
 this period as one of the sad reigns in English history, 
 so far as the condition of the people was concerned. In 
 1348 appeared the terrible scourge known as the “Black 
 Death.” Beginning in China, this extraordinary pes¬ 
 tilence devastated Europe from the shores of the 
 Mediterranean to the Baltic, and, swooping down upon 
 England like a cyclone, is conjectured to have dimin¬ 
 ished the population by one-half, so that between 1350 
 and 1370 there were probably not more than a couple 
 of millions of people in all England. The destruction 
 of so large a proportion of the laboring class produced 
 the greatest misery and confusion, and attempts to 
 remedy the attendant evils by legislation fixing the 
 price of labor seemed only to add to the difficulties of 
 
EDWARD III. 
 (1312-1377.) 
 Page 51. 
 
THE ROYAL EFFIGIES. 
 
 53 
 
 the situation, thus laying the foundation for the 
 Peasants’ Revolt of the following reign, one of the 
 great historic conflicts between capital and labor. 
 
 In capacity for government, Edward ranks as one of 
 the few great kings of England. As a financier, both in 
 public and private affairs, he was tricky and dishonest, 
 repudiating without scruple his obligations to parlia¬ 
 ment, when money had been granted on certain condi¬ 
 tions, and by coolly refusing to pay his just debts was 
 known to have forced into bankruptcy many of the do¬ 
 mestic and foreign bankers who had loaned him money. 
 In his diplomatic negotiations with foreign princes, this 
 underlying falseness of character was also conspicuous. 
 But as a successful commander in the field, and a dom¬ 
 inating spirit in the conduct of affairs of State, he 
 made himself respected by the turbulent baronage, 
 ever ready to take advantage of any evidence of weak¬ 
 ness on the part of their sovereign. In manners he was 
 affable and obliging, knowing how to make himself 
 agreeable to all ranks of society, and equally at home 
 at a merchants’ dinner in London or at a knightly 
 tournament surrounded by the glitter of the court, 
 of which he was very fond. In disposition he had a 
 certain superficial generosity, though at times liable to 
 be swayed by the violence of his passions, as shown in 
 his intended treatment of the six burghers of Calais, 
 who were saved from an ignominious and unmerited 
 death only through the interposition of his queen. 
 Following and preceding the feeble reigns of his father 
 
54 
 
 THE ROYAL EFFIGIES. 
 
 and grandson respectively, tlie English are justly proud 
 of this period in their history, so far as the accomplish¬ 
 ment of results was concerned effected through the 
 talents and ability of their sovereign. The life of the 
 court was one of lavish display and magnificence, so 
 far as the condition of the country permitted, and 
 though the real spirit of chivalry was dead, a brave 
 attempt was made to keep up appearances. 
 
 The later years of Edward III were clouded by mis¬ 
 fortune. His mental faculties partly gave way and 
 the feeble old man was but a wreck of his former self, 
 falling entirely under the influence of Alice Perrers, 
 a handsome and spirited woman, clever enough to 
 require the intervention of parliament to put a stop to 
 her intriguing activity in the affairs of the court and 
 government. Edward’s incapacity at this period of his 
 life had, however, its bright side, for the disorders of 
 the kingdom were such that parliament came more 
 and more to the front, so that substantial progress 
 was made in the direction of constitutional government. 
 
 The appearance of John Wycliffe and Geoffrey 
 Chaucer, whose services in their respective spheres are 
 touched upon in the account of the following reign, 
 were events of the greatest importance. In this reign, 
 also, appeared William Longland, familiarly known as 
 “Long Will,” the sad poet of the people, voicing their 
 sorrows and sense of degradation in his quaint and dolor¬ 
 ous poem of “Piers the Ploughman,” the very counter- 
 

 

 EDWARD, 
 
 “The Black Prince.’' 
 (1330-137G.) 
 
 I’age 55. 
 
THE ROYAL EFFIGIES. 
 
 55 
 
 part of the “Canterbury Tales” of the courtly 
 Chaucer. An interesting figure also is John Ball, 
 “the mad priest of Kent,” as Froissart calls him, who 
 for twenty years preached the natural equality of man, 
 and by his homely eloquence stirred among the people 
 an intense longing for a betterment of their social con¬ 
 dition. 
 
 Of the minor events of this period the building of 
 Windsor Castle is one of the most interesting, together 
 with the establishment of the knightly Order of the 
 Garter, membership in which, down to our own day, is 
 the most coveted distinction in English social and 
 political life. At this time also the English language 
 was substituted for the French in all legal proceed¬ 
 ings. 
 
 Edward III died in 1377, and was quietly succeeded 
 by his grandson, Richard II. 
 
 The full length effigy, of which this is in part a plas¬ 
 ter copy, is a recumbent figure, in bronze, upon his 
 tomb in the chapel of Edward the Confessor in West¬ 
 minster Abbey. It was apparently taken from a death 
 mask, as indicated by the closed eyes and the appear¬ 
 ance of the beard. 
 
 EDWARD “ THE BLACK PRINCE.” 
 
 (1330-1376.) 
 
 This heroic figure in English history was the eldest 
 son of Edward III and Philippa of Hainault. At the 
 
56 
 
 THE ROYAL EFFIGIES. 
 
 age of thirty-one he married his cousin Joan, common¬ 
 ly known as “The Fair Maid of Kent,” though at the 
 time of her marriage she had already been twice a widow. 
 Their only son was the ill-fated Richard II, and with 
 his death in 1400 this branch of the royal family disap¬ 
 pears from history. As the great warrior of his time 
 and the vanquisher of the French in the battles of 
 Crecy (1346) and Poitiers (1356) the “Black Prince” 
 has left a name and fame rivalled among English 
 princes only by that of Henry V, whom in many respects 
 he much resembled. With the exception of certain meas¬ 
 ures of excessive harshness committed in the heat of 
 war, he displayed throughout his brilliant career great 
 self-command and moderation in the hour of victory. 
 
 His personal courage and genius as a commander, in 
 an age of ever-recurring war, made him the most con¬ 
 spicuous leader of his time, and his brilliant victories 
 over the great armies of France with his little bands of 
 English archers brought him a renown that in no way 
 fades with time. In disposition he was generous and 
 magnanimous, in manners affable and pleasing, and he 
 is still revered as the great Englishman of those 
 troubled times. He died in 1376, a year before his 
 father and so never came to the throne. 
 
 With the weakening of his father’s faculties toward 
 the close of the king’s life, the intelligence and char¬ 
 acter of the “Black Prince,” though himself a con¬ 
 firmed invalid, were of the greatest importance in shap¬ 
 ing the policy of the government in the public interest. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
RICHARD II. 
 ( 1366 - 1400 .) 
 Tage 57. 
 
THE ROYAL. EFFIGIES. 
 
 57 
 
 The original full length effigy in alabaster, of which 
 this in part is an electrotype copy, is a recumbent 
 figure upon his tomb in Canterbury cathedral. An 
 ancient coat of mail, a helmet, and a pair of gauntlets he 
 is supposed to have worn, are suspended above the 
 tomb. 
 
 RICHARD II. 
 
 (1366-1400.) 
 
 Richard II was the son of Edward, the “Black 
 Prince” and Joan of Kent, and ascended the throne 
 in 1377, at the age of eleven, upon the death of 
 his grandfather, Edward III. At the age of sixteen he 
 married Anne of Bohemia, of the same age as himself, 
 daughter of Charles IV, Emperor of Germany, a very 
 amiable and pious young woman, greatly esteemed by 
 the people, among whom she was known as the “good 
 queen Anne.” She died in 1394 at the age of twenty- 
 eight. A year or two later Richard married the little 
 Isabel, daughter of Charles VI of Prance, only eight 
 years old at the time of her marriage, the king being 
 about thirty. Isabel was the older sister of Catharine, 
 who afterward married Henry V of England. 
 
 At the time of Richard’s accession the most powerful 
 and influential men in the kingdom were his three 
 uncles, the dukes of Lancaster (John of Gaunt), York, 
 and Gloucester, younger brothers of the “Black Prince,” 
 and they managed for a time to get along reasonably 
 
THE ROYAL EFFIGIES. 
 
 well together in the conduct of the government during 
 the king’s minority. But in that rude age the power 
 and turbulence of the feudal nobility were pretty cer¬ 
 tain to create trouble, unless restrained by a strong 
 hand, and Richard from his youth, inexperience, and 
 character was entirely incapable of the task imposed 
 upon him by his position. The record of this reign is, 
 therefore, largely made up of turmoil and civil com¬ 
 motion. 
 
 In 1381 occurred the so-called Peasants’ Revolt, the 
 foundation for which had been laid in the previous 
 reign, headed by Wat Tyler, Jack Straw and other 
 desperate leaders determined at the risk of their lives 
 to better the condition of the laboring class. 
 
 The rapacity and oppression of the nobility had re¬ 
 duced the people to a state of poverty and wretched¬ 
 ness, and unable longer to endure their miserable con¬ 
 dition they rose in rebellion. A hundred thousand of 
 them collected at Blacklieath and demanded reforms, 
 showing a particular animosity against lawyers and 
 attorneys, and they proceeded to cut off the heads of 
 such members of this learned profession and others of 
 their well-to-do fellow subjects as they could lay their 
 hands on. During a lull in these proceedings, Richard, 
 happening to pass through Smithfield, very slenderly 
 guarded, unexpectedly met Tyler at the head of a band 
 of rioters, and invited him to confer in regard to 
 the trouble. The latter accepted the invitation, 
 and directing his companions to remain some 
 
THE ROYAL EFFIGIES. 
 
 59 
 
 distance behind, rode into the midst of the king’s 
 retinue, leaving word with his friends, however, 
 that at a given signal they were to follow him, 
 and murder the whole company, except the king, who 
 was to be taken prisoner. During the conference Tyler 
 seems to have borne himself with great rudeness toward 
 the king, for one Walworth, mayor of London, in¬ 
 censed at his conduct, suddenly struck him, and he was 
 killed on the spot by the king’s men, before the eyes 
 of his companions. At once appreciating the danger of 
 the situation for himself and his followers, young Rich¬ 
 ard, being only sixteen years of age, of his own motion, 
 rode forward at once alone into the midst of the angry 
 mob and with entire self-possession and in a conciliatory 
 manner asked: “What is the meaning of all this dis¬ 
 order, my good people? Are ye angry that ye have 
 lost your leader? I am your king; I will be your 
 leader.” The courage and resolution of the handsome 
 boy, the son of their heroic prince, whose memory was 
 still green in the hearts of all classes of Englishmen, 
 had the most extraordinary effect. They followed him 
 into the fields outside the city, where promises were 
 made and charters given them in fulfilment of their de¬ 
 mands. Needless to add the charters and promises 
 ultimately proved but delusions, for the social evils of 
 that period were too deeply rooted to be cured off¬ 
 hand. 
 
 After this episode it seemed as though England were 
 to be again ruled with a firm hand, but such was not to 
 
60 
 
 THE ROYAL EFFIGIES. 
 
 be. As Richard grew up, the weak side of his charac¬ 
 ter began to develop, for he seems to have been a curi¬ 
 ous combination of indolence and irresolution on the 
 one hand, set off at times with an unexpected energy, 
 strength, and courage. Surrounded during his youth 
 by a set of grasping politicians, led on different sides 
 by his intriguing uncles, his education in essentials 
 had been greatly neglected, and he grew up a very un¬ 
 balanced young man, with a violent temper, lacking in 
 judgment and stability, lavish in expense, and fond of 
 show. His manner of living indicated his character. His 
 household is reputed to have consisted of ten thousand 
 persons, with three hundred employed in the kitchen 
 alone. To keep up such an establishment entailed, of 
 course, an enormous expense, and the burden of enter¬ 
 taining this standing army of luxurious idlers could 
 ultimately fall only upon the people themselves. 
 Hence, doubtless, with other causes, arose Wat Tyler’s 
 rebellion, and the numerous public discontents that 
 were a feature of this unfortunate reign. 
 
 Of the dramatic events in the life of the court the 
 most interesting was the quarrel between the duke of 
 Norfolk and the duke of Hereford (afterward duke of 
 Lancaster, and later Henry IV). It was an affair of 
 honor between the two noblemen—the words “liar” 
 and “traitor” having passed between them—and they 
 arranged to settle their differences by a personal en¬ 
 counter according to the laws of the then waning chiv¬ 
 alry. The affair was to come off at Coventry in the 
 
THE ROYAL EFFIGIES. 
 
 61 
 
 presence of the king and a parliamentary committee 
 appointed for the purpose, together with all the 
 nobility and gentry of England who could manage 
 to attend, and, as attendance at the event was also 
 open to all, we may be sure there was no lack 
 of spectators. In fact all England was on the 
 tiptoe of expectation. Just as the duel was about to 
 begin, the king, by the advice of the parliamentary 
 committee and doubtless much to the chagrin and dis¬ 
 appointment of the assembled crowd, intervened and 
 decreed exile for both the dukes, Norfolk for life and 
 Hereford for ten yeaj*s, afterwards reduced to six in 
 consideration of Henry’s behavior. This scene is finely 
 treated in Shakespeare’s play of Richard II. 
 
 During Hereford’s enforced absence, his father, John 
 of Gaunt, died, and in violation of a promise, the king 
 declared the duke’s vast estates forfeited to the crown. 
 Angered by this breach of faith, Hereford, now Henry, 
 duke of Lancaster, sailed for England to lay claim to 
 his inheritance. Landing at Ravenspur, in Yorkshire, 
 he was agreeably surprised to find himself the most 
 popular man in England, and began secretly to enter¬ 
 tain the hope of deposing his cousin the king, and 
 placing himself upon the throne. Richard, not appre¬ 
 ciating the danger of his position, had indiscreetly 
 gone to Ireland to avenge the death of another cousin, 
 the earl of March, grandson of Lionel, duke of Clar¬ 
 ence, and heir to the throne; and Henry’s cause gained 
 such headway during the king’s absence that upon his 
 
62 
 
 THE ROYAL EFFIGIES. 
 
 hasty return, all hope of regaining his authority had 
 to he given up. Being taken prisoner Richard was 
 brought to London, and having resigned his title to the 
 crown in favor of Henry, the latter, as Henry IV, 
 ascended the throne peaceably, with the approval both 
 of parliament and the people at large, for Richard’s 
 conduct of the government had alienated from him all 
 classes of his subjects.* 
 
 *The manner in which Richard II was deposed and Henry IV 
 ascended the throne, has in it so much of the element of drama, and is 
 so indicative of the character of the times, that the following short 
 account cannot fail to be read with interest. 
 
 Parliament being assembled with all the turbulent feudal barons in 
 their places, as well as the upper clergy and members of the House of 
 Commons, thirty-three articles of impeachment, recounting the various 
 crimes and derelictions of Richard, were read. Of all the assembled 
 notables one man alone stood up to defend the king. In a noble and 
 forceful speech the Bishop of Carlisle pointed out the dangers incident 
 to the deposition of their lawful sovereign. No sooner had he finished 
 than he was at once arrested, by order of Henry, and committed to 
 prison. The articles were then passed unanimously and the throne 
 declared vacant, whereupon Henry stepped forth and, with his hand 
 upon the throne, crossed himself upon the forehead and breast, and 
 calling upon the name of Christ, pronounced the following words which 
 are here given in the exact language used by the duke, being an inter¬ 
 esting specimen of our language as written about the time of the death 
 of Chaucer: 
 
 In the name of Fadher, Son and Holy Ghost, I Henry of Lancaster, 
 challenge this rewme of Ynglande, and the crown, with all the membres 
 and appurtenances; als that I am descendit by right line of the blode, 
 coming fro the gude King Henry therde and throge that right that God 
 of his grace hath sent me, with help of Tcyn, and of my frendes to 
 recover it; the which rewme was in poynt to be ondone by defaut of 
 governance, and ondoying of the gude laws. 
 
 The above suggestion of hereditary title was founded on an idle tale, 
 believed by no intelligent Englishman, that the eldest son of Henry III 
 was Edmond, earl of Lancaster, surnamed Crouchback, and not Edward 
 I. Henry IV, through the female line, was descended from Edmond and 
 
THE ROYAL EFFIGIES. 
 
 63 
 
 Regarded from tlie point of view of constitutional 
 development tliis reign is an important one in English 
 history. The authority of parliament was greatly in¬ 
 creased and the deposition of a lawful king, for unlaw¬ 
 ful acts, followed by the seating of another upon the 
 throne, is in some respects analogous to a similar exer¬ 
 cise of power at the time of the revolution of 1688, when 
 James II was, by act of parliament, replaced by 
 William III. 
 
 This period is, moreover, made illustrious by the 
 fame of two men, whose best work was done during 
 Richard’s reign. In the religious world appeared John 
 Wycliffe, the great reformer, whose translation of the 
 Bible laid the foundation for modern English prose, and 
 Geoffrey Chaucer, whose “Canterbury Tales” entitle 
 him to rank as the father of modern English poetry. 
 
 Directly or indirectly through queen Anne, herself a 
 friend and supporter of Wycliffe, and a devout reader of 
 his bible, the latter’s writings became known in Bohemia 
 and John Huss, the son of a peasant, stirred by the 
 English preacher, appeared as the forerunner of the 
 reformation in Germany. In England Wycliffe’s writ¬ 
 ings had a far-reaching influence among all classes of 
 the people. 
 
 had the tale been true would have been rightful heir to the throne. 
 The circumstances were then such, however, that no one thought fit to 
 question Henry’s challenge to the crown, and the superior claim of the 
 young earl of March being passed over in silence, the duke of Lancaster 
 seated himself upon the vacant throne and, amid the acclamations of 
 the assembled parliament, assumed the title of Henry IV. 
 
64 
 
 THE ROYAL EFFIGIES. 
 
 Richard’s end was a very sad one. By act of par¬ 
 liament he was ordered to be confined in strict seclusion 
 at Pontefract Castle, and a few months after his deposi¬ 
 tion, at the age of thirty-four, was there murdered. 
 Some say he was hacked to death by his guards. Others 
 that he was starved to death. The truth can never be 
 known. He left no posterity. 
 
 He was originally buried at Langley, but in after 
 years Henry V gave him a royal resting place in West¬ 
 minster Abbey, in the chapel of Edward the Confessor, 
 where his body now lies. 
 
 The original metal gilt full length effigy, of which 
 this, in part, is a plaster copy, lies recumbent upon his 
 tomb by the side of that of his first wife, Anne of 
 Bohemia. As the work was done during the life of 
 the king, about four years before his death, there is 
 every reason to believe that the effigy is a good like¬ 
 ness, particularly as it accords’ with his portrait, 
 painter unknown, now in the possession of the Na¬ 
 tional Portrait Gallery at London. 
 
 HENRY IY. 
 
 (1366-1413.) 
 
 Henry IV., called of Bolingbroke, the first of 
 the Lancastrian kings, was the son of John 
 of Gaunt (fourth son of Edward III) and Blanche, 
 
HENRY IV. 
 (1366-1413.) 
 Tage 64. 
 

 
THE ROYAL EFFIGIES. 
 
 65 
 
 daughter of Henry, duke of Lancaster. Although 
 Henry had no hereditary title to the throne, 
 the people at large quietly acquiesced in his 
 accession as the most practical way of replacing Rich¬ 
 ard II, and the character and abilities of Henry en¬ 
 abled him to sustain his position. 
 
 The active part played by the parliament which as¬ 
 sembled in 1399 to take into account the disordered 
 state of the kingdom, the result of Richard’s inability 
 to govern, gave to that body a dignity and importance 
 not previously attained by it in English history. 
 
 Henry IV, though claiming the throne by 
 right of descent from Henry III, and also by 
 right of conquest, was in reality fully alive to the 
 weakness of those claims, and practically recognized 
 that the real strength of his title was founded on the 
 consent of the people represented in parliament, though 
 that body was at that time far from being the popular 
 assembly it has since become. During the reign of 
 Henry IV, England, for the above and other reasons, 
 was more of a constitutional monarchy than she had 
 ever been before, or was destined to be again, for many 
 generations after his death. 
 
 Henry was a resolute monarch, uniting, with his reso¬ 
 lution, craft and caution, qualities pre-eminently requi¬ 
 site, considering the times in which he lived, and the 
 circumstances under which he acquired the crown, to 
 maintain him in his position. He died in 1413 at the 
 age of forty-seven after a reign of fourteen years, and 
 was succeeded by his famous son, Henry V. 
 
66 
 
 THE ROYAL EFFIGIES. 
 
 He lies buried in Canterbury Cathedral, where his 
 full-length effigy in alabaster (sculptor unknown) of 
 which this is in part a plaster copy, lies recumbent upon 
 his tomb. 
 
 For the dramatic treatment of this interesting period 
 of English history, see Shakespeare’s Richard II, 
 Henry IY, and Henry V. 
 
 MARGARET BEAUFORT, “THE LADY 
 MARGARET.” 
 
 (1441-1509.) 
 
 Margaret Beaufort, countess of Richmond and 
 Derby, was the mother of Henry VII, and through 
 her he obtained such shadowy hereditary title as he 
 had to the English throne. She was the great grand¬ 
 daughter of John of Gaunt, duke of Lancaster (fourth 
 son of Edward III), the father of Henry IV. Her 
 father was John Beaufort, duke of Somerset, son of 
 John, earl of Somerset, son of John of Gaunt and 
 Catharine Swynford (sister-in-law of the poet Chaucer). 
 The bar sinister was however a blot upon the escutcheon 
 of Margaret’s grandfather, the earl of Somerset. John 
 of Gaunt, later in life, married Catharine, and at his 
 earnest solicitation, his nephew, Richard II, obtained 
 the passage of an act of parliament, sanctioned by the 
 Pope, legitimating his children. The effect of this act, 
 with a certain amendment thereto, passed in the reign 
 
MARGARET BEAUFORT. 
 "The Lady Margaret.” 
 (1441-1509.) 
 
 Tage 66. 
 
THE ROYAL EFFIGIES. 
 
 67 
 
 of Henry IV, as bearing upon tlie succession to the 
 crown, was much disputed by the lawyers of the time 
 when the question became a vital one as affecting the 
 claim of Henry VII to represent the Lancastrian faction 
 in its struggle for the possession of the throne. Al¬ 
 though there were other descendants of John of 
 Gaunt whose title was genealogically preferable to 
 that of Henry, they were foreigners, and English¬ 
 men were not yet prepared, as in the time of the 
 Georges, to go outside of England for a king. Thus it 
 happened that Henry, being the only available candi¬ 
 date, was finally accepted, and upon his promise to 
 marry Elizabeth of York, in the event of his accession, 
 he gained also many valuable adherents from the follow¬ 
 ers of the fortunes of the house of York, though the 
 weak points in his genealogical armor, both on his 
 father’s and mother’s side, were savagely attacked, in 
 very blunt English, in Richard’s proclamation calling 
 upon his subjects to repel the invader.* Margaret 
 
 ♦It must be acknowledged that from the point of view of royal descent 
 Henry VII cuts but a sorry figure in the presence of a Plantagenet king. 
 Though counting among his progenitors a king of France as well as of 
 England, the royal strain had been so diluted that the feudal baronage 
 could not but regard him as something in the nature of an upstart, 
 forced upon them by political conditions. Consciousness of the low 
 estimation in which his pedigree was held by the old nobility had doubt¬ 
 less much to do with his hatred of the Yorkists, and presumably also 
 with his dislike of his wife, of whose position as rightful heir to the 
 crown he was always exceedingly jealous. When securely seated upon 
 the throne he began to furbish up his paternal ancestry, in a spirit not 
 unknown to the modern genealogist in humbler walks of life, and 
 claimed royal descent through a line of Welsh princes for his Tudor 
 grandfather, not stopping in his ambitious flight until he had reached 
 the half mythical Arthur, that British king around whom cling so many 
 
68 
 
 THE ROYAL EFFIGIES. 
 
 Beaufort married Edmund Tudor, son of Owen Tudor 
 and Catharine of Valois, widow of Henry V of Eng¬ 
 land. Owen Tudor was a handsome Welshman, of ob¬ 
 scure origin, and had fought in the ranks at the battle 
 of Agincourt. Being brought to the attention of 
 Henry V, the king had employed him about the court 
 where he made the acquaintance of the queen. After 
 Henry’s death Catharine retired to private life and very 
 little is then known of her. Though no record exists 
 to prove the fact, she is supposed to have been secretly 
 married to Owen Tudor, and her sons were treated with 
 consideration by their half brother, Henry VI, for it 
 was he who created Edmund, the eldest, earl of Rich¬ 
 mond.! Margaret was only thirteen when she was 
 married to the young earl and was left a widow at the age 
 of about fourteen, a couple of months before the birth of 
 Henry. Throughout her long life she subordinated 
 everything to advancing the interests of her son, who, 
 
 legends celebrated in the story and song of the elder as well as later 
 times, and forming such a conspicuous feature in the poetry of our own 
 day in the flowing verse of Tennyson. To accentuate his esteem for his 
 alleged though unproved royal British ancestry, at least so far as any 
 records show, Henry’s eldest son was named for the hero of the Knights 
 of the Round Table, and it was Arthur who became the first husband 
 of the unfortunate Catharine of Aragon. This mhrriage entailed 
 momentous consequences for the English speaking race, for it was the 
 pretended scruples of Henry VIII in having married his brother’s 
 widow that led to the divorce of Catharine, so fruitful of results in 
 separating the Church of England from the Church of Rome. 
 
 fFor a very interesting account of the life and death of Owen Tudor, 
 including an inquiry into his doubtful antecedents, with references to 
 authors and documents of the period, see Agnes Strickland’s “Katharine 
 of Valois” in her “Lives of the Queens of England.” 
 
THE ROYAL EFFIGIES. 
 
 69 
 
 from his childhood till he ascended the throne, was 
 reared in an atmosphere of hardship, danger, and priva¬ 
 tion, and disciplined in the rough school of adversity. 
 As he himself told one of his friends he had always 
 been, from the age of five till his accession, either a 
 prisoner or a fugitive. It was during these weary years 
 of captivity, when he was thrown upon his own re¬ 
 sources for amusement, that he acquired the habit of 
 reading, which gave him a certain reflective tone that 
 distinguished him in after years. 
 
 “The Lady Margaret” was the most notable English¬ 
 woman of her time. She was the founder of St. John’s 
 College and of Christ’s College at Cambridge, and 
 established professorships of divinity both at Oxford 
 and Cambridge. A woman of strong, as well as ami¬ 
 able character, there existed between her and her 
 youthful grandson, afterward Henry VIII, a genuine 
 attachment, and when Henry came to the throne he 
 relied greatly upon her experience and generally recog¬ 
 nized sound judgment in the selection of his ministers, 
 thus giving the people an excellent impression of his 
 own good sense. 
 
 Margaret Beaufort was three times married, her 
 third husband being Lord Stanley, afterwards earl of 
 Derby, the man who deserted Richard at a critical 
 moment in the battle of Bosworth and turned the day 
 in favor of his step-son. It was Stanley who picked up 
 Richard’s crown on the battle field, and placing it on 
 
70 
 
 THE ROYAXi EFFIGIES. 
 
 Henry’s head, led in the acclaim of the earl as Henry 
 Vn, King of England. 
 
 Margaret Beaufort died in 1509, outliving but a short 
 time her own royal son. 
 
 The half-length figure here shown is in part a plaster 
 copy of the full length effigy, in bronze, which lies re¬ 
 cumbent upon her tomb in the chapel of Henry Vn in 
 Westminster Abbey. 
 
 The original is the work of Pietro Torregiano. 
 
 HENRY VII. 
 
 (1456-1509.) 
 
 Henry VII ascended the throne in the year 1485 
 at the age of twenty-nine. His paternal grand¬ 
 father was Owen Tudor, a Welsh clansman, who 
 married Catharine, daughter of Charles VI of France, 
 and widow of Henry V of England, the “Kate” in 
 Shakespeare’s play of Henry V. The son of this 
 marriage, Edmund Tudor, earl of Richmond, married 
 “The Lady Margaret,” as she was called, a great 
 granddaughter of John of Gaunt, duke of Lancaster, 
 fourth son of Edward III. The house of York was 
 descended, through the female line, from Lionel, 
 duke of Clarence, third son of Edward III, and 
 the disputes between these two branches of the royal 
 house of Plantagenet unsettled England, off and on, 
 for over a hundred years. Owing to the fact that the 
 
HENRY VI1. 
 (1456-1500.) 
 Pa S ? TO. 
 
THE ROYAL. EFFIGIES. 
 
 71 
 
 first and second sons of Edward III left no descendants, 
 with the exception of the deposed Eichard II, there 
 was no question hut that the legal title of the house of 
 York was superior to that of Lancaster, but in those 
 rude times the age and character of the claimant were 
 important factors in determining the result of every 
 contest. 
 
 Henry IV, falsely deducing his title from Henry III, 
 was in fact an usurper, but his character and experi¬ 
 ence enabled him to sustain himself upon the throne 
 against the young earl of March, a child of seven 
 years, great grandson of Lionel, and the rightful heir. 
 The qualities of Henry’s son, the famous Henry V, en¬ 
 abled him also to maintain himself upon the throne, 
 the very idol of the English people, and transmit the 
 crown without question to his infant son. The feeble¬ 
 ness and incapacity of Henry VI, the third Lancastrian 
 king, obliged him to give way to Edward IV of the 
 house of York. * 
 
 Upon the death of Edward in 1483, the young prince, 
 his son, was at the mercy of his uncle Eichard. Under 
 the title of Edward V, this pale shadow of a boy 
 king, lived but a few months after his father’s death, 
 smothered in the Tower, with his brother, by order of 
 his uncle. 
 
 Eichard III, the last of the Plantagenets, 
 then usurped the crown, but his method of 
 acquiring it so incensed the people that the 
 
 *For this period of English history, see Bulwer’s “Last of the Barons.” 
 
72 
 
 THE ROYAL EFFIGIES. 
 
 Lancastrian faction again came to the front, and 
 rallying around Henry, earl of Richmond, defeated 
 Richard at the battle of Bosworth in 1485 and the 
 crown of England, worn by Richard in the battle, was 
 placed as the symbol of sovereignty upon the young 
 earl’s head, and upon the battle field itself he was ac¬ 
 claimed as Henry VII, King of England, the first of the 
 so-called Tudor Kings. Shortly after coming to the 
 throne he married Elizabeth of York, the only surviv¬ 
 ing child of Edward IV, and by this marriage were 
 united the contending factions of York and Lancaster, 
 the White and the Red rose. England then settled 
 down to a state of comparative domestic tranquility 
 not to be again seriously disturbed by civil war for 
 over a hundred and fifty years.* 
 
 *For a proper understanding of the history of England from the de¬ 
 position of Richard II in 1399 to the accession of Henry VIII in 1509, 
 it is necessary to have a fairly accurate knowledge of the genealogy of 
 the different branches of the royal family from the time of Henry III 
 (died 1272, the sovereign from whom Henry IV claimed title to the 
 crown), to that of Henry VIII. 
 
 Vague and indefinite as these genealogical intricacies now generally 
 are in the minds of all but close students of that period, it must be 
 remembered that for more than a hundred years, with intervening lulls, 
 they were burning and vital questions, eagerly discussed in all their 
 details in the courts, camps and parliaments, as well as at the fire¬ 
 sides, of our English ancestors, and angry disputes were liable to be 
 followed, and in fact for a time (1455-1485) were followed, by civil war. 
 Some faint idea of the gravity and intensity of these disputes may be 
 realized by those in our own country who remember the excitement 
 caused by the Hayes-Tilden controversy over the Presidential election in 
 1876, when the Electoral Commission was appointed. Let us suppose 
 that commission to have been a failure, and to have been followed by 
 successive appeals to arms for about thirty continuous years, the theatre 
 
THE ROYAL EFFIGIES. 
 
 73 
 
 The reign of Henry VII marks an epoch in English 
 history, and is generally regarded as the dividing line 
 between the feudal period and the foundation 
 of the system on which modern society is 
 based. In this reign the art of printing was 
 brought to a state of comparative perfection, and im¬ 
 provements in the use of firearms revolutionized the 
 methods of war, thus giving to civilization an easy vic¬ 
 tory over the barbarous tribes of the far off countries of 
 the new world, then for the first time brought to the 
 knowledge of Europe, and this discovery of America 
 opened up also a new and ever-widening field for the 
 energies of the adventurous English race. In fact, it 
 was only by an accident that Columbus did not sail 
 upon his first voyage under the English flag. His 
 brother Bartholomew was on his way to England to 
 engage the assistance of Henry in this enterprise, 
 already brought to the king’s attention, when he was 
 taken and detained by pirates. Meantime Isabella of 
 Spain furnished the necessary aid. Had Henry been 
 the first in the field, what momentous consequences 
 
 of war being about the size of the state of Pennsylvania, the population 
 being about three millions^ with hostile neighbors on all sides, and we 
 may have some idea of the Wars of the Roses. Let us then suppose the 
 invention of some happy political device, whereby all the turmoil, con¬ 
 fusion and bloodshed incident to civil war could be suddenly avoided, 
 and we may be able to realize the passionate joy of the English people 
 when Henry VII married Elizabeth of York, and the union was blessed 
 with an heir, in whose veins was united the blood of York and Lan¬ 
 caster, and who was recognized by all parties as the unquestioned suc¬ 
 cessor by hereditary right to the English throne. 
 
74 
 
 THE BOYAL EFFIGIES. 
 
 would not have followed in the history of our Western 
 world. 
 
 In character Henry YII was parsimonious, calculat¬ 
 ing, and suspicious. His dominating vice was avarice, 
 and by means of many harassing and illegal exactions 
 he became enormously rich, and at his death left to his 
 son a private fortune estimated at nearly ten millions 
 of dollars, an incredible sum for those days. Per¬ 
 sonally he was a very unamiable and unpopular sover¬ 
 eign, but did great service in settling and consolidating 
 the kingdom which had been for so many years dis¬ 
 tracted by the “Wars of the Roses.” 
 
 With the practical side of his character necessarily 
 developed by the various and constantly present diffi¬ 
 culties of his position, he was, nevertheless, something 
 of a bookish man, a dreamer of dreams, and fond of 
 literature and art. In architecture his memory will be 
 always preserved by his beautiful chapel, the finest, 
 perhaps in England, which he added during his life to 
 the east end of Westminster Abbey. 
 
 In domestic affairs the appearance of two young im¬ 
 postors, Lambert Simnel and Perkin Warbeck, who, at 
 different times, laid claim to the crown as being right¬ 
 ful heirs of the house of York, gave rise to insurrec¬ 
 tions which troubled, but at no time seriously threat¬ 
 ened, Henry’s occupation of the throne. 
 
 The enlargement of the jurisdiction of the so-called 
 Star Chamber, a tribunal appointed by the crown and 
 which now began to adjudge secretly a variety of ques- 
 

 
 
 
 
 
 
ELISABETH OF YORK. 
 (1466-1502.) 
 
 Page 75. 
 
THE ROYAL EFFIGIES. 
 
 75 
 
 tions involving personal liberty and property, was an 
 event of the greatest importance as increasing the 
 arbitrary power of the king. This iniquitous tribunal, 
 entirely at variance with the institutions of a free peo¬ 
 ple, was ultimately swept out of existence by the Long- 
 Parliament in 1641, though its hateful memory has 
 remained as a warning down to our own time. 
 
 In foreign affairs the policy and astuteness of the 
 king enabled him to make his influence powerfully felt 
 on the Continent without entailing any serious conse¬ 
 quences in the way of expensive wars. 
 
 Of the Tudor sovereigns Henry VII is the only 
 direct ancestor of queen Victoria. 
 
 He died in 1509 at the age of fifty-two and was suc¬ 
 ceeded by his son Henry VIII. 
 
 The plaster cast here shown is in part a copy of his 
 full length effigy, in bronze, which lies recumbent upon 
 his tomb, by the side of that of his wife, in his own 
 chapel in Westminster Abbey. The sculptor was 
 Pietro Torregiano. 
 
 ELIZABETH OF YORK. 
 
 (1466-1502.) 
 
 Elizabeth of York was the daughter of Edward IV 
 and his queen, Elizabeth Woodville. When she had 
 
76 
 
 THE ROYAL EFFIGIES. 
 
 reached the age of seventeen her father died, and her 
 uncle Richard, by the murder in the Tower of the young 
 princes, her brothers, established himself on the throne 
 under the title of Richard III. In order to strengthen 
 his title Richard was planning to marry his niece, 
 when, by the defeat at Bosworth, he lost not only the 
 crown, but also his life. Upon the accession of Henry 
 VII the people clamored for Henry’s marriage with 
 Elizabeth, that all the turmoil and bloodshed of the 
 Wars of the Roses might cease with this alliance of the 
 houses of York and Lancaster. Henry, however, was 
 unwilling to have his own title appear to depend upon 
 that of his wife, and so postponed the marriage until 
 he felt himself entirely secure in his new position. 
 After his own independent coronation he married Eliz¬ 
 abeth in 1586, and no marriage ever brought so great 
 satisfaction to a whole people as this. The queen was 
 an amiable woman, and always maintained a firm hold 
 on the affections of the people at large. She was de¬ 
 voted to the king, but he, on his part, was far from a 
 considerate husband. He hated the whole York family 
 and their adherents, and such troubles as arose during 
 his reign were largely due to his own unnecessary rigor 
 in dealing with the leaders of the defeated faction. 
 
 The full-length effigy of Elizabeth, in bronze, of which 
 this in part is a plaster copy, lies recumbent, by the 
 side of that of her husband, upon her tomb in the 
 chapel of Henry VII in Westminster Abbey. 
 
THE ROYAL EFFIGIES. 
 
 77 
 
 Tlie sculptor was Pietro Torregiano, the Florentine 
 rival of Michael Angelo, and to whom the latter, in a 
 boyish quarrel, was indebted for his broken nose. 
 
 HENRY VIIT. 
 
 (1491-1547.) 
 
 Henry VIII came to the throne upon the death 
 of his father, Henry VII, in 1509, at the age of 
 eighteen, being the first king since Richard II, over 
 a hundred years before, whose title was without a 
 flaw. 
 
 In person he was handsome, athletic, and fond of out¬ 
 door sports, in which he excelled. Of an exceptionally 
 bright and active mind he had taken kindly to the 
 “new learning,” as it was called, and was altogether 
 one of the most accomplished men of his time. He was 
 skilled in music, and even composed some pieces, and 
 spoke French and Spanish fluently, with an excellent 
 knowledge of Latin. In disposition he was bright and 
 gay and full of life and spirit. His father, by a com¬ 
 bination of extortion and avarice, had amassed a vast 
 fortune of which Henry was sole heir, and the young 
 king proceeded forthwith to spend his money freely, 
 inaugurating and carrying out on a magnificent scale a 
 variety of court entertainments, ably assisted therein 
 
78 
 
 THE ROYAL EFFIGIES. 
 
 by bis bosom friend and companion, Thomas Wolsey 
 Dean of Lincoln.* 
 
 For the first twenty years of his reign, Henry was one 
 of the most popular of English kings, and notwith¬ 
 standing the change that came over him, seems never 
 to have entirely lost the affection of his subjects. In 
 later life the impetuosity and ardor of his youth, 
 warped by the practically unrestrained exercise of 
 arbitrary power and the unrestricted pursuit of 
 pleasure, developed into a certain sullenness of temper, 
 arrogance, and cruelty that made of him a different 
 man. His matrimonial troubles are associated with 
 this period of his life and by them, in popular 
 estimation, he is best remembered. He was six 
 times married. His first wife was Catharine of 
 Aragon, daughter of Ferdinand and Isabella of Spain, 
 and mother of queen Mary. From her he was divorced, 
 after nearly twenty years of married life. The history 
 of this divorce, involving many complicated ecclesiasti¬ 
 cal questions, and resulting, with other causes, in the 
 schism of the English Church from the Church of Rome, 
 makes it the most celebrated divorce case on record. 
 His second wife was Anne Boleyn, an English lady of 
 private station, and mother of queen Elizabeth. For 
 her alleged, though unproved misconduct, she was be¬ 
 headed. The third wife was Jane Seymour, mother of 
 
 *The career of Cardinal Wolsey is in itself so interesting, and the 
 period of his official life is so bound up with that of king Henry, that a 
 short account of him is included in this catalogue, though, at present, the 
 collection contains nothing recalling his personal appearance.—S. L. P 
 
HENRY VIII. 
 (1491-1547.) 
 Rage 77. 
 
 
THE ROYAJL EFFIGIES. 
 
 79 
 
 Edward VI. She died peaceably, greatly regretted by 
 the king. The fourth was Anne of Cleves, a Flemish 
 princess, divorced shortly after her marriage, her crime 
 being general nnattractiveness. A handsome pension 
 was allowed her and she continued to live quietly in 
 England, on excellent terms with everyone, the king 
 included. 
 
 The fifth was Catharine Howard, who, after 
 her marriage with the king, was proved to have been 
 such a very undesirable young person that the king 
 concluded to have her executed. The sixth, and last, 
 was Catharine Parr, a widow of mature age, who man¬ 
 aged to ingratiate herself sufficiently with the king to 
 keep her head on her shoulders, and outlive her royal 
 husband. 
 
 Aside from these more or less personal complications, 
 there occurred many events which make the reign of 
 Henry VIII one of the most important periods in Eng¬ 
 lish history. The most far-reaching in its effect was 
 undoubtedly the entire separation of the English 
 Church from the Church of Rome, and the passage of 
 the “Act of Supremacy” whereby Henry, and all his 
 successors on the English throne, became titular head 
 of the English Church with no ecclesiastical authority 
 acknowledged outside the kingdom. During this reign 
 occurred also the suppression of all the monasteries 
 and the confiscation of their revenues by the crown. 
 Some of the richest and most powerful of the English 
 
80 
 
 THE ROYAL. EFFIGIES. 
 
 families of our own time date their importance from 
 this period, when grants were made to them of the 
 escheated property of the church. The rise and fall of 
 Cardinal Wolsey is also a dramatic event of the 
 greatest interest. 
 
 In domestic affairs, the Parliament was frequently 
 assembled, but, as a popular assembly, it had sunk to 
 its lowest level in the history of England, from the 
 point of view of political importance. It seemed content 
 to regard its duty as fulfilled when it had registered as 
 laws the edicts of the king. 
 
 The parliamentary system, practically inaugurated 
 under Henry VII, and continued in this and subsequent 
 reigns, entirely at variance with the spirit of free¬ 
 dom, must be held responsible for the excesses com¬ 
 mitted a hundred years later, which ended in the death 
 of Charles I upon the scaffold. 
 
 In foreign affairs, largely through the commanding 
 personality of Henry, combined with the European 
 complications resulting from the rivalry between Fran¬ 
 cis I of France, and the Emperor Charles V of Germany, 
 England played a more conspicuous part than at any 
 previous time in her history. 
 
 In the last years of his life Henry became enormously 
 stout, and being also in ill health, had to be wheeled 
 about in a chair, presenting a sad contrast both in ap¬ 
 pearance and in character to his younger days. He 
 died in 1547 in the fifty-sixth year of his age. 
 
THE ROYAL EFFIGIES. 
 
 81 
 
 The original bronze bust, sculptor unknown, of which 
 this is a plaster copy, is in a private collection in 
 London. 
 
 Cardinal Wolsey. 
 
 (1471-1530.) 
 
 Thomas Wolsey was born at Ipswich in the year 
 1471. His father is popularly supposed to have been a 
 butcher, but on this point there is some doubt. What¬ 
 ever his origin, he received an excellent education, and 
 at the age of fifteen took his degree at Magdalen College, 
 Oxford. He then studied for the priesthood and, as a 
 young man, held the position of tutor in the family of 
 an English nobleman. Entering the church, his ex¬ 
 traordinary talents, backed by such influence as he had 
 acquired by his own merit, gained for him rapid pro¬ 
 motion. When Wolsey was first introduced to Henry, 
 about the year 1511, the future cardinal was about 
 forty years of age, in the very prime of life, a finished 
 man of the world, conscious of his own superiority to 
 the men around the king, and eager to obtain an oppor¬ 
 tunity for the display of his abilities. 
 
 The young king was about twenty years old, ardent 
 and impetuous, and delighted with his new position, 
 for an austere parent, up to the time of his death, had 
 kept the royal nose of his youthful offspring pretty 
 close to the scholastic grindstone. Being entirely 
 ignorant of the business of government, young Henry 
 
82 
 
 THE ROYAL EFFIGIES. 
 
 had, therefore, almost of necessity, retained as his 
 advisers the men whom he had inherited, so to speak, 
 from his father, along with the crown, hut who were in 
 no way adapted to enter into the gay life of the Court 
 as conducted under the new reign. In fact they were 
 aghast as they saw the lavish son engaged in dissipat¬ 
 ing the vast fortune of the avaricious father. Wolsey 
 at once took in the situation and saw that the easiest 
 way to gain the confidence of the king was to enter 
 with spirit into all the gaieties of the Court, while at 
 the same time keeping a close eye on the more serious 
 business of government. 
 
 In the intimacy incident to their common pursuit 
 of pleasure, Wolsey intimated to the king that he 
 could never hope to really govern so long as he kept 
 about him as advisers the politicians who had risen to 
 power during his father’s reign. Henry took kindly 
 to the suggestion, and in a short time the clever church¬ 
 man found that he himself, as he had planned, was the 
 instrument selected to bring about the change. His 
 rise was rapid and within a year or two from his first 
 introduction to the king, Wolsey became practically 
 the real ruler of England, tactfully concealing, how¬ 
 ever, from his royal master the ascendency he had ac¬ 
 quired. By skilful manipulation he managed to get 
 himself appointed to a variety of rich livings in the 
 church (his acquisitive faculty was strongly de¬ 
 veloped), and thus acquired a princely revenue, which 
 enabled him to indulge his inordinate ambition for 
 
THE ROYAL EFFIGIES. 
 
 83 
 
 display. The passion for building also seized him, and 
 Hampton Court, the palace of Whitehall, in London, 
 and Christ’s College at Oxford (originally called Car¬ 
 dinal’s College), remain as monuments to his memory. 
 In the various diplomatic missions to the Continent, 
 required by Henry’s foreign policy, the cardinal, as he 
 had now become, was generally selected as ambassador, 
 and his retinue on these occasions was more magnificent 
 than that of royalty itself. At home his train con¬ 
 sisted of eight hundred servants and attendants, taken 
 from all ranks of society, for gentlemen, knights and 
 the younger sons of the nobility were eager to enter the 
 service of the all-powerful minister of state, who com¬ 
 bined with his love of political power an ardent interest 
 in the art, literature, and science of his time. Wolsey’s 
 career as a statesman lasted about fifteen years, and 
 his fall was the result of the withdrawal of the king’s 
 favor, based upon the cardinal’s lukewarmness at the 
 time Henry sought his divorce from Catharine of 
 Aragon. In 1530, the year of his death, he was arrested 
 for high treason, and was on his way to London 
 to be tried, when overtaken by his last illness. 
 
 He expired at Leicester Abbey and shortly before his 
 death expressed himself to the constable of the Tower, 
 in whose custody he was, in words so indicative of his 
 own character, as well as that of the king, that they are 
 here given in full: “ I pray you,” said he, “ have me 
 heartily recommended unto his royal majesty, and be¬ 
 seech him, on my behalf, to call to his remembrance all 
 
84 
 
 THE ROYAE EFFIGIES. 
 
 matters that have passed between us from the beginning, 
 especially with regard to his business with the queen; 
 and then will he know in his conscience, whether I have 
 offended him. He is a prince of a most royal carriage, 
 and hath a princely heart; and rather than he will miss 
 or want any part of his will, he will endanger the one- 
 half of his kingdom. I do assure you, that I have often 
 kneeled before him, sometimes three hours together, to 
 persuade him from his will and appetite; but could not 
 prevail: had I but served God as diligently as I have 
 served the King, he would not have given me over in 
 my grey hairs. But this is the just reward that I must 
 receive for my indulgent pains and study, not regard¬ 
 ing my service to God, but only to my prince. There¬ 
 fore, let me advise you, if you be one of the privy 
 council, as by your wisdom you are fit, take care what 
 you put into the king’s head; for you can never put it 
 out again.” 
 
 In character Wolsey was proud and ambitious. To 
 his equals he was commanding and haughty, especially 
 when any indication of contempt for his origin was dis¬ 
 played, and nature had so endowed him with the dom¬ 
 inating spirit that, in his intercourse with men, the ac¬ 
 cident of their superior birth seemed but of trivial im¬ 
 portance. 
 
 The envy and hatred of the members of the nobility 
 were therefore the more embittered by the sense of their 
 own social superiority, and his ultimate downfall was 
 hailed by them as a great relief from the domination of 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
MARY STUART. 
 (1542-1587.) 
 Page 85. 
 
THE ROYAL EFFIGIES. 
 
 85 
 
 a man whom they regarded as an upstart. In disposition 
 he was lavish rather than generous. In manners he was 
 persuasive and insinuating, when it suited his purpose, 
 and, from the affability of his demeanor toward his 
 dependents, was very popular with those who served 
 him. 
 
 His intellectual capacity was of the highest order, as 
 shown during his administration of the office of chan¬ 
 cellor. On this point we have the testimony of one of his 
 contemporaries, Sir Thomas More. With More as his 
 authority, Hume says: “A strict administration of jus¬ 
 tice took place during his enjoyment of this high office; 
 and no chancellor ever discovered greater impartiality 
 in his decisions, deeper penetration of judgment, or 
 more enlarged knowledge of law and equity.” 
 
 Wolsey’s death took place in the year 1535, in the 
 sixtieth year of his age. 
 
 MARY STUART. 
 
 (1542-1587.) 
 
 Mary Stuart, Queen of Scots, was born in Linlithgow 
 Castle, Scotland, in 1542. She was the daughter of 
 James V of Scotland and Mary of Lorraine. Her 
 grandfather, James IV of Scotland, had married Mar¬ 
 garet, daughter of Henry VII of England, and she was, 
 therefore, first cousin once removed to Elizabeth of 
 England. Upon the death, without children, of queen 
 
86 
 
 THE ROYAX. EFFIGIES. 
 
 Mary of England, daughter of Henry VIII and 
 Catharine of Aragon, Mary Stuart was regarded by 
 herself and the Catholic party as rightful heir to the 
 English throne. This claim was the necessary result of 
 the refusal of the Catholics to recognize the legality of 
 the divorce of Henry VIII from Catharine of Aragon, 
 as being without the papal sanction. The legitimacy 
 of Elizabeth, Henry’s daughter by Anne Boleyn, was 
 therefore denied by them, and hence arose the plots 
 and bitter controversies that finally resulted in the 
 death of Mary Stuart upon the scaffold. James V 
 died a few days after the birth of his daughter, and 
 Mary became queen of Scotland while still an infant. 
 At the age of six she was betrothed to the Dauphin 
 of France, afterward Francis II, and was sent to 
 the French eourt to be educated. Previous to 
 her departure for France her hand had been sought 
 for the young Edward, afterward Edward VI of 
 England, but it had been refused. In the year 
 1558, at the age of sixteen, Mary was married to 
 Francis, and for the next ten years her life was 
 an eventful one. In the same year with her marriage 
 occurred the death of queen Mary of England, and 
 forthwith Mary Stuart laid claim to the crown. Eliza¬ 
 beth, however, ascended the English throne with the 
 enthusiastic backing of her Protestant subjects, being a 
 large majority of the English people, and this indis¬ 
 creet claim of Mary was the principal cause of her sub¬ 
 sequent troubles. Francis II died in 1560, and the fol- 
 
THE ROYAL EFFIGIES. 
 
 87 
 
 lowing year, at the age of nineteen, Mary, with bitter 
 regret, sailed for Scotland to undertake the government 
 of her native land. The flame of the reformation had 
 burned fiercely in Scotland, and at that time the 
 country was practically under the control of the minis¬ 
 ters of the reformed church, at least in matters of 
 opinion, headed by the fiery and eloquent John Knox, 
 and the position of the queen, throughout her life an 
 ardent Catholic, was made very uncomfortable. The 
 question of her marriage now became uppermost, and, 
 after much deliberation, Lord Darnley was selected, a 
 great grandson of Henry VII of England, and there¬ 
 fore Mary’s second cousin. The marriage took place in 
 1565, and the following year a son was born, soon to 
 become James VI of Scotland, and later, upon the 
 death of Elizabeth, James I of England. Shortly 
 after the Darnley marriage occurred the affair with 
 Rizzio, Mary’s clever Italian secretary, ending in the 
 murder of Rizzio in the apartments of the queen, at 
 Holvrood Palace, by Darnley and his accomplices. For 
 this act Mary never forgave her husband, and in 1567 oc¬ 
 curred the murder of Darnley. Of this crime the earl of 
 Bothwell was accused, and in public opinion generally 
 adjudged as guilty. Whether or no Mary herself was 
 an accomplice was hotly disputed at the time, and the 
 controversy has continued down to our own time. 
 Three months after Darnley’s death Mary married 
 Bothwell, who had divorced his wife for this pur¬ 
 pose, and a cry of indignation arose in Scotland 
 
88 
 
 THE ROYAL EFFIGIES. 
 
 which took the form of rebellion. The queen’s forces 
 were defeated, and she herself, being taken prisoner, 
 was confined in Lochleven Castle, and compelled to 
 abdicate in favor of her infant son. After a year of 
 confinement she escaped from Lochleven, but the 
 forces she gathered about her were again defeated, 
 and three days later, to escape capture, she entered 
 England, May 16, 1568. Her object was to make a per¬ 
 sonal appeal to Elizabeth to assist a fellow sovereign in 
 distress, but Mary had made a miscalculation. Her 
 former claim to the English throne had made her a 
 dangerous rival, and for the next nineteen years she 
 lived in England the life of a captive. The active life 
 of Mary Stuart, during which she played the part of a 
 great historical figure in the personal and political 
 drama of her time, was, therefore, from 1558 to 1568, 
 between her seventeenth and twenty-seventh years. 
 During her captivity constant efforts were made to set 
 her free, the last and great conspiracy being that of 
 Babington in 1586. For her part in this she was tried 
 and condemned to death. In this conspiracy the vital 
 question turned upon the point of Mary’s guilty knowl¬ 
 edge of, and consent to, that part of the plot which in¬ 
 cluded the assassination of queen Elizabeth as one of 
 the objects of the conspirators, and the placing of her¬ 
 self upon the English throne. Mary herself, while 
 admitting certain minor accusations, denied such guilty 
 knowledge, and in regard to this, as in the question of 
 her complicity with Darnley’s murder, a bitter contro- 
 

 
 
QUEEN ELISABETH. 
 ( 1533 - 1603 .) 
 
 Page SO. 
 
 
 i 
 
THE ROYAL EFFIGIES. 
 
 89 
 
 versy arose at the time and exists to the present day. 
 She was beheaded at Fotheringay Castle on February 
 8, 1587, in the forty-sixth year of her age. She met her 
 fate with resolution and dignity. 
 
 Mary Stuart was a woman of great accomplishments, 
 both of mind and body. Beautiful in face and figure, 
 she possessed, in a wonderful degree, the power of 
 fascination. Beneath her charm of manner, however, 
 lay an active and ambitious temper, and when carried 
 away by her ardent loves and hates she seemed to stop 
 at nothing to accomplish the fulfilment of her 
 purpose. But with all her passion and her faults there 
 ran throughout her character a certain loftiness of spirit 
 which found its full expression when summoned to 
 face death upon the scaffold, and during her life she 
 never appeared to so great advantage as when called 
 upon to leave it. 
 
 The original bronze bust, of which this is a plaster 
 copy, is to be seen in the National Portrait Gallery in 
 London, in the same hall that contains the royal 
 effigies. 
 
 QUEEN ELIZABETH. 
 
 (1533-1603.) 
 
 Elizabeth of England was the daughter of Henry 
 VIII and the ill-fated Anne Boleyn. She as¬ 
 cended the throne in the year 1558 at the age of 
 
90 
 
 THE ROYAL EFFIGIES. 
 
 twenty-five. A woman of strong and determined char¬ 
 acter, and called upon as an almost absolute sovereign 
 to take an active part in the stirring times in which she 
 lived, her name has become a memorable one in his¬ 
 tory. Fierce and bitter have been the contentions that 
 have arisen in regard to her conduct in the various 
 crises that arose during her long reign, and their echo 
 is heard even down to our own day. 
 
 Foremost in point of dramatic interest was her quarrel, 
 political and national, as well as personal, with her cousin 
 Mary Stuart, Queen of Scots, culminating in the death 
 upon the scaffold of her life-long rival. In extenuation, 
 if not in vindication, of Elizabeth, it must always he re¬ 
 membered that Mary, representing political and religi¬ 
 ous ideas that the people of England regarded as dan¬ 
 gerous to their liberties, throughout her life was almost 
 compelled by circumstances to plot against the life and 
 throne of Elizabeth. The last plot for which Mary suf¬ 
 fered death occurred in 1586, and is known as Babing- 
 ton’s conspiracy. The evidence, written and oral, was 
 overwhelming, and Mary could offer nothing hut her 
 own denial, and a claim that the letters produced 
 against her were forgeries. The English people, all too 
 accustomed to the violent methods of the time, and re¬ 
 membering the cruel scenes enacted during the preced¬ 
 ing reign of Mary Tudor, clamored for her death as 
 their only relief against the continual menace of revolu¬ 
 tion, and the death warrant was signed by Elizabeth on 
 February 1, 1587. An affecting letter written by Mary 
 
THE BOYAL, EFFIGIES. 
 
 91 
 
 to Elizabeth after her condemnation, the scene upon 
 the scaffold, and her sex, created at the time, and will 
 always continue to create, profound sympathy for the 
 fate of the Scottish queen. 
 
 The defeat of the Spanish Armada, fitted out by Phil¬ 
 ip II of Spain, to conquer England and to avenge the 
 death of Mary Stuart, saved England from the disaster 
 of even temporary Spanish rule, and was the principal 
 event in the foreign relations of England during the 
 reign of Elizabeth. 
 
 The voyages and discoveries of Sir Walter Raleigh are 
 of especial interest to Americans. For the English- 
 speaking race, the fact that Shakespeare flourished in 
 this period makes the Elizabethan Age the most impor¬ 
 tant epoch in the history of English literature. 
 
 The full-length effigy of Elizabeth, in marble, of 
 which this, in plaster, is in part a copy, is a recumbent 
 figure upon her tomb in the chapel of Henry VII in 
 Westminster Abbey. 
 
CATALOGUE OF PICTURES. 
 
No.l 
 
 p.95 
 
Southampton, Long Island, August, 1912. 
 
 The following pictures, reproduced for this volume 
 by the photogravure process, and numbered to corre¬ 
 spond with the descriptions in the Catalogue, were ob¬ 
 tained by me at the time and places stated in the text. 
 Although the artists are for the most part unknown, the 
 pictures, painted, with two or three exceptions, upon 
 panel, are submitted as original examples of early Italian 
 art. The sizes, given in inches, include the frames. 
 
 Among the objects of plastic art exhibited in the 
 museum there are no examples of original work, the up¬ 
 ward of seventy Greek, Italian, and English Renaissance 
 reproductions being in marble, bronze, and plaster, those 
 in marble, including the eighteen portrait busts of the 
 Roman Emperors, numerically predominating. 
 
 Not included in the above enumeration are thirty- 
 eight. plaster slabs of the frieze of the Parthenon, ob¬ 
 tained from the Metropolitan Museum of Art of New 
 York. These reproductions have been placed under the 
 cornice around the two main halls and in the smaller 
 rooms. 
 
 With the exception of the “ Winged Victory of 
 S'amothrace, ” which is smaller, and the imperial busts, 
 which are larger, all the reproductions are of the same 
 size as their respective originals. 
 
 S. L. P. 
 
No. 2 
 p. 95 
 
1 
 
 Madonna and Child. 
 
 Unknown Florentine. Fifteenth century. Paint¬ 
 ed on panel. At the bottom of the frame can be 
 made out the Latin inscription: “Ave Maria 
 Gratia Plena, D. 0. M.” Hail Mary full of grace, 
 Deo Optimo Maximo (To God the best the greatest). 
 Many decorative religious panels similar to this 
 have survived in Italy to the present day. 
 
 Obtained in Florence in 1893. 
 
 47 x 22 
 
 2 
 
 From the Convento Delle Contesse, Near Foligno, 
 Central Italy. 
 
 Evidently a votive offering, representing a young 
 monk as donor of a church or convent with a di- 
 
96 
 
 CATALOGUE OF PICTURES. 
 
 minutive kneeling nun. In Italian and Latin, on 
 the rim of the dais, are painted certain words and 
 numerals of which the following is a translation: 
 “ Pray for SimoneLechovelia,MCCCCLXXI (1471) 
 Cosmere painted this. ’ ’ Painted on panel, frame 
 and picture being one piece. 
 
 Obtained in Florence in 1896. 
 
 59 x 38 
 
 3 
 
 Repose In Egypt. 
 
 Unknown Italian. Sixteenth century. 
 Attributed to F. Baroccio (1528-1612.) 
 Obtained in London in 1881. 
 
 30 x 12 
 
 4 
 
 Madonna, Child and Adoring Angel Offering Flowers. 
 
 Unknown early Venetian. 
 
 First half of sixteenth century. Probably by some 
 pupil of Palma Vecchio (1480-1528). 
 Obtained in London in 1881. 
 
 30 x 26 
 
 The Virgin of Mercy. 
 
 Ansano di Pietro Mencio, called “Sano di 
 Pietro ” (1406-1481). A painter of Siena, whose nu- 
 
No. 3 
 p. 96 
 
CATALOGUE OF PICTURES. 
 
 97 
 
 merous works are mostly to be seen in the gallery 
 of Siena, Italy. The predella belongs to an earlier 
 period. Obtained in Florence in 1896. 
 
 36x24 
 
 6 
 
 Madonna and Child. 
 
 Francesco Bissolo (1490-1530). 
 
 Pupil of Giovanni Bellini (1426-1516). 
 Bissolo’s works are rarely seen outside of Venice. 
 Obtained in Venice in 1896. 
 
 49 x 37 
 
 7 
 
 Madonna and Child with St. John and Angels. 
 
 Unknown Italian. Roman school. 
 Second half sixteenth century. 
 
 Obtained in Venice in 1896. 
 
 36 x 28 
 
 8 
 
 Madonna and Child. 
 
 Attributed to 
 
 Girolamo dai Libri (1472-1555). School of Verona. 
 Obtained in Venice in 1896. 
 
 40 x 30 
 
 9 
 
 The Mystic Marriage of St. Catharine. 
 
 Obtained at the sale of the pictures of the late 
 S. L. M. Barlow, in New York, in 1889. The cata- 
 
98 
 
 CATALOGUE OF PICTURES. 
 
 logue at the time of the sale contained the follow¬ 
 ing statement: “Giovanni Bellini (1426-1516). 
 This picture was taken from a gallery in Silesia by 
 the troops of Napoleon and afterward restored. 
 Purchased by the late owner upon the recommen¬ 
 dation of Sir Charles Eastlake.” 
 
 36 x 27 
 
 10 
 
 Madonna in Adoration, with St. Joseph. 
 Unknown Early Florentine. 
 
 End of fifteenth century or beginning of six¬ 
 teenth. Very similar in style, subject and color to 
 a picture in the Uffizi Gallery, at Florence, by 
 Lorenzo di Credi (1459-1537). 
 
 Obtained in Florence in 1891. 
 
 42 x 42 
 
 li 
 
 Madonna and Child. Unknown Early Venetian. 
 
 Byzantine style of fourteenth century. 
 Obtained in Venice in 1896. 
 
 52 x 37 
 
 12 
 
 Madonna and Child. 
 
 Unknown early Venetian. First half sixteenth 
 century. 
 
 Possibly by Boccaccio Boccacino or some unknown 
 pupil of Giorgione (1476-1511). 
 
CATALOGUE OF PICTURES. 
 
 99 
 
 Obtained in 1896 from the Palazzo Griustiniani 
 Yescovio, Grand Canal, Venice. Schiavone 
 Collection. 
 
 33 x 27 
 
 13 
 
 Madonna, Child, St. John and St. Joseph. 
 
 Attributed to Innocenzo da Imola (1494—1549). 
 
 A pupil of Raphael (1483-1520). 
 Obtained from the Palazzo Giustiniani Vescovio, 
 Venice, in 1896. 
 
 53 x 43 
 
 14 
 
 Madonna, Child, and St. Anne as Adoring Nun. 
 
 Unknown Italian. Lombard School. 
 Sixteenth Century. 
 
 Obtained from the Palazzo Griustiniani Vescovio, 
 Venice, in 1896. 
 
 34 x 28 
 
 15 
 
 Madonna and Child with the Scapular. 
 
 Unknown Italian. 
 
 Obtained from the Church of Santa Zaccheria, 
 Venice. 
 
 62 x 27 
 
100 
 
 CATALOGUE OF PICTURES. 
 
 16 
 
 Madonna and Child. 
 
 Unknown early Venetian. Byzantine style of 
 fourteenth century. 
 
 Obtained in Venice in 1893. 
 
 26 x 22 
 
 17 
 
 Unknown early Italian. Probably early part of 
 fifteenth century. 
 
 Obtained in Venice in 1896. 
 
 25 x 18 
 
 Madonna and Child. 
 
 Unknown Italian. Latter part of sixteenth 
 century. 
 
 Obtained in London in 1881. 
 
 41 x 35 
 
 18 
 
 St. John in the Wilderness. 
 
 Unknown early Venetian. Probably middle 
 of fifteenth century. Something in the style of 
 the Vivarini, Venetian painters of the island of 
 Murano, near Venice, where the glass works are 
 now situated. 
 
 Obtained from the Palazzo Pesaro, Grand Canal, 
 Venice, in 1896. 
 
 53 x 27 
 
No. 5 
 p.96 
 
 
CATALOGUE OF PICTURES. 
 
 101 
 
 19 and 20 
 
 The Annunciation. 
 
 Unknown Venetian. Sixteenth century. In 
 the second style of Bissolo (1490-1530?) as shown 
 in one of his pictures, differing from the others, in 
 the Royal Academy at Venice. 
 
 Obtained in Venice in 1893. 
 
 37 x 33 
 
 21 
 
 Portrait of a Woman. 
 
 Unknown Florentine. 
 
 End of sixteenth or beginning of seventeenth 
 century. 
 
 In the style of Angelo Bronzino (1577-1621). 
 Obtained in New York. 
 
 30 x 24 
 
 22 
 
 Unknown Italian portrait of 
 
 Petrarch. 
 
 Obtained in London in 1881. 
 23 x 17 
 
102 
 
 CATALOGUE OF PICTURES. 
 
 23 
 
 Flight into Egypt. 
 
 Unknown Italian. Style of Parmigianino 
 (150L-1540). Painted on copper. 
 Obtained from the Armenian monks in their mon¬ 
 astery on the island of San Lazaro in the 
 Lagoons, near Venice, in 1896. 
 
 14 x 13 
 
 24 
 
 Water Color Copy of Titian’s Christ and the Disciples 
 at Emmaus. 
 
 Original (large picture) in the Museum of the 
 Louvre. Of the seated figures, one represents the 
 Emperor Charles V of Germany, and the other 
 the Cardinal Ximenes of Spain. The youth in the 
 background is Philip II of Spain, and the figure 
 in workman’s clothes is Titian himself. 
 
 Obtained from a copyist in the Louvre. 
 
 24 x 19 
 
 25 
 
 St. Paul. 
 
 Unknown. The picture is something in the 
 style of the Vivarini, early Venetian painters, but 
 the inscription on the top of the picture in some 
 
“T-502 WZ 
 
CATALOGUE OF PICTURES. 
 
 103 
 
 strange language would indicate a different origin. 
 Obtained from the Palazzo Pesaro, Grand Canal, 
 Venice, in 1896. 
 
 69 x 36 
 
 26 
 
 Madonna, Child and St. John. 
 
 Water color copy of Botticelli’s Madonna of the 
 Louvre. 
 
 Obtained from Mr. Randall, an English artist, 
 while copying it in the Louvre. 
 
 36 x 27 
 
 27 and 28 
 
 Annunciation. 
 
 Frame and panel are one piece. 
 Obtained near Florence in 1891. 
 
 13 x 13 
 
 29 
 
 Arms of Pope Innocent XII. 
 
 A member of the Pignatelli family of Naples. 
 Pope from 1691 to 1700. 
 
 Painted on Wood. 
 
 Obtained in Florence in 1893. 
 
 60 x 40 
 
104 
 
 CATALOGUE OF PICTURES. 
 
 30 
 
 Madonna and Child. 
 
 Unknown Venetian, in the transition style 
 from the Byzantine to the early Italian. On the 
 scroll in the hands of the child is written in cor- 
 rupt Byzantine Greek an inscription of which the 
 following is a translation: “Blessed are those 
 who keep my ways.” 
 
 Obtained in Venice in 1896. 
 
 46 x 37 
 
 31 
 
 Portrait of an Austrian Prince. 
 
 This picture bears date 1637 and is signed B. 
 Saarburg. Obtained from the Palazzo Giustiniani 
 Vescovio, Grand Canal, Venice, in 1896. 
 
 40 x 34 
 
 32 
 
 Madonna, Child, and St. John. Unknown Italian. 
 
 Sixteenth century. Painted on canvas. Obtained 
 from the Palazzo Giustiniani Vescovio in 1896. 
 Attributed to Bonifazio Veneziano. 
 
 47 x 42 
 
 33 
 
 Head of the Madonna. 
 
 Carlo Dolci. Florentine painter. 1616-1686. 
 Obtained from the collection of the late S. L. 
 
No. 7 
 
 p.97 
 
CATALOGUE OF PICTURES. 
 
 105 
 
 M. Barlow at the sale of his pictures in New York 
 in 1889. 
 
 45 x 40 
 
 34 
 
 Madonna, Child, St. Joseph and Adoring Saint. 
 
 Giovanni Buoneonsiglio, called “II Mares- 
 calco,” a painter of Vicenza. Beginning of six¬ 
 teenth century. The signature can be made out 
 with the aid of a magnifying glass. 
 
 Obtained in Venice in 1893. 
 
 53 x 37 
 
 35 
 
 Unknown Venetian Portrait. 
 
 Sixteenth century. Obtained in Florence in 1896. 
 43 x 39 
 
 36 
 
 Enthroned Madonna, with Child and Angels. 
 Unknown Italian. 
 
 Latter part of the sixteenth century. 
 Obtained in Padua, Italy, in 1896, where it had 
 been recently brought from the little town of 
 Orestano, Sardinia, in a much damaged condition. 
 Lower part restored in Venice in 1896. Painted 
 on panel. 
 
 58 x 34 
 
106 
 
 CATALOGUE OF PICTURES. 
 
 37 
 
 Madonna and Child. 
 
 Unknown early Venetian, probably end of 
 fourteenth century. 
 
 Obtained from the Armenian monks in 1896 
 in their monastery near Venice, and by them at¬ 
 tributed to Nicolo Semetecolo (1350-1400). 
 
 40 x 36 
 
 38 
 
 Madonna and Child. 
 
 Unknown early Italian. 
 
 Obtained in Venice in 1896 in a much damaged 
 condition. Restored by puncturing the flaking 
 paint, putting paste underneath, covering with 
 paper and then ironing the paint fast to the panel 
 with a hot iron. 
 
 37 x 27 
 
 39 
 
 Horace Walpole, Fourth Earl of Orford. 
 
 Artist unknown. Obtained in London in 1881. 
 33 x 29 
 
 40 
 
 Copy of Rembrandt's Portrait of Himself. 
 
 Original in the Gallery of The Hague, Holland, 
 and obtained in that city. 
 
 33 x 28 
 
No. 8 
 
 p. 97 
 

 
CATALOGUE OF PICTURES. 
 
 107 
 
 41 
 
 Landscape. 
 
 Attributed to “Old Crome.” 
 Obtained in London in 1881. 
 23 x 19 
 
 42 
 
 Angels in Flight. Decorative Panel. 
 
 Unknown. 
 
 Obtained in Florence in 1896. 
 72 x 30 
 
 43 
 
 Copy of Giovanni Bellini’s celebrated portrait of the 
 
 Venetian Doge, Leonardo Loredano. 
 
 Original in the National Gallery, London. 
 Obtained there from a copyist. 
 
 32 x 36 
 
 44 
 
 Marino Faliero, Doge of Venice, led out for execution 
 on the Giant Staircase of the 
 Doge’s Palace. 
 
 Andrew Geddes. 
 
 Obtained in London in 1881. 
 
 22 x 18 
 
CATALOGUE OF PICTURES. 
 
 45 
 
 Copy of Rembrandt’s picture known as 
 
 “The Lady with the Pink.” 
 
 The original is in the Dresden Oallery. 
 Obtained in Munich. 
 
 50 x 42 
 
MAft 
 


 
 
No. 10 
 
 p. 98 
 
No. 11 
 
 p. 98 
 
No. 12 
 98 
 
 P- 
 

 No. 13 
 
 p. 99 
 
No. 14 
 p. 99 
 
No. 17 
 
 p.100 
 
 

 
 ■ 
 
 
No. 17V 2 
 
 p.100 
 
* 
 
 
No. 18 
 
 p.100 
 


 No. 20 
 p. 101 
 
No. 2 2 
 p. 101 
 
No. 25 
 
 p. 102 
 
No. 30 
 p. 104 
 
 

 
 
 
No. 31 
 
 p. 104 
 

 No. 3 2 
 

 
 
No.33 
 
 p.l04 
 

 
 
 

 
 
 No. 34 
 
No. 3 5 
 
 p.105 
 
No. 37 
 
 p. 106 
 
No 38 
 
 p.106 
 
REPRODUCTIONS IN MARBLE, BRONZE 
 AND PLASTER OF ANTIQUE AND 
 RENAISSANCE SCULPTURE. 
 
GREEK SCULPTURE. 
 
 The history of sculpture anions: the Greeks represents 
 a progressive development up to a point that has never 
 since been equalled, followed by an inevitable decline, 
 until in its latest period, the original creative faculty 
 having disappeared, the sculptor was obliged to con¬ 
 tent himself with the reproduction, with variations, of 
 already existing forms. These phases of development 
 have been divided into four epochs. 
 
 First comes the archaic period, which includes the 
 plastic productions which antedate the time of Phidias, 
 when the Greek sculptors, more or less unconsciously, 
 were still working within the shadow of the dull form¬ 
 alism of Egypt and the East. This period ends with the 
 beginning of the fifth century B. C. 
 
112 
 
 GREEK SCULPTURE. 
 
 The second epoch, dominated by the vigorous origi¬ 
 nality of Phidias, represents the period of highest de¬ 
 velopment, when the Greeks, in the full and assured 
 enjoyment of personal and intellectual freedom, follow¬ 
 ing the defeat of the Persians, threw off all restraint, 
 and working with that certainty and precision, un¬ 
 trammeled by tradition, which, is a condition of genius, 
 produced those masterpieces in architecture and sculp¬ 
 ture which have been the admiration of successive gen¬ 
 erations down to our own time. 
 
 The third epoch was reckoned from about the time 
 of the death of Phidias and his immediate successors, 
 at the end of the fifth century, B. CX, to that of the 
 death of Alexander the Great in the last quarter of the 
 fourth century B. 0., a period of less than a hundred 
 years, when Scopas and Praxitiles and their immediate 
 predecessors, contemporaries, and successors executed 
 work of extraordinary finish and perfection, though 
 cast in a less heroic mould than that of the sculptors of 
 the older generation. 
 
 The fourth epoch, similar in many respects to the 
 third, dates from the conquests of Alexander to the 
 subjugation of Greece by Borne, 146 B. C., a period of 
 about one hundred and seventy-five years, when 
 the highest order of original creative force 
 had disappeared, though works of great power 
 and beauty continued to be executed. 
 
 And here it may be remarked that the ideal 
 creations of the artist are after all but the embodiment 
 
GREEK SCULPTURE. 
 
 113 
 
 of tlie aspirations of a whole people, so far as they can 
 be expressed within the limitations of art. No 
 great artist ever springs unheralded from the midst 
 of a rude and uncultured people. His inspiration must 
 come from his surroundings, wliich he in turn creates. 
 
 And so, as we look into the future, it may never be 
 that another community will ever hold within itself, 
 and be able to combine, the elements that made the 
 Greek supreme in the world of plastic art. With little 
 of the introspective spiritual life which is the out¬ 
 growth of the Christian ideal, the sensitive Greek mind 
 sought an outlet in the worship of the beautiful, 
 and regarding the body as the temple of a 
 soul that might be as mortal as itself, the 
 energies of the Greek w r ere all bent in the direction of 
 creating forms of beauty, in the intellectual as well as 
 the material w T orld, that would satisfy a longing that had 
 in it little of the spiritual aspiration as conceived in 
 a later age. 
 
 Reversing the fundamental doctrine of Christianity, 
 he therefore created his gods in his own image, and 
 with an artistic temperament that for some unex¬ 
 plained reason has never been equalled, the Zeus, the 
 Athena, the Apollo, the Venus, or the Hermes created 
 by him, each expressing some lofty attribute of mind 
 or beauty of person, or combination of both, stood for 
 eighteen centuries unrivalled in the world of art, until, 
 for a brief period, challenged by another school which 
 had also for its motive a fervent worship of the beauti- 
 
114 
 
 GREEK SCULPTURE. 
 
 fill, this time spiritualized by the element of religious 
 devotion. When Michael Angelo created the Virgin 
 supporting in her arms the dead Christ, and Raphael 
 painted his S'istine Madonna, the world again saw the 
 keenest artistic temperament, united with the highest 
 order of technical skill, develop an art which was sus¬ 
 tained by a simple aspiration understood by all. 
 
 Then it was perceived that Phidias and Michael 
 Angelo, each the inspired interpreter of the sentiment 
 of the age in which he lived, reigned supreme in that 
 realm where the sceptre can be held only by him, who, 
 in his relations to the material world, approaches near¬ 
 est to his Creator. 
 
 How profoundly conscious the Creeks were of the 
 majesty of a great work of art is illustrated by the im¬ 
 pressive story told of Phidias as he stood before his 
 completed statue of the Olympian Zeus. He was then 
 an old man, and this was the crowning work of a long 
 life devoted to his art. As he gazed upon this re¬ 
 splendent statue, instinct with life, power, dignity and 
 beauty, he raised his hands in prayer, and implored the 
 living God to vouchsafe some sign, if the work were 
 pleasing to him. Then suddenly, through the opening 
 in the roof of the temple, there fell at his unharmed feet 
 a thunderbolt, and he knew that his work was accept¬ 
 able to the benignant father of gods and men. 
 
 Of the different epochs of Greek sculpture here ex¬ 
 hibited at Southampton there is at present no example 
 of the archaic period. 
 
VITELLIUS. VESPASIAN. TITUS. DOMITIAN. NERVA. 
 
GREEK SCULPTURE. 
 
 115 
 
 Of the work of Phidias there are to be seen the 
 copies of the more or less mutilated slabs of the Par¬ 
 thenon Frieze, and the reproduction of the antique 
 copy of the head of Zeus. Examples of the third 
 epoch are represented by the Faun of Praxitiles, the 
 Winged Victory of Samothrace and probably the Psy¬ 
 che of Capua. Of the fourth period we have the Boy 
 Extracting a Thorn, The Wrestlers, and The Laocoon. 
 
 In the above distribution of epochs it will be noted 
 how closely they correspond to great political and 
 social changes resulting from wars, defensive or offen¬ 
 sive as the case may be. 
 
 To the four periods above mentioned should be 
 added another, the Greco-Roman, when Greece, 
 iJ. though conqueror, gave to the conquerors her litera¬ 
 ture and art in exchange for law, stability and order. 
 Then it was, when the Republic was crumbling to 
 pieces and the Empire being reared upon its ruins, that 
 the hard-headed, practical Roman, master of the wealth 
 of the world, entered the field as a connoisseur and col¬ 
 lector. In the fierce rivalry that ensued for the posses¬ 
 sion of the treasures of Greek art, scenes were enacted 
 that are but faintly suggested in our own day when col¬ 
 lections of French pictures are exposed for sale in an 
 American auction room. Victorious Roman generals, 
 returning with the spoil of conquered provinces, brought 
 with them as their most valued trophies the marbles, 
 bronzes, and paintings that had adorned the temples 
 and market places of Greece, and the palaces of the 
 
116 
 
 GREEK SCULPTURE. 
 
 rulers of those countries that had responded to Greek 
 influence, and the choicest specimens of art were set up 
 in Rome to he gazed at by the untutored multitude of 
 the imperial city, or hid away in the luxurious villas 
 of the Roman nobles. To what lengths of oppression 
 and extortion a Roman connoisseur was prepared to 
 go for the gratification of the passion of collecting can 
 be studied in the celebrated oration of Cicero against 
 Yerres, pro-consul of Sicily, a province already for 
 many generations dominated by Greek influence, and 
 rich in artistic masterpieces. In the world of art “the 
 glory that was of Greece” was at that time transferred 
 to “the grandeur that was of Rome,” and we to-day 
 inherit at Rome, Naples, Florence, London, Paris and 
 other continental cities, the magnificent debris of that 
 period of craze for collecting art treasures, the like of 
 which has never been equalled. 
 
 Though lacking in ideal original creations the Graeco- 
 Roman period is rich in portrait busts, of which count¬ 
 less numbers survive, to be seen to-day scattered by the 
 hundred through the museums of Europe. The busts 
 of the Emperors here exhibited at Southampton are 
 examples of this period. 
 
 It is hoped that from time to time other repro¬ 
 ductions may be added to this collection that will illus¬ 
 trate more fully the various phases of development of 
 the Greek as well as other periods of plastic art. 
 
GREEK SCULPTURE. 
 
 117 
 
 ATHENS AND THE PARTHENON. 
 
 The Frieze. 
 
 When the first great historic conflict between Asiatic 
 and European civilization took place in the beginning of 
 the fifth century before Christ, Athens took the lead 
 in the defence of Europe. The overthrow of the Persian 
 hordes of Darius and Xerxes at Marathon, (490 B. 0.), 
 Salamis, (480 B. C.) and Plataea, (479 B. C.) was the 
 signal for such an awakening of the human mind as 
 had never been known before. This extraordinary 
 mental activity was, without doubt, stimulated, if not 
 actually created, in the sensitive Greek mind, by the 
 exaltation of spirit engendered by the devotion, self- 
 sacrifice, and consciousness of physical courage, called 
 forth and displayed in a successful defensive war 
 against vast numerical odds, where liberty and civ¬ 
 ilization were at stake. Immediately following the 
 Persian wars came the so-called “Age of Pericles,” 
 when the intellectual development of man reached its 
 highest point. This was the period of culmination in 
 the world of art, when the genius of the sculptor, the 
 architect, and possibly the painter, produced a result 
 that has been since unrivalled. A part only of the 
 sculpture and architecture of the Periclean age has sur¬ 
 vived and, of all the creations in the latter field, the 
 Parthenon, for beauty of proportion and design, by 
 universal consent, is the one supreme structure of the 
 world. To Pericles and Phidias is due the adornment 
 
118 
 
 GREEK SCULPTURE. 
 
 of Athens, whereby, in conjunction with the poets, 
 philosophers, orators, statesmen, historians, and culti¬ 
 vated men of every profession, native and foreign, 
 who sought her out, she became the artistic and 
 intellectual centre of the antique world, a kind of 
 magnificent open-air University town.* Tbus it was 
 that, the traditions of learning remaining an active 
 force, she continued to exert, long after her political 
 importance had become but a memory, a powerful 
 influence, vibrating through the centuries down to 
 our own time. Pericles was the political leader of the 
 dominant Athenian democracy between about 460 
 and 430 B. C. United with his extraordinary capa¬ 
 city for political domination was a broad-minded in¬ 
 terest in the permanent welfare of his native city, 
 that led him to exert every effort to make her the 
 wonder and delight, not only of his own age, but 
 that of many generations to come. It was his rare 
 good fortune to be surrounded by a body of men 
 who, for genius and ability in their respective profes¬ 
 sions, have never been equalled. For the purpose of 
 this account, however, we need select but three, Phidias, 
 Iktinos and Kallicrates. In the art world of Athens at 
 that time, Phidias, the greatest sculptor of all time, 
 was the master mind, and to him Pericles confided the 
 supervision of all the work connected with the adorn¬ 
 ment of the Acropolis. This eminence, originally a 
 fortress, as its name implies, rises from the Attic plain, 
 
 ♦See Note. 
 
GREEK SCULPTURE. 
 
 119 
 
 on which the city is built, about two hundred feet at 
 its highest point above the city of Athens. It is ir¬ 
 regular in shape and contains about six acres, almost 
 level, surrounded by a sustaining wall. Nearly in the 
 centre of this plateau, Iktinos and Kallicrates being 
 the architects, was built the Parthenon, dedicated to 
 Athena Parthenos (the virgin Athena), Goddess of 
 Wisdom, the tutelary deity of the Athenians. The 
 temple was begun probably 453 B. C., constructed 
 throughout of Pentelic marble, and finished in about 
 sixteen years. The marble platform, which forms the 
 base on which the structure stands, is 228 feet long 
 and 101 feet broad. The body of the temple itself, 
 called the cella, is surrounded on all sides by Doric 
 columns, forty-six in number, with an average height 
 of about 34 feet. In diameter these columns are a lit¬ 
 tle over six feet at the base, and a little less than 
 five at the top. The cella is 194 feet long and about 
 69 feet wide. Within this sanctuary was placed 
 the celebrated statue of Athena, the crowning 
 work of Phidias himself. The interior of the statue 
 was of wood, on which was modelled, with some plastic 
 material, the form of the goddess, and this was then 
 covered, for the nude part, with ivory plates, while 
 plates of gold were used for the garments and 
 such accessories of adornment as were required. The 
 statue was full length, thirty-eight feet in height, the 
 head crowned with a richly sculptured golden helmet. 
 In the outstretched right hand of the goddess stood a 
 
120 
 
 GREEK SCULPTURE. 
 
 winged Victory, six feet high, holding a wreath, while 
 in her left hand was a spear. This imposing figure is 
 supposed to have remained in the temple, in all its ma¬ 
 jestic beauty, for about nine hundred years, when it fell 
 a victim to the fanaticism of the iconoclasts of the fifth 
 century of the Christian era, and from that time on no 
 trace of it has remained. 
 
 Of the plastic decorations of the exterior of the tem¬ 
 ple we have still the larger part of the so-called frieze 
 of the Parthenon, though in a more or less mutilated 
 form. The frieze encircled the exterior wall of the 
 cella. It was 524 feet long, 3 feet 3y 2 inches high, and 
 39 feet above the marble floor of the temple. Being 
 placed within the columns, just beneath the cornice of 
 the cella, the view of it was somewhat obscured by the 
 columns. On the west front, the frieze is still in place, 
 though most of that which has survived is to be found 
 in the British Museum, having been brought to Eng¬ 
 land by Lord Elgin in the beginning of this century. 
 There are, however, twenty-two slabs still retained in 
 the small museum at Athens, on the Acropolis itself. 
 The plaster copies of about 147 feet of the frieze, 
 here shown at Southampton just beneath the cornice 
 of the main hall, are an exact reproduction, of the 
 size of the original, of a part of the slabs now 
 in London, having been made in New York from 
 moulds in the possession of the Metropolitan Museum 
 of Art. The subject of the frieze is a festive proces¬ 
 sion in honor of the goddess Athena. It is the work 
 
GREEK SCULPTURE. 
 
 121 
 
 of Phidias, or done under liis immediate supervision, 
 some of it doubtless from his own hand, and all of 
 it breathing the spirit of his genius. Much of it 
 was shattered or entirely destroyed at the time of 
 the great explosion in 1687. At that time the Turks 
 were in possession of Athens and, being hard pressed 
 by the Venetians, made a last stand on the Acropolis 
 itself. Their powder being stored in the Parthenon, a 
 Venetian bomb set fire to the magazine, and this mag¬ 
 nificent temple, till that time practically intact for over 
 two thousand years, was blown out in the middle, on 
 both sides, and so it has remained down to our own time. 
 When seen from the plain below, in approaching it 
 from either end, it still retains, though despoiled of its 
 decorative sculptures, much of its ancient beauty. Only 
 when one views it from an angle which permits the 
 sides to be seen is the story of its partial destruction 
 fully revealed. 
 
 Its history as a religious edifice is interesting. In the 
 fifth century of our era it became a Christian church, 
 dedicated to the Virgin. A thousand years later it was 
 turned into a Mohammedan mosque, and a minaret was 
 then added to it. To-day all unsightly additions have 
 been removed, and it is preserved and shown as an 
 almost sacred relic of antiquity. 
 
 A fine miniature reproduction of the Parthenon in 
 its original finished state, with all its exterior plastic 
 decorations, on the scale of one inch to twenty of the 
 
122 
 
 GREEK SCULPTURE. 
 
 structure itself, can be seen in the Metropolitan 
 Museum of Art of New York. 
 
 *Attica was a comparatively poor country, of very limited extent, 
 with but few of the many diversified material interests of modern 
 society. There were, moreover, but few religious questions, as under¬ 
 stood in later times, to occupy men’s minds, nor was scientific investi¬ 
 gation a prominent feature in the classic period. The result was, that, 
 being allured, to the same extent as in modern times, neither by the 
 pursuit of wealth, nor pre-occupied by scientific studies, or religious 
 controversies, the energies of as 1 keen and subtle minds as the world 
 has ever known were directed to the study and cultivation of philos¬ 
 ophy, literature and art. With what unrivalled results the Greeks 
 wrought, in these their chosen fields, is a matter of history. Hence, 
 enchanted with the intellectual luxury of philosophy, the simple doc¬ 
 trines of Christianity, as preached by St. Paul to the Athenians, were 
 “unto the Jews a stumbling block, and unto the Greeks foolishness.” 
 Later on the acute Greek mind, joyously aided by the subtlest of lan¬ 
 guages, undertook the congenial task of weaving around primitive Chris¬ 
 tianity a web of metaphysical refinement, and Athens having given 
 way to Alexandria as the centre of intellectual culture, there arose the 
 different Christian, as well as pagan, sects whose bitter hatred and 
 sanguinary strife so disfigure the earlier centuries; when the streets of 
 Alexandria ran red with the blood of fierce and ignorant fanatics who 
 freely gave their lives in the attack and defense of metaphysical sub¬ 
 tleties capable of being understood only by the acutest minds among 
 their leaders. For a brilliant exposition of the religious' and intel¬ 
 lectual condition of these times, see Kingsley’s “Hypatia.” Of the sur¬ 
 vivals of this period of turmoil, the most interesting are the Copts of 
 modern Egypt (the only descendants of the ancient Egyptians), and 
 the Armenians, neither of whom could ever be brought to acknowledge 
 the ultimate almost undivided sway of Rome, acquired by means of the 
 numerous oecumenical councils convened for the purpose of legislating 
 on the various questions of doctrine and discipline that arose in these 
 troubled times. Refusing to acknowledge the authority of these coun¬ 
 cils, both the Coptic and Armenian churches have maintained an un¬ 
 interrupted hierarchy from their foundation to the present day. The 
 Copts, now about 400,000 in number, claim St. Mark the Evangelist as 
 their first Patriarch. Though the well-known inherited tenacity ot 
 character and purpose of the ancient Egyptians is strikingly exempli¬ 
 fied in the modern Copt, it is a curious fact that the American Presby¬ 
 terian Board of Foreign Missions has, within the past few years, gained 
 
GREEK SCULPTURE. 
 
 123 
 
 many adherents among them to modern Protestantism, principally 
 through the introduction of excellent schools. To see our New England 
 school masters, spare in form, intelligent in mind, and alert in manner, 
 teaching the dark skinned little descendants of the subjects of the 
 Pharaohs, interspersed with the Mohammedan boys and girls of the 
 Arab race, in the very strongholds of the early Christian anchorites on 
 the upper Nile, is in itself a most interesting experience for the Ameri¬ 
 can traveller in that most fascinating of countries. 
 
124 
 
 GREEK SCULPTURE. 
 
 THE FAUN, 
 
 BY 
 
 Praxitiles (4th Century, b. c). 
 
 The marble original of the plaster cast here shown is 
 in the Museum of the Capitol at Rome, and was found 
 in 1701 at Civita Lavinia, on the site of an old Roman 
 villa. The underlying sentiment which inspired this 
 statue was a favorite one among the Greeks, when the 
 worship of beauty and nature, and a keen appreciation 
 of the subtleties of relationship among all created 
 things, supplied so much of what, in our day, is repre¬ 
 sented by the distinctly religious side of life. The 
 original of this celebrated work, and which served for 
 a model of its kind, was executed by Praxitiles, and is 
 supposed to have been set up at Megara, near Athens. 
 Many repetitions of it have survived to modern times, 
 but the one here shown is considered the most perfect. 
 
 Hawthorne makes it the keynote of his romance of 
 “The Marble Faun,” and his description of the statue 
 is here given in full as a fine example of a high order 
 of appreciative criticism of a work of plastic art: 
 
 “But we must do more than merely refer to this 
 exquisite work of art; it must be described, however 
 inadequate may be the effort to express its magic pe¬ 
 culiarity in words. 
 
 ‘ ‘ The Faun is the marble image of a young man, lean¬ 
 ing his right arm on the trunk or stump of a tree; one 
 
THE FAUN. 
 By Pbaxitiles. 
 Page 124. 
 
GREEK SCULPTURE. 
 
 125 
 
 hand hangs carelessly by his side; in the other he holds 
 the fragment of a pipe, or some such sylvan instrument 
 of music. His only garment—a lion’s skin, with the 
 claws upon his shoulder—falls half way down his back, 
 leaving the limbs and entire front of the figure nude. 
 The form, thus displayed, is marvellously graceful, hut 
 has a fuller and more rounded outline, more flesh, and 
 less of heroic muscle than the old sculptors were wont 
 to assign to their types of masculine beauty. The 
 character of the face corresponds with the figure; it is 
 most agreeable in outline and feature, but rounded and 
 somewhat voluptuously developed, especially about the 
 throat and chin; the nose is almost straight, but very 
 slightly curves inward, thereby acquiring an indescrib¬ 
 able charm of geniality and humor. The mouth, with 
 its full yet delicate lips, seems so nearly to smile out¬ 
 right, that it calls forth a responsive smile. The whole 
 statue—unlike anything else that ever was wrought in 
 that severe material of marble—conveys the idea of an 
 amiable and sensual creature, easy, mirthful, apt for 
 jollity, yet not incapable of being touched by pathos. 
 It is impossible to gaze long at this stone image without 
 conceiving a kindly sentiment towards it, as if its sub¬ 
 stance were warm to the touch, and imbued with actual 
 life. It comes very close to some of our pleasantest 
 sympathies. 
 
 “Perhaps it is the very lack of moral severity, of 
 any high and heroic ingredient in the character of 
 the Faun, that makes it so delightful an object to the 
 
126 
 
 GREEK SCULPTURE. 
 
 human eye and to the frailty of the human heart. The 
 being here represented is endowed with no principle of 
 virtue, and would be incapable of comprehending such; 
 but he would be true and honest by dint of his simplic¬ 
 ity. We should expect from him no sacrifice or effort 
 for an abstract cause; there is not an atom of martyr’s 
 stuff in all that softened marble; but he has a capacity 
 for strong and warm attachment, and might act de¬ 
 votedly through its impulse, and even die for it at 
 need. It is possible, too, that the Faun might be edu¬ 
 cated through the medium of his emotions, so that the 
 coarser animal portion of his nature might eventually 
 be thrown into the background, though never utterly 
 expelled. 
 
 “The animal nature, indeed, is a most essential part 
 of the Faun’s composition; for the characteristics of the 
 brute creation meet and combine with those of human¬ 
 ity in this strange yet true and natural conception of 
 antique poetry and art. Praxiteles has subtly diffused 
 throughout his work that mute mystery which so hope¬ 
 lessly perplexes us whenever we attempt to gain an in¬ 
 tellectual or sympathetic knowledge of the lower orders 
 of creation. The riddle is indicated, however, only by 
 two definite signs; these are the two ears of the Faun, 
 which are leaf-shaped, terminating in little peaks, like 
 those of some species of animals. Though not so seen 
 in the marble, they are probably to be considered as 
 clothed, in fine, downy fur. In the coarser representa- 
 
GREEK SCULPTURE. 
 
 127 
 
 tions of this class of mythological creatures, there is 
 another token of brute kindred,—a certain caudal ap¬ 
 pendage; which, if the Faun of Praxiteles must be 
 supposed to possess it at all, is hidden by the lion’s 
 skin that forms his garment. The pointed and furry 
 ears, therefore, are the sole indications of his wild, 
 forest nature. 
 
 “Only a sculptor of the finest imagination, the most 
 delicate taste, the sweetest feeling, and the rarest artis¬ 
 tic skill—in a word, a sculptor and a poet too—could 
 have first dreamed of a Faun in this guise, and then 
 have succeeded in imprisoning the sportive and frisky 
 thing in marble. Neither man nor animal, and yet no 
 monster; but a being in whom both races meet on 
 friendly ground! The idea grows coarse as we handle 
 it, and hardens in our grasp. But, if the spectator 
 broods long over the statue, he will be conscious of its 
 spell; all the pleasantness of sylvan life, all the genial 
 and happy characteristics of creatures that dwell in 
 woods and fields, will seem to be mingled and kneaded 
 into one substance, along with the kindred qualities in 
 the human soul. Trees, grass, flowers, woodland, 
 streamlets, cattle, deer, and unsophisticated man! The 
 essence of all these was compressed long ago, and still 
 exists within that discolored marble surface of the Faun 
 of Praxiteles. 
 
 “And, after all, the idea may have been no dream, 
 but rather a poet’s reminiscence of a period when man’s 
 
128 
 
 GREEK SCULPTURE. 
 
 affinity with nature was more strict, and his fellowship 
 with every living thing more intimate and dear.” 
 
 Obtained from the ‘‘Atelier de Moulage” of the 
 Museum of the Louvre. 
 

 
 
GROUP OF THE LAOCOON. 
 Page 129. 
 
GREEK SCULPTURE. 
 
 129 
 
 THE GROUP OF THE LAOCOON. 
 
 The original of this celebrated group, now in the 
 Vatican Museum, was discovered in 1506 in the ruins 
 of the Baths of Titus, at Rome. It is supposed to he 
 the joint work of certain Rhodian sculptors, who lived 
 in the third century B. C., though by some it is accred¬ 
 ited to some unknown hand of a later date. The sub¬ 
 ject is taken from one of the tragic incidents of the 
 Trojan war, as recounted by Virgil in the second book 
 of the “AEneid.” In that book AEneas is telling to 
 Dido, queen of Carthage, the story of the fall of Troy. 
 He relates how the Greeks, after a ten years’ siege, being- 
 unable to take Troy by force, resort to the stratagem of 
 the wooden horse. The Trojans, being divided in sen¬ 
 timent as to the treatment of the horse, are urged by 
 Laocoon, priest of Apollo and son of Priam, king 
 of Troy, to destroy it as an uncanny thing. He says 
 he fears the Greeks even bringing gifts (Timeo Danaos 
 et dona ferentes ) and goes so far as to drive his spear 
 into the side of the horse to emphasise his opinion. No 
 sooner has he done so than a scene is enacted the climax 
 of which is portrayed by the sculptor in the group 
 here shown. The story can best be told in the follow¬ 
 ing translation from the AEneid, the hero of the epic be¬ 
 ing himself the narrator: 
 
 “Here another scene and far more terrible is pre¬ 
 sented to our sight and disturbs our breasts, all un- 
 
130 
 
 GBEEK SCULPTUKE. 
 
 aware. Laocoon, Neptune’s ordained priest by lot, was 
 sacrificing a stately bullock at the altar, set apart for 
 that high service, when, lo, from Tenedos (I shudder at 
 the relation), two serpents with great eyes bear across the 
 sea, and with equal motion shoot forward to the shore; 
 whose breasts, erect amidst the waves, and crests drip¬ 
 ping with blood, tower above the flood; their other 
 parts sweep the sea behind, and their spacious backs 
 wind in rolling coils. The briny ocean, foaming, gives 
 forth a loud noise and now they reached the shore, 
 their glaring eyes suffused with fire and blood, while, 
 with quivering tongues, they licked their hissing 
 mouths. Half dead at the sight, we all fly different 
 ways. They with resolute motion advance toward Lao¬ 
 coon, and first both serpents, with close embraces, en¬ 
 twine themselves around the little bodies of his two 
 sons, and with their fangs mangle their wretched limbs. 
 Next they seize the priest himself, coming up with 
 weapons to their relief, and bind him fast in their 
 mighty folds; and now grasping him twice about the 
 middle, twice winding their scaly backs around his 
 neck, they overtop him by the head and lofty neck. 
 He strains at once with his hands to tear asunder their 
 knotted coils, while his fillets are stained with blood 
 and black poison; at the same time he raises hideous 
 shrieks to heaven; such bellowing as when a bull has 
 fled wounded from the altar eluding with his neck the 
 missing axe. Meanwhile the two serpents glide off to 
 the high temple and repair to the fane of stern Trito- 
 
GREEK SCULPTURE. 
 
 131 
 
 nia and are sheltered under the feet of the goddess and 
 the orb of her buckler. Then, indeed, new terror dif¬ 
 fuses itself through the quaking hearts of all, and they 
 pronounce Laocoon to have deservedly suffered for his 
 crime in having violated the sacred wood with his 
 pointed weapon, and hurled his profane spear against 
 its sides.” 
 
 The sequel to the story shows how the Trojans then 
 dragged the horse within their walls in fancied triumph. 
 That night the Greeks concealed within the horse, issued 
 forth, and aided by their companions, who had se¬ 
 cretly returned from Tenedos, captured the city, and 
 the Trojan war was ended. 
 
 The discovery of this statue, almost perfect, at the 
 time when the reverence for antiquity was practically 
 at its height in Italy, created a great sensation. Michael 
 Angelo was present when it was unearthed, and re¬ 
 garded it as a marvel of art. Just after the group had 
 been discovered certain Venetian ambassadors visited 
 Eome on political business, and upon their return 
 home submitted to their government a general report 
 on what they had seen. The following extract from 
 this report taken from Symond’s “Renaissance in 
 Italy,” will be of interest: 
 
 “The Venetian envoys, however, received permission 
 to visit this portion of the Vatican palace, and the sin¬ 
 gle entrance was unlocked for them. After describing 
 the beauty of the gardens, their cypresses and 
 orangeries, the greenness of their lawns and the stately 
 
132 
 
 GREEK SCULPTURE. 
 
 order of their paved avenues, the writer of the report 
 arrives at the statues: 
 
 “ ‘In the midst of the garden are two very large men 
 of marble facing one another, twice the size of life, 
 who lie in the attitude of sleep. One of these is the 
 Tiber, the other the Nile, figures of vast antiquity; 
 and from beneath them issue two fair fountains. On 
 the first entrance into the garden, on the left hand, there 
 is a kind of little chapel let into the wall, where on a 
 pedestal of marble, stands the Apollo, famous through¬ 
 out the world, a statue of incomparable beauty and 
 dignity, of life size and of finest marble [The so-called 
 Apollo Belvedere]. Somewhat farther on, in a similar 
 alcove, and raised on a like pedestal to the height of an 
 altar from the ground, opposite a well of most perfect 
 fashion, is the Laocoon, celebrated throughout the 
 world, a statue of the highest excellence, of size like a 
 natural man, with hairy beard, all naked. The sinews, 
 veins and proper muscles in each part are seen as well 
 as in a living body; breath alone is wanting. He is in 
 a posture between sitting and standing, with his two 
 sons, one on either hand, both, together with himself, 
 twined by the serpents, as Virgil says. And herein is 
 seen so great merit of the artist that better could not 
 be; the languishing and dying are manifest to sight, 
 and one of the boys on the right side is most tightly 
 clipped by the snake twice girdled round him; one of 
 the coils crossing his breast and squeezing his heart, so 
 that he is on the point of dying. The other boy on the 
 
GREEK SCULPTURE. 
 
 133 
 
 left side is also girdled round by another serpent. 
 While he seeks to drag the raging worm from his leg 
 with his little arm and cannot help himself at all, he 
 raises his face, all tearful, crying to his father, and 
 holding him with his other hand by the left arm. And 
 seeing his father more deadly struck than he is, the 
 double grief of this child is clear to view, the one for his 
 own coming death, the other for his father’s helpless¬ 
 ness; and he so faints withal, that nothing remains for 
 him but to breathe his last. It is impossible that hu¬ 
 man art can arrive at producing so great and natural a 
 masterpiece. Every part is perfect except that La- 
 ocoon’s right arm is wanting. He seems about forty 
 years of age, and resembles Messrs Girolamo Marcello 
 of S. Tommaso; the two boys look eight and nine re¬ 
 spectively. Not far distant, and similarly placed, is a 
 very beautiful Venus of natural size, with a little 
 drapery on her shoulder, that covers a portion of her 
 waist; as very fair a figure as can be imagined by the 
 mind; but the excellence of the Laocoon makes one 
 forget this and the Apollo, who before was so famous.” 
 
 The plaster cast here exhibited was made in Paris 
 from moulds in the possession of the Museum of the 
 Louvre. 
 
134 
 
 GREEK SCULPTURE. 
 
 HEAD OF ZEUS. 
 
 The original marble head of Zeus, of which this 
 is a plaster copy, was found in the baths of Otricoli, in 
 Italy and is now to be seen in the “Sala Rotonda” of 
 the Vatican Museum. It is supposed to be a faithful 
 antique copy on a reduced scale of the head of the most 
 celebrated statue of antiquity, executed by Phidias, 
 and placed in the temple of Zeus (Jupiter) at Olympia 
 in the Peloponnesus. Like the Athena in the Parthenon, 
 already described, this statue was of ivory and gold, 
 and represented the benignant father of gods and men 
 seated upon a richly sculptured throne, adorned with 
 precious stones, gold, ivory, and ebony. It was the 
 last great work of Phidias, and more than any other 
 creation of plastic art aroused among the ancients an 
 admiration amounting to reverence, of which we have a 
 record in the accounts which have come down to us. It 
 survived uninjured for nearly nine hundred years and 
 was destroyed by fire in the fifth century after Christ, 
 when the temple itself was also burned. At Olympia 
 the remains of the temple can still be seen. 
 
 For a most interesting detailed description of this 
 statue see Liibke’s “History of Art.” 
 
HEAD OF ZEUS. 
 Page 134. 
 

 
 
 
 
 
 
HEAD OF THE AI'OLLO BELVEDERE. 
 Page 135. 
 
HEAD OF THE APOLLO BELVEDERE. 
 Page 135. 
 
GREEK SCULPTURE. 
 
 135 
 
 HEAD OF THE APOLLO BELVEDERE. 
 
 Tlie original full length figure, in marble, this being a 
 plaster copy of the head, was discovered in 1503 at 
 Porto d’Anzio, Italy, the ancient Antium (a favorite re¬ 
 sort of the earlier Roman Emperors) and was removed 
 by Pope Julius II to the Vatican Museum, where it is 
 now to be seen in the Hall of Apollo. The author and 
 date of execution of this work are both matters of un¬ 
 certainty though it is generally assigned to the fourth 
 epoch of Greek development in sculpture, being, 
 roughly speaking, the period between the death of 
 Alexander the Great in 323 b. c. and the subjugation of 
 Greece by Rome 146 b. c. 
 
 The generally accepted theory now is that the so-called 
 Apollo Belvedere is itself a reproduction of some earlier 
 work, similar in this respect to the Faun of Praxitiles. 
 In any event it may be said that for life, vigor and 
 spirited treatment of a noble subject it ranks as one of 
 the great plastic creations of antiquity that has sur¬ 
 vived to the present day. 
 
136 
 
 GREEK SCULPTURE. 
 
 THE WRESTLERS. 
 
 The original, in marble, of this interesting group is 
 to be seen in the so-called Tribune, in the Uffizi Gal¬ 
 lery at Florence. The Tribune is a round hall, lighted 
 from above through delicately toned glass and contains 
 many of the masterpieces of the gallery, both in paint¬ 
 ing and statuary, being one of the few rooms in any of 
 the European museums where this combination is to be 
 found. The paintings belong to the period of the 
 Italian Renaissance, while the statuary is exclusively 
 Greek. The latter encircle the hall and the pieces are 
 five in number as follows: Satyr playing on a Cymbal, 
 Group of the Wrestlers, Venus de Medici, The Knife 
 Grinder, and the Apollino. This grouping together of 
 the art of the painter and sculptor produces a fine ef¬ 
 fect, and considering the celebrity of the Tribune it 
 seems odd that this method of distributing the artistic 
 treasures of the museums has not been more generally 
 resorted to. 
 
 Various conjectures have been made in regard to “The 
 Wrestlers.” It is, however, generally recognized as 
 being a work of about the fourth century b. c., and 
 by one authority has been attributed with some confi¬ 
 dence to one of the sons of Praxitiles, and furthermore 
 to be the very group mentioned by Pliny with admira¬ 
 tion in one of his well-known letters which has sur¬ 
 vived to the present day. 
 
 It has been much restored. 
 
 Obtained from the “Atelier de Moulage,” of the 
 Museum of the Louvre.” 
 
BOY EXTRACTING A THORN. 
 Tage 137. 
 
PSYCHE OF CAPUA. 
 Page 137, 
 

 
 
GREEK SCULPTURE. 
 
 137 
 
 BOY EXTRACTING A THORN. 
 
 The bronze original of this little figure is one of the 
 most pleasing of all the works of its kind, and is among 
 the treasures of the Palazzo dei Conservatori on the 
 Capitoline Hill at Rome. Though the exact date of its 
 execution is unknown, it belongs to the period of later 
 antique Greek art, probably about the 3d Century, B. C., 
 and the youth has therefore doubtless been sitting at 
 his self-appointed and never-fulfilled task of extracting 
 a thorn from his foot for something over two thousand 
 years. 
 
 PSYCHE OF CAPUA. 
 
 The original half length marble figure, of which this 
 is a marble reproduction of the head, is to be seen in 
 the Museum at Naples. It was found at Capua, a town 
 situated between Rome and Naples, which in the 
 earlier days of the Roman Republic almost rivalled 
 Rome in size and importance. 
 
 The sculptor and date of execution of the Psyche of 
 Capua are unknown, but the statue is recognized as 
 one of the minor masterpieces of Greek art and is sup¬ 
 posed to date from the 4th century, b. c., and therefore 
 to belong to the time of Praxitiles. The story of Cupid 
 and Psyche, the latter being typical of the human soul, 
 is taken for the subject of one of the pleasing allegories 
 of the later classic writers. 
 
138 
 
 GREEK SCULPTURE. 
 
 In the marble hall of the villa Carlotta, at Cadenabbia 
 on Lake Como, is to be seen the celebrated modern 
 group of “Cupid and Psyche,” by Can ova, the sculptor 
 having taken the moment when they first meet. The 
 villa Carlotta itself, with its well kept and extensive 
 semi-tropical gardens, is one of the most beautiful of 
 all the Italian villas, and contains the original of the 
 well-known marble reliefs by Thorwaldsen, representing 
 the Triumph of Alexander. 
 
 HERMES. 
 
 Hermes, the Mercury of the Roman mythology, was 
 one of the twelve great-gods of Greece and was the son 
 of Zeus (Jupiter) and the nymph Maia. In many ways 
 he came nearer to the everyday life of men than any 
 of the gods, and there is something in his attributes so 
 pleasing that he inspires a certain feeling of affection. 
 He was the messenger, herald, and ambassador of the 
 gods and the lightness, ease, and grace of his move¬ 
 ments, combined with like qualities of mind, make him 
 always an attractive figure in the Greek mythology. 
 
 When only a few hours old his youthful activity took 
 the form of stealing the oxen of Apollo, but being im¬ 
 mediately found out and about to be haled before his 
 father for punishment, he gracefully restored them and 
 presenting his brother at the same time with his newly- 
 invented lyre, as a peace-offering, they became firm 
 friends. But his inventive faculty did not stop with 
 
I-IERMES. 
 Page 138. 
 

tiie winged victory of samothrace. 
 Page 139. 
 
GREEK SCULPTURE. 
 
 139 
 
 the lyre (made on the spur of the moment by appro¬ 
 priating the shell of a passing tortoise when 
 making off with his brother’s oxen) for to Hermes 
 we are also indebted for the alphabet, the science 
 of astronomy and numbers, as well as weights and 
 measures. He was also the patron saint of roads, and 
 the sign posts scattered along the ancient highways 
 were surmounted with his image. He presided also 
 over the gymnasium, and travellers as well as athletes 
 looked to him for protection. He was also the god of 
 commerce and of barter and traffic, and in all dealings 
 among the merchants his name was invoked. He was 
 also the bringer of dreams, and that the lighter ele¬ 
 ments of his character might be steadied by more seri¬ 
 ous employment, to Hermes was assigned the duty of 
 conducting the souls of the departed across the 
 gloomy Styx. 
 
 He was, therefore, taken altogether, a very versatile 
 god, and in one form or another was a favorite subject 
 among the sculptors. 
 
 The marble bust, with the winged cap here shown, is 
 a copy of one of the many antique representations that 
 have come down to us. 
 
 WINGED VICTORY OF SAMOTHRACE. 
 
 Of all the archaeological discoveries of this genera¬ 
 tion, the Winged Victory of Samothrace, and the 
 
140 
 
 GREEK SCULPTURE. 
 
 Hermes of Praxitiles, are considered the most impor¬ 
 tant in the world of art. 
 
 The island where this statue was found, and from which 
 it takes its name, lies off the northwest coast of Asia 
 Minor, and in ancient times was the site of a temple 
 much resorted to from the mainland. Here it was that 
 in 1863 the scattered fragments of the Victory were dis¬ 
 covered, and three years later brought to Paris. About 
 the same time, in the same locality, a coin was found 
 bearing the stamp of a female figure, with flowing 
 drapery, standing on the prow of a vessel blowing a 
 trumpet. The coin was identified as having been 
 struck in the year 306 B. C. in commemoration of a cer¬ 
 tain naval victory, recorded in history, and it was then 
 recognized that the large and apparently valueless 
 fragments of marble left behind on the site of the 
 original discovery might well belong to the statue 
 itself. It was not, however, till 1875, that all 
 the fragments had been collected and transported to 
 Paris and put together in the Museum of the 
 Louvre, where this magnificent example of one of the 
 best periods of Greek art now stands at the head of the 
 staircase leading to the picture galleries. In the plas¬ 
 ter cast here shown we have only a miniature reproduc¬ 
 tion of the figure itself. The original marble in the 
 Louvre, including also the prow of the trireme on 
 which the Victory stands, is about twice the size of life. 
 The character of the work, combined with the evidence 
 furnished by the coin above referred to, fixes the date 
 
GREEK SCULPTURE. 
 
 141 
 
 of the execution of the statue as of the end of the fourth 
 century B. C., and assigns it to the school of Skopas, 
 who shares with Praxitiles, his younger contemporary, 
 the honors of the third great period of Greek develop¬ 
 ment in the world of plastic art, ranging from the time 
 of the death of the immediate successors of Phidias to 
 the time of the death of Alexander the Great, a period 
 of about a hundred years. Comparing the Winged 
 Victory with the most important creations of the pre¬ 
 ceding age of Phidias, we can note the change that has 
 come over the ideals and aspirations of the sculptor. 
 The repose and dignity of the Athena of the Parthenon 
 and of the Olympian Zeus now give way to the life and 
 movement of the Victory of Skopas, or to the ease and 
 grace of the Faun of Praxitiles, for while the Greek 
 mind still retained extraordinary vigor and originality, 
 these sculptors, both following and leading in the 
 change of taste and manners that had overtaken the 
 Greeks, sought expression for their art in a less heroic 
 form than had characterized the Phidian age. For the 
 purpose of illustration, let the visitor look at the head 
 of the Olympian Zeus, shown here in this collection, 
 and create for himself, however imperfectly, an appro¬ 
 priate body for such a head, and by a like process 
 create a head for the Victory. Then let him mentally 
 compare the two completed statues, and he will at once 
 recognize the difference between the calm dignity of 
 the one and the graceful movement of the other, and 
 in that recognition will appreciate how this difference 
 
142 
 
 GREEK SCULPTURE. 
 
 in the conception and execution of a work of art is in 
 itself typical of the change that had come over the 
 whole community in other directions than those im¬ 
 mediately related to art. 
 
 NARCISSUS OR “TEE ECHO.” 
 
 The bronze statuette, of which this is a copy of the 
 same size as the original, is one of the most pleasing of 
 all the works of its kind that has come down to us. It 
 was discovered about forty years ago standing upon a 
 vat in a soap boiler’s establishment, at that time un¬ 
 earthed at Pompei, where, in the darkness of the 
 house, covered with the ashes of Vesuvius, the hoy 
 had stood for eighteen centuries, then as now silently 
 awaiting the responsive note to the echo which never 
 came. Of its history we know nothing, but that such 
 a work should have been found in such a place, even 
 though only left there in the hurry of flight from the 
 doomed city, indicates how widely diffused was the love 
 of art among all classes of the people in ancient times. 
 
 The original is in the Museum of Naples. 
 
NARCISSUS OR "THE ECHO." 
 Page 1-P2. 
 
ANCIENT HISTORICAL BUSTS. 
 
MARCUS AURELIUS. JULIUS CAESAIi. CALIGULA. 
 
HOMER. 
 Page 145. 
 
HOMER. 
 
 The date and place of his birth are uncertain, and 
 even his individuality has been questioned, though 
 according to the most trustworthy critics, without 
 success. 
 
 He is supposed to have been born, of Greek parentage, 
 in Smyrna, Asia Minor, or in the Greek island of Chios, 
 and to have flourished about 900 b. c., thus being almost 
 a contemporary of David and Solomon, though of a 
 little later date. The original of this bust is in the 
 British Museum, and was found in the ruins of Baiae 
 on the Bay of Naples, in the year 1780. It probably 
 adorned the villa of some Roman citizen, as Baiae was 
 
146 
 
 ANCIENT HISTORICAL BUSTS. 
 
 one of the most celebrated of the watering places of 
 ancient Rome.* 
 
 It was a recognized fact in antiquity that there was 
 no authentic portrait of Homer of any kind and the 
 busts that have come down to us, unlike most of the 
 marble portraits of the Greek and Roman periods, 
 represent simply the sculptor’s ideal. Homer was the 
 greatest epic poet of antiquity and is still considered 
 the greatest of all time. He is supposed to have been 
 blind and to have wandered from place to place reciting 
 his verses. He was the author of many poems but the 
 “Iliad” and “Odyssey,” with some fragments of other 
 poems, are the only works of his that have come down 
 to us. 
 
 “Seven Grecian cities claim great Homer dead 
 
 Through which the living Homer begged his bread. ’ ’ 
 
 His poems have been frequently translated into Eng¬ 
 lish. Among others are the translations of Chapman 
 (time of Elizabeth), Pope, Cowper, Gladstone and 
 William Cullen Bryant. 
 
 PERICLES. 
 
 The original of this bust is in the British Museum. 
 It is supposed to be a Greco-Roman copy of an original 
 
 *The glory of Baiae has departed, a few ruins here and there alone 
 marking the spot. Julius Caesar, Pompey, Marius, Cicero, the Emperor 
 Nero and many other celebrated men of the Roman Republic and Em¬ 
 pire had country houses at Baiae, and the ruins of some of these are 
 still somewhat doubtfully pointed out. Its modern counterpart, though 
 differing in many ways, is Sorrento, on the opposite side of the bay. 
 
PERICLES. 
 Pago 146. 
 
ANCIENT HISTOKICAL BUSTS. 
 
 147 
 
 Greek work of the fifth century, b. c., executed during 
 the life-time of Pericles. It was found in the ruins of 
 the villa of Cassius at Tivoli, near Rome, in 1781. 
 
 Pericles was the most distinguished of Athenian 
 statesmen. The exact date of his birth is unknown, 
 but he grew up in the midst of the stirring times inci¬ 
 dent to the defeat of the Persians by the Greeks at 
 Salamis (480 b. c.) and was probably born even before 
 the heroic battle of Marathon (490 b. c.). His death 
 occurred 429 b. c. He was the leader of the popular 
 party at Athens and throughout his long public career 
 successfully opposed the pretensions of the aristocratic 
 faction. Through his eloquence, his commanding char¬ 
 acter, his talents and his devotion to the interests of 
 his country he became the unquestioned leader of the 
 dominant democracy. 
 
 The “Age of Pericles” represents the most brilliant 
 period of intellectual and artistic development, both of 
 ancient and modern times, and is recognized, so far as 
 it can be limited by exact dates, as the period between 
 460 and 430 b. c. During the lifetime of Pericles flour¬ 
 ished Socrates, the philosopher, and Phidias, the sculp¬ 
 tor, architect and painter, the Michael Angelo of anti¬ 
 quity. Under the general supervision of Phidias, the 
 Parthenon, which is still recognized as the most perfect 
 of architectural creations, was built and adorned, be¬ 
 sides many other public buildings which made of Athens 
 the most beautiful city of the world. During the “Age 
 of Pericles,” or immediately succeeding it, flourished 
 
148 
 
 ANCIENT HISTORICAL BUSTS. 
 
 many other men of the greatest eminence in almost 
 every field of intellectual activity, many of whose 
 works have come down to us. Under the leadership of 
 Pericles Athens attained her highest point of glory in 
 both war and peace and became the leading state of 
 Greece. 
 
 The high helmet here shown in the bust was sup¬ 
 posed to have been worn by Pericles to conceal an un¬ 
 usual length of head, a physical defect mentioned both 
 by Plutarch and the Athenian comic poets. 
 
 Caius Octavius, 
 
 after his adoption by his great uncle, Julius Caesar, 
 
 known as 
 
 Caius Julius Caesar Octavianus, 
 and later when Emperor of Rome as 
 
 CiESAR AUGUSTUS 
 b. c. 63 to a. d. 14. 
 
 The long reign of Caesar Augustus, b. c. 31 to a. d. 
 14, represents the most brilliant period of the Roman 
 Empire. It was near the close of his reign that Christ 
 was born. Augustus therefore was the Emperor from 
 whom went forth the decree that “all the world should 
 be taxed” (St. Luke 2:1). 
 
 At the time of the assassination of Julius Caesar (b. 
 c. 44) Octavius, being then nineteen years old and the 
 recognized heir of his great uncle Julius, was pursuing 
 
r.Il'l-: SIZE REPRODUCTION IN MARBLE OF THE SO-CALLED “PltliMA PORTA 
 
 Augustus.” The original is in the Gallery of the Vatican. 
 
 Page 14S. 
 
ANCIENT HISTORICAL BUSTS. 
 
 149 
 
 his studies and learning the art of war in Illyria, a Ro¬ 
 man province to the north of Greece. Hurrying to 
 Rome he found Mark Antony, then about forty years 
 of age, in possession and determined to maintain him¬ 
 self. The young Augustus was then, as at all times 
 during his eventful career, equal to the occasion, and 
 drove Antony from Rome. 
 
 Then followed a reconciliation, when Octavius and 
 Antony (with Lepidus), representing the Imperial party, 
 combined against Brutus and Cassius who sought to 
 maintain the Republic. The defeat of the latter at 
 Philippi (b. c. 42) left the former masters of the civil¬ 
 ized world which they proceeded to divide between 
 them. Later quarrels developing, Octavius defeated 
 Antony at the great sea fight of Actium (b. c. 31) and 
 thus became sole ruler of the Roman world. Practi¬ 
 cally absorbing within himself by degrees the execu¬ 
 tive, legislative and judicial functions of the State, as 
 well as those incident to his later office of High Priest, 
 and backed by the army, of which he was commander 
 in chief, he established on a permanent basis the sys¬ 
 tem inaugurated by Julius Caesar and (while retaining 
 the old Republican forms and a certain personal sim¬ 
 plicity of life) became the embodiment of the Imperial 
 idea and has ever since remained so.* 
 
 *The closest modern counterpart of the Caesars is the Czar of Russia. 
 The possession of Constantinople by the Russians and the assumption 
 of a practical protectorate by Russia over the Turkish dominions would 
 closely assimilate Russia to the Eastern Roman Empire. 
 
150 
 
 ANCIENT HISTORICAL BUSTS. 
 
 The Roman world, wearied with the turmoils and con¬ 
 tentions of the preceding half century or more, accepted 
 the sway of Augustus without question, and seeing the 
 civilized world, for the first time in history, in a state 
 of profound peace and prosperity under a single ruler, 
 became convinced of the necessity of such a form of 
 government. So strong did this sentiment become that 
 even during his lifetime altars and temples were erected 
 in his name and divine honors were paid him. The 
 month of August was named after him at that time and 
 has retained its name ever since. 
 
 The “Augustan Age” was the most brilliant period 
 of Roman Literature. The poets Virgil, Horace, and 
 Ovid, and the historian Livy all lived and wrote at 
 Rome during this time, and were the close personal 
 friends of the Emperor and his great minister of State, 
 Macsenas. 
 
 The two busts here shown are authentic portraits of 
 the period, the originals being still in Rome. The 
 smaller one represents Augustus at the age of fourteen, 
 and the earnest, thoughtful look of the boy is one of 
 the finest things in marble that has come down to us 
 from that period. The larger bust represents him after 
 he had become Emperor, and is taken from a full length 
 figure, the original of which is in the Vatican at Rome. 
 
 The story of the struggle of Augustus for supreme 
 power can be studied with great interest not only in the 
 histories of the time but also in Shakespeare’s plays 
 “Julius Csesar” and “Antony and Cleopatra.” 
 
TIBERIUS CAESAR. 
 
 (42 B.C.—37 A.D.) 
 
 The original of this marble reproduction is in the Hall of Augustus in 
 the Museum of the Louvre. 
 
 Pago 151. 
 
ANCIENT HISTORICAL BUSTS. 
 
 151 
 
 TIBERIUS CAESAR. 
 
 (42 b. c.-37 a. d.) 
 
 Tiberius Caesar, second Emperor of Rome and stepson 
 of Caesar Augustus, is one of the most interesting figures 
 in history, and doubly so to us as the man who, at the 
 time of Christ, ruled the destinies of the Roman Empire. 
 The peaceful reign of Augustus had settled in the 
 minds of men as an unquestionable fact that the Roman 
 world could be safely governed by but one imperial will, 
 and to Tiberius was confided the awful responsibility 
 incident to the position of sole ruler of that vast consoli¬ 
 dated net work of civilized and semi-civilized com¬ 
 munities whose final appeal for justice must be to 
 Caesar alone. Of all the members of the imperial house¬ 
 hold he was the best equipped for the task. His train¬ 
 ing had been of the most thorough kind—from liis> 
 youth up he had successfully commanded the armies of 
 Rome, and been employed in the most responsible civil: 
 positions, and his conduct had justified his selection. 
 When upon the death of Augustus, 14 a. d., he was* 
 called upon to assume the supreme direction of affairs, 
 he was fifty-six years of age. His mother was Livia, 
 second wife of Augustus, a woman whose talents, 
 ambition, intrigues and exalted station at one of the 
 most conspicuous periods of history have made her 
 name a familiar one in the annals of Rome. The real 
 character of Tiberius has always been an enigma to 
 historians, but of the high order of his intellectual 
 
152 
 
 ANCIENT HISTORICAL BUSTS. 
 
 capacity there is no doubt. He set for himself the task 
 of consolidating the imperial system inherited from his 
 predecessor, and so far as the Empire at large was con¬ 
 cerned, the verdict of history has set upon his adminis¬ 
 tration the seal of success. In his own household 
 occurred many scandalous and disgraceful events, and 
 the tyranny and cruelty displayed by him and his 
 ministers of state within the circle of their immediate 
 surroundings have left an ineffaceable stain upon his 
 memory. Tiberius was a silent, self-reliant man, and 
 with a certain intuitive grasp of a situation that, 
 penetrating all disguises, made him feared and hated 
 by so-called friends and enemies alike. Master himself 
 to an extraordinary degree of the art of dissimulation, 
 no one could ever tell what his real opinion might be, 
 except to know that what his interest dictated that he 
 would do. His cold, clear, calculating intellect domi¬ 
 nated the fierce factions of his household, and he stands 
 the very embodiment of the imperial idea. 
 
 When an old man his contempt for the servility of 
 public life and general disgust with his surroundings 
 led him to retire from the world, and he shut himself 
 up in the island of Capri, in the bay of Naples. Here 
 he built a palace, the ruins of which are still to be seen, 
 and it is curious how to this day the traditions of 
 Tiberius seem to hover like an uncanny spell over that 
 beautiful island. At Capri were passed the last eleven 
 years of his life, for him a period of brooding melan¬ 
 choly, for there it was, as Pliny says, that he became 
 

 TRAJAN, 
 
 HADRIAN 
 
ANCIENT HISTORICAL BUSTS. 
 
 153 
 
 “the gloomiest of mankind.” It was during this sad 
 period of his career that the stories of his many crimes, 
 cruelties and debaucheries are told, which, in popular 
 remembrance, most cling around his memory. To 
 Suetonius we owe the revolting account of the last 
 years of the Emperor. This author, (who was private 
 secretary to the Emperor Hadrian) two or three gener¬ 
 ations after the death of Tiberius, wrote a history of 
 the First Twelve Caesars, but he belonged to the sen¬ 
 sational rather than to the philosophic order of his¬ 
 torians, and just how far his lurid tales are to be 
 believed is very questionable. It seems impossible 
 that Tiberius should have continued to rule the Empire, 
 with the firm hand he is known to have exercised, from 
 the seclusion of such debauchery as this historian de¬ 
 scribes. 
 
 Wasted with disease, the Emperor died in the year 
 37 a. d. In his last illness, showing some signs of 
 recovery, he was smothered to death by Macro, his 
 chief minister of state who had succeeded the still 
 more infamous Sejanus, executed by an order of 
 Tiberius issued from his retreat at Capri. Though the 
 fall of Sejanus stirred far and wide the Roman world 
 of the time, there was enacted almost simultaneously 
 another scene in the far-off province of Judea of 
 transcendent import to the human race. Doubt¬ 
 less unnoticed except as one of the many pass¬ 
 ing local events necessarily incident to the government 
 of a vast empire, where provincial factions strove for 
 
154 
 
 ANCIENT HISTORICAL BUSTS. 
 
 the mastery, occurred the crucifixion of Christ. That 
 Pontius Pilate considered it a subject of sufficient im¬ 
 portance to transmit an account of it to his imperial 
 master at Capri is a matter for conjecture only.* 
 
 Tiberius left no descendants living at the time of his 
 death, and was succeeded by Caligula. By order of 
 Augustus he had unwillingly divorced his first wife 
 and married Julia, of infamous memory, daughter of 
 the Emperor and widow of Marcus Agrippa, the man 
 who built the Pantheon at Rome. 
 
 The bust of Tiberius here shown was made from an 
 antique marble bust still to be seen in the Hall of 
 Augustus in the Museum of the Louvre at Paris. 
 
 ♦During the first century of our era the Roman writers not un¬ 
 naturally regarded the Christians as only an additional sect among 
 the already factious and turbulent Jews. After the great fire which, 
 during the reign of Nero, almost entirely destroyed Rome, in the 
 year 64, a general belief prevailed that the Emperor himself had 
 been the author of the conflagration. To avert suspicion from him¬ 
 self, Nero, in looking around for a scapegoat, accused the Chris¬ 
 tians, and a generation later Tacitus, in his Annals, in relating the 
 history of the fire, gives the following very interesting account of 
 our religion as seen through the eyes of an eminent Roman his¬ 
 torian who, though unprejudiced through malice, had not considered 
 the doctrines of Christianity as of sufficient importance to require 
 an examination. The opinions expressed by him in the following 
 extract may therefore be reasonably regarded as the currently ac¬ 
 cepted estimate of Christianity among the educated Romans of the 
 end of the first century: “Hence, to suppress the rumor, he 
 (Nero) falsely charged with the guilt, and punished with the most 
 
ANTONINUS PIUS. 
 
ANCIENT HISTORICAL BUSTS. 
 
 155 
 
 exquisite tortures, the persons commonly called Christians, who 
 were hated for their enormities. Christus, the founder of the sect, 
 was put to death as a criminal by Pontius Pilate, procurator of 
 Judea, in the reign of Tiberius; but the pernicious superstition, 
 repressed for a time, broke out again, not only through Judea, 
 where the mischief originated, but through the city of Rome also, 
 whither all things horrible and disgraceful flow, from all quarters, 
 as to a common receptacle, and where they are encouraged. Ac¬ 
 cordingly, first those were seized who confessed they were Chris¬ 
 tians; next, on their information, a vast multitude were convicted,* 
 not so much on the charge of burning the city, as of hating the 
 human race. And in their deaths they were also made the sub¬ 
 jects of sport, for they were covered with the hides of wild 
 beasts, and worried to death by dogs, or nailed to crosses, or set 
 fire to, and when day declined, burnt to serve for nocturnal 
 lights. Nero offered his own gardens for that spectacle, and 
 
 exhibited a Circensian game, indiscriminately mingling with the 
 
 common people in the habit of a charioteer, or else standing in 
 his chariot. Whence a feeling of compassion arose toward the 
 sufferers, though guilty and deserving to be made examples of 
 
 by capital punishment, because they seemed not to be cut off for 
 the public good, but victims to the ferocity of one man.” 
 
 Following the accepted chronology of his life, St. Paul was 
 
 doubtless in Rome at the time of the fire and during the subse¬ 
 quent terrible events above recounted, and the exact date of his 
 death being unknown, it has been reasonably conjectured that 
 
 he fell a victim to this first persecution of the Christians. In 
 the preceding reign of Claudius the Jews had been driven out of 
 Rome as a disturbing element, and also the Christians, on the 
 
 ground that there was no practical distinction between them, the 
 
 difference being apparently first publicly recognized in the time 
 of Nero, an unconscious tribute to the labors of St. Paul, the 
 Apostle of the Gentiles. 
 
 It may here be incidently noted that at this very time the 
 destruction of Jerusalem was impending. Rent by civil and 
 
156 
 
 ANCIENT HISTORICAL BUSTS. 
 
 ANTINOUS. 
 
 Antinous, the page and favorite of the Roman 
 Emperor Hadrian (117-138 A. D.) was the constant 
 companion of the Emperor in his almost continuous 
 travels through the Empire. He was drowned in the 
 Nile 122 A. D. The extravagant grief of Hadrian upon 
 the death of Antinous found expression in the many 
 statues and bas-reliefs which he caused to be made of 
 his youthful friend. In Egypt and Greece even temples 
 were erected in his honor, and he was enrolled, by im¬ 
 perial decree, among the gods. The story of Antinous 
 illustrates the religious degradation of the Roman 
 world in the second century after Christ, then beginning 
 to be so powerfully influenced by the rapid spread of 
 Christianity. 
 
 “In all figures of Antinous the face has a rather 
 melancholy expression; the eyes are large, with fine 
 outlines; the profile is gently sloped downwards, and 
 the mouth and chin are especially beautiful. ’ ’ 
 
 The above quotation is from Winckelmann (1717- 
 1767), the first great modern historian of classic art. 
 
 The original of the marble bust here shown is in the 
 Capitol at Rome, and represents the Roman ideal of 
 youthful manly beauty. 
 
 religious factions, anarchy reigned in Judea and the Roman 
 general Titus, afterwards Emperor, laid seige to Jerusalem, and 
 after one of the most desperate defenses on record, captured the 
 city in the year 70 a. d. The Temple was at that time 
 
ANTI NOUS. 
 I’age 15G. 
 
ANCIENT HISTORICAL BUSTS. 
 
 157 
 
 destroyed, and from this, and the immediately subsequent period, 
 is dated the annihilation of the Jews as a separate nationality, and 
 their dispersion throughout the world. With what extraordinary 
 tenacity of character and purpose this marvellous race has 
 survived the endless shock and change of time and circumstance 
 is within the knowledge and experience of all. 
 

 
COMMODUS. 
 

RENAISSANCE SCULPTURE. 
 

 
 
 
MADONNA AND CHILD. 
 
 Mi NO L)A Fiesoi.e. 
 Page IGo. 
 
RENAISSANCE SCULPTURE. 
 
 In the fifteenth and sixteenth centuries there arose in 
 Italy, more particularly in Tuscany, a group of sculptors 
 who executed works of great tenderness and beauty. 
 
 Following the sentiment of the period their plastic 
 productions were mostly in the field of religious art, 
 largely represented by decorative sculptures executed 
 for tombs and altars, and as adornments for the walls 
 and doorways of the churches and cathedrals. The 
 work was done in marble, bronze, and terra cotta, and 
 practically all of it has survived to our own time. 
 
 It often happens that some of the most beautiful of 
 these productions are to be found in more or less un¬ 
 frequented localities, and their discovery by the curious 
 traveller is one of the great charms of a tour through 
 Italy. 
 
162 
 
 RENAISSANCE SCULPTURE. 
 
 Among the more interesting of these minor sculptors, 
 whose art was almost entirely of a religious or monumen¬ 
 tal character, sometimes introducing the portrait of the 
 deceased to surmount the tomb, were Mino da Fiesole, 
 Antonio Rossellino, Benedetto da Maiano; and, work¬ 
 ing in terra cotta, Luca and Andrea della Robbia. 
 Copies of the work of all the above sculptors are shown 
 here at Southampton. 
 
 In addition to more important creations, Michael 
 Angelo and Donatello have left examples of this style 
 of composition, and a Madonna and Child by the 
 former, and a little St. John by the latter, are here ex¬ 
 hibited, the one in plaster and the other in a marble 
 reproduction. 
 
 As pointed out in the preceding short article on 
 Greek sculpture, the Renaissance period differs from the 
 Greek in containing an element of spirituality impossi¬ 
 ble to the latter, owing to the difference in ideals 
 essentially inherent in aspirations founded on motives 
 so totally at variance one with the other. 
 
 That the Italian genius could compete with the Greek 
 in its own field is shown, however, in those works of 
 Michael Angelo which are outside the domain of religi¬ 
 ous art. 
 
 At present this collection contains no example of this 
 later period of the development of the genius of the 
 great Italian. 
 
ST. JOHN. 
 Donatello. 
 Page 163. 
 
 
MADONNA AND CHILD. 
 Luca della Robbia. 
 Page 163. 
 
RENAISSANCE SCULPTURE. 
 
 163 
 
 DONATELLO. 
 
 (1386-1166.) 
 
 Donato Bardi, called Donatello, born at Florence in 
 1386, is generally recognized as second to Michael An¬ 
 gelo alone among the sculptors of the Renaissance. 
 He has left many examples of his work, to be found 
 mostly in the churches and museums of Italy. His St. 
 George has been described as “the finest personifica¬ 
 tion of a Christian hero ever wrought in marble.” 
 
 The original bas-relief of the young St. John, of 
 which this is a marble copy, is in dark stone, and 
 is now to be seen in The Bargello (National Museum), 
 at Florence. 
 
 LUCA DELLA ROBBIA. 
 
 (1100-1181.) 
 
 Of the numerous members of the della Robbia fam¬ 
 ily who achieved distinction as sculptors, Luca was 
 the eldest and best known. Though he executed work 
 in marble and bronze, his fame rests chiefly upon his 
 glazed terra-cotta work, wherein he confines himself 
 almost entirely to the domain of religious art. 
 
 His original works are very numerous, and having 
 been extensively reproduced, are widely distributed 
 throughout Europe and America. 
 
 The original of the Madonna and Child here shown is 
 probably to be seen in one of the churches of Florence. 
 
164 
 
 RENAISSANCE SCULPTURE. 
 
 ANDEEA DELLA EOBBIA. 
 
 (1437-1528). 
 
 This sculptor continued for many years to execute 
 the beautiful terra-cotta work which his uncle had 
 made so famous, and developed a high order of crea¬ 
 tive faculty. He was assisted by his four sons, all of 
 whom inherited in greater or less degree the talent of 
 their father. 
 
 The Madonna, Child and Angels here shown is a copy 
 in marble of one of the numerous productions of An¬ 
 drea della Eobbia, the original, it would seem, having 
 been destroyed in the Cathedral of Messina at the time 
 of the great earthquake, December 28, 1908. 
 
 ANTONIO EOSSELLINO. 
 
 (1427-1490). 
 
 Bossellino, who came of a family of sculptors, was 
 born in Florence in 1427, and was a pupil of Donatello. 
 He has left many works marked by delicacy of treat¬ 
 ment and sweetness of expression, attributes in fact of 
 all this group of sculptors. 
 
 The Madonna and Child here shown in marble is in 
 part a copy of a sculptured memorial tablet to be seen 
 in the church of Santa Croce, in Florence, on a pillar 
 just opposite the tomb of Michael Angelo. 
 
The original of this delicate marble reproduction of the work of Andrea 
 della Robbia (1437-1528) is said to have been in the Cathedral 
 of Messina, and to have been destroyed in the 
 Earthquake of December 28, 1908. 
 
 Page 164. 
 
MADONNA AND CHILD. 
 Benedetto da Maiano. 
 Tage 165. 
 
RENAISSANCE SCULPTURE. 
 
 165 
 
 MINO DA FIE SOLE. 
 
 (1432-1486). 
 
 Mino di Giovanni, called “da Fiesole,” was born in 
 the neighborhood of Florence in the year 1432. He 
 executed many altar pieces and tombs of great beauty, 
 and his bust of Bishop Salutati, to be seen in the 
 church at Fiesole, surmounting the tomb of the Bishop, 
 is one of the most striking portrait busts in existence. 
 The original of the marble copy of the Madonna and 
 Child here shown is in the Bargello at Florence. 
 
 BENEDETTO DA MAIANO. 
 
 (1442-1497.) 
 
 This sculptor, who shared with his brother Giuliano 
 the fame of an architect as well as sculptor, was the 
 son of a stonecutter and was born in Florence in 1442. 
 He executed many w T orks of great beauty, among others 
 the celebrated pulpit in the church of Santa Croce, 
 Florence, which has been described as “the most beau¬ 
 tiful pulpit in Italy.” Of his well known works there 
 is also the shrine of San Bartolo in the Church of St. 
 Agostino, in S. Gimignano, near Siena, and the Ma¬ 
 donna and Child here shown is a copy of one of the 
 details of that shrine. 
 
166 
 
 RENAISSANCE SCULPTURE. 
 
 MADONNA AND CHILD. 
 
 BY MICHAEL ANGELO. 
 
 The marble original of this group is in the Church of 
 Notre Dame at Bruges, Belgium. Some doubt has 
 arisen as to whether it be the work of Michael Angelo 
 himself or one of his pupils. The better authorities 
 believe it to be by the master himself, accounting for 
 some technical faults on the ground that it was a youth¬ 
 ful production, while other boldly proclaim it, in essen¬ 
 tials, one of the sculptor’s masterpieces. 
 
 MADONNA AND CHILD. 
 
 BY MICHAEL ANGELO. 
 
 The original is in the Bargello at Florence, and is one 
 of the many more or less unfinished works of the 
 sculptor. 
 
 LA FEMME INCONNUE. 
 
 SCULPTOR UNKNOWN. 
 
 The original of this well-known head is in the Mu¬ 
 seum of the Louvre, and belongs to the second half of 
 the Fifteenth Century, Neapolitan School. 
 
MADONNA AND CHILD. 
 Michael Angelo. 
 Page 166. 
 
MAI lO.N'NA AM) CIIIU) .UK IIAKL AM IK IK ). 
 I’age 106 . 
 
LA FEMME INCONNTJE. 
 J’age ]66, 
 
RENAISSANCE HISTORICAL BUSTS. 
 
DANTE. 
 
 I J age 167. 
 
RENAISSANCE HISTORICAL BUSTS. 
 
 167 
 
 DANTE ALIGHIERI. 
 
 (1265-1321.) 
 
 Dante, “that singular splendour of the Italian race,” 
 as Boccaccio calls him, stands out as one of the great 
 figures of history in the intellectual world. In the 
 fourteenth and beginning of the fifteenth centuries 
 Italy stood upon the threshold of that wonderful 
 awakening of the mind which was to regenerate man¬ 
 kind, and bring back into the world some of that old 
 time spirit of free inquiry and independence of thought 
 that was to bear such fruit in the progressive develop¬ 
 ment of modern civilization. Of this period Dante was 
 the great precursor. 
 
 He was born in Florence in 1265, and from his own 
 writings we learn of his aspirations and strivings from 
 his childhood to the end of his career. At the age of 
 nine he first met the little Beatrice, a year younger 
 than himself, and from this time on, as child and 
 woman, her image, whether present or only as a mem¬ 
 ory, becomes the inspiration of his intellectual and 
 spiritual life. 
 
 Though poet, scholar and philosopher, he was an 
 active participant in all the turmoil and confusion of 
 his time, when the true principles of liberty were ever 
 sought and never found amidst the faction and blood¬ 
 shed of that disordered period. It was this disap¬ 
 pointed dream of Italian unity and liberty, coincident 
 with respect for law and authority, in both the civil 
 
168 
 
 RENAISSANCE HISTORICAL BUSTS. 
 
 and religions world, only partially realized within our 
 own time, that makes of Dante such a pathetic figure 
 in his longings for the unattainable, when Pope and 
 Emperor, Guelph and Ghibelline, struggled for the mas¬ 
 tery, now one and then the other in the ascendant. Dur¬ 
 ing his maturer years the poet cast in his lot with the 
 Ghibelline faction, and at about the age of thirty-six 
 found himself an exiled fugitive from his native city, 
 destined never to return. For twenty years he was 
 a wanderer seeking such shelter as he might obtain 
 at the courts of the petty Italian princes, hut ever 
 anxiously awaiting a change of fortune that would en¬ 
 able him to return to his beloved Florence, the one 
 great hope of his life. It was during this weary period, 
 broken in fortune but not in spirit, that he composed 
 his Comedia, as he called it. In the Inferno, Purgatorio, 
 and Paradiso we have a vivid panorama not only of the 
 age in which he lived, but of by-gone times as well, his 
 keen insight penetrating the characters and motives 
 of the great historical figures of the past as well as 
 of the men and women he had known on earth, 
 and whose tortures in hell for their many crimes, 
 or bliss in Heaven, he describes. Throughout the 
 poem, written in Italian, till then but the rude lan¬ 
 guage of the people, there runs an elevation of thought 
 and style that well earned for it the title of divine, 
 given in the following generation by common consent, 
 when the full purport of what the poet had written 
 began to be understood. Then it was that, the matter 
 
RENAISSANCE HISTORICAL BUSTS. 
 
 169 
 
 being of universal application and worthy of the form, 
 Dante was recognized, with ever-increasing appreciation 
 of his genius, as one of the great teachers of mankind, 
 and for six hundred years the translator and annotator 
 have been busy with his work. Fifty years after his 
 death there was established at Florence a public lecture¬ 
 ship for the elucidation of the Divine Comedy, with 
 Boccaccio as the first incumbent of what might be called 
 this chair of philosophy, history, science, theology, and 
 classical literature combined, for Dante was master of 
 all the learning of his time, and throughout his poem 
 there runs in rich imagery his philosophic thought 
 upon all these subjects. 
 
 In person he was spare in form and of middle height, 
 somewhat stooping, of a dignified and retiring manner, 
 with a sad, strong, thoughtful face. Studious of habit he 
 was usually a silent man, given much to solitude and 
 communing with his own thoughts, though capable on 
 occasion of fiery eloquence. Described by one of his 
 contemporaries he appears as “this Dante on account of 
 his learning was a little haughty, and shy, and dis¬ 
 dainful and like a philosopher, almost ungracious, he 
 knew not how to deal with unlettered folk.” 
 
 Of music and painting he was very fond, and was on 
 terms of intimate friendship with Giotto, who has left 
 us the poet’s portrait still to be seen on the walls of 
 the little chapel in the Bargello at Florence. 
 
 Dante died in 1321 in the fifty-seventh year of his age, 
 at Ravenna, where he now lies buried. In Florence in 
 
170 
 
 RENAISSANCE HISTORICAL BUSTS. 
 
 recent years, a great monument lias been erected to his 
 memory in the square which fronts the Church of Santa 
 Croce. 
 
 The original of the marble bust here shown is 
 supposed to have been made from a death mask and 
 gives the quality of his face, as described by Boccaccio, 
 with greater apparent fidelity than the portrait by 
 Giotto, which was taken in his younger years before the 
 lines of his face were so deeply drawn by thought and 
 mental suffering. 
 
 MICHAEL ANGELO BUONARROTI. 
 1475-1563. 
 
 The name of Michael Angelo stands pre-eminent in the 
 world of art, for it was he who, more than any other 
 single individual, embodied the spirit of that awaken¬ 
 ing of the human mind after a sleep of a thousand 
 years, known as the Renaissance. 
 
 Sculptor, painter, architect and poet, he excelled in 
 everything he undertook, and has left for the admira¬ 
 tion of successive generations the most enduring monu¬ 
 ments of his genius. In painting we have his ceiling 
 in the Sistine Chapel at Rome, adorned with frescoes 
 representing the Creation and other scenes from the 
 Old Testament, conceived and executed with a dignity 
 and power unrivalled in the history of art. In 
 
MICHAEL ANGELO. 
 Cage 17<> 
 
RENAISSANCE HISTORICAL BUSTS. 
 
 171 
 
 sculpture we liave his innumerable monuments scat¬ 
 tered throughout the churches and museums of Europe, 
 though mostly to be found in Italy, especially at 
 Florence and Rome. In architecture he has left us 
 the dome of St. Peters at Pome, and in literature his 
 sonnets. As a military engineer we have the memory 
 of his defence of Florence at the time he undertook 
 the construction of the fortifications of his adopted 
 city. He died in Pome in the year 1563 at almost 
 ninety years of age, and lies buried in Florence. 
 
 His life, though crowned with so great achievement, 
 had been full of struggle, and sorrow, and disappoint¬ 
 ment. His lofty genius, combined with the vehemence 
 and intensity of his nature (the terribilita of his Italian 
 biographers), had tended to isolate him from the com¬ 
 panionship of men. From his youth an ardent student 
 and hard worker, he was nearly always dissatisfied with 
 his work, and left many things unfinished. 
 
 “In disposition he was proud and passionate, but 
 high minded, not greedy of gold, but princely in 
 his generosity. His mind was full of great concep¬ 
 tions.” 
 
 The original bust, made by one of his pupils, 
 of which this is a copy, surmounts his tomb in 
 the church of Santa Croce, the Westminster Abbey of 
 Florence. 
 
172 
 
 RENAISSANCE HISTORICAL BUSTS. 
 
 MILTON. 
 
 1608-1672. 
 
 John Milton was born in London in the year 1608, 
 during the early part of the reign of James I of England. 
 At the age of sixteen he entered Christ’s College, Cam¬ 
 bridge, and going through the regular collegiate course of 
 study took the usual academic degrees. It appears that 
 during his university life, though his literary pre-emi¬ 
 nence was admitted by all, he was unpopular among 
 the students, owing to his self-assertion and conceit. He 
 himself admits “a certain niceness of nature, an honest 
 haughtiness and self-esteem of what I was or what I 
 might be. ’ ’ At the age of twenty-four, after his gradua¬ 
 tion, he was in some doubt as to his career, meditating 
 either the Church or the Law as his future profession. 
 With the consent of his father, a London scrivener, he 
 devoted his time to leisure and study, and lived pleas¬ 
 antly in the country near Windsor, about seventeen 
 miles from London, where he wrote many of his minor 
 poems, including L’Allegro and II Penseroso, and later 
 Comus and Lycidas, with Latin letters and Greek trans¬ 
 lations. At the age of thirty he traveled for a year or 
 more on the Continent and especially in Italy. The 
 memory of that period always remained one of the great 
 pleasures of his life. Devotion to study had affected 
 his eyesight and in 1654, at the age of forty-six, he be¬ 
 came totally blind. In 1667 was published the great 
 poem by which he is best known “Paradise Lost,” on 
 which he had meditated deeply for many years. 
 
MILTON. 
 
 Page 172. 
 
RENAISSANCE HISTORICAL BUSTS. 
 
 173 
 
 Milton, though one of the greatest of English poets, 
 was personally a stern, unlovable man and unhappy in 
 his domestic life. Much of his time was devoted to 
 fierce political controversy during the exciting times in 
 which he lived, which covered the downfall and execu¬ 
 tion of Charles I, the rise of Oliver Cromwell, and the 
 Restoration. 
 
 In sustained stateliness and grandeur of style he 
 stands unrivalled among the poets of the English-speak¬ 
 ing race. 
 
 The original of the marble bust here shown is in 
 London. 
 
Southampton, Long Island, N. Y., 
 August, 1912. 
 
 The following pictures, reproduced for this volume 
 by the photogravure process, have been contributed to 
 the Museum by Mr. James C. Parrish. 
 
 The two copies, after Raphael and Leonardo da Vinci 
 respectively, were painted by Mr. Z. Alexandre of Paris. 
 The original of the Joanna of Aragon now hangs in the 
 long room of the Gallery of The Louvre. The “Mona 
 Lisa,” which was hung in the Salon Carre, was stolen 
 from The Louvre in 1911, and had not been recovered at 
 the time this Catalogue was issued. 
 
 S. L. P. 
 

No 4 
 

 
 
 
1 
 
 Wife of Burgomaster Van der Horst. 
 
 M. J. Mierevelt. 
 
 (1567-1641) 
 54 x 43 
 
 2 
 
 Portrait of a Dutch Lady. 
 
 Jacob Van Oost, Jr. 
 
 (1639-1713). 
 41 x 35 
 
 Jeanne d’Aragon. 
 
 After Raphael 
 58 x 48 
 
 4 
 
 Mona Lisa. 
 
 After Leonardo da Vinci. 
 42 x 32 
 
INDEX. 
 
Till*: LILY POND AND ARBORETUM. 
 
INDEX. 
 
 Acropolis of Athens, 
 Act of Supremacy, 
 Actium, Battle of 
 Aelfgyva, . 
 
 Aeneas, 
 
 Aeneid, 
 
 Age of Pericles, 
 Agincourt, Battle of, 
 
 118 
 
 79 
 
 149 
 
 Bayeux Tapestry. 
 
 129 
 129 
 . 117,147 
 52, 56, 58, 68 
 
 Agrippa, Marcus, Son-in-law of the Emperor Augustus, 
 Alexander The Great, . . 
 
 Alexander II, Pope, 
 
 American Presbyterian Board of Foreign 
 American Presidential Election in 1876, 
 
 America, ..... 
 
 Anne of Bohemia, Queen of Richard II, 
 
 Anne of Cleves, Queen of Henry VIII, 
 
 Ansano di Pietro Mencio, called “Sano di Pietro 
 Painter of Siena, .... 
 
 154 
 112,135,141 
 . . Bayeux Tapestry. 
 
 Missions, . . 122 
 
 72 
 
 . Preface et’ passim. 
 
 57 
 
 79 
 
 early Italian 
 
 96 
 
178 
 
 INDEX. 
 
 Antinous, Favorite of Roman Emperor Hadrian, 
 Antium, Town of Italy, 
 
 Antony, Mark, Roman Triumvir, 
 
 Apollo, ...... 
 
 Apollo Belvedere, ..... 
 
 Armenian Church, .... 
 
 Armenian Monks, ..... 
 
 Arthur, British King, .... 
 
 Asia Minor, ...... 
 
 Atelier de Moulage, Museum of The Louvre, 
 
 156 
 135 
 149 
 113,133 
 . 132,135 
 122 
 
 . 102,106 
 67 
 135 
 Preface, 
 
 Athena, 
 
 Athena Parthenos, Statue of, 
 Athens, 
 
 August, Month of, 
 
 Augustan Age, 
 
 Augustus Caesar, Roman Emperor, 
 
 113,134,141 
 119 
 
 117,118, 120, 122, 147,148 
 150 
 150 
 148 
 
 Babington’s Conspiracy, 
 
 Baiae, Roman Watering Place near Naples, 
 Ball, John “The Mad Priest of Kent,” 
 Bargello, The, National Museum of Florence, 
 Baroccio, Federigo, Italian Painter, 
 
 Barlow, S. L. M., 
 
 Barons’ War, Time of Henry III, 
 Baths of Titus, Rome, 
 
 Bay of Naples, 
 
 Bayeux, Cathedral of, 
 
 Bayeux Tapestry, 
 
 Beatrice, 
 
 Beaufort, "The Lady Margaret,” 
 
 . 88,90 
 
 145,146 
 55 
 
 165, et passim. 
 
 96 
 
 97,105 
 48 
 129 
 145 
 
 Bayeux Tapestry. 
 . Preface, 3-42 
 167 
 
 Countess of Richmond and 
 
 Derby, Mother of Henry VII, .... 66 
 
 Beaufort, John, Earl of Somerset, .... 66 
 
 Beaufort, John, Duke of Somerset, .... 66 
 
 Beaurain, Castle of, .... Bayeux Tapestry. 
 
 Bellini, Giovanni, Venetian Painter, ... 97, 98,107 
 
INDEX. 
 
 179 
 
 Benedetto da Maiano, Florentine Sculptor, 
 Benedict, Anti-Pope, .... 
 
 Beni-Hasan, Rock Tomb on the Nile, 
 
 Bissolo, Francesco, Venetian Painter, 
 
 “Black Death,” ..... 
 
 Blackheath, ..... 
 
 Blanche, Duchess of Lancaster, 
 
 Boccaccio, Italian Author, 
 
 Boccaccio Boccacino, Italian Painter, 
 
 Bohemia, ..... 
 
 Boleyn, Anne, Queen of Henry VIII, 
 
 Bolingbroke, Henry of (Henry IV), 
 
 Bosham, Manor of, .... 
 
 Boston, ...... 
 
 Bosworth, Battle of, .... 
 
 Bothwell, Earl of, .... 
 
 Botticelli, Florentine Painter, 
 
 Boy Extracting a Thorn, Greek Statuary, 
 
 British Government, .... 
 
 British Museum, .... 
 
 Brittany, ...... 
 
 Bronzino, Angelo, Florentine Painter, 
 
 Brutus, ...... 
 
 Bryant, William Cullen, .... 
 
 Buonconsiglio, Giovanni, called “II Marescalco,” 
 Vicenza, ..... 
 
 Byzantine Greek, ..... 
 
 Byzantine Style . 
 
 165 
 
 Bayeux Tapestry. 
 Bayeux Tapestry. 
 
 97 
 52 
 58 
 64 
 
 169 
 
 98 
 
 63 
 
 . 78,89 
 
 64 
 
 Bayeux Tapestry. 
 . . Preface. 
 
 69, 72, 76 
 87 
 
 103 
 115,137 
 
 . Preface, 3 
 120,145,146 
 Bayeux Tapestry. 
 
 101 
 
 149 
 
 146 
 
 Painter of 
 
 105 
 
 104 
 98, 100 
 
 Calais, Town of Normandy, 
 Caligula, Roman Emperor, 
 Cancale, Bay of, French Coast, 
 Canova, Sculptor 
 Canterbury Cathedral, 
 Canterbury Tales, 
 
 Capitoline Hill, Rome, 
 
 . 53,58 
 
 Bayeux Tapestry. 
 
 138 
 
 Preface, 45, 57, 64,, 67 
 55, 63 
 137 
 
180 
 
 INDEX, 
 
 Capri, Island, Bay of Naples, ..... 152,153 
 
 Capua, Town of Italy, ...... 137 
 
 Cardinal’s College, now Christ’s College, Oxford, . . 83 
 
 Carlyle, Thomas, Scotch Author, .... Preface. 
 
 Carnarvon, Castle of, in Wales, ..... 49 
 
 Cassius, Roman Conspirator, ..... 149 
 
 Cassius, Villa of, ...... 147 
 
 Catharine of Aragon, Queen of Henry VIII, ... 78, 83 
 
 Catharine of Valois, Queen of Henry V, . . 57, 68, 70 
 
 Chapman, Translator of Homer, Time of Queen Elizabeth, 146 
 
 Charing Cross, London, ..... 50 
 
 Charles' I, King of England, . . . . .80,173 
 
 Charles IV, Emperor of Germany, .... 57 
 
 Charles V, Emperor of Germany, and King of Spain, . . 80 
 
 Charles VI, King of France, ...... 57 
 
 Chaucer Geoffrey, English Poet, . . . . 50, 54, 55, 63 
 
 Chicago, .... 
 
 China, .... 
 
 Chios, Greek Island, 
 
 Christ, .... 
 
 Christian, Christians, Christianity, 
 Christ’s College, Cambridge, England, 
 Christ’s College, Oxford, England, 
 Church of England, 
 
 Church of Rome, 
 
 Cicero, Roman Orator and Statesman, 
 Civita Lavinia, Town of Italy, 
 
 Clarence, Duke of, 
 
 Clarendon, Lord Chancellor, 
 
 Claudius, Roman Emperor, 
 
 Cleopatra, Queen of Egypt, 
 
 Columbus, Bartholomew, 
 
 Columbus, Christopher, 
 
 Como, Italian Lake, 
 
 Comus, Poem of Milton, 
 
 Preface. 
 
 52 
 
 145 
 
 62,114,148,155 
 113,115,121,122,123,154, 155 
 . 69,172 
 
 83 
 
 68, 78, 79 
 78, 79 
 116, 146 
 124 
 61 
 
 Preface. 
 
 155 
 
 150 
 
 73 
 
 73 
 
 138 
 
 172 
 
INDEX. 
 
 181 
 
 Conan, Count of Brittany, 
 Conesnon, River of Prance, 
 Constantinople, 
 
 Convento delle Contesse, 
 
 Coptic Church, 
 
 Copts, 
 
 Coventry, Town of England, 
 Cowper, William, English Poet, 
 Crecy, Battle of, 
 
 Cromwell, Oliver, 
 
 Cupid, 
 
 Czar of Russia, 
 
 Bayeux Tapestry. 
 
 Bayeux Tapestry. 
 
 149 
 95 
 122 
 122 
 61 
 146 
 52, 56 
 173 
 137 
 149 
 
 Dante Alighieri, Italian Poet, ..... 167 
 
 Darius, King of Persia, ...... 117 
 
 Darnley, Earl, Husband of Mary, Queen of Scots and Father of 
 
 James I of England, ...... 87 
 
 David, King, ........ 145 
 
 Derby, Countess of, "The Lady Margaret,” also Countess of 
 
 Richmond, mother of Henry VII, .... 66 
 
 Dido, Queen of Carthage, ...... 129 
 
 Dinan, Town of Brittany, .... Bayeux Tapestry. 
 
 Divine Comedy, Poem of Dante, ..... 169 
 
 Dol, Town of Brittany, ..... Bayeux Tapestry. 
 
 Donatello, Florentine Sculptor, , Preface, 163 
 
 Ealdgyth, wife of Harold, King of England, 
 Eastern Roman Empire, 
 
 Eastlake, Sir Charles, 
 
 “Echo, The,” ..... 
 
 Bayeux Tapestry. 
 
 149 
 
 98 
 
 142 
 
 Editha, Sister of Harold and Queen of Edward The Confessor, 
 
 Bayeux Tapestry. 
 
 Edmund Crouchback, Earl of Lancaster, .... 62 
 
 Edward The Confessor, King of England, . Bayeaux Tapestry. 
 
182 
 
 INDEX. 
 
 Edward The Confessor’s Chapel, Westminster Abbey, 
 
 Throughout the Royal Effigies. 
 Edward I, King of England, .... 48 
 
 Edward II, King of England, ..... 51 
 
 Edward III, King of England, .... 51 
 
 Edward IV, King of England, . . . . 71,74 
 
 Edward V, King of England, .... 71 
 
 Edward VI, King of England, ..... 79 
 
 Edward "The Black Prince,” .... 55 
 
 Egypt. 96,102, 111, 122 
 
 Eleanor of Castile, Queen of Edward I, . . . . 48 
 
 Electoral Commission of 1876, ..... 72 
 
 Elgin, Lord, ....... 120 
 
 Elizabeth, Queen of England, ..... 89 
 
 Elizabeth of York, Queen of Henry VII, ... 75 
 
 England, . . . Preface, Bayeux Tapestry, et passim 
 
 English Church, . . . . . . . 78,79 
 
 Europe, ....... Preface. 
 
 Eustace, Count of Boulogne, .... Bayeux Tapestry. 
 
 Fairmount Park, .... 
 
 Faun of Praxitiles, .... 
 Ferdinand III, King of Castile, 
 
 Ferdinand of Aragon, .... 
 Florence, . . . Preface, Catalogue of 
 
 Foligno, Town of Central Italy, 
 
 Fotheringay Castle, .... 
 Fowke’s Book on Bayeux Tapestry, . 
 
 France, ..... Bayeux 
 Francis I, King of France, .... 
 Francis II, King of France, 
 
 Freeman, History of Norman Conquest, 
 
 French Academy of Inscriptions, 
 
 Frieze of The Parthenon, .... 
 Froissart, French Chronicler, 
 
 Preface, 115,124 
 48 
 78 
 
 Pictures, et passim. 
 
 95 
 
 89 
 
 3 
 
 Tapestry et passim. 
 
 80 
 
 86 
 
 Bayeux Tapestry. 
 Bayeux Tapestry. 
 . Preface, 117 
 55 
 
INDEX. 
 
 183 
 
 Garter, Order of the, 
 
 George III, King of England, 
 
 Ghibelline, Italian Party in Middle Ages, 
 Giorgione, Venetian Painter, 
 
 Giotto, Florentine Painter, 
 
 Girolamo dai Libri, Veronese Painter, 
 Gladstone, William E., . 
 
 Gloucester, Town of, England, 
 
 Gloucester Cathedral, 
 
 Godwine, Earl, Father of King Harold, 
 Great Charter (Magna Charta), . 
 
 Greece, ..... 
 Guelph, Italian Party in Middle Ages, . 
 Guy, Count of Ponthieu, 
 
 Gyrth, Brother of King Harold, 
 
 55 
 
 47 
 
 168 
 
 98 
 
 169,170 
 97 
 146 
 . 47, 51 
 
 51 
 
 Bayeux Tapestry. 
 
 47 
 
 Preface, 112,115,135,148 
 168 
 
 . Bayeux Tapestry. 
 . Bayeux Tapestry. 
 
 Hadrian, Roman Emperor, ...... 153 
 
 Hague, The, Gallery of, . . . . . . 106 
 
 Hall of Apollo, Vatican Mhseum, ..... 135 
 
 Hall of Augustus, Museum of The Louvre, . . . 154 
 
 Hampton Court, Palace near London, built by Cardinal Wolsey, 83 
 
 Harold, King of England, .... Bayeux Tapestry. 
 
 Hastings, Battle of, . . . . Bayeux Tapestry. 
 
 Hawthorne’s Marble Faun, ..... 124 
 
 Hayes-Tilden Presidential Controversy, .... 72 
 
 Henry III, King of England, ..... 47 
 
 Henry IV, King of England, ..... 64 
 
 Henry V, King of England, ... 52, 57, 64, 65, 68, 71 
 
 Henry VI, King of England, ..... 71 
 
 Henry VII, King of England, ..... 70 
 
 Henry VIII, King of England, ..... 77 
 
 Hereford, Duke of, ..... 60 
 
 Hermes (Mercury), ....... 113,138 
 
 High Priest, ....... 149 
 
 Holyrood Palace, Edinburgh, ..... 87 
 
184 
 
 INDEX, 
 
 Homer,. 145 
 
 Horace, Roman Poet, ....... 150 
 
 Howard, Catharine, Queen of Henry VIII, ... 79 
 
 Hume, David, Historian, ...... 85 
 
 Huss, John, Bohemian Reformer, .... 63 
 
 Hypatia, Kingsley’s Novel, ...... 122 
 
 Iktinos, Architect of The Parthenon, .... 118 
 
 Iliad, Homer's Poem, ...... 146 
 
 Illyria, Roman Province, ..... 149 
 
 11 Penseroso, Milton’s Poem, ..... 172 
 
 Inferno, Dante’s Poem, ...... 168 
 
 Innocent XII, Pope, ...... 103 
 
 Innocenzo da Imola, Italian Painter, .... 99 
 
 Isabel, Queen of Richard II, . . . . . . 57 
 
 Isabella of Angouleme, Queen of King John of England, . 47 
 
 Isabella of Castile, Mother of Catharine of Aragon, . . 73, 78 
 
 Italian Renaissance, ..... Preface, 136 
 
 Italy, ...... Preface et passim. 
 
 James I, King of England, ..... 172 
 
 James II, King of England, ..... 63 
 
 James IV, King of Scotland, ..... 85 
 
 James V, King of Scotland, ...... 85 
 
 James VI, King of Scotland and James I of England, . 172 
 
 Jerusalem, ........ 155,156 
 
 Jews, ........ 155,157 
 
 John, King of England, ...... 47 
 
 John, of Gaunt, Duke of Lancaster, Father of Henry IV, 
 
 57, 61, 64, 66 , 67, 70 
 
 Julia, ....... 154 
 
 Julius Caesar, ........ 146,148 
 
 Julius II, Pope, ....... 135 
 
 Kallicrates, Architect of the Parthenon, 
 
 Kent, “Fair M(aid of,” Mother of Edward “The Black Prince,’ 
 
 118 
 
 56 
 
INDEX. 
 
 185 
 
 “Kate” in Shakespeare’s Play of Henry V, Katherine of Valois, 
 
 Queen of Henry V, ..... 70 
 
 Laffetay, 1’Abbe, ..... Bayeux Tapestry. 
 
 L’Allegro, Milton’s Poem, ..... 172 
 
 Lancaster, Duke of, . . . . . . . 60,65 
 
 Lancaster, House of, ...... 73,76 
 
 Langley, Burial Place of Richard II, . . . 64 
 
 Laocoon, Group, ...... Preface, 115,129 
 
 Leicester Abbey, ....... 83 
 
 Leofwine, Brother of King Harold, . . . Bayeux Tapestry. 
 
 Leonardo Loredano, Doge of Venice, .... 107 
 
 Lepidus, Roman Triumvir, ..... 149 
 
 Library, ....... Preface. 
 
 Linlithgow Castle, ...... 85 
 
 Lionel, Duke of Clarence, ...... 61 
 
 Livia, Roman Empress, ...... 151 
 
 Livy, Roman Historian, ...... 150 
 
 Lochleven, Castle in Scotland, ..... 88 
 
 Lombard School of Painting, ..... 99 
 
 London, . . . Preface, Catalogue of Pictures et passim. 
 
 Long Island, ........ 23 
 
 Longland, William, called “Long W’ill” Poet of the People, 
 
 time of Richard II, . . . . . 54, 63 
 
 Long Parliament, ....... 75 
 
 Lorenzo di Credi, Florentine Painter, .... 98 
 
 Louvre, Museum of, . . . . Preface et passim. 
 
 Liibke’s History of Art, ...... 134 
 
 Lycidas, Milton’s Poem, ...... 172 
 
 Macasnas, Roman Minister of State under Caesar Augustus, 
 Macro, Roman Minister of State under Tiberius Caesar, . 
 Magdalen College, Oxford, England, 
 
 Maia, Mother of Hermes (Mercury), 
 
 Marathon, Battle of, .... 
 
 March, Earl of, ..... 
 
 150 
 153 
 81 
 138 
 117,147 
 61, 69,71 
 
186 
 
 INDEX. 
 
 Margaret, Queen of James IV of Scotland, 
 Marino Faliero, Doge of Venice, 
 
 Marius, Roman General, 
 
 Mary of Lorraine, Mother of Mary Stuart, 
 
 Mary Stuart, Queen of Scots, 
 
 Mary Tudor, Queen of England, 
 
 Matilda, Queen of William the Conqueror, 
 Matilda, The Empress Maud, Granddaughter of 
 
 85 
 107 
 146 
 85 
 85 
 90, 96 
 
 Bayeux Tapestry 
 the Conqueror, 
 
 Bayeux Tapestry 
 
 Megara, Town of Greece, ..... 124 
 
 Metropolitan Museum of Art, . . . Preface, 120, 122 
 
 Michael Angelo Buonarroti, . Preface, 114,147, 162,163,170 
 
 Milton, ........ 172 
 
 Mino da Fiesole, Florentine Sculptor, . . . 165 
 
 Mohammedan, ....... 121,123 
 
 Montfort, Simon de, ..... 48 
 
 “Mora,” Ship on which The Conqueror Sailed for England, 
 
 Bayeux Tapestry 
 
 More, Sir Thomas, ...... 85 
 
 Murano, Island in the Lagoons of Venice, . . . 100 
 
 Napoleon, .... 
 
 Narcissus, or “The Echo,” 
 
 National Gallery of London, 
 
 National Portrait Gallery of London, 
 Neptune, .... 
 
 Nero, Roman Emperor, 
 
 New England, 
 
 New York, 
 
 Nile, River of Egypt, 
 
 Norfolk, Duke of, ... 
 
 Norman Conquest, 
 
 Normandy, .... 
 
 Notre Dame, Church of, Bruges, Belgium, 
 
 98 
 
 142 
 
 Preface, Catalogue of Pictures 
 Preface, 45, 64 
 130 
 
 146,154,155 
 123 
 
 Preface and Catalogue of Pictures 
 123,133 
 60 
 
 Bayeux Tapestry 
 . Bayeux Tapestry 
 
 166 
 
INDEX, 
 
 187 
 
 Octavius, afterward Caesar Augustus, Roman Emperor, . 148 
 
 Odo, Bishop of Bayeux, Half-brother of William the Conqueror, 
 
 Bayeux Tapestry. 
 
 Odyssey, Homer’s Poem, ...... 146 
 
 Olympia, Town of the Peloponnesus, Greece, . . 134 
 
 Orestano, Town of Sardinia, ..... 105 
 
 Otricoli, Town of Italy, ..... 134 
 
 Ovid, Roman Poet, ...... 150 
 
 Oxford, University Town of England, ... 69 
 
 Padua, Town of Italy, ..... 105 
 
 Palazzo dei Conservatori, Rome, ..... 137 
 
 Palazzo Giustiniani Vescovio, Venice, . . .99,104 
 
 Palazzo Pesaro, Venice, ..... 100,103 
 
 Palma Vecchio, Venetian Painter, ... 96 
 
 Pantheon, Roman Temple, now the Church of Santa Maria 
 
 Rotonda, Rome, ...... 154 
 
 Paradise Lost, Milton’s Poem, .... 172 
 
 Paradiso, Dante’s Poem, ...... 168 
 
 Paris, . . . Preface, Catalogue of Pictures et passim. 
 
 Parmigianino, Italian Painter, ..... 102 
 
 Parr, Catharine, Queen of Henry VIII, ... 79 
 
 Parthenon, Temple at Athens, .... 117,134 
 
 Parthenon Frieze, ..... Preface, 115 
 
 Peasants’ Revolt, Time of Richard II, . . . 53 
 
 Peloponnesus, ...... 134 
 
 Pennsylvania, ....... 73 
 
 Pennsylvania Museum, ..... 3 
 
 Pericles, Athenian Statesman and Orator, . . 117,118,148 
 
 Perrers, Alice, Favorite of Edward III, . . . 54 
 
 Persians, ....... 112,117,147 
 
 Petrarch, Italian Poet, ..... 101 
 
 Pevensey, English Town where the Conqueror landed. Bayeux Tapestry. 
 Pharaohs, ....... 123 
 
 Phidias, Greek Sculptor. 
 
 Preface, 111, 112,114,115,117,118,119,134,141,147 
 
188 
 
 INDEX. 
 
 Philadelphia, 
 
 Preface and Note to Bayeux TapestTy. 
 
 Philip II, King of Spain, 
 
 . 
 
 91,102 
 
 Philippa of Hainault, Queen of Edward III, 
 
 . 51,55 
 
 Philippi, Battle of, 
 
 
 149 
 
 Pictures, Catalogue of, 
 
 
 . 95-108 
 
 Piers the Ploughman, Poem of 
 
 the People, by 
 
 “Long Will,” 
 
 in time of Richard II, 
 
 . 
 
 54 
 
 Pignatelli, Family of Naples to which Pope 
 
 Innocent XII 
 
 belonged, 
 
 
 103 
 
 Plantagenet, House of, Preface, and throughout the Royal Effigies. 
 
 Platsea, Battle of, 
 
 . 
 
 117 
 
 Pliny, Roman Author, 
 
 . 
 
 136,152 
 
 Plutarch, Greek Author, 
 
 . 
 
 148 
 
 Poitiers, Battle of, 
 
 . 
 
 52, 56 
 
 Pompei, Buried City of Italy near Naples, 
 
 142 
 
 Pompey, Roman General, 
 
 
 146 
 
 Pontefract, Castle of England, 
 
 . 
 
 64 
 
 Pontius Pilate, 
 
 
 154,155 
 
 Pope, Alexander, English Poet, 
 
 . 
 
 146 
 
 Porto d’Anzio, Town of Italy, 
 
 . 
 
 135 
 
 Praxitiles, Greek Sculptor, 
 
 . 
 
 . Preface, 112,115,141 
 
 Priam, King of Troy, 
 
 . 
 
 129 
 
 Prince of Wales, 
 
 
 . 49,50 
 
 Protestantism, 
 
 . 
 
 123 
 
 Psyche of Capua, 
 
 . 
 
 . 115,137 
 
 Public Schools, 
 
 . 
 
 . . Preface. 
 
 Purgatorio, Dante’s Poem, 
 
 • 
 
 168 
 
 Raleigh, Sir Walter, 
 
 # , 
 
 91 
 
 Ravenna, Town in Italy, 
 
 
 169 
 
 Ravenspur, Town in England, 
 
 
 61 
 
 Rembrandt, Flemish Painter, 
 
 
 106,108 
 
 Renaissance, 
 
 . 
 
 Preface et passim. 
 
 Rennes, Capital of Brittany, 
 
 
 Bayeux Tapestry. 
 
 Restoration of Charles II of England, 
 
 173 
 
INDEX. 
 
 189 
 
 Richard II, King of England, ..... 57 
 
 Richard III, King of England, Last of the Plantagenets, . 71, 76 
 
 Richmond, Countess of, “The Lady Margaret,” Mother of 
 
 Henry VII, ....... 66 
 
 Rizzio, David, Secretary to Mary Stuart, '. . . . 87 
 
 Robbia, Luca della, Florentine Sculptor, . . . 163 
 
 Robbia, Andrea della, Florentine Sculptor, . . . 164 
 
 Robert, Count of Mortain, .... Bayeux Tapestry. 
 
 Rome, ....... 112,131,137,170,171 
 
 Roman Republic and Empire, .... 115,137,148, 149 
 
 Rossellino, Antonio, Florentine Sculptor, . . . 164 
 
 Royal Academy of Venice, ..... 101 
 
 Rouen, Town of Normandy, . . . Bayeux Tapestry. 
 
 Royal Effigies, ....... 45 
 
 Rufus. William, Son of the Conqueror, King of England, 
 
 Bayeux Tapestry. 
 
 Runnymede, Place where King John Signed The Magna Charta, 47 
 
 Russia, ........ 149 
 
 Saladin, Saracen Chieftian, ..... 49 
 
 Salamis, Battle of ..... 117,147 
 
 Salutati, Bishop of Fiesole, ..... 165 
 
 San Agostino, Church at San Gimignano, . . 165 
 
 San Gimignano, Town near Siena, Italy, . . . 165 
 
 San Lazaro, Island of, in Lagoons of Venice, Location of 
 
 Armenian Monastery, ..... 102 
 
 “Sano di Pietro,” Italian Painter, .... 96 
 
 Santa Croce, Church of, Florence, . . . 164,165,170,171 
 
 Santa Zaccheria, Church of, Venice, .... 99 
 
 Sardinia, ....... 105 
 
 Schiavone Collection, ...... 99 
 
 Science and Art Department, British Government, . . Preface. 
 
 Scopas, Greek Sculptor, ...... 112,141 
 
 Sculpture, Greek, ...... Ill 
 
 Sculpture, Renaissance, ...... 161 
 
 Sejanus, Roman Minister of State, .... 153 
 
190 
 
 INDEX. 
 
 Semetecolo, Nicolo, Venetian Painter 
 
 
 106 
 
 Senlac, Hill of, where battle of Hastings was fought, 
 
 Bayeux Tapestry. 
 
 Seymour, Jane, Queen of Henry VIII, Mother of Edward VI, 
 
 78 
 
 Shakespeare, William, .... 
 
 . 
 
 66,91,150 
 
 Sicily, ...... 
 
 
 116 
 
 Siena, Italian Town, ..... 
 
 . 
 
 96 
 
 Silesia, ...... 
 
 
 98 
 
 Simnel, Lambert, Pretender to the Throne of Henry VII 
 
 of 
 
 England, ...... 
 
 
 74 
 
 Sistine Chapel, St. Peter’s, Rome, 
 
 . 
 
 170 
 
 Sistine Madonna, now at Dresden Gallery, 
 
 
 114 
 
 Smithfield, Quarter of London, 
 
 . 
 
 58 
 
 Smyrna, Town of Asia Minor, .... 
 
 
 145 
 
 Socrates, Greek Philosopher, 
 
 . 
 
 147 
 
 Solomon, King, ..... 
 
 . 
 
 145 
 
 Southampton, New York, . Preface and Pages 3, 
 
 114, 116, 120, 162 
 
 South Kensington Museum, London. 
 
 
 Preface,3 
 
 Spanish Armada. ..... 
 
 
 91 
 
 St. Catharine, Mystic Marriage of. 
 
 
 97 
 
 St. George, ...... 
 
 . 
 
 163 
 
 St. John, ...... 
 
 
 162,163 
 
 St. John’s College, Cambridge, England, 
 
 
 93 
 
 St. Luke, ...... 
 
 
 148 
 
 St. Mark, The Evangelist, 
 
 
 122 
 
 St. Michel, Mount, Brittany, 
 
 Bayeux Tapestry. 
 
 St. Paul the Apostle, .... 
 
 
 102,122, 155 
 
 St. Peter’s, Church of, Rome 
 
 
 171 
 
 St. Peter The Apostle, Church of. Westminster Abbey, 
 
 Bayeux Tapestry. 
 
 St. Valery-sur-Somme, Town of Normandy, where William The 
 
 Conqueror set Sail, .... Bayeux Tapestry. 
 
 Stanley, Lord, .... 
 Star Chamber, Court of, 
 
 Stigand, Archbishop of Canterbury, 
 
 Straw, Jack, Leader in Peasants’ Revolt, 
 
 69 
 
 74 
 
 . Bayeux Tapestry. 
 
 58 
 
INDEX. 191 
 
 Styx, River, Greek Mythology, .... 139 
 
 Suetonius, Roman Historian, ..... 153 
 
 Swynford, Catharine, Wife of John of Gaunt, . . 66 
 
 Symond’s “Renaissance in Italy,” .... 131 
 
 Tacitus, Roman Historian, ..... 154 
 
 Temple of Jerusalem, ..... 156 
 
 Tenedos, Island near Troy, ..... 130, 131 
 
 Thorwaldsen, Sculptor, ..... 138 
 
 Tiber, River of Italy, ...... 132 
 
 Tiberius Caesar, Roman Emperor, .... 151 
 
 Titian, Venetian Painter, ..... 102 
 
 Titus, Roman General and Emperor, . . . 156 
 
 Tivoli, Town near Rome, ...... 147 
 
 Torel, William, English Sculptor, .... 51 
 
 Torregiano, Pietro, Florentine Sculptor, . . .75,77 
 
 Tower of London, ...... 76 
 
 Trafalgar Square, London, ..... 50 
 
 Tribune, The, Uffizi Gallery, Florence, . . . 136 
 
 Triumph of Alexander, ...... 138 
 
 Trojan War, ....... 129 
 
 Troy, Town of Asia Minor, ..... 129 
 
 Tudor, Edmund, Earl of Richmond, Father of Henry VII, . 68 
 
 Tudor, Owen, Grandfather of Henry VII, married Katherine 
 
 of Valois, Widow of Henry V, 68,70 
 
 Turks, ........ 121 
 
 Turkish Dominions, ...... 149 
 
 Turold, a Dwarf, ..... Bayeux Tapestry. 
 
 Tyler, Wat, Leader in Peasants’ Revolt, Time of Richard II, . 58 
 
 Uffizi Gallery, Florence, ..... 98,163 
 
 Vatican Palace and Museum, Rome, . . . 131, 134,136 
 
 Venice, . . . Preface, Catalogue of Pictures et passim. 
 
 Venus, ........ 113,133 
 
192 
 
 INDEX. 
 
 Verona, Town of Italy, 
 
 Verres, Roman Proconsul of Sicily, 
 Vesuvius, Volcano near Naples, 
 Vicenza, Town of Italy, 
 
 Victoria, Queen, 
 
 Virgil, Roman Poet, 
 
 Vital, a Norman Scout, 
 
 Vivarini, Venetian Painters, 
 
 97 
 116 
 142 
 105 
 47, 75 
 129,132,150 
 Bayeux Tapestry. 
 
 . 100,102 
 
 Wadard, ...... Bayeux Tapestry. 
 
 Wales, ........ 49 
 
 Wallace, William, Hero of Scotland, .... 49 
 
 Walpole, Horace, Fourth Earl of Orford, . . . 106 
 
 Walworth, Mayor of London, Time of Richard II, . . 59 
 
 Warbeck, Perkin, Pretender to the Throne of Henry VII, . 74 
 
 Wars of the Roses, . . . . . 72,73,76 
 
 Washington (D. C.) . . . . . .Preface. 
 
 Westminster Palace and Abbey, 
 
 Preface, Bayeux Tapestry and Throughout the Royal Effigies. 
 Whitehall, Palace of, ...... 63 
 
 William the Conqueror, Duke of Normandy, and King of 
 
 England, ...... Bayeux Tapestry. 
 
 William III, King of England, ..... 63 
 
 Winckelman, German Historian of Classic Art, . . 156 
 
 Winchester, Town of England, ..... 47 
 
 Windsor Castle, ...... 55 
 
 Windsor, Town of England, ..... 51 
 
 Winged Victory of Samothrace, .... Preface, 115, 136 
 
 Witan, Popular Assembly of England before the Norman 
 
 Conquest, ...... Bayeux Tapestry. 
 
 Wolsey, Cardinal, ....... 81 
 
 Woodville, Elizabeth, Queen of Edward IV, . . 75 
 
 Wrestlers, The, Group of Statuary, . . . Preface, 115,136 
 
 Wycliffe, John, English Reformer, . . . .50,54,63 
 
INDEX. 
 
 193 
 
 Ximenes, Spanish Cardinal and Statesman in time of Emperor 
 
 Charles V, ....... 102 
 
 Xerxes, Persian King, ...... 117 
 
 York, House of, .... 70,71,72,73,74,76 
 
 Yorkshire, English County, ..... 61 
 
 Zeus (Jupiter), ..... 113,114,115,134,141 
 
GETTY RESEARCH INSTITUTE