THE 
 
 PALACE AND PARK : 
 
 ITS 
 
 NATURAL HISTORY AND ITS PORTRAIT GALLERY 
 
Digitized by the Internet Archive 
 in 2015 - 
 
 https://archive.org/details/palaceparkitsnatOOunse 
 
THE 
 
 PALACE AND PARK: 
 
 ITS 
 
 NATURAL HISTORY, 
 
 AND ITS 
 
 PORTE AIT GALLERY, 
 
 TOGETHER WITH 
 
 A DESCRIPTION OF THE POMPEIAN COURT, 
 
 IN THE UNDERMENTIONED GUIDES: 
 
 1 . PALACE AND PARK ; 4. EXTINCT ANIMALS ; 
 
 2. PORTRAIT GALLERY; 5. POMPEIAN COURT; 
 
 3. ETHNOLOGY & NATURAL HISTORY. 
 
 CRYSTAL PALACE LIBRARY; 
 
 AND 
 
 BRADBURY AND EVANS, 11, BOUVERIE STREET, LONDON, 
 1854. 
 
BRADBLK\ A H 1> EVi>"i 
 PRINTERS. TO 1 BE C HIST A 1 FAEACt. 
 
 1VUITEFRIARS. 
 
GUIDE 
 
 TO THE 
 
 CRYSTAL PALACE AND PARK. 
 
CONVEYANCE BY BAIL AND EOAD FROM LONDON, 
 
 THE CRYSTAL PALACE BY RAILWAY. 
 
 Trains conveying persons direct to the Palace leave the Bridge Terminus ot 
 the Brighten Railway at a quarter before nine in the morning on Mondays, 
 and a quarter before ten on Tuesdays, Wednesdays, and Thursdays, and 
 continue running every quarter of an hour, or more frequently when occasion 
 requires, throughout the day : returning from the palace every quarter of an 
 hour, and in the evening until all the visitors desirous of travelling to Town 
 by railway have quitted the building, which closes one hour before sunset. 
 The Fares to the Palace and back, including admission to the Palace itself, are, 
 on the above days, two shillings and sixpence, first class ; two shillings, second 
 class ; and one shilling and sixpence, third class. 
 
 On Fridays and Saturdays the Crystal Palace opens at twelve o'clock in the 
 morning, and trains will start from London at a quarter before that hour, and 
 continue running every quarter of an hour throughout the day, retm-ning every 
 quarter of an hour until all the visitors shall have quitted the Palace. 
 
 Holders of season tickets will be conveyed from London by train to the 
 Palace on every day of the week by payment of the ordinary fare of the 
 Brighton Railway. 
 
 Omnibuses from all parts of London will convey passengers direct to the 
 terminus of the Brighton Railway. 
 
 Visitors residing at or desirous of reaching the Palace from the Xew Cross 
 or Forest Hill stations, on the Brighton line, will be conveyed to the Palace by 
 the ordinary Epsom and Croydon trains, which leave London at quick intervals, 
 and call at both these stations. These trains will, however, convey them 
 only to the Anerley or Sydenham stations, from which places conveyance^ to 
 the Pab,cemay be procured. 
 
 THE CRYSTAL PALACE BY ROAD. 
 
 Persons travelling in carriages from London to the Palace will find the 
 various roads marked on the annexed map, which will enable them to choose 
 the most expeditious routes from different parts of the metropolis to the 
 Crystal Palace doors. Carriages from London must set down at either the 
 north or south transepts, but not at the central transept ; whilst visitors 
 from Penge, Beckenham, and all places situated to the south-east of the 
 Palace, will set down at the Crystal Palace Railway station. 
 
 The Crystal Palace Company have already provided accommodation for 
 three hundred horses, in the ",Paxton Stables." at the Woodman Inn, on 
 Westow Hill, v. .\hin five minutes' walk of the Palace. The charge for such 
 accommodation is fixed at one shilling and sixpence, including a feed of corn 
 and all other expenses, no attendant being allowed to receive a fee. 
 Carriages and horses will find a convenient stand formed in front of the 
 Palace, opposite the north and south transepts, where horses will be supplied 
 with hay and water at a very trifling charge. 
 
 All communications concerning the road traffic to the Palace should be 
 addressed to Mr. Charles Bourner, Trafiic Manager, Crystal Palace, Sydenham. 
 
GUIDE 
 
 CRYSTAL PALACE 
 
 AND 
 
 PARK. 
 
 Br SAMUEL PHILLIPS. 
 
 ILLUSTRATED BY P. H. DELAMOTTE. 
 
 CEYSTAL PALACE LIBRARY ; 
 
 AND 
 
 BRADBURY AND EVANS, 11, BOUVERIE STREET, LONDON. 
 1854. 
 
PR LDB1 HI ANI> ETA! 1 ? J, 
 FMNTBKfl TO IUK CEY5TAL TALACE COMTAM 
 
 v.hjtehu *ns 
 
CONTENTS. 
 
 
 
 INTRODUCTION . . . . . . .11 
 
 SITE . . .. . . . . . 23 
 
 ENTRANCE TO THE PALACE . . . . . .23 
 
 ACCOUNT OF THE BUILDING . . . . . 24 
 
 HOT-WATER APPARATUS . . . . . .30 
 
 THE ARTESIAN, AND FOUNTAINS SUPPLY . . . . . 32 
 
 THE NAVE . . . . . . . .35 
 
 GREAT TRANSEPT . . . . . . 36 
 
 INTRODUCTION TO THE FINE ART COURTS . . . . 38 
 
 THE EGYPTIAN COURT . . . . . . . 39 
 
 THE GREEK COURT . . . . . . .45 
 
 GREEK SCULPTURES . . . . .... 49 
 
 THE ROMAN COURT . . . . ... .51 
 
 SCULPTURES IN ROMAN COURT . . . . . . 54 
 
 THE ALHAMBRA COURT . . . . ■ .57 
 
 THE ASSYRIAN COURT . . . . . . . 62 
 
 RAW PRODUCE AND AGRICULTURAL COLLECTION . • .65 
 
 THE BYZANTINE AND ROMANESQUE COURT . . . . 68 
 
 THE GERMAN MEDIJEVAL COURT . . . • .77 
 
 THE ENGLISH MEDIEVAL COURT . . . . . 78 
 
 THE FRENCH AND ITALIAN MEDIEVAL COURT . • .84 
 
 THE RENAISSANCE COURT . . . • . . 85 
 
 THE ELIZABETHAN COURT . . . • .89 
 
 THE ITALIAN COURT . . . . • . . 91 
 
 THE STATIONERY COURT . . . • « .95 
 
 THE BIRMINGHAM COURT . . . • . . 96 
 
 THE SHEFFIELD COURT . . . * • .97 
 
 THE POMPEIAN COURT . ... . . . . 98 
 
s 
 
 CONTENTS. 
 
 
 PAGE 
 
 ETHNOLOGICAL AND NATURAL HISTORY DEPARTMENT , ♦ 
 
 . 103 
 
 FEW WORLD # • . . . 
 
 . 104 
 
 OLD WORLD . . , , , 
 
 . 103 
 
 THE MUSICAL INSTRUMENT COURT 
 
 . 115 
 
 THE PRINTED FABRICS COURT . 
 
 . 116 
 
 THE MIXED FABRICS COURT. . . 
 
 . 117 
 
 THE FOREIGN INDUSTRIAL COURT 
 
 no 
 . LIS 
 
 A WALK THROUGH THE NATE .... 
 
 1 (Ml 
 
 THE GREEK AND ROMAN SCULPTURE COURT . . . 
 
 1 no 
 . . 1- 5 
 
 THE GOTHIC RENAISSANCE SCULPTURE COURT . • • 
 
 , 16 i 
 
 THE COURT OF FRENCH AND ITALIAN SCULPTURE. , 
 
 . • loo 
 
 LIST OF MODERN SCULPTURES • • . • 
 
 . 163 
 
 THE GARDEN OF THE NAVE . . . 
 
 1 iA 
 
 . . 14'J 
 
 THE MAIN AND UPPER GALLERIES .... 
 
 1 i 9 
 . 116 
 
 THE PARK AND GARDENS .... 
 
 . . 145 
 
 THE GEOLOGICAL ISLANDS AND THE EXTINCT ANIMALS 
 
 . 157 
 
 LIST OF EXHIBITORS 
 
 . 165 
 
PEEFACE. 
 
 The following pages are presented to the public as a brief but 
 connected and carefully prepared account of the exterior and 
 interior of the Crystal Palace. It is believed that no important or 
 interesting object in connexion with the Exhibition is without its 
 record in this little volume ; although, in so vast a collection of 
 works of architecture, sculpture, and industrial manufacture, it is 
 clearly impossible to compress within the limits of a General Hand- 
 book all the information which is necessary to satisfy the visitor 
 desirous of precise and accurate knowledge of the numberless objects 
 offered to his contemplation. 
 
 A general and comprehensive view of the Crystal Palace 
 will unquestionably be obtained by the perusal of the present 
 manual. The Hand-books of the respective departments will supply 
 all the detailed information necessary to fill in the broad and 
 rapidly drawn outlines. In them, Literature will faithfully serve 
 as the handmaiden to Art, and complete the great auxiliary work 
 of education which it is the first aim of the Crystal Palace to effect. 
 
 These Hand-books are published at prices varying from three- 
 pence to eighteen-pence, according to the size of the volume. The 
 lowest possible price has been affixed to one and all. It may be 
 fearlessly asserted that books containing the same amount of 
 entertainment, information, and instruction, it would be difficult to 
 purchase at a more reasonable rate elsewhere. 
 
 The Crystal Palace— destined for permanent service — opens in- 
 complete with respect to a part of its design. The public will not 
 
10 
 
 PREFACE. 
 
 be the losers by the circumstance. With the exception of the 
 great water displays — which are already far advanced, and will 
 rapidly be brought to completion — the grand scheme originally 
 projected by the Directors has been, in its chief features, 
 thoroughly earned out by then officers. It would have been 
 physically impossible to accomplish more than has been done. 
 What has been achieved, within comparatively a few months, 
 must elicit admiration and astonishment. Already the Crystal 
 Palace stands unrivalled for the size and character of its structure, 
 for the nature of its contents, and for the extent and advancing 
 beauty of its pleasure-grounds. Day by day the people will have 
 an opportunity of witnessing the growth of their Palace, and the 
 extension of its means of good. An institution intended to hsk 
 for ages, and to widen the scope, and to biighten the path, of 
 education throughout the land, must have time to consolidate its 
 own powers of action, and to complete its own system of instruction. 
 Within a very few months, the promises held out from the first by 
 the Directors will be fulfilled to the very letter ; and the corrmi unity 
 may, in the meanwhile, watch the progress of the Crystal Palace 
 towards the oertain accomplishment of its unprecedented design. 
 
INTRODUCTION. 
 
 The annexed map of the routes to the Crystal Palace will 
 enable the visitor to ascertain the shortest and least troublesome 
 way of reaching the Palace from the various parts of the great 
 metropolis and its environs. For his further information full par- 
 ticulars are added respecting the times of starting, and the fares 
 of the journey by the London and Brighton Pail way, which will 
 serve as the great main line for the conveyance of visitors by rail 
 from London to the Palace doors. 
 
 We will presume that the visitor has taken his railway ticket, 
 which, for his convenience, includes admission within the Palace, 
 and that his short ten minutes' journey has commenced. Before 
 he alights, and whilst his mind is still unoccupied by the wonders 
 that are to meet his eye, we take the opportunity to relate, as 
 briefly as we can, the History of the Crystal Palace, from the 
 day upon which the Poyal Commissioners assembled within its 
 transparent walls to declare their great and successful mission 
 ended, until the 10th of June, 1854, when reconstructed, and 
 renewed and beautified in all its proportions, it again opened its 
 wide doors to continue and confirm the good it had already 
 effected in the nation and beyond it. 
 
 It will be remembered that the destination of the Great Exhibi- 
 tion building occupied much public attention towards the close of 
 1851, and that a universal regret prevailed at the threatened loss 
 of a structure which had accomplished so much for the improve- 
 ment of the national taste, and which was evidently capable, under 
 
12 
 
 GENERAL GUIDE BOOK. 
 
 intelligent direction, of effecting so very much more. A special 
 commission even had been appointed for the purpose of reporting on 
 the different useful purposes to which the building could be applied, 
 and upon the cost necessary to carry them out. Further discus- 
 sion on the subject, however, was rendered unnecessary by the 
 declaration of the Home Secretary, on the 25th of March, 1852, 
 that Government had determined not to interfere in any way with 
 the building, which accordingly remained, according to previous 
 agreement, in the hands of Messrs. Fox and Henderson, the builders 
 and contractors. Notwithstanding the announcement of the Home 
 Secretary, a last public effort towards rescuing the Crystal Palace 
 for its original site in Hyde Park, was made by Mr. Heywood in the 
 House of Commons, on the 29th of April. But Government again 
 declined the responsibility of purchasing the structure, and Mr. 
 Heywood's motion was, by a large majority, lost. 
 
 It was at this juncture that Mr. Leech, * a private gentleman, con- 
 ceived the idea of rescuing the edifice from destruction, and of 
 rebuilding it on some appropriate spot, by the organization of a 
 private company. On communicating this view to his partner, Mr. 
 Farquhar, he received from him a ready and cordial approval. 
 They then submitted their project to Mr. Francis Fuller, who 
 entering into their views, undertook and arranged, on their joint 
 behalf, a conditional purchase from Messrs. Fox and Henderson, of 
 the Palace as it stood. In the belief that a building, so destined, 
 would, if erected on a metropolitan line of railway, greatly 
 conduce to the interests of the line, and that communication by 
 railway was essential for the conveyance thither of great masses 
 from London, Mr. Farquhar next suggested to Mr. Leo Schuster, 
 a Director of the Brighton Railway, that a site for the new Palace 
 should be selected on the Brighton line. Mr. Schuster, highly 
 approving of the conception, obtained the hearty concurrence of 
 Mr. Laing, the Chairman of the Brighton Board, and of his 
 brother Directors, for aiding as far as possible in the prosecution of 
 
 * Of the firm of J ohnston, Farquhar, and Leech, Solicitors. 
 
INTRODUCTION. 
 
 13 
 
 the work. And, accordingly, these five gentlemen, and their 
 immediate friends determined forthwith to complete the purchase 
 of the building. On the 24th of May, 1852, the purchase- 
 money was paid, and a few English gentlemen became the owners 
 of the Crystal Palace of 1851. Their names follow :— 
 
 Original Purchasers of the Building. 
 Mr. T. K Farquhar, Mr. Joseph Leech, 
 
 Mr. Francis Fuller, Mr. J. C. Morice, 
 
 Mr. Robert Gill, Mr. Scott Russell, 
 
 Mr, Harman Grisewood, Mr. Leo Schuster. 
 Mr. Samuel Laing, 
 
 It will hardly be supposed that these gentlemen had proceeded 
 thus far without having distinctly considered the final destination 
 of their purchase. They decided that the building, — the first 
 wonderful example of a new style of architecture — -should rise 
 again greatly enhanced in grandeur and beauty; that it should 
 form a Palace for the multitude, where, at all times, protected 
 from the inclement varieties of our climate, healthful exercise 
 and wholesome recreation should be easily attainable. To raise 
 the enjoyments and amusements of the English people, and 
 especially to afford to the inhabitants of London, in wholesome 
 country air, amidst the beauties of nature, the elevating treasures 
 of art, and the instructive marvels of science, an accessible and 
 inexpensive substitute for the injurious and debasing amusements 
 of a crowded metropolis : — to blend for them instruction with 
 pleasure, to educate them by the eye, to quicken and purify 
 their taste by the habit of recognising the beautiful — to place 
 them amidst the trees, flowers, and plants of all countries and 
 of all climates, and to attract them to the study of the natural 
 sciences, by displaying their most interesting examples — and 
 making known all the achievements of modern industry, and the 
 marvels of mechanical manufactures: — such were some of the original 
 intentions of the first promoters of this National undertaking. 
 
 Having decided upon their general design, and upon the scale 
 
u 
 
 GENERAL GUIDE BOOK, 
 
 on which it should be executed, the directors next proceeded to 
 select the officers to whom the carrying out of the work should be 
 entrusted. Sir J oseph Paxton, the inventive architect of the great 
 building in Hyde Park, was requested to accept the office of Director 
 of the Winter Garden, Park, and Conservatory, an office of which 
 the duties became subsequently much more onerous and extensive 
 than the title implies. Mr. Owen Jones and Mr. Digby Wyatt, 
 who had distinguished themselves by their labours in the old Crystal 
 Palace, accepted the duties of Directors of the Fine Art Depart- 
 ment, and of the decorations of the new structure. Mr. Charles 
 Wild, the engineer of the old building, filled the same office in the 
 new one. Mr, Grove, the secretary of the Society of Arts, the parent 
 institution of the Exhibition of 1851, was appointed secretary. 
 Mr. Francis Fuller, a member of the Hyde Park Executive Com- 
 mittee, accepted the duties of managing director. Mr. Samuel 
 Laing, M.P., the Chairman of the Brighton Railway Company, 
 became Chairman also of the New Crystal Palace, and Messrs. Fox 
 and Henderson undertook the re-erection of the building. 
 
 With these arrangements, a Company was formed, under the 
 name of the Crystal Palace Company, and a prospectus issued, 
 announcing the proposed capital of 500,000?., in one hundred 
 thousand shares of five pounds each. The following gentlemen 
 constituted the Board of Directors, and they have continued in 
 office up to the present time :— 
 
 Samuel Laing, Esq., M.P., Chairman. 
 Arthur Anderson, Esq., Charles Geach, Esq., M.P., 
 
 E. S. P. Calvert, Esq., Charles Lushington, Esq., 
 
 T. ST. Farquhar, Esq., J. Scott Bussell, Esq., F.R.S,, 
 
 Francis Fuller, Esq., Managing Director. 
 
 It will ever be mentioned, to the credit of the English people, 
 that within a fortnight after the issue of the Company's prospectus, 
 the shares were taken up to an extent that gave the Directors 
 ample encouragement to proceed vigorously with their novel and 
 gigantic undertaking. 
 
INTRODUCTION. 
 
 15 
 
 In the prospectus it was proposed to transfer the building 
 to Sydenham, in Kent, and the site chosen was an irregular 
 parallelogram of three hundred acres, * extending from the 
 Brighton Railway to the road which forms the boundary of 
 the Dulwich wood at the top of the hill, the fall from which to 
 the railway is two hundred feet. It was at once felt that the 
 summit of this hill was the only position, in all the ground, for the 
 great glass building— a position which, on the one side, commands a 
 beautiful view of the fine counties of Surrey and Kent, and on the 
 other a prospect of the great metropolis. This site was chosen, and 
 we doubt whether a finer is to be found so close to London, and so 
 easy of access by means of railway. To facilitate the conveyance 
 of passengers, the Brighton Railway Company,— under special and 
 mutually advantageous arrangements— undertook to lay down a 
 new line of rails between London and Sydenham, to construct 
 a branch from the Sydenham station to the Crystal Palace garden, 
 and to build a number of engines sufficiently powerful to draw 
 heavy trains up the steep incline to the Palace. 
 
 And now the plans were put into practical and working shape. 
 The building was to gain in strength and artistic effect, whilst the 
 contents of the mighty structure were to be most varied. Art was 
 to be worthily represented by Architecture and Sculpture. Archi- 
 tectural restorations were to be made, and Architectural specimens 
 from the most remarkable edifices throughout the world, to be 
 collected, in order to present a grand architectural sequence from 
 the earliest dawn of the art down to the latest times. Casts 
 of the most celebrated works of Sculpture were to be pro- 
 cured : so that within the glass walls might be seen a vast 
 historical gallery of this branch of art, from the time of the 
 ancient Egyptians to our own era. Nature also was to put 
 forth her beauty throughout the Palace and Grounds. A magnifi- 
 cent collection of plants of every land was to adorn the glass 
 structure within, whilst in the gardens the fountains of Versailles 
 
 * A portion of this land, not required for the purposes of the Palace, has 
 been disposed of. 
 
GENERAL GUIDE BOOK. 
 
 were to be outrivalled, and Englishmen at length enabled to witness 
 the water displays, which for years had proved a source of pleasure 
 and recreation to foreigners in their own countries. Nor was this all. 
 All those sciences, an acquaintance with which is attainable through 
 the medium of the eye, were allotted their specific place, and Geology, 
 Ethnology, and Zoology were taken as best susceptible of illustra- 
 tion ; Professor Edward Forbes, Dr. Latham, Professor Ansted, 
 Mr. Waterhouse, Mr. Gould, and other gentlemen well known in 
 the scientific world, undertaking to secure the material basis 
 upon which the intellectual service was to be grounded. To prevent 
 the monotony that attaches to a mere museum arrangement, in 
 which glass cases are ordinarily the most prominent features, the 
 whole of the collected objects, whether of science, art or nature, 
 were to be arranged in picturesque groupings, and harmony was to 
 reign throughout. To give weight to their proceedings, and to 
 secure lasting advantage to the public, a charter was granted by 
 Lord Derby's government on the 28th of January, 1853, binding 
 the Directors and their successors to preserve the high moral and 
 social tone which, from the outset, they had assumed for their 
 National Institution. 
 
 The building paid for, the officers retained, the plans put on paper 
 — the work of removal now commenced, and Messrs. Fox and 
 Henderson received instructions to convey the palace to its destined 
 home at Sydenham. The first column of the new structure was 
 raised by Mr. Laing, M. P. , the chairman of the Company, on the 
 5th August, 1852 ; the works were at once proceeded with, and 
 the most active and strenuous efforts thenceforth made towards the 
 completion of the undertaking. Shortly after the erection of the 
 first column, Messrs. Owen Jones and Digby Wyatt were charged 
 with a mission to the continent, in order to procure examples of 
 the principal works of art in Europe. They were fortified by Lord 
 Malmesbury, then Secretary of State, with letters to the several 
 ambassadors on their route, expressing the sympathy of the 
 Government in the object of their travels, and backed by the 
 liberal purse of the Company, who required, for themselves, only 
 
INTRODUCTION. 
 
 17 
 
 that the collection should prove worthy of the nation for which 
 they were caterers. 
 
 The travellers first of all visited Paris, and received the most 
 cordial co-operation of the Government, and of the authorities at 
 the Museum of the Louvre, and the Ecole des Beaux Arts. The 
 permission to obtain casts of any objects, which could with safety 
 be taken, was at once accorded them. From Paris they proceeded 
 to Italy, and thence to Germany, in both which countries they 
 experienced, generally, a ready and generous compliance with their 
 wishes. At Munich they received especial attention, and were 
 most kindly assisted by the British Ambassador, and the architect 
 Baron von Klenze, through whose instrumentality and influence 
 King Louis permitted casts of the most choice objects in the 
 Glyptothek for the first time to be taken. 
 
 The chief exceptions to the general courtesy were at Rome, 
 Padua, and Vienna. At the first-named city every arrangement 
 had been made for procuring casts of the great Obelisk of the 
 Lateran, the celebrated antique equestrian statue of Marcus Aurelius 
 on the Capitol, the beautiful monuments by Andrea Sansovino in 
 the church of S. M. del Popolo, the interesting bas-reliefs from the 
 arch of Titus, and other works, when an order from the Papal 
 Government forbade the copies to be taken : and, accordingly, for 
 the present, our collection, as regards these valuable subjects, is 
 incomplete. 
 
 At Padua contracts had been made for procuring that master- 
 piece of Renaissance art, the candelabrum of Riccio, the entire 
 series of bronzes by Donatello, and several other important works 
 in the church of St. Anthony ; but, in spite of numerous appeals, 
 aided by the influence of Cardinal Wiseman, the capitular authori- 
 ties refused their consent. 
 
 At Yienna agreements had been entered into for procuring a 
 most important series of monuments from the Church of St. 
 Stephen, in that city ; including the celebrated stone pulpit, and 
 the monument of Frederic III. A contract had also been made 
 for obtaining a cast of the grand bronze statue of Victory, at 
 
 • - c 
 
IS 
 
 GENERAL GUIDE BOOK. 
 
 Brescia ; but although the influence of Lord Malmesbury and Lord 
 Westmoreland (our ambassador at Vienna) was most actively- 
 exerted, permission was absolutely refused by the Austrian autho- 
 rities in Lombardy, as well as in Vienna itself. Thus much it is 
 necessary to state in order to justify the directors of the Crystal 
 Palace in the eyes of the world for omissions in their collection which 
 hitherto they have not had power to make good. They are not 
 without hope, however, that the mere announcement of these defi- 
 ciencies will be sufficient to induce the several governments to take 
 a kindly view of the requests that have been made to them, and to 
 participate in the satisfaction that follows every endeavour to 
 advance human enjoyment. 
 
 In England, wherever application has been made, permission 
 — with one exception— has been immediately granted by the autho- 
 rities, whether ecclesiastical or civil, to take casts of any monu- 
 ments required. The one interesting exception deserves a special 
 record. The churchwardens of Beverley Minster, Yorkshire, enjoy 
 the privilege of being able to refuse a cast of the celebrated Percy 
 shrine, the most complete example of purely English art in our 
 country ; and in spite of the protestations of the Archbishop of 
 York, the Duke of Northumberland, Archdeacon Wilberforce, Sir 
 Charles Barry and others, half the churchwardens in question insist, 
 to this hour, upon their right to have their enjoyment without 
 molestation. The visitors to the Crystal Palace cannot therefore, 
 as yet, see the Percy shrine. 
 
 Whilst Messrs. Jones and Wyatt were busy abroad, the 
 authorities were no less occupied at home. Sir Joseph 
 Paxton commenced operations by securing for the Company 
 the extensive and celebrated collection of palms and other 
 plants, brought together with the labour of a century, by 
 Messrs. Loddiges, of Hackney. The valuable assistance of Mr. 
 Fergusson and Mr. Layard, M.P., was obtained for the erection 
 of a Court to illustrate the architecture of the long-buried 
 buildings of Assyria ; and a large space in the Gardens was 
 devoted to illustrating the geology of the antediluvian period* 
 
INTRODUCTION. 
 
 19 
 
 and exhibiting specimens of the gigantic animals living before 
 the flood. 
 
 As soon as the glass structure was sufficiently advanced, the 
 valuable productions of art which Messrs. Jones and Wyatt had 
 acquired abroad rapidly arrived, and being received into the 
 building, the erection of the Fine Art Courts commenced. To 
 carry out these works, artizans of almost every continental nation, 
 together with workmen of our own country have been employed, 
 and it is worthy of note, that, although but a few years before, many 
 of the nations to which these men belonged, were engaged in deadly 
 warfare against each other, and some of them opposed to our own 
 Country, yet, in the Crystal Palace, these workmen have laboured for 
 months, side by side, with the utmost good feeling, and without 
 the least display of national jealousy — -a fact alike honourable to 
 the men, and gratifying to all, inasmuch as it shows how completely 
 the ill-will that formerly separated nation from nation and man 
 from man, is dying out, and how easily those, who have been at one 
 time enemies on the field of battle, may become fast friends in the 
 Palace of Peace. 
 
 To the whole of these workmen, foreigners and English, engaged 
 in the Crystal Palace, the Directors are anxious to express their 
 obligations and sincere acknowledgments. They recognise the 
 value of their labours, and are fully aware that, if to the minds of 
 a Few the public are indebted for the conception of the grand Idea 
 now happily realized, to the Many we owe its practical existence. 
 Throughout the long and arduous toil, they have exhibited' — 
 allowance being made for some slight and perhaps unavoidable 
 differences— an amount of zeal, steadiness, and intelligence which 
 does honour to them, and to the several nations which they repre- 
 sent. To all— their due ! If the creations of the mind stand 
 paramount in our estimation, let appropriate honour be rendered 
 to the skill of hand and eye, which alone can give vitality and form 
 to our noblest conceptions. Of the advantages attendant on the 
 erection of the Crystal Palace, even before the public are admitted 
 to view its contents, none is more striking than the education it 
 
 e2 
 
20 
 
 G-ENEftAL GUIDE BOOK. 
 
 h&s already afforded to those who have taken part in its production. 
 For the first time in England, hundreds of men have received 
 practical instruction — in a national Fine Art School — from which 
 society must derive a lasting benefit. It is not too much to hope that 
 each man will act as a missionary of art and ornamental industry, in 
 whatever quarter his improved faculties may hereafter be required. 
 
 At one time during the progress of the works as many as 
 6400 men were engaged in carrying out the designs of the Directors. 
 Besides the labours already mentioned, Mr. B. Waterhouse Hawkins, 
 in due time, took possession of a building in the grounds, and 
 was soon busily employed, under the eye of Professor Owen, in 
 the reproduction of those animal creations of a past age, our 
 acquaintance with which has hitherto been confined to fossil 
 remains. Dr. Latham was engaged in designing and giving 
 instructions for the modelling of figures to illustrate the Ethno- 
 logical department, whilst Mr. Waterhouse and Mr. Gould, aided by 
 Mr. Thomson, as superintendent, and Mr. Bartlett, as taxidermist, 
 were collecting and grouping valuable specimens of birds and 
 animals to represent the science of Zoology. Towards the exhibition 
 of the articles of industry, six architects were commissioned to erect 
 courts for the reception of the principal manufactures of the world, 
 and agents were employed in various parts of England, to receive 
 the applications of intending exhibitors. 
 
 Such are a few of the operations that for the last few months 
 have gone forward in, and in respect of, the Crystal Palace ; and, 
 excepting by those whose business it has been to watch the progress 
 of the works, no adequate idea can be formed of the busy activity 
 that prevailed within the building and without, or of the 
 marvellous manner in which the various parts of the structure 
 seemed to grow under the hands of the workmen, until it assumed 
 the exquisite proportions which it now possesses. 
 
 Her Majesty and his Boyal Highness Prince Albert have been, 
 from the first, graciously pleased to express their warmest sympathy 
 with the undertaking, and have visited the Palace several times 
 during the progress of the works. In honouring the inauguration 
 
INTRODUCTION. 
 
 21 
 
 of the Palace with her royal presence, her Majesty gives the best 
 proof of the interest she takes in an institution which— like the 
 great structure originated by her Boyal Consort — has for its chief 
 object the advancement of civilization and the welfare of her 
 subjects.* 
 
 * The Queen's apartments in the Crystal Palace, destined for the reception 
 of her Majesty and his Royal Highness Prince Albert, when they honour 
 the Exhibition with their presence, have been erected by Messrs. J. Gr, 
 I Crace and Co., in the Italian style. The suite of apartments, -which are 
 I placed at the north end of the building, consists of a large entrance vestibule 
 ! with architectural ornaments, and painted arabesque decorations. A long 
 corridor leads from the vestibule to the several apartments, and is formed into 
 an arched passage by means of circular-headed doorways, before which hang 
 portieres, or curtains. To the right of the entrance are two rooms, one appro- 
 priated to the ladies-in-waiting, and the other to the equerries ; the walls of 
 both being divided into panels, and decorated in the Italian style. On the 
 left are the apartments for the use of her Majesty and Prince Albert, 
 consisting of a drawing-room and two retiring rooms. The walls of the 
 drawing-room are divided by pilasters, the panels covered with green silk. 
 The cove of the ceiling is decorated with arabesque ornaments. 
 
GUIDE TO THE CRYSTAL PALACE, 
 
 THE SITE. 
 
 The Crystal Palace stands in the county of Surrey, immediately 
 on the confines of Kent, bordered on one side by Sydenham, and 
 on the other by Norwood and Anerley, whilst Penge lies at the 
 foot of the hill, and Dulwich Wood at the top. JSTo particular 
 topographical or historical facts are associated with these places. 
 Sydenham, however, is invested with some literary interest as 
 having been the residence of the j)oet Campbell, the author of the 
 " Pleasures of Hope," who passed, as he says in one of his letters^ 
 the happiest years of his life in this suburban village, 
 
 ENTRANCE TO THE PALACE. 
 
 The visitor, having reached the Crystal Palace terminus, quits the 
 train, and ascends the broad flight of steps before him, leading 
 to a covered way called the Railway Colonnade, in which will 
 shortly be placed a collection of plants forming an avenue of choice 
 exotics. At the end of this colonnade is the south wing of the 
 Palace. Ascending the first flight of stairs he enters the second- 
 class Refreshment Room, and by another flight he attains the level 
 of the floor of the main building. * 
 
 * In the lower story of the South Wing will he found a second-class Refresh- 
 ment Room, where refreshments of a substantial kind may he procured at a 
 moderate charge. Above this, in the next story of the South Wing, is a 
 first-class Refreshment Room, for confectionary and ices, as well as more 
 nourishing fare ; and, above this again, is a large space occupying the whole of 
 the upper floor of the Wing, and extending across the end of the main building, 
 whilst, built out from the North end, will be found two Dining Rooms, one 
 devoted to general use, and the other for Exhibitors only, appropriated 
 to first-class Refreshment Tables, where cold viands may be obtained. At 
 each end of the great Transept, under the Galleries, will be found two 
 Stalls with ices and refreshments : and at the north end of the building, 
 extending to the back of the Assyrian Court, and covering the top floor of the 
 North Wing, is a large space also devoted to the sale of ices and confectionary. 
 
GENERAL GUIDE BOOK, 
 
 Having entered the Palace, the visitor may desire, before he 
 examines its various contents, to learn something of the Building 
 itself — certainly not the least remarkable feature in the extraor- 
 dinary scene now submitted to his contemplation, We therefore 
 proceed at once to furnish him with an 
 
 ACCOUNT OF THE BUILDING. 
 
 In taking the structure of the Great Exhibition of 1851 — that 
 type of a class of architecture which may fairly be called " modern 
 English " # — -as the model for the new building at Sydenham, the 
 projectors found it necessary to make such modifications and 
 improvements as were suggested by the difference between a tem- 
 porary receiving-house for the world's industrial wealth, and a per- 
 manent Palace of Art and Education, intended for the use of 
 mankind long after its original founders should have passed away. 
 Not only, however, have increased strength and durability been 
 considered, but beauty and artistic effect have come in for a due 
 share of attention. The difference of general aspect between the 
 present palace and its predecessor, is visible at a glance. In the 
 parent edifice, the external appearance, although grand, was mono- 
 tonous ; the long flat roof was broken by only one transept, and 
 the want of an elevation proportionate to the great length of the 
 building was certainly displeasing. In the Sydenham Palace, an 
 arched roof covers the nave— raising it forty-four feet higher than 
 the nave in Hyde Park — and three transepts are introduced into 
 the structure instead of one, the centre transept towering into the 
 air, and forming a hall to the Palace of surpassing brilliancy and 
 lightness. A further improvement is the formation of recesses, 
 
 * We do not know any name more suitable to express the character of this 
 iron and glass building than that which we have chosen. In Gothic archi- 
 tecture we have named one style " Early English," and we think we may with 
 equal propriety confer the title of ' 'Modern English" upon the new order, 
 which is essentially the creation of the nineteenth century, and which served to 
 house one of the greatest national displays that England ever attempted — The 
 (treat Exhibition of 1851. The erection of the building both of 1851 and of 
 1854, it may be well to remark, is mainly due to the rapid advances made in 
 this country in the manufactures of glass and iron, substances which with only 
 moderate attention will defy the effects of time. The present structure is 
 capable of enduring longer than the oldest marble or stone architectural monu- 
 ments of antiquity. The iron, which forms its skeleton or framework, becomes 
 when painted, the most indestructible of materials, and the entire covering of 
 glass may be renewed again and again without in any way interfering with the 
 construction which it covers. 
 
ACCOUNT OF THE BUILDING, 
 
 25 
 
 twenty-four feet deep, in the garden fronts of all the transepts. 
 These throw fine shadows, and take away from the continuous 
 surface of plain glass walls : whilst the whole general arrangement 
 of the exterior — the roofs of the side aisles rising step-like to the 
 circular roof of the nave, — the interposition of square towers at 
 the junction of the nave and transepts, — the open galleries towards 
 the garden front, the long wings stretching forth on either side, 
 produce a play of light and shade, and break the building into 
 parts, which, without in any way detracting from the grandeur and 
 simplicity of the whole construction, or causing the parts them- 
 selves to appear mean or small, present a variety of surface that 
 charms and fully satisfies the eye. 
 
 Unity in architecture is one of the most requisite and agreeable 
 of its qualities : and certainly no building possesses it in a greater 
 degree than the Crystal Palace. Its design is most simple : one 
 portion corresponds with another ; there is no introduction of 
 needless ornament : a simplicity of treatment reigns throughout. 
 Nor is this unity confined to the building. It characterizes the 
 contents of the glass structure, and prevails in the grounds. 
 All the component parts of the Exhibition blend, yet all are 
 distinct : and the effect of the admirable and harmonious ar- 
 rangement is, that all confusion in the vast establishment, within 
 and without, is avoided. "The mighty maze" has not only its 
 plan, but a plan of the most lucid and instructive kind, and the 
 visitor is enabled to examine every court, whether artistic or in- 
 dustrial ; every object, whether of nature or of art, in regular order ; 
 so that, as in a well-arranged book, he may proceed from subject 
 to subject at his discretion, and derive useful information without 
 the trouble and vexation of working his way through a labyrinth. 
 
 All the materials employed in the Exhibition of 1851, with the 
 exception of the glass on the whole roof, and the framing of the 
 transept-roof, have been used in the construction of the Crystal 
 Palace. The general principle of construction, therefore, is identical 
 in the two buildings. The modifications that have taken place, 
 and the reasons that have led to them, have already been stated. 
 Two difficulties, however, which were unknown in Hyde Park, had 
 to be provided against at Sydenham : viz. , the loose nature of the 
 soil, and the sloping character of the ground. Means were taken 
 to overcome these difficulties at the very outset of the work. The 
 disadvantage of soil was repaired by the introduction of masses of 
 concrete and brickwork under each column, in order to seoure 
 breadth of base and stability of structure. The slanting ground 
 
ACCOUNT OF THE BUILDING-. 
 
 27 
 
 was seized by Sir Joseph Paxton with his usual sagacity, in order 
 to be converted from an obstacle into a positive advantage. The 
 ground ran rapidly down towards the garden, and Sir Joseph 
 accordingly constructed a lower, or basement story towards the 
 garden front, by means of which not only increased space was 
 gained, but a higher elevation secured to the whole building, and 
 the noblest possible view. The lower story is sufficiently large to 
 serve as a department for the exhibition of machinery in motion, 
 which interesting branch of science and human industry will 
 thus be contemplated apart from other objects. Behind this 
 space, westwards, is a capacious horizontal brick shaft, twenty- 
 four feet wide, extending the whole length of the building, 
 and denominated " Sir Joseph Paxton's Tunnel "(a). Leading 
 out of this tunnel are the furnaces and boilers connected with 
 the heating apparatus, together with brick recesses for the stowage 
 of coke. The tunnel itself is connected with the railway, and is 
 used as a roadway for bringing into, and taking from, the Palace 
 all objects of art and of industry ; an arrangement that leaves the 
 main floor of the building independent of all such operations. 
 Behind the tunnel, and still towards the west, the declivity of the 
 ground is met by means of brick piers of the heights necessary to 
 raise the foundation pieces of the columns to the level at which 
 they rest on the summit of the hill. 
 
 The building consists, above the basement floor, of agrandcen tra 
 nave, two side aisles, two main galleries, three transepts, and two 
 wings. It will be remembered, that in Hyde Park an imposing 
 
28 
 
 GENERAL GUIDE BOOK, 
 
 effect was secured by the mere repetition of a column and a girder 
 which, although striking and simple, was certainly monotonous ; 
 and, moreover, in consequence of the great length of the building, 
 the columns and girders succeeded one another so rapidly that the 
 eye had no means of measuring the actual length. At Syden- 
 ham pairs of columns and girders are advanced eight feet into the 
 nave at every seventy-two feet, thus breaking the uniform straight 
 line, and enabling the eye to measure and appreciate the distance. 
 
 The building above the level of the floor is entirely of iron and 
 glass, with the exception of a portion at the north front, which is 
 panelled with wood. The whole length of the main building is 1608 
 feet, and the wings 574 feet each, making a length of 2756 feet, 
 which with the 720 feet in the colonnade, leading from the railway 
 station to the wings, gives a total length of 3476 feet ; or nearly 
 three-quarters of a mile of ground covered with a transparent roof of 
 glass. The length of the Hyde Park building was 1848 feet, so that, 
 including the wings and colonnade, the present structure is larger 
 than its predecessor by 1628 feet ; the area of the ground floor, in- 
 cluding the wings, amounts to the astonishing quantity of 598,396 
 superficial feet ; and the area of gallery flooring of building and 
 wings to 245,260 superficial feet, altogether 843,656 superficial feet. 
 In cubic contents the Palace at Sydenham exceeds its predecessor by 
 nearly one-half. The width of the nave, or main avenue, is 7 2 feet, 
 which is also the width of the north and south transepts ; and the 
 height of all three from the floor to the springing or base of the arch, 
 is 68 feet ; the height from the flooring to the crown or top of the 
 arch being 104 feet, just the height of the transept at the old 
 building. The length of the north and south transepts, is 336 feet 
 respectively. The length of the central transept is 384 feet ; its 
 width 120 feet; its height from the floor to the top of the louvre, 
 or ventilator, 168 feet ; from the floor to the springing of the arch, 
 108 feet ; and from the*garden front to the top of the louvre, 208 
 feet, or 6 feet higher than the Monument. 
 
 The floor consists of boarding one inch and a half thick, laid as in 
 the old building, with half-inch openings between them, and resting 
 on joists, placed two feet apart, seven inches by two and a half 
 nches thick. These joists are carried on sleepers and props eight 
 feet apart. The girders which support the galleries and the roof- 
 work, and carry the brick arches over the basement floor, are of 
 cast-iron, and are 24 feet in length. The connexions between the 
 girders and columns are applied in the same manner as in the build- 
 ing of 1851. The principle of connexion was originally condemned 
 
ACCOUNT OF THE BUILDING. 
 
 29 
 
 by some men of standing in the scientific world ; but experience has 
 proved it to be sound and admirable in every respect. The mode of 
 connexion is not merely that of resting the girders on the columns 
 in order to support the roofs and galleries, but the top and bottom 
 of each girder are firmly secured to each of the columns, so that the 
 girder preserves the perpendicularity of the column, and secures 
 lateral stiffness to the entire edifice. Throughout the building the 
 visitor will notice, at certain intervals, diagonally placed, rods 
 connected at the crossing, and uniting column with column. These 
 are the diagonal bracings, or the rods provided to resist the 
 action of the wind : they are strong enough to bear any strain that 
 can be brought to bear against them, and are fitted with screwed 
 connexions and couplings, so that they can be adjusted with 
 the greatest accuracy. The roof, from end to end, is on the 
 Paxton ridge-and-furrow system, and the glass employed in the 
 roof is -J3- of an inch in thickness (21 oz. per foot). The discharge 
 of the rain-water is effected by gutters, from which the water is 
 conveyed down the inside of the columns, at the base of which are 
 the necessary outlets leading to the main-drains of the building. 
 The first gallery is gained from the ground-floor by means of a flight 
 of stairs about 23 feet high ; eight such flights being distributed 
 over the building. This gallery is 24 feet wide, and devoted to the 
 exhibition of articles of industry. The upper gallery is 8 feet 
 wide, extending, like the other, round the building ; it is gained 
 from the lower gallery, by spiral staircases, of which there are ten : 
 each stair-case being divided into two flights, and each flight being 
 20 feet high. Round this upper gallery, at the very summit of 
 the nave and transepts, as well as round the ground floor of the 
 building, are placed louvres, or ventilators, made of galvanized 
 iron. By the opening or closing of these louvres — a service 
 readily performed- — the temperature of the Crystal Palace is so 
 regulated that on the hottest day of summer, the dry parching heat 
 mounts to the roof to be dismissed, whilst a pure and invigorating 
 supply is introduced at the floor in its place, giving new life to the 
 thirsty plant and fresh vigour to man. The coolness thus obtained 
 within the palace will be sought in vain on such a summer's day 
 outside the edifice. 
 
 The total length of columns employed in the construction of the 
 main buildings and wings would extend, if laid in a straight line, 
 to a distance of sixteen miles and a quarter. The total weight of 
 iron used in the main building and wiilgs amounts to 9,641 tons, 
 17 cwts., 1 quarter. The superficial quantity of glass used is 25 
 
so 
 
 GENERAL GUIDE BOOK. 
 
 acres ; and, if the panes were laid side by side, they would extend 
 to a distance of 48 miles ; if end to end, to the almost incredible 
 length of 242 miles. To complete our statistics, we have further 
 to add that the quantity of bolts and rivets distributed over the 
 main structure and wings weighs 175 tons, 1 cwt., 1 quarter ; 
 that the nails hammered into the Palace increase its weight by 
 103 tons, 6 cwt., and that the amount of brick- work in the main 
 building and wings is 15391 cubic yards. 
 
 From the end of the south wing to the Crystal Palace Pailway- 
 station, as above indicated, is a colonnade 720 feet long, 17 
 feet wide, and 18 feet high. It possesses a superficial area of 
 15,500 feet, and the quantity of iron employed in this covered 
 passage is 60 tons ; of glass 30,000 superficial feet. 
 
 HOT-WATER. APPARATUS. 
 
 Vast as are the proportions of the Crystal Palace, novel and 
 scientific as is the principle of construction, we are in some degree 
 prepared for this magnificent result of intellect and industry by 
 the Great Exhibition of 1851. One arrangement, however, 
 in the present structure, admits of no comparison ; for, in 
 point of extent, it leaves all former efforts in the same direction 
 far behind, and stands by itself unrivalled. We refer to the 
 process of warming the atmosphere in the enormous Glass Palace 
 to the mild and genial heat of Madeira, throughout our cold and 
 damp English winter. 
 
 The employment of hot water as a medium for heating apart- 
 ments, seems to have been first hinted at in the year 1594, by Sir 
 Hugh Piatt, who, in a work entitled " The Jewell House of 
 Art and Nature," published in that year, suggests the use of hot 
 water as a safe means of drying gunpowder, and likewise 
 recommends it for heating a plant-house. In 3 716, Sir 
 Martin Triewald of Eewcastle-on-Tyne, proposed a scheme for 
 heating a green-house by hot water ; and a Frenchman, M. Bonne- 
 main, a short time afterwards invented an apparatus for hatching 
 chickens by the same means. In the early part of this century 
 Sir Martin Triewald's plan of heating was applied to conservatories, 
 at St. Petersburgh ; and a few years later, Bonnemain's arrangement 
 was introduced into England, where it has undergone several 
 improvements, and occupied the attention of scientific men. 
 Its application to the heating of churches, public libraries, and 
 other buildings, has been attended with considerable success, and 
 
HOT WATER APPARATUS. 
 
 31 
 
 it is now looked upon as the safest, as well as one of the most 
 effectual artificial methods of heating. 
 
 The simple plan of heating by hot water is that which Sir Joseph 
 Paxton has adopted for the Crystal Palace. But simple as the 
 method undoubtedly is, its adaptation to the purposes of the Palace 
 has cost infinite labour and anxious consideration : for hitherto it 
 has remained an unsolved problem how far, and in what quantity, 
 water could be made to travel through pipes — flowing and^ return- 
 ing by means of the propulsion of heat from the boilers. At 
 Chatsworth, the seat of the Duke of Devonshire, the principle 
 has been carried out on a large scale, and the experiment there 
 tried has yielded data and proof : but in the present building, a 
 greater extent of piping has been attached to the boilers than was 
 ever before known, or even contemplated. In order to give the 
 visitor some idea of the magnitude of the operation in question, it 
 will be sufficient to state that the pipes for the conveyance of the 
 hot water, laid under the floor of the main building, and around 
 the wings, would, if placed in a straight line, and taken at an 
 average circumference of 12 inches, stretch to a distance of more 
 than 50 miles, and that the water in flowing from and returning 
 to the boilers, travels one mile and three-quarters. But even 
 with these extraordinary results obtained, the question as to the 
 distance to which water can be propelled by means of heat, is 
 far from being definitely settled. Indeed, Sir Joseph Paxton 
 and Mr. Henderson have invented an ingenious contrivance, 
 by means of which, should it ever be required, a much larger 
 heating surface may be called forth at any time in any particular 
 portion of the building. 
 
 The general arrangement of the Heating Apparatus may be 
 described as follows : — Nearly twenty-four feet below the surface 
 of the flooring of the main building, and leading out of " Sir 
 Joseph Paxton' s tunnel " * (the name given to the roadway in the 
 
 * The formation of tunnels, for the passage of water especially, and for 
 drainage, was well known to the ancient Greeks and Romans, and the remains of 
 many of their great works of this kind possess an extreme interest. In the tunnel 
 or underground canal of the Abruzzi in Italy, formed by the Roman Emperor 
 Claudius, and lately cleared out by the Neapolitan Government, nearly the 
 same means appear to have been used for its excavation and construction as 
 are employed in forming tunnels at the present day. Amongst other re- 
 markable tunnels of antiquity may be cited that of Posilipo at Naples, nearly 
 three-quarters of a mile long, probably constructed about the time of Tiberius 
 (circa a.d. 30), and the Greek tunnel, 4200 Greek feet in length, excavated 
 through a mountain for the purpose of conveying water to the city of Samos. 
 
 One of the earliest tunnels of modern times was made at Languedoc in 
 
32 
 
 GENERAL GUIDE BOOK* 
 
 basement story, extending the whole length of the building on the 
 side nearest the Gardens), are placed, at certain intervals, boiler- 
 houses, each containing two boilers capable of holding 11,000 
 gallons of water. The boilers are twenty-two in number, and 
 are set in pairs. In addition to these, a boiler is placed at the 
 north end of the building, on account of the increased heat there 
 required for the tropical plants. There are also two boilers set in 
 the lower stories of each wing, and two small boilers are appropriated 
 to the water in the fountain basins at each end of the building, 
 which contain Victoria Regias and other aquatic plants of tropical 
 climes. Four pipes are immediately connected with each boiler ; 
 two of such pipes convey the water from the boiler, and the other 
 two bring it back ; they are called the main pipes, and are nine 
 inches in diameter. 
 
 Of the two pipes that convey the water from the boiler, one 
 crosses the building transversely — from the garden-front to the 
 opposite side. Connected with this pipe, at certain distances, and 
 in allotted numbers, are smaller pipes*, five inches in diameter, laid 
 horizontally, and immediately beneath the flooring of the building. 
 These convey the water from the main pipe to certain required 
 distances, and then bring it back to the return main pipe, through 
 which it flows into the boiler. The second main pipe conveys the 
 water for heating the front of the building next to the Garden ; 
 and connected with this, as with the other main pipe, are smaller 
 pipes through which the water ramifies, and then, in like manner, 
 is returned to the boiler. Thus, then, by the mere propulsion of 
 heat, a vast quantity of water is kept in constant motion throughout 
 the Palace, continually flowing and returning, and giving out 
 warmth that makes its way upwards, and disseminates, a genial 
 atmosphere in every part. 
 
 To ensure pure circulation throughout the winter, ventilators 
 have been introduced direct from the main building into each 
 furnace, where the air, so brought, being consumed by the fire, the 
 atmosphere in the Palace is continually renewed. 
 
 THE ARTESIAN WELL, AND THE SUPPLY OF THE FOUNTAINS. 
 
 In July, 1852, the supply of water for the fountains and other 
 great works in connexion with the Crystal Palace, first seriously 
 
 France, a.d, 1666: since that period they have become general. The great 
 labour required in their formation, is likely to be obviated by the invention 
 of a machine by an American, which is said to be capable of cutting a rapid 
 way even through masses of rock. 
 
AMMAN WELL AND FOUNTAINS. 
 
 83 
 
 Engaged the attention of the Directors. Various proposals were 
 made, and suggestions offered : some were at once rejected : others, 
 although not free from difficulties, were taken into consideration. 
 The most feasible of these was that which involved the extension 
 to Sydenham of the pipes of one of the nearest London water- 
 work companies, — a measure that would at once secure a sufficient 
 supply of tolerably good water. Against the proposition for sinking 
 a well on the grounds, it was urged that the neighbourhood is 
 almost destitute of water ; that wells- already excavated to the 
 depth of two hundred feet had yielded but a small supply ; and 
 that even if a sufficient supply could be secured by digging, the 
 water obtained could never be raised to the top of the hill. 
 
 Acting, however, upon sound advice, and after due consideration, 
 the company commenced the sinking of an artesian well at the foot 
 of the hill on which the Palace stands, and after proceeding to a 
 depth of 250 feet, their efforts were rewarded. They have now 
 carried the well down 570 feet from the surface, and require only 
 time to complete their operations and to secure water sufficient for 
 their novel and interesting displays. 
 
 When an abundant supply of water shall have been brought to 
 the foot of the hill, it will be necessary not only to raise it to the 
 top, on a level with the building, but also to elevate it to a suf- 
 ficient height for obtaining the fall requisite for fountains to throw up 
 Water to a height varying from 70 to 250 feet. The following is a brief 
 outline of the arrangements now making to effect these objects : — 
 Three reservoirs have been formed at different levels in the 
 grounds, the lowest one being on the same level as the largest 
 basins placed nearly at the base of the hill ; the second, or inter- 
 mediate reservoir, is higher up, and in a line with the basin in the 
 central walk ; whilst the third, or upper reservoir, stands on the 
 top of the hill immediately adjoining the north end of the building, 
 ff ext to the Artesian Well, a small engine is placed which raises 
 the water required to be permanently maintained in the reservoirs 
 and in the basins of the fountains, and which will subsequently 
 supply, or keep up the water that is lost by waste and evaporation. 
 
 The reservoir on the summit of the hill contains the water 
 required for the use of the building, and for the fountains 
 throughout the grounds. Close to this reservoir is an engine- 
 house, containing the steam-engines that raise part of the water in 
 the reservoir into two large tanks (each capable of holding 
 200,000 gallons of water), placed at the summit of the square 
 towers terminating the wings. From these towers the water 
 
34 
 
 GENERAL GUIDE BOOK. 
 
 flows to the basins in the grounds, and there throws up jets of 70 
 to 120 feet in height. These engines likewise lift to a proper 
 elevation the water necessary for the interior of the building, and 
 for making proper provision against fire. The remainder of the 
 water in the top reservoir, in consequence of the sloping character 
 of the ground, will not need any help from the engines, but will 
 flow direct to fountains on a lower level, and play smaller jets. 
 Through the same convenience, the waste water from the upper 
 fountains will be used a second time in the lower fountains. 
 
 The centre or intermediate reservoir collects the waste water from 
 the displays which take place on ordinary days, and which will 
 include all the fountains save the two largest and the cascades. 
 Attached to this reservoir are also engines which pump the water 
 back to the upper reservoir. The lowest reservoir collects similarly 
 the waste water from the displays which will be presented in the two 
 largest fountains on the days of great exhibition, and its engines 
 will return the water at once to the top level. With the exception 
 of the two largest fountains, which cannot play until the towers, 
 which have to supply jets of 250 feet high, are built at each end 
 of the building, the water-works of the Palace will shortly be 
 complete in every respect. 
 
 From the above simple statement it will be seen, that the 
 arrangements for supplying the fountains with water are at once 
 simple, complete, and based upon the most economical principles. 
 The engine power employed is that of three hundred and twenty 
 horses ; the water itself is conveyed to and from the reservoirs in 
 pipes varying from three feet to one inch in diameter ; and the 
 weight of piping may be set down at 4000 tons, its length, 
 roughly estimated, at ten miles. 
 
 The name Artesian is derived from the province of Artois in 
 France, where it is supposed that these wells were first constructed, 
 although it has been asserted that they were sunk in Italy at an 
 earlier period, and that they were even in use amongst the ancients. 
 An Artesian well may be briefly described as .a small boring or 
 sinking in the ground through which water rises to, or nearly to, 
 the surface of the earth, in compliance with that well known law 
 which causes water to seek its leveL 
 
 In the present case, the water which appears in the well comes 
 from a reservoir lying between the London clay and the hard under- 3 
 rocks as its upper and lower envelopes. This reservoir is supplied 
 by rain water, which, percolating the porous superficial and 
 upper strata, and finding an impediment to its downward progress 
 
THE NAVE. 
 
 S5 
 
 On reaching the rocks, flows transversely into the space between 
 the hard clay and rock, as into a cistern. The process "by which 
 the reservoir is supplied is continuous, the water finding its way 
 down to it as if by a series of small tubes, and pressing against the 
 lower surface of the clay with a force which, if unresisted, would 
 raise it to the level from which it descended. When the clay is 
 pierced by the auger it is evident that this force is free to act, the 
 resistance of the clay at the point where it is pierced being removed, 
 and accordingly the water rises in the bore to the level from which 
 it is supplied, and will continue to do so as long as the percolation 
 lasts. The most remarkable Artesian well yet made is one at 
 Kissingen in Bavaria, which, in 1852, reached a depth of 2000 
 feet. As a commercial speculation it has been attended with 
 complete success. The water is saline, * 
 
 THE NAVE. 
 
 Quitting the Wing, to which the visitor Was brought, he turns 
 into the body of the Palace, and the first object that attracts 
 attention is a fountain of toilet vinegar, erected by Mr. E. Bimmel, 
 from designs furnished by Mr. John Thomas. Keeping close to 
 this, the south end of the Palace, we proceed towards the centre of 
 the nave, and passing through the opening in the ornamental 
 screen which stretches across the nave, a fine view is gained of 
 the whole interior of the building. In the fore-ground is Osier's 
 crystal fountain, which adorned the Palace in Hyde Park, but 
 here elevated in its proportions and improved. It is surrounded 
 by a sheet of water at each end of which float the gigantic leaves 
 of the Yictoria Pegia, the intermediate space being occupied by 
 various aquatic plants ; several species of the Nymphcea Devoniana, 
 the Nelumbium speciosum or sacred bean of the Pythagoreans, &c. 
 On either side of the nave the plants of almost every clime wave 
 their foliage, forming a mass of cool pleasant colour, admirably 
 
 * Fountains were well known to the ancient Greeks and Romans, who 
 ornamented their cities with them. It would appear that the latter were 
 acquainted with the law by which water ascends from a jet ; painted represen- 
 tations of such fountains having been found at Pompeii. The discovery is 
 attributed to Hero of Alexandria, about 150 B.C. However this may be, the 
 law itself was never applied in practice to any extent. The next jet- 
 fountain we meet with is on the celebrated mosaic work at San Vitale, 
 Ravenna, about 530 a.d. We are not aware of any examples of jet-fountains 
 occurring amongst Europeans or Orientals of the middle ages, though ordinary 
 fountains were plentiful. The great jets of comparatively modern fountains are 
 the result of our advanced scientific knowledge. 
 
 d2 
 
86 
 
 GENERAL GUIDE BOOK. 
 
 harmonizing with the surrounding tints, and also acting as a most 
 effective background to relieve the white statues, which are 
 picturesquely grouped along the nave ; at the back of these are 
 the facades of the various Industrial and Fine- Art Courts, whose 
 bright colouring gives additional brilliancy to the interior, whilst 
 the aerial blue tint of the arched roof above considerably increases 
 the effect of the whole composition. 
 
 Let the visitor now proceed up the building until he arrives 
 at the central transept, at which point he will be enabled to 
 judge of the vastness of the hall in the midst of which he stands, 
 and of the whole structure of which the transept forms so noble 
 and conspicuous a part. 
 
 THE GREAT TRANSEPT. 
 
 Immediately on his right in the transept is a selection of works 
 of the old school of French Sculptors in front of the Gallery of 
 French Portraits, which commences immediately behind the statue 
 of Admiral Duquesne. On the opposite corresponding side are 
 ranged the works of Canova, behind which, commencing near the 
 statue of Rubens, is placed the Italian portion of the Portrait 
 Gallery. On the left is a selection from the works of English 
 Sculptors, at the back of which are ranged the German portraits, 
 commencing at the Statue of Peel by Marochetti. On the 
 north-west side of the transept are selections from the ancient 
 Roman and Greek Schools of Sculpture, fronting the English 
 portraits which begin at the back of the statue of the Farnese 
 Hercules. The schools of French and Italian sculpture, and of 
 German and English sculpture were passed by the visitor at the 
 junction of the nave and transept. Corresponding to these courts, 
 at the junction on the opposite side, are Courts of the Gothic and 
 Renaissance, and of Greek and Roman sculpture. Full accounts 
 of all the works of art that attract and seize the eye of the visitor 
 at this point will be found in the Handbooks that deal especially 
 with these subjects. When a sufficient idea of this portion of the 
 Building has been obtained, he will do well to pass at once 
 towards the architectural restorations which await him on the other 
 side of the transept. 
 
 In order the better to appreciate the arrangement of those 
 restorations through which we now propose to conduct the visitor, 
 a few words explanatory of the object which they are intended to 
 serve may prove of use. 
 
PLAN 1 OF GREAT (CENTRE) TRANSEPT, 
 
 NORTH NAVE. 
 
 Greek and Roman Sculpture Court. 
 
 English Portrait Gallery. 
 Gothic and Renaissance Sculpture Court. 
 
 Italian Portrait Gallery. 
 
 SOUTH NAVE. 
 
 German and English Sculpture Court. 
 
 German Portrait Gallery. 
 French and Italian Sculpture Court. 
 
 French Portrait Gallery. 
 
38 
 
 GENERAL GUIDE BOOK, 
 
 Olympian J upiter. 
 
 INTRODUCTION TO THE FINE ARTS COURTS. 
 
 One of the most important objects of the Crystal Palace is to 
 teach a great practical lesson in art. Specimens of the various 
 phases through which the arts of Architecture and Sculpture 
 have passed, are here collected, commencing from the earliest 
 known period down to modern times, or from the remote ages of 
 Egyptian civilization to the sixteenth century after Christ- — a period 
 of more than three thousand years. 
 
 Perhaps no subject, with the exception of the literature of 
 departed nations, affords more interest to the mind of man, than 
 these visible proofs of the different states of society throughout 
 the world's history ; and nothing better aids us in realizing the 
 people and customs of the past, than the wonderful monuments 
 happily preserved from the destructive hand of Time, and 
 now restored to something of their original splendour by the 
 patient and laborious researches of modern times ; and, we 
 may add, (not without some pride) by the enterprising liberality 
 of Englishmen. 
 
 Nor is it the least extraordinary fact, in this view of 
 progress, that the building itself, which contains these valuable 
 monuments of past ages, is essentially different from every 
 preceding style, uniting perfect strength with aerial lightness, 
 
 and as easy of erection as it is capable of endurance. The 
 
THE EGYPTIAN COURT. 
 
 39 
 
 combination of glass and iron has produced the original and 
 beautiful result of which the Crystal Palace is the most brilliant 
 example, suggesting to the mind a new and wonderful power of 
 extension beyond anything the mind of the artist has yet devised. 
 Thus then, beneath one roof, may the visitor trace the course of art 
 from centuries long anterior to Christianity, down to the very 
 moment in which he lives, and obtain by this means an idea of the 
 successive states of civilization which from time to time have arisen 
 in the world, flourishing for a greater or less period, until over- 
 turned by the aggressions of barbarians, or the no less destructive 
 agency of a sensual and degraded luxury. Sculpture, the sister 
 art of architecture, has also been worthily illustrated within our 
 walls. Vainly, in any part of the world, will be sought a similar 
 collection, by means of which the progress of that beautiful art can 
 be regularly traced. 
 
 The statues will generally be found in the Architectural Courts 
 of the countries to which they belong, so that the eye may track the 
 intellectual stream as it flows on, now rising to the highest point 
 of beauty, and now sinking to the lowest depths of degradation. 
 The visitor is invited to proceed with us on this world-wide tour of 
 inspection, but to bear also in mind that our present task is to 
 show him how to see the Building itself, and not to describe its 
 contents, except by briefly pointing out the most remarkable 
 objects that encounter him on his way. For detailed and valuable 
 information the visitor is referred to the excellent Handbooks of 
 the respective Courts, all of which describe with minuteness not 
 only their contents, but every needful circumstance in connexion 
 with their history. The point from which we start is the central 
 transept. Proceeding northwards, up the nave, the visitor turns 
 immediately to the left and finds himself in front of 
 
 THE EGYPTIAN COURT. 
 
 The remains of Egyptian Architecture are the most ancient yet 
 discovered. They possess an absorbing interest, not only on 
 account of the connexion of Egypt with Biblical history, but 
 also of the perfect state of the remains, which enable us to judge 
 of the high state of civilization to which Egypt attained, and 
 which have permitted the decipherers of the hieroglyphics, led 
 by Dr. Young, Champollion, and Sir Gardner Wilkinson, in 
 our own time, to give us clear insight into the manner of life 
 - — public and private — of this early and interesting nation. 
 
40 
 
 GENERAL GUIDE BOOK. 
 
 Egyptian architecture is characterized by simplicity of construction, 
 gigantic proportions, and massive solidity. The buildings were 
 almost entirely of stone, and many of them are excavations and 
 shapings of rocks. The examples of this architecture now before 
 us are not taken from any one ruin, but are illustrations of 
 various styles, commencing with the earliest, and terminating 
 with the latest, so that we are enabled to follow the gradual 
 development of the art. Little change, however, was effected 
 during its progress. The original solidity so admirably suited to 
 the requirements of the Egyptians continued to the end ; and 
 religion forbade a change in the conventional representations of 
 those gods and kings which so extensively cover the temples and 
 tombs. So that we find the same peculiar character continued in 
 a great measure to the very last. 
 
 Advancing up the avenue of lions, cast from a pair brought 
 from Egypt by Lord Pruclhoe (the present Duke of Northumber- 
 land), we have before us the outer walls and columns of a temple, 
 not taken from any one particular structure, but composed 
 from various sources, to illustrate Egyptian columns and capitals 
 during the Ptolemaic period, somewhere about 300 years B.C. 
 On the walls are coloured sunk-reliefs showing a king making 
 offerings or receiving gifts from the gods. The capitals or heads 
 of the columns are palm- and lotus-leaved ; some showing the 
 papyrus in its various stages of development, from the simple 
 bud to the full-blown flower. The representation of the palm 
 and the papyrus occurs frequently in Egyptian architecture ; the 
 leaves of the latter, it will be remembered, were made into paper, 
 and its flowers were specially used as offerings in the temples. 
 On the frieze above the columns is a hieroglyphic inscription 
 stating that "in the seventeenth year of the reign of Victoria, 
 the ruler of the waves, this Palace was erected and furnished with 
 a thousand statues, a thousand plants, &c, like as a book for the 
 use of the men of all countries. " This inscription is repeated, with 
 some slight additions, on the frieze of the interior of the Court. 
 On the cornice of both the inside and outside of the Court, are the 
 names of Her Majesty and Prince Albert, engraved in hieroglyphic 
 characters, and also winged globes, the symbolic protecting deity of 
 doorways. Entering by the central doorway, on the lintels and 
 sides of which are inserted the different titles of King Ptolemy in 
 hieroglyphics, we find ourselves in the exterior court of a temple in 
 which the multitude assembled ; the decorations of the walls are 
 similar to those we saw outside, and it must be borne in mind 
 
THE EGYPTIAN COURT. 
 
 41 
 
 that the colouring is taken from actual remains in Egypt. On the 
 wall to the left is a large picture copied from the great Temple of 
 Rameses III. or Rameses Mai Amun, at Medinet Haboo near 
 Thebes, showing the counting of the hands of the slain before the 
 king who is in his chariot ; on the right hand side of the Court is 
 a representation of a battle-scene, with the Egyptians storming a 
 fortress. Turning to the left, after examining the eight gigantic 
 figures of Rameses the Great, forming the facade of another temple, 
 
 we enter the colonnade of an early period, its date being about 1300 
 B.C. The columns represent eight stems and buds of the papyrus 
 bound together, and are cast from a black granite column bearing 
 the name of Amunoph, now in the British Museum. 
 
 Passing on w^e find ourselves in a dark tomb copied from one at 
 Beni Hassan. It is the earliest piece of architecture in the Crystal 
 Palace, its date being about 1660, B.C. The original tomb is cut 
 in the solid chain of rocks that forms a boundary on the east of 
 the JSTile, separating the sandy desert from the fertile valley of the 
 river. Although architectural remains exist in Egypt of a much 
 earlier date than this tomb, it still possesses great value to us, for it 
 may be considered as exhibiting the first order of Egyptian columns, 
 which was employed in constructing buildings at as remote a period 
 as two thousand years before Christ ; this fluted column in 
 
 The Gigantic Figures of Rameses the Great. 
 
42 
 
 GENERAL GUIDE BOOK, 
 
 another respect claims our attention, for there can be but little doubt 
 that it supplied the Greeks with the model of their earlyDoric. 
 
 Passing out, we behold, in front of us, a beautiful colonnade, 
 from the Island of Philce, and of the same period as the 
 Egyptian wall which we first saw fronting 
 the nave. Within this Court we cannot fail to 
 remark the scattered statues, especially the 
 Egyptian Antinous, executed during the 
 Hernial i rule, the life-like development of 
 whose limbs, representing, as it no doubt 
 does, the Egyptian type, is sufficient to 
 convince us that when Egyptian art was 
 not tied down by the hierarchical yoke, it 
 was capable of producing works of truth 
 and merit. Amidst the statues will be 
 found two circular-headed stones — copies of 
 the celebrated Posetta stone (so called from 
 having been found at the little town of 
 Posetta, near Alexandria) from which 
 Dr. Young and Champollion obtained a key 
 to the deciphering of hieroglyphics. The 
 stone is engraved in three characters : Hiero- 
 glyphics, Enchorial — the writing of the country — and Greek ; the 
 inscription is an address from the priests to the Greek King of 
 Egypt, Ptolemy V., in which the sovereign's praises are set forth, 
 and orders are given to set up a statue of the king, together with 
 the address, in every temple. The date of this interesting remnant 
 of Egyptian manners and customs is about 200 years before the 
 Christian era. Further on to the right — in a recess, is the 
 model of the temple of Aboo Simbel, cut in the side of a rock, 
 in Nubia. The sitting figures represent Pameses the Great, 
 and the smaller ones around, his mother, wife, and daughter. 
 The original tomb is ten times as large as the present model. 
 Some notion of the stupendous magnitude of these Egyptian 
 remains may be formed by observing the small figure standing 
 on the tomb, which shows the relative height of an ordinary 
 living man. Turning from this recess, and after looking at the 
 beautiful lotus columns to the left, surmounted by the cow- 
 eared Goddess of Love of the Egyptians, and having examined 
 the two large pictures on the walls of the temple — one of which 
 represents a king slaying his enemies with the aid of the god 
 Ammon Pa, and the other a feat of arms of the same king — • 
 
 First order of Egyptian 
 Column. 
 
44 
 
 GENERAL GUIDE BOOK. 
 
 we direct our attention to the columns before us, which are 
 reduced models of a portion of the celebrated Temple of Karnac at 
 Thebes. This temple was, perhaps, one of the largest and most 
 interesting in Egypt ; the principal portions said to have been 
 erected by Rameses II. about 1170 b. c. It seems to have been 
 a fashion with the Theban kings to make additions to this temple 
 during their respective reigns ; and, as each monarch was anxious 
 to outvie his predecessor, the size of the fabric threatened to 
 become unbounded. Temples and tombs were the grand extrava- 
 gances of the Egyptian kings. The sums that modern rulers 
 devote to palaces which add to their splendour whilst living, were 
 given by the remote princes of whom we speak, and who regarded 
 life as only a fleet passage towards eternity, for the construction 
 of enduring homes when life should have passed away. Inasmuch 
 as, if the career of an Egyptian king proved irreligious or 
 oppressive, the priests and people could deny him sepulture 
 in his own tomb, it is not unlikely that many Egyptian kings 
 lavished large sums upon temples, in order to conciliate the 
 priestly favour, and to secure for their em- 
 balmed bodies the much-prized sanctuary. 
 It is to be observed, however, with respect 
 to the names and inscriptions found on 
 Egyptian monuments, that they are by no 
 means always to be taken as an authentic 
 account of the illustrious remains within. 
 Some of the Egyptian kings have been 
 proved guilty of erasing from tombs the 
 names of their predecessors, and of sub- 
 stituting their own ; an unwarrantable and 
 startling deception that has proved very 
 awkward and embarrassing to Egyptian 
 antiquaries. 
 
 The portion of Karnac here modelled 
 is taken from the Hall of Columns, com- 
 menced by Osirei the First, and completed 
 by his son, Rameses the Great — a most illus- 
 trious monarch, who flourished during the 
 
 twelfth century before Christ, whose deeds are frequently recorded, 
 and whose statue is found in many parts of Egypt. Before 
 entering the temple we stay to notice the representations of 
 animals and birds on the frieze above the columns, which is the 
 dedication of the temple to the gods. Entering between the 
 
 Column from Karnac. 
 
tfHE GREEK COURT. 
 
 45 
 
 columns, on the lower part of which is the name of Rameses the 
 Great, and, in the middle, a representation of the three principal 
 divinities of Thebes receiving offerings from King Osirei ; — and, 
 after thoroughly examining this interesting restoration, we return 
 again into [the . outer court. Regaining the nave, a few steps, 
 directed to thejeft, bring us to 
 
 The Parthenon. 
 
 THE GREEK COURT. 
 
 Architecture and sculpture have here made a stride. We have 
 noted even in Egypt the advance from early rude effort to a con- 
 sistent gigantic system of art, that covers and almost darkens the 
 land under the shadow of a stern hierarchical religion. We step at 
 once from the gloom into the sunshine of Greek art. The over- 
 whelming grandeur of Egypt, with its austere conventionalities is 
 exchanged for true simplicity, great beauty, and ideality. Just 
 proportions, truth, and grace of form and appropriate ornament 
 characterized Greek architecture. The fundamental principles of 
 construction, as will readily be seen, were the same in Greece as in 
 Egypt, but improved, added to, and perfected. The architecture 
 of both countries was columnar ; but, compare the Greek columns 
 before us with those which we just now saw in Egypt, taken from 
 the tomb of Beni Hassan ; the latter are simple, rude, ill-propor- 
 tioned, and with slight pretension to beauty, whilst, in the former, 
 the simplicity still prevailing, the rudeness and heaviness have 
 
46 
 
 GENERAL GUIDE BOOK. 
 
 departed, the pillars taper gracefully, and are finely proportioned 
 and elegant, though of great strength. The specimen of Greek 
 architecture before us is from the later period of the first order, 
 namely, the Doric ; and the court is taken, in part, from the 
 Temple of Jupiter at Nemea, which was built about 400 
 years B.C., still within the verge of the highest period of Greek 
 Art. Passing along the front, we notice on the frieze above the 
 columns the names of the principal Greek cities and colonies. 
 
 We enter the court through the central opening. This portion 
 represents part of a Greek agora, or forum, which was used as a 
 market, and also for public festivals, for political and other 
 assemblies. Around the frieze in this central division are the names 
 of the poets, artists, philosophers of Greece, and of their most 
 celebrated patrons, the list commencing immediately above the place 
 of entrance, with old blind Homer, and finishing with Anthemius 
 the architect of Saint Sophia at Constantinople. The names, 
 it will be remarked, are inserted in the Greek characters of the 
 period at which the various persons lived. The monograms within 
 the chaplets on the frieze are formed of the initial letters of the 
 Muses, the Graces, the Good and the Wise ; on the walls are also 
 pictures representing the Olympian Gods and Marriage of Peleus 
 and Thetis, the Judgment of Paris, Destruction of Ilium, 
 and Escape of ^Eneas and Anchises, Hades and the Argonautic 
 expedition. The colouring of this court, with its blue, red, 
 and yellow surfaces, blazoned with gold, produces an excellent 
 effect. It is the object of the decorators to give to the whole of 
 the architectural specimens in the Crystal Palace, those colours 
 which there is reason to know, or to believe, they originally 
 possessed ; to restore them, in fact, as far as possible to their 
 pristine state, in order that the imagination of the spectator 
 may be safely conducted back in contemplation to the artistic cha- 
 racteristics of distant and distinctive ages. In this court are 
 arranged sculptures and models of temples. Amongst the former 
 will be recognised many of the finest statues and groups of the Greek 
 school, the Laocoon (16) ; the Farnese Juno (6) ; the well-known 
 Discobolus (4) from the Vatican ; the Ariadne, also from the Vatican 
 (27) ; the Sleeping, or Barberini Farm (19) ; and, in the centre, the 
 unrivalled Venus of Melos (1). * We make our way round this 
 court, beginning at the right hand. After examining the collection, 
 we pass between the columns into the small side court, (next to 
 Egypt), answering to a stoa of the Agora. Around the frieze are 
 
 * These numbers refer to the Handbook of the Greek Court* 
 
THE GREEK COURT. 
 
 47 
 
 found the names of the great men of the Greek colonies, arranged 
 in chronological order. The visitor has here an opportunity of 
 contrasting the architecture and sculpture of the Egyptians with 
 those of the Greeks. On one side of him is an Egyptian wall 
 inclining inwards, with its angular pictorial decorations, and the 
 passive colossal figures guarding the entrances. On the other side 
 are the beautiful columns and bold cornice of the Greek Doric, 
 surrounded by statues characterized by beauty of form and refined 
 idealized expression. In this division will also be found the busts 
 of the Greek Poets, arranged 
 in chronological order, com- 
 mencing on the right-hand side 
 from the nave : these form a 
 portion of the Portrait Gallery 
 of the Crystal Palace. 
 
 Making our way through the 
 opening in the back, opposite the 
 !Nave, we enter a covered atrium, 
 commonly attached to the portion 
 of the agora here reproduced. 
 The massive antce, or square 
 pillars, and the panelled ceiling 
 — the form of the latter adapted 
 from the Temple of Apollo at 
 Bassse in Arcadia — give the 
 visitor another specimen of 
 Greek architecture. We pro- 
 ceed, to the right, down this 
 atrium, occasionally stepping 
 out to examine the sculpture 
 arranged in the gallery, and the restored and coloured frieze of the 
 Parthenon of Athens, which extends its length along the wall. 
 The coloured portion has been executed under the direction of 
 Mr. Owen Jones, the golden hair and the several tints being 
 founded on authentic examples which still exist on analogous 
 remains of ancient Greek art. This frieze represents the 
 Panathenaic procession to the temple of Athene Polias, which 
 formed part of the display at this greatest of the Athenian 
 festivals, and took place every fourth year. Dividing the 
 frieze, is one of the most interesting objects in the Crystal 
 Palace, a model of the western front of the Parthenon itself, about 
 one-fourth the size of the original structure. This is the largest 
 
GENERAL GUIDE BOOtf. 
 
 model that has ever been constructed of this beautiful temple, and, 
 being coloured from actual remains and legitimate deductions, it 
 possesses the great charm of a veritable copy. The scale is suffi- 
 ciently large to give a complete idea of the original. This 
 admirable model is due to the intelligent and successful researches 
 prosecuted in Athens by Mr. Penrose, whose labours have thrown 
 so much new light upon the refinements practised by the Greeks in 
 architecture. Mr. Penrose has himself directed the construction 
 of the model. In this gallery are ranged statues and groups, 
 including the celebrated Niobe group, from Florence (187 to 
 187 l, inclusive). This subject of the punishment of Niobe's 
 family by the gods was frequently treated by Greek artists ; and 
 certainly the group before us is one of the most beautiful examples 
 of Greek sculptural art. It is supposed that the portion of 
 the group at Florence occupied the pediment of the temple of 
 Apollo Sosianus at Pome. The ISTiobe group belongs to one of 
 the brightest periods. Casts from those most beautiful and 
 wonderful remains of ancient art, the colossal figures from the 
 pediment of the Parthenon at Athens, are also here (185 to 
 185 b.). The originals, brought over to England by Lord Elgin in 
 1801-2, are in the British Museum, and the nation is indebted for 
 the acquisition to the painter Haydon, who was the first British 
 artist to recognise the value, and appreciate the beauty of these 
 mutilated but inimitable monuments of art at the highest period of 
 its glory. They belong to the Phidian school, and are characterized 
 by simple grandeur, great repose in the attitudes, and a deep study 
 of nature in their forms. The Theseus more particularly displays 
 a marvellous study and appreciation of nature. In connexion 
 with the Parthenon will also be seen a cast from a part of one of 
 the actual columns, also in the British Museum (150).* In this 
 Stoa is the wonderful Belvedere Torso, from the Vatican (67); the 
 fax- famed Venus de' Medici (198), from Florence, and the exqui- 
 site Psyche (199), from the Museum at Naples. The visitor will 
 not fail to be astonished, no less by the number than by the 
 charming effect of these works which have come down to our 
 time, and which will descend to the latest posterity as models of 
 excellence. Proceeding until we arrive at the junction of the 
 Greek and Roman Courts, we turn into the right hand division 
 of the outer court ; round the frieze of which are the names of 
 the statesmen and warriors of Athens, the Peloponnesus and 
 
 * For a minute description of all the statues and other works of art in this 
 Court, see the " Handbook to th? Greek Court." 
 
THE GREEK COURT. 
 
 49 
 
 Attica. The busts ranged on either side are portraits of the Greek 
 philosophers, orators, generals and statesmen, arranged in chrono- 
 logical order, commencing at the entrance from the nave. 
 
 GREEK SCU 
 
 No. 
 
 1. Venus Victrix. 
 
 2. Venus Victrix of Capua. 
 
 3. Dione. 
 
 4. Quoit-Thrower. 
 
 5. The Warrior of Acasias. 
 
 6. Juno. 
 
 7. Naiad. 
 
 8. Apollo. 
 
 9. Mercury. 
 
 10. Faun. 
 
 11. Colossal Female Figure. 
 
 12. Faun. 
 
 13. Scythian. 
 
 14. Danaid. 
 
 15. Vacant. 
 
 16. Laocoon and his Sons. 
 
 17. Farnese Minerva. 
 
 18. Minerva. 
 
 19. Sleeping Faun. 
 
 20. Youth. 
 
 21. Jason. 
 
 22. Diana. 
 
 ( 23. Ludovisi Mars. 
 
 24. Genius of Death. 
 
 25. Jason. 
 
 26. Apollo Lycius. 
 
 27. Ariadne. 
 
 28. Minerva. 
 
 29. Minerva. 
 
 30. Somnus. 
 81. Clio. 
 
 32. Frieze in Alto-rilievo. 
 
 33. Endymion. 
 
 34. Bas-relief. 
 
 35. Perseus and Andromeda. 
 
 36. Polyhymnia. 
 
 37. Minerva. 
 
 38 & 39. Canephor^e. 
 
 40. Minerva. 
 
 41. Flora. 
 
 42. Hygieia. 
 
 43. Small Statue of Female. 
 
 44. Euterpe. 
 
 45. Vesta. 
 
 46. Euterpe. 
 
 47. Borghese Flora. 
 
 48. Minerva. 
 
 49. A Muse. 
 
 50. Polyhymnia. 
 
 51. Thalia. 
 
 52. A Bronze Figure. 
 
 53. Torso of an Amazon. 
 
 54. Minerva. 
 
 55. Small Female Figure. 
 
 56. The East Frieze of the Theseum. 
 
 57. Portion of Frieze. 
 
 58. Battle of the Amazons. 
 
 59. Bas-relief. 
 
 60. Minerva. 
 
 LPTURES. 
 
 No. 
 
 61. Puteal. 
 
 62. Torso of a Faun. 
 
 63. ^Esculapius and Telesphorus. 
 
 64. Pomona. 
 
 65. Philosopher. 
 
 66. Torso of a Youthful Male Figure 
 
 67. A Seated Hercules. 
 
 68. Torso of a Female Figure. 
 
 69. Horse's Head. 
 
 70. Polyhymnia. 
 
 71. Horse's Head. 
 
 72. Torso and Legs of a Delicately 
 
 formed Female. 
 
 73. Marsyas. 
 
 74. Horse's Head. 
 
 75. Diana. 
 
 76. Antinous and his Genius with 
 
 small Statue of Elpis. 
 
 77. Ganymedes and Eagle. 
 
 78. Cupid and Psyche. 
 
 79. Thalia. 
 
 80. Augustus. 
 
 81. Apollo. 
 
 82. Ceres. 
 
 83. Bacchus crowned with Ivy. 
 
 84. Victory. 
 
 85. Penelope and Telemachus. 
 
 86. Half-draped Female Statue. 
 
 87. Thetis. 
 
 88. Ganymedes. 
 
 89. Bacchus. 
 
 90. iEsCULAPIUS. 
 
 91. Hunter. 
 
 92. Julian the Apostate. 
 
 93. Architectural Scrollwork. 
 
 94. Architectural Scrollwork. 
 
 95. Architectural Ornament. 
 
 96 & 98. Two Portions of a Frieze. 
 97. Spain. 
 
 99. Architectural Ornament of a 
 Griffin. 
 
 100. Bold Architectural Ornaments. 
 
 101. Architectural Scrollwork. 
 
 102. Architectural Scrollwork. 
 
 103. Architectural Fragment. 
 
 104. Architectural Fret. 
 
 105. Architectural Portions of a 
 
 Cornice. 
 
 106—110. Architectural Fragments. 
 
 111. Large Lion's Head. 
 
 112. Capital. 
 
 113—116. Architectural Fragments. 
 
 117. Lucilla. 
 
 118. The Front of a large Sarcopha- 
 
 gus. 
 
 119. a.b. Bas-relief. 
 
 120. Vacant. 
 
 121. Vacant. 
 
 122. Victory 
 
 B 
 
50 
 
 GENERAL 6tUIDE BOOK, 
 
 No. 
 
 123. Vacant. 
 
 124. From a Terra-cotta. 
 
 125. Bas-relief. 
 
 126. Bas-relief. 
 
 127. Roman Sacrifice. 
 
 128. Terra-cottas. 
 
 129. Pudicitia. 
 
 129. * Bas-relief. 
 
 130. Ceres. 
 
 130 a. Bas-relief. 
 
 131. Bas-relief. 
 
 132. Musicians. 
 
 133. The Muses. 
 
 134. Bas-relief. 
 
 135. Bas-relief. 
 
 136. Bas-relief. 
 
 137. Bas-relief. 
 
 138. Alto-rilievo of white marble. 
 
 139. Bas-relief, 
 
 140. Bas-relief, 
 
 141. Three Cities personified. 
 
 142. Vestal. 
 
 143. Bas-relief. 
 
 144. Retrograde Sepulchral Inscrip- 
 
 tion. 
 
 145. Small Bas-relief. 
 
 146. Athenian Bas-relief. \ 
 
 147. The Dioscuri. 
 
 148. Portion of a Funereal Vase. 
 
 149. Cippus. 
 
 150. Upper Part of Doric Column of 
 
 the Parthenon. 
 
 151. Bas-relief. 
 
 152. Athenian Bas-relief. 
 
 153. A very fine Fragment. 
 
 154. Alto-rilievo from Athens. 
 
 155. Pluto. 
 
 156. Fragment of Frieze of the Par- 
 
 thenon. 
 
 157. Fragment of a Horse's Head, 
 
 158. Small Bas-relief. 
 
 159. Bas-relief. 
 
 160. Juno and Minerva. 
 
 161. A Cavalcade. 
 
 162. An inscribed Stele. 
 
 163. Bas-relief. 
 
 164. The lower portion of a Stele. 
 
 165. Juno. 
 
 166. Bas-relief. 
 
 167. A small Athenian Bas-relief. 
 
 168. Bas-relief. 
 
 169. A low Relief. 
 
 170. Caryatids. 
 
 171. Bas-relief. 
 
 172. Ulysses and his Dog. 
 
 173. An inscribed Farewell Scene. 
 
 174. An interesting little Alto-ri- 
 
 lievo. 
 
 175. Bas-relief. 
 
 176. Fragment of Seated Female. 
 
 177. Fragment. 
 
 178 and 178a. Alto-Rilievo. 
 
 178b. 
 
 The Elgin Marblhs. 
 
 Frieze. 
 
 East Frieze. 
 
 179. A Portion of the "West Frieze of 
 
 the Parthenon. 
 
 180. Fragment of the Frieze of the 
 
 Parthenon in the Vatican. 
 
 181. Portion of an interesting little 
 
 Female Figure. 
 
 182. Fragment of one of the South 
 
 Metopes of the Parthenon. 
 
 183. Vacant. 
 
 184. Vacant. 
 
 Statues from the Eastern Pe- 
 diment of the Parthenon. 
 
 185. Theseus. 
 
 185a. Ceres and Proserpine. 
 185c. Horse's Head. 
 186b. The Fates. 
 
 187. Niobe and Daughter. 
 187a. Niobid. 
 
 187b. Niobid. 
 
 187c. Niobid and Pedagogue. 
 
 187d. Niobid. 
 
 187e. Niobid. 
 
 187f. Niobid. 
 
 187g. Niobid. 
 
 187h. Niobid. 
 
 187i. Niobid. 
 
 187k. Niobid. 
 
 187l. Niobid. 
 
 188. Colossal Torso. 
 
 189. The Ilioneus restored. 
 
 190. Venus. 
 
 191. Cupid. 
 
 192. The Son of Niobe. 
 
 193. Farnese Torso of a Youth, 
 
 194. Amazon. 
 
 195. Priest of Bacchus, 
 
 196. MelpomenE. 
 
 197. Ilioneus. 
 
 198. Medici Venus. 
 
 199. Psyche. 
 
 200. Owl upon a Square Plinth. 
 
 201. Iris, Hecate, or Lucifera. 
 
 202. Pan. 
 
 203. Cupid. 
 
 204. Model of the Temple of Neptune 
 
 at p^estum. 
 
 205. Square Altar of the Capitol. 
 
 206. Sosibius Vase. 
 
 207. Funereal Vase. 
 
 208. Sacrificial Altar. 
 
 209. Candelabrum or Tripod. 
 
 210. Altar. 
 
 211. A Tripod. 
 
 212. Victory. 
 
 213. Cinerarium of Lucilius, 
 215. Euripides. 
 
 >L 6. Candelabrum. 
 217 Head of Magnus Decentius. 
 
 We walk through this court until we reach the nave ; then 
 turning to the left find ourselves facing the 
 
THE KOMAN COURT, 
 
 ROMAN COURT, 
 
 On approacliing this Court the visitor will at once notice 
 a new architectural element — -as useful as it is beautiful — . 
 namely, the Arch, a feature that 
 has been found susceptible of the 
 greatest variety of treatment. Until 
 within the last few years the credit 
 of the first use of the arch as an 
 architectural principle has been given 
 to the Greek architect under Roman 
 rule, but discoveries in Egypt, and 
 more recently in Assyria by Mr. 
 Layard and M. Botta, have shown 
 that constructed and ornamented 
 arches were frequently employed in 
 architecture many hundred years be- 
 fore the Christian era. It is to be 
 observed that architecture and sculp- 
 ture had no original growth at Rome, 
 and were not indigenous to the soil. Roman structures were modifi- 
 cations from the Greek, adapted to suit the requirements and tastes 
 of the people ; and thus it happened that the simple severity, 
 purity, and ideality of early Greek art degenerated under the 
 Roman empire, into the wanton luxuriousness that characterized 
 its latest period. In comparing the Greek and Roman statues, 
 we remark a grandeur of conception, a delicacy of sentiment, a 
 poetical refinement of thought in the former, indicative of the 
 highest artistic development with which we are acquainted. When 
 Greece became merely a Roman province, that high excellence 
 was already on the decline, and the dispersion of her artists, 
 on the final subjugation of the country by Mummius, the Roman 
 general, B.C. 146, hastened the descent. A large number of 
 Grecian artists settled at Rome, where the sentiment of ser- 
 vitude, and the love of their masters for display, produced 
 works which by degrees fell further and further from their 
 glorious models, until richness of material, manual cunning, and 
 a more than feminine weakness characterized their principal pro- 
 ductions ; and the sculptor's art became degraded into a trade, in 
 which all feeling for the ancient Greek excellence was for ever lost. 
 
52 
 
 GENERAL GUIDE BOOK. 
 
 Thus, in the transplanted art of Greece, serving its Roman masters, 
 a material and sensual feeling more or less prevails, appealing to the 
 
 passions rather than to the intellects 
 and high imaginations of men. The 
 cumbrous dresses and armour which 
 mark the properly Roman style, hide 
 the graceful and powerful forms of 
 nature under the symbols of station 
 and office, creating a species of poli- 
 tical sculpture. 
 
 In the wall now before us we 
 have a model of a portion of the 
 outer wall of the Coliseum at Rome, 
 pierced with arches and ornamented 
 with Tuscan columns. The Coliseum 
 is one of the most wonderful struc- 
 tures in the world, and the Pyra- 
 mids of Egypt alone can be 
 compared with it in point of size. 
 It is elliptical in form, and con- 
 sisted outwardly of four stories. 
 In the centre of the interior was 
 the arena or scene of action, 
 around which the seats for spec- 
 tators rose, tier above tier. The 
 enormous range was capable of seating 87,000 persons. Ves- 
 pasian and Titus erected this amphitheatre, and the work com- 
 menced about A.i). 79. In this vast and splendidly decorated 
 building, the ancient Romans assembled to witness chariot-races, 
 naval engagements, combats of wild animals, and other exciting 
 sports. 
 
 Entering the Roman Court through the central archway we come 
 into an apartment whose walls are coloured in imitation of the 
 porphyry, malachite, and rare marbles with which the Roman 
 people loved to adorn their houses. This style of decoration appears 
 to have been introduced a little before the Christian era, and so 
 lavish were the Romans in supplying ornament for their homes, that 
 the Emperor Augustus, dreading the result of the extravagance, 
 endeavoured by his personal moderation to put a stop to the 
 reckless expenditure : although, it is recorded, that the lofty 
 exemplar was set up for imitation in vain. 
 
 Following the same plan as in the Greek Court, we proceed round 
 
 Statue of Hadrian from the British 
 Museum. 
 
THE ROMAN COURT. 
 
 53 
 
 from the right to the left, examining the sculptures and models. 
 Amongst the former will be noticed the statue of Drusus from 
 Naples (222) ; the beautiful Yenus Aphrodite from the Capitol, 
 Rome (226) ; the Yenus Genitrix from the Louvre (228) ; the 
 fine statue of a musician, or female performer on the lyre, from 
 the Louvre (230) ; the Marine Yenus (233) ; the Yenus of Aries 
 (237) ; the Yenus Callipygos from Naples (238) ; and the Bacchus 
 from the Louvre (241).* Around the court are placed the portrait 
 busts of the most celebrated kings and emperors of Rome, arranged 
 chronologically, commencing, on the right hand side of the entrance, 
 with Numa Pompilius (34), and terminating with Constantinus 
 Chlorus (73)f. Amongst the models is one of the Coliseum, which 
 will give the visitor a perfect idea of the form and arrangement, if 
 not of the size, of the original structure. Having completed our 
 survey, we enter the arched vestibule at the back adjoining the 
 Greek Court. This vestibule, and the three others adjacent, are 
 founded, in respect of their decorations and paintings, on 
 examples still extant in the ancient baths of Rome. The bath, as 
 is well known, was indispensable to the Romans, and in the days of 
 their " decadence," when they had sunk from glorious conquerors 
 and mighty generals into the mere indolent slaves of luxury, the 
 warm bath was used to excess. It is said that it was resorted to 
 as often as seven or eight times a day, and even used immediately 
 after a meal, to assist the digestive organs, and to enable the 
 bather to enjoy, with as little delay as possible, another luxurious 
 repast. # 
 
 We proceed through these vestibules, as in the Greek Court, 
 studying the objects of art, and occasionally stepping out to notice 
 the continuation of the Parthenon frieze on the wall at the back, 
 and the sculptures ranged around. In the centre of the first 
 vestibule is the Yenus Genitrix (234) ; in the centre of the second 
 vestibule, the Apollo Belvedere (252) ; and in the third, the Diana 
 with the deer (261) J, — three chef-d'ceuvres of sculpture, that give 
 an idea of the highest state of art under Roman rule. We soon 
 arrive at the sides of the Alhambra, when, turning to the right, 
 we find ourselves in a Roman side court, which is surrounded by 
 the busts of the most renowned Roman Generals, of Empresses and 
 "other women. 
 
 44 These numbers refer to the Handbook of the Roman Court. 
 
 t These two numbers refer to those in the Handbook to the Portrait Gallery* 
 
 $ Numbers of Roman Handbook, 
 
 • 
 
54 
 
 GENERAL GUIDE BOOK. 
 
 ANTIQUE SCULPTURES IN 
 
 No. 
 
 218. Model of the Forum of Rome. 
 
 221. Faun. 
 
 222. Statue of Drusus. 
 
 223. Young Faun. 
 
 224. Draped Venus and Cupid. 
 
 225. Young Hercules. 
 
 226. Venus of the Capitol. 
 
 227. Ganymedes. 
 
 228. Venus Genitrix. 
 
 229. Girl. 
 
 230. Portrait of a Musician. 
 
 231. Small Female Figure. 
 
 232. Youth invoking the Gods. 
 
 233. Marine Venus and Cupid. 
 
 234. Camillus. 
 
 235. Large Female Figure. 
 
 236. Venus. 
 
 237. Venus Victrix. 
 
 238. Venus Callipygos. 
 
 239. Urania. 
 
 240. Bacchus. 
 
 241. Richelieu Bacchus. 
 
 242. Faun. 
 
 243. Venus and Cupid. 
 
 244. Female reading a Scroll. 
 
 245. Venus. 
 
 246. Cupid and Psyche. 
 
 247. Boy extracting Thorn. 1 
 
 248. Venus. 
 
 249. Ceres. 
 
 250. Anchirrhoe. 
 
 251. Nymph Extracting a Thorn, 
 
 252. Belvedere Apollo. 
 
 253. Young Faun. 
 
 254. Cupid. 
 
 255. Hercules and Omphale, 
 
 256. Young Faun. 
 
 257. Faun. 
 
 258. Apollo Sauroctonos. * 
 
 259. Faun. 
 
 260. Young Faun. 
 
 261. Diana. 
 
 262. Boy and Goose* 
 
 263. Boy and Bird. 
 
 264. Boy with Mask, 
 
 265. Urania. 
 
 266. Penelope. 
 
 267. Ganymedes. 
 
 268. Girl. 
 
 269. Boy and Goose. 
 
 270. eumachia. 
 
 271. pudicitia. 
 
 272. Portrait Statue of a Roman 
 
 Lady. 
 
 273. Livia Drusilla. 
 
 274. Vase. 
 
 275. Candelabrum. 
 
 276. Torlonia Hercules. 
 
 277. Dog. 
 
 278. Colossal Cupid as Hercules, 
 
 279. Bacchus. 
 
 280. Antinous. 
 
 281. Agrippina the Elder. 
 
 282. Adonis. 
 
 283. Bacchus. 
 
 ROMAN COURT AND NAVE. 
 
 No. 
 
 284. Faun of the Capitol. 
 
 285. Mercury. 
 
 286. Trajan. 
 
 287. Mercury of the Vatican. 
 
 288. Antinous. 
 
 289. Meleager of Berlin. 
 
 290. Menander. 
 
 291. Posidippus. 
 
 292. Boar. 
 
 293. Meleager of the Vatican. 
 
 294. Quoit-Player. 
 
 295. Faun. 
 
 296. Adonis. 
 
 297. Polyhymnia. 
 
 298. Apollo Sauroctonos. 
 
 299. Athlete, or Boxer. 
 
 300. The Clapping Faun. 
 
 301. Apollo Sauroctonos, 
 
 302. Amazon. 
 
 303. Faun. 
 
 304. Wrestlers. 
 
 305. Young Faun. 
 
 306. Silenus. 
 
 307. Posidonius. 
 
 308. Demosthenes. 
 
 309. Gladiator. 
 
 310. Achilles. 
 
 311. Bacchus. 
 
 312. Germanicus. 
 
 313. Adonis, or Apollo. 
 
 314. Antinous. 
 
 315. Discobolus. 
 
 316. Mercury. 
 
 317. Hercules. 
 
 318 and 319. Dioscuri. 
 
 319. Vacant. 
 
 320. Monument of Lysicrates. 
 
 321. Demosthenes. 
 
 322. Sophocles. 
 
 323. Vacant. 
 
 324. Phocion. 
 
 325. Vacant. 
 
 326. Aristides, or JEschines. 
 
 327. Philosopher. 
 
 328. Minerva. 
 
 329. Melpomene. 
 
 330. Young Jupiter. 
 
 331. Lucius Verus. 
 
 332. Plotina. 
 
 333. Lucius Verus. 
 
 334. Julia Pia Domna. 
 
 335. Juno. 
 
 336. Medusa Head. 
 
 337. Olympian Jupiter. 
 
 338. Titus Vespasian. 
 
 339. Jupiter Serapis. 
 
 340. Marine Deity. 
 
 341. Juno. 
 
 342. Pertinax. 
 
 343. Trajan. 
 
 344. Marcus Aurelius. 
 
 345. M. Agrippa. 
 
 346. Thalia. 
 
 347. Antinous. 
 
 348. Head of the Youthful Bacchus. 
 
THE ROMAN COURT. 
 
 55 
 
 No. 
 
 349. Juno. 
 
 350. Dirce. 
 
 351. Pallas. 
 
 352. Borghese Vase. 
 
 353. Meeici Vase. 
 
 354. Vase. 
 
 355. Vase. 
 
 356. Vase. 
 
 357. Fountain in form of a Tripod. 
 
 358. Cupid encircled by a Dolphin. 
 
 359. Amazon. 
 
 360. Ceres. 
 
 361. Mercury. 
 
 362. Medici Venus. 
 
 363. Athlete. 
 
 364. Posidonius. 
 
 365. Polyhymnia. 
 
 366. Bronze Statue of a Youth. 
 
 367. Faun. 
 
 368. Antinous and his Genius. 
 
 369. Dancing Faun. 
 
 370. Sleeping Faun. 
 
 371. Bust of Meleager. 
 
 372. Bronze Faun. 
 
 373. Apollo Sauroctonos. 
 
 374. Small sitting Figure of Urania. 
 
 375. Bronze Statue of a Youth. 
 
 376. Small Figure of Ceres. 
 
 377. Apollo Lycius. 
 878. The dog Molossus. 
 
 379. Wrestlers, or Pancratiast^e. 
 
 380. Bronze Statue of a Boy ex- 
 
 tracting a Thorn. 
 
 381. Antoninus Pius. 
 
 382. Indian Bacchus. 
 
 383. Bust of Laughing Faun. 
 
 384. Bust of Achilles. 
 
 385. Double Hermes, or Terminal Bust. 
 
 386. Bearded Bacchus. 
 
 387. Bacchus. 
 
 388. Zeus Trophonios. 
 
 389. Head of Apollo. 
 
 390. Jupiter. 
 
 391. Double Hermes, or Terminal Bust. 
 
 392. Head of Apollo. 
 
 393. Jupiter Serapis. 
 
 394. The Sun. 
 
 395. Juno. 
 
 396. Apollo. 
 
 397. Head of the Laocoon. 
 
 398. Achilles. 
 
 399. iEscuLAPius. 
 
 400. Female Bust. 
 
 401. Philosopher. 
 
 402. Bust of Draped Female. 
 
 403. Pluto. 
 
 404. Omphale. 
 
 405. Bust of Ariadne, or Arethusa. 
 
 406. Serapis, or Infernal Jupiter. 
 
 407. Paris. 
 
 408. Bust of Minerva Medica. 
 
 409. Bust of Pallas. 
 
 410. Medusa. 
 
 411. Bust of Reposing Faun. 
 
 412. Head of a Child. 
 
 413. Jupiter. 
 
 414. Part of a Sepulchral Altar. 
 
 415. Omphale. 
 
 416. Stag Rearing. 
 
 417. Roebuck Standing. 
 
 418. Nymph. 
 
 419. Nymph at Fountain. 
 
 420. Small Statue of Sitting Her- 
 
 cules. 
 
 421. Cato and Porcia. 
 
 422. Bronze Plates from Etruscan 
 
 Chariot. 
 
 423. iEsop Statue. 
 
 Not yet arrived. 
 
 219. Model of the Coliseum at Rome. 
 
 220. Model of the Trajan Column at 
 
 Rome. 
 Adorante. 
 Adorante. 
 
 iENEAS. 
 iEsCULAPlUS. 
 
 Ariadne. 
 
 Bas-relief of a Comic Scene. 
 
 Bas-relief. 
 
 Boy and Goose. 
 
 Bust of Scipio Africanus. 
 
 Centaur Borghese. 
 
 Ceres. 
 
 Crouching Venus. 
 Domitian. 
 Euterpe. 
 Flora. 
 
 Florence Hermaphrodite. 
 
 Hercules. 
 
 Hermaphrodite. 
 
 Hermaphrodite. 
 
 Indian Bacchus. 
 
 Indian Bacchus. 
 
 Indian Bacchus. 
 
 Isis. 
 
 Isis. 
 
 J UNO. 
 
 Juno of the Capitol. 
 Jupiter Serapis. 
 La Providence. 
 Menelaus Bust. 
 Minerva Bust. 
 Muse. 
 
 Nebrid Bacchus. 
 
 Niobe Sarchophagcjs. 
 
 PjETUS and Arria. 
 
 Pal^mon. 
 
 Providentia. 
 
 Rome. 
 
 Rome. 
 
 Salpion Vase. 
 Sibyl. 
 
 The Triumph of Titus. 
 The most celebrated Bernini Her- 
 maphrodite. 
 Tiberius. 
 
 Triangular Altar of the Twelve 
 Gods. 
 
 Vase of the Capitol. 
 Venus of Cnidos. 
 Wounded Amazon.] 
 Young Hercules. 
 
GROUND PLAN OF TITS ALTTAMBRA. 
 
THE ALHAMBRA COUET. 
 
 57 
 
 Passing through this compartment, we once more make our 
 way to the nave, and bring ourselves face to face with the gorgeous 
 magnificence of 
 
 Outer Walls of the Alhambra. 
 
 THE ALHAMBRA COURT. 
 
 The architectural sequence is now interrupted. We have arrived 
 at one of those offshoots from a parent stem which flourished for a 
 time, and then entirely disappeared : leaving examples of their art 
 which either compel our wonder by the extraordinary novelty of 
 the details, as in the case of Nineveh, or, as in the court now 
 before us, excite our admiration to the highest pitch, by the splen- 
 dour and richness of the decorations. The Saracenic or Moresque 
 architecture sprang from the Byzantine, the common parent of all 
 subsequent styles, and the legitimate successor to the Roman system. 
 "We shall immediately have occasion to speak more particularly of 
 
58 
 
 GENERAL GUIDE BOOK. 
 
 the parent root when we cross the nave and enter the Byzantine 
 Court. Of the Moorish architecture which branched out from it, 
 it wili be sufficient to say here that the solid external structure was of 
 plain, simple masonry ; whilst the inside was literally covered, from 
 end to end, with rich arabesque work in coloured stucco, and adorned 
 with mosaic pavements, marble fountains, and sweet-smelling 
 flowers. 
 
 The fortress-palace of the Alhambra,* of a portion of which 
 this court is a reproduction, was built about the middle of the 
 thirteenth century. It rises on a hill above the city of 
 Granada (in the south of Spain), the capital of the Moorish 
 kingdom of that name, which, for two hundred and fifty years, 
 withstood the repeated attacks of the Christians, and was not 
 finally reduced until 1492, by Ferdinand and Isabella. The 
 Alhambra, under Moorish rule, was the scene of the luxurious 
 pleasures of the monarch, and the stage upon which many fearful 
 crimes were enacted. Within its brilliant courts, the king fell 
 by the hand of the aspiring chief, who, in his turn, was cut 
 down by an equally ambitious rival. Few spots can boast a more 
 intimate association with the romantic than the Alhambra, until the 
 Christians ejected the Moors from their splendid home, and the 
 palace of the unbeliever became a Christian fortress. 
 
 The part here reproduced is the far-famfcd Court of Lions and 
 the Tribunal of Justice. The outside of these courts is covered 
 with diaper work, consisting of inscriptions in Arabic character, 
 of conventional representation of flowers and of flowing decora- 
 tion, over which the eye wanders, delighted with the harmony of 
 the colouring and the variety of the ornament. Entering through 
 the central archway, we see before us the fountain supported by the 
 lions that give name to the court ; and, through the archway oppo- 
 site, a portion of the stalactite roof of the Hall of the Abencerrages. 
 Around and about us on every side highly ornamental surfaces 
 attract and ravish the vision. We gaze on the delicate fretwork 
 of the arches, on the exquisite pattern of the gorgeous illumination, 
 we listen to the pleasant music of falling waters, and inhale the 
 fragrant perfume of flowers, until, carried away by the force of 
 imagination we live in an age of chivalry, and amidst the in- 
 fluences of oriental life. This court is 75 feet long, just two- 
 thirds the length of the original ; the columns are as high as the 
 
 * (The Red) probably so called either from the colour of the soil, or from 
 the deep red briek of which it is built. 
 
THE ALHAMBM COURT. 
 
 59 
 
 columns of the Court of Lions itself, and the arches that spring 
 from them are also of the actual size of the original arches. Over 
 the columns is inscribed in Cufic characters "And there is no 
 Conqueror hut God." Round the basin of the fountain is an Arabic 
 poem, from which we take two specimens :— 
 
 4 c Oli thou who beholdest these Lions crouching — fear not ! 
 Life is wanting to enable them to show their fury ! " 
 
 Less, we must think, a needless caution to the intruder, than the 
 poet's allowed flattery to his brother artist. In the verse of 
 
 Stucco Ornament from the Alhambra. 
 
 Greece and modern Italy, we find the same heightened expression 
 of admiration for the almost animating art of sculpture. The 
 following passage is oriental in every letter :— < 
 
 " Seest thou not how the water flows on the surface, 
 notwithstanding the eurrent strives to oppose its progress* 
 Like a lover whose eyelids are pregnant with tears, and 
 who suppresses them for fear of a tale-bearer," 
 
60 
 
 GENERAL GUIDE BOOK. 
 
 Through this brilliant court, the visitor will proceed or linger as 
 his fascinated spirit directs. There are no statues to examine, for 
 the religion of the Moors forbade the representation of living 
 objects ; in truth, the exquisitely wrought tracery on every 
 
 Arabesque ornament from the Alhambra. 
 
 side upon which the Moorish mind was thus forced to concentrate 
 all its artistic power and skill, is in itself sufficient exclusively to 
 arrest and to enchain the attention. A curious infringement, 
 however, of the Mahommedan law just now mentioned, which 
 proscribes the representation of natural objects, is observable in 
 the lions supporting the fountain, and in three paintings, which 
 occupy a portion of the original ceilings in the Tribunal of Justice 
 and the two alcoves adjoining. It is also to be remarked that, 
 although the followers of Mahommed scrupulously avoid stepping 
 upon a piece of paper lest the name of God should be written 
 thereon, yet that name is found repeatedly upon the tile floor of 
 the same tribunal. From these circumstances it would seem that 
 
THE ALHAMBRA COUKT. 
 
 61 
 
 the Maliommedans of the West were more lax in their observances 
 than their brethren of the East, having in all probability imbibed 
 some of the ideas and feelings of the Spanish Christians with whom 
 they came in contact. 
 
 Passing through the archway opposite to that at which we 
 entered, we find ourselves in a vestibule which in the Alhambra 
 
 Moorish bas-relief, from a Fountain at Granada. 
 
 itself leads from the Court of Lions to the Tribunal of Justice. 
 This is, however, lonly a portion of the original passage. The 
 arches opening from the central to the right and left divisions 
 of the vestibule are of the size of the originals, the patterns on 
 the walls and ceilings being taken from other portions of the 
 Alhambra. 
 
 The visitor may now proceed through the left-hand arch into the 
 division next the Roman Court. On the right of this division 
 he will find a small room devoted to models, and specimens of the 
 original casts of ornaments of the Alhambra, brought by Mr. Owen 
 Jones from Spain, from which this court has been constructed. 
 Returning to the central division, he sees on his left the Hall of 
 the Abencerrages, already spoken of, and which, with its beautiful 
 stalactite roof, is now in rapid course of completion. Proceeding- 
 onward, we quit the Alhambra, and emerge into the north 
 transept. 
 
 The visitor now crosses the transept, immediately in front of the 
 colossal sitting figures, which he will be able to examine with effect 
 when he commences a tour through the nave, which we propose 
 that he shall shortly make. Passing these figures then for the 
 moment, he directs his attention to 
 
The great mound of Nimroud, 
 
 THE ASSYRIAN COURT, 
 
 which faces him. This Court is larger than any other appropriated 
 to the illustration of one phase of art. It is 120 feet long, 50 feet 
 wide, and has an elevation of 40 feet from the floor line. Its 
 chief interest, however, consists in the fact of its illustrating a 
 style of art of which no specimen has hitherto been pre- 
 sented in Europe, and which, indeed, until the last few years, 
 lay unknown even in the country where its remains have been unex- 
 pectedly brought to light. It is only ten years ago that M. 
 Botta, the French Consul at Mossul, first discovered the existence 
 of sculptural remains of the old Assyrian empire at Khorsabad : 
 and since that time the palace, now known to have been erected 
 about the year 720 B.C. by Sargon, the successor of Shalmaneser, 
 has been mainly explored, as well as the palace of his son 
 Sennacherib at Koyunjik, and that of Esarhaddon at Mmroud, 
 besides other older palaces in the last-named locality. In addition 
 to the explorations that have been made on these sites, extensive 
 excavations and examinations also within the last few years have 
 been made into the ruins of the palaces of Nebuchadnezzar at 
 Babylon, and of Darius and Xerxes at Susa. 
 
 It is from the immense mass of new materials, so suddenly 
 revealed, that Mr. James Fergusson, assisted by Mr. Layard, has 
 erected the court before which the visitor now stands — an 
 architectural illustration which, without pretending to be a literal 
 copy of any one building, most certainly represents generally the 
 architecture of the extinct but once mighty kingdoms of Mesopo- 
 tamia, during the two centuries that elapsed between the reign of 
 
THE ASSYRIAN COURT, 
 
 63 
 
 Sennacherib and that of Xerxes, viz., from about b,c, 700 to 
 B.C. 500. 
 
 The oldest form of architecture in these Eastern parts was 
 probably that which existed in Babylon : but the absence of stone 
 in that country reduced the inhabitants to the necessity of using 
 bricks only, and for the most part bricks burnt by the sun, though 
 sometimes fire-burnt brickwork is also found. The face of the 
 walls so constructed was ornamented with paintings, either on 
 plaster or enamelled on the bricks, whilst the constructive portions 
 and roofs were of wood. Ail this perishable material has of course 
 disappeared, and nothing now remains even of the Babylon built 
 by Nebuchadnezzar but formless mounds of brickwork. In the 
 more northern kingdom of Assyria, the existence of stone and 
 marble secured a wainscoating of sculptured slabs for the palace 
 walls, whilst great winged bulls and giant figures also in stone 
 adorned the portals and facades. The pillars, however, which 
 supported the roofs, and the roofs themselves, were all of wood, 
 generally of cedar, and these having been 
 destroyed by fire or by the lapse of ages, 
 nothing remains to tell of their actual size - 
 and form. Yet we are not left entirely to 
 conjecture in respect of them. Susa and 
 Persepolis in Persia — the followers and 
 imitators of Nineveh — arose in districts 
 where stone was abundant, and we find 
 that the structures in these cities had not 
 only stone pillars to support the roof, but 
 also stone jambs in the doorways, thus 
 affording an unmistakeable clue to the 
 nature of such portions of building as are 
 wanting to complete our knowledge of the 
 architecture of the Assyrian people. 
 
 As now laid bare to us, the Assyrian 
 style of architecture differs essentially 
 from any other with which we have 
 
 •t • I t I 1 j • i i ti -Pillar from the arcade of the 
 
 hitherto been made acquainted, Its Court, 
 
 main characteristics are enormously thick 
 
 mud-brick walls, covered with painted bas-reliefs, and roofs 
 supported internally by slight but elegant wooden columns, 
 ornamented with volutes (spiral mouldings), and the elegant honey- 
 suckle ornament which was afterwards introduced through Ionia 
 into Greece — this Assyrian style being, according to some, the 
 
64 
 
 GENE&AL GUIDE BOOK. 
 
 parent of the Ionic order, as the Egyptian was of the Doric order, 
 of Greece. As far as we can judge from descriptions, the architec- 
 ture of J erusalem was almost identical with that of Assyria. 
 
 The whole of the lower portion of the exterior front and sides of 
 this Court is taken from the palace at Khorsabad, the great winged 
 
 I Entrance to the Nineveh Court. 
 
 bulls, the giants^strangling the lions, and the other features being 
 casts from the objects sent from the site of the palace, to the 
 Louvre, and arranged, as far as circumstances admit, in the relative 
 position of the original objects as they were discovered. Th% dwarf 
 columns on the walls with the double bull capitals, are modelled 
 from details found at Persepolis and Susa, whilst the cornice and 
 battlements above have been copied from representations found in 
 one of the bas-reliefs at Khorsabad. The painting of the cornice 
 is in strict accordance with the recent discoveries at that place. 
 
 Entering through the opening in the side, guarded by colossal 
 bulls, the visitor finds himself in a large hall, in the centre of which 
 stand four great columns copied literally from columns found at 
 Susa and Persepolis. The walls of the hall are covered with 
 
THE ASSYRIAN COUM. 
 
 65 
 
 sculpture, cast from originals brought to this country by Mr. 
 Layard from his excavations at Nimroud, and deposited in the 
 British Museum. Upon v 
 
 roof crowning the hall re- 
 presents the form of ceiling 
 
 usual in that part of Asia, 
 
 but is rather a vehicle for the display of the various coloured patterns 
 of Assyrian art than a direct copy of anything found in the Assyrian 
 palaces. In the centre of the great hall the visitor will notice a 
 decorated archway leading to the refreshment room. The very recent 
 discovery of this highly ornamented arch at Khorsabad proves — 
 somewhat unexpectedly — that the Assyrian people were [far from 
 ignorant of the value of this beautiful feature of architecture. On 
 either side of the main entrance to this Court (from the Nave), are 
 two small apartments, lined also with casts from sculptures at 
 Nimroud, arranged, as nearly as may be, according to their 
 original positions. Above them are paintings of a procession, such 
 as occupied a similar place in the palaces of Assyria. A complete 
 detailed account of this interesting department will be found in 
 Mr. Layard' s valuable Handbook to the Nineveh Court. 
 
 Having completed his survey of the interior of this Court, the 
 visitor may either enter the refreshment room at the back through 
 the archway, and then make his way to the Nave, or he may at 
 once quit the Court by the central entrance, and tuiaiing to the 
 left cross the north end of the Nave, stopping for one moment 
 under the shade of the finest palm-tree in Etfrope, on his passage 
 to look from end to end of the magnificent structure within which 
 he stands, and to glance at the exterior of the Court he has just 
 quitted, the bright colouring of which — the bold ornaments, 
 the gigantic bulls, and colossal features, present as novel and 
 striking an architectural and decorative display as the mind can 
 imagine. 
 
 and trees, copied from one 
 found at Khorsabad. The 
 
 the sculptures are engraved 
 the arrow-headed inscrip- 
 tions which have been so 
 recently, and in so remark- 
 able a manner, deciphered 
 by Colonel Rawlinson and 
 Dr. Hincks. Above these 
 is a painting of animals 
 
66 
 
 GENERAL GUIDE BOOK. 
 
 Having crossed the building under the gallery, the visitor will 
 find on his left the north wing : the site appropriated for the exten- 
 sive collection of Raw Produce, now forming under the hands of 
 Professor Wilson. 
 
 RAW PRODUCE AND AGRICULTURAL COLLECTION. 
 
 This collection is intended to show, by means of a series of 
 industrial specimens, the natural resources of this and other 
 countries ; to teach, through the medium of the eye, the history 
 of the various substances which the earth produces for the use of 
 man ; to point out whence and by what means they are obtained, 
 and how they are made subservient to our wants and comforts. 
 The collection has thus a twofold object : First, to display what is 
 termed the raw produce of the world, comprising substances 
 belonging to each of the three kingdoms of nature ; and secondly, 
 to exhibit the same produce, when converted by industry into the 
 form of a highly-finished manufacture. 
 
 The collection consists of the three following principal divisions : 
 
 1. The Soil. 
 
 2. The Produce of the Soil 
 
 3. The Economic and Technical Uses to which the Produce is 
 
 applied. 
 
 The first grand division, " The Soil," includes specimens of all 
 those geological formations comprising what is termed the crust of 
 the earth. From the debris of these rocks is formed what we 
 generally understand by the term soil ; but soils, as we are accus- 
 tomed to see them, are considerably altered by the presence of 
 vegetable matter, the result of the decomposition of plants, and 
 of artificial substances applied as manure. Accordingly, specimens 
 of the natural sorts of various geological formations (or, in fact, 
 the rocks merely in their disintegrated form), together with the 
 same soils altered by cultivation, and samples of the manures 
 which assist in changing their qualities, form an important series 
 in this division. Besides giving rise to the different agricultural 
 soils, the rocks of most formations are interesting as producing 
 objects of economic value. From many such rocks are obtained 
 building stone, slates, tiles, clays used in brick-making, flints used 
 in glass, alum, salt, and other useful articles. These, in the 
 present collection, are illustrated by specimens ; and when any of 
 such substances give rise to a branch of industry, a complete 
 illustrative series is presented to the contemplation of the visitor. 
 
RAW PRODUCE AND AGRICULTURAL COLLECTION. 
 
 67 
 
 For example : it will be found that in the case of ceramic wares, 
 or pottery, the series commences with flint, which is shown first 
 in its natural state as it Gomes from the chalk pits, then calcined 
 and ground, and then re-calcined. Next we see it mixed with 
 clay, afterwards moulded into the form of a vase, and lastly baked. 
 To these different specimens, it will be noted, are added samples of 
 the colour used in the ornamentation of the object. 
 
 By far the most important and useful mineral product is coal, of 
 which specimens of different qualities, suited to various purposes, 
 are exhibited from foreign countries, as well as from all the coal 
 fields of Great Britain. 
 
 From the rocks of different formations we obtain the ores of 
 metals, the principal of which in this country are iron, lead, 
 copper, and tin. Other metals are found, but in smaller quan- 
 tities than elsewhere. Metals are not generally found native, but 
 in the form of oxides, sulphides, &c, and must therefore undergo 
 considerable changes before they can be made available. The 
 methods of extracting metals from their ores, as practised in this 
 and other countries, and the various uses to which the metals are 
 applied, are amply illustrated by specimens from all the principal 
 works, and form, perhaps, the most instructive and important 
 feature of the mineral division of the Baw Produce collection. 
 
 The second great division, "The Produce of the Soil," resolves 
 itself naturally into two principal groups : viz., vegetable sub- 
 stances, or the direct produce of the soil, and animal substances, 
 the secondary produce of the soil. The chief sub-divisions of 
 these groups are : 
 
 a. Substances used as food, such as tea, coffee, fruits (amongst 
 vegetable substances), and meats, gelatine, lard, &o. (amongst 
 animal products). 
 
 b. Substances used in the arts, manufactures, <fcc, as flax, 
 hemp, cork, gums, dye-stuffs (in the vegetable kingdom), and 
 wools, silk, horns, skins, oils, &c. (in the animal kingdom). 
 
 And these are again classed as Home and Foreign products* 
 The third great division, " The Economic or Technical Uses to 
 which the Produce is applied, ,? is a most important feature of this 
 department. The want of a "Trades' Museum" in England has 
 long been felt by commercial and scientific men, and until now no 
 attempt at any collection of the kind has been made. The 
 technological illustrations about to be here produced in a great 
 measure supply the desideratum, and present, so to speak, a series 
 of eye lectures that carry with them an amount of information no 
 
 f2 
 
68 
 
 GENERAL GUIDE BOOK. 
 
 less instructive than important to the progressive industry of the 
 kingdom. 
 
 In this division each series is commenced by examples of the 
 raw material, which is carried by illustrative specimens through 
 the various processes to which it is submitted before it reaches its 
 highest value as a manufactured article. The visitor also finds in 
 this series models, &c. , of the machinery used in the manufactures. 
 As an example of the instruction afforded in this division, we 
 will take the manufacture of linen. The first sample seen is the 
 flax plant. This produces linseed and flax straw. The former is 
 pressed, and we have linseed oil and oil cake. The straw is 
 steeped, broken, and scutched, and we have rough fibre. The 
 rough fibre is hechled, and is then ready for spinning. The refuse 
 which is heckled out is tow. The heckled fibre is spun into yams 
 of different degrees of fineness, which are woven into linen of 
 various qualities. Finally, the linen is bleached. The tow is used 
 for paper-making, for string and cordage, or is spun into coarse 
 thread, called tow-line, and woven into rough fabrics. The 
 technical application of animal substances is treated in a similar 
 manner. 
 
 The third division, as in the case of the second, is sub-divided 
 into articles used as food, and those used in the arts, <fcc. , and is 
 also similarly separated into smaller groups of home and foreign 
 produce ; and again, as far as the plan admits of carrying out, 
 into manufactures dependent upon chemical, and manufactures 
 dependent upon mechanical agencies. 
 
 Leaving the north wing, and returning up the aisle, on the 
 garden side of the Palace, we come, following the order of the 
 architectural arrangement, upon the 
 
 THE BYZANTINE AND ROMANESQUE COURT. 
 
 Before the visitor is conducted through the architectural Courts 
 on this side of the Nave, it is necessary he should understand that 
 they differ considerably in arrangement and treatment from those 
 on the opposite side, which have already been described. In the 
 Egyptian, Greek, and other Courts through which he has passed, 
 the forms or characteristics of some one distinctive structure have, 
 to a greater or less extent, been given ; but the Courts into which 
 we are now about to penetrate, are not architectural restorations, 
 but rather so many collections of ornamental details stamped with 
 unmistakeable individuality, and enabling us at a glance to re cog- 
 
THE BYZANTINE AND ROMANESQUE COURT. 69 
 
 nise and distinguish the several styles that have existed and 
 succeeded each other, from the beginning of the 6th down to the 
 
 Byzantine Court (entrance from North Transept). 
 
 16th century. In each Court will be found important details, 
 ornament, and even entire portions, taken from the most remark- 
 able or beautiful edifices of the periods they illustrate. Thus 
 the palaces and Christian temples of Italy, the castles and 
 churches of Germany, the hotels-de-ville and chateaux of Belgium 
 and France, and the cathedrals and mansions in our own country, 
 have all been laid under contribution, so that here, for the first 
 time in the history of architecture, we have the opportunity of 
 acquiring a perceptive and practical knowledge of the beautiful art 
 during the period of its later progress. 
 
 The regular architectural sequence on the other side of the Nave 
 finds its termination in the Boman Court, and we now resume the 
 order of history with the " Byzantine" Court. Art, as we have already 
 
70 
 
 GENERAL GUIDE BOOK. 
 
 indicated, declined during the Roman Empire ; but the general 
 adoption of Christianity gave the blow that finally overthrew it, for 
 the introduction of this faith was, unfortunately, accompanied with 
 bitter and violent enmity against all pagan forms of beauty. An 
 edict of Theodosius, in the early part of the 5th century, ordered 
 that pagan art should be utterly annihilated, and the primitive 
 Christians demolished with fanatic zeal the temples, bronzes, 
 paintings, and statues that adorned the Roman capital. 
 
 To complete the work of destruction, it is related that Gregory 
 (a.d. 590) one of the celebrated " Fathers" of the Roman Church, 
 gave orders that every vestige of Pagan Rome should be consigned to 
 the Tiber ; and thus was ancient Art smitten and overthrown, and 
 the attempt made to efface its very foot-prints from the earth ; so 
 that, indeed, men had now to proceed as best they might, by painful 
 and laborious efforts, towards the formation of a new and essen- 
 tially Christian style of architecture, which, however feeble and 
 badly imitated from ancient models at its commencement, was 
 finally productive of the most original and beautiful results. 
 
 Constantine the Great, in the early part of the 4th century, 
 embraced Christianity. The new religion required structures 
 capable of holding large assemblages of people at certain periods; 
 and notwithstanding the magnificence of some of the Roman 
 structures, none could be found appropriate to the required 
 use, save the Basilicas, or Halls of Justice, at Rome. The form of 
 these structures was oblong, and the interior consisted of a central 
 avenue and two side aisles, divided from the centre by a double 
 row of columns, the central avenue terminating in a semicircular 
 recess with the roof rounded off. It will be at once apparent that 
 such buildings were admirably adapted to the purposes and 
 observances of the new religion; and, accordingly, in a.d. 323, 
 when Constantine removed the seat of empire from the West to the 
 East, from Rome to Byzantium (Constantinople), the Roman 
 Basilica probably served as a model for the Christian churches 
 which he rapidly raised in his new city. 
 
 But on this point we have little authentic information ; time, 
 the convulsions of nature, and the destructive hand of man, have 
 long since lost to us the original churches built on Constantine's 
 settlement at Byzantium, and the oldest monument with which we 
 are acquainted, that of Santa Sophia, built in the early part of the 
 Gth century by Justinian, bears no relation in its plan to the long 
 basilica of the Western Empire. 
 
 The great characteristic of Byzantine church architecture was a 
 
THE BYZANTINE AND ROMANESQUE COURT. 
 
 71 
 
 plan formed on the Greek cross, and surmounted at its points of 
 intersection by a central dome. The direct imitation of the 
 
 antique capitals was eschewed, and a foliated capital was intro- 
 duced in its place, varying considerably in pattern even in the 
 same building : the arch was in general semicircular, and the use 
 of mosaic ornament universal, but it was some time before the 
 Byzantine style received its full development ; for the earlier 
 Christians generally maintained a profound antipathy to all Art, as 
 ostentatious, and savouring over-much of worldly delights. It is 
 not, however, in the nature of man to exist for any length of time 
 in this world, wondrously adorned as it is by its Divine Creator, 
 without imbibing a love for the adornment so profusely displayed 
 around him. This natural feeling, which St. Augustine and the 
 stricter Christians vainly sought to decry and repress, was 
 strengthened and aided by the more forcible notion of holding 
 out some attraction to the pagans, who, accustomed to the 
 ceremonies and charms of their old rites, might be repelled by the 
 apparent gloominess of the new creed. As the number of converts 
 increased, a demand for church ornament made itself felt, and Art 
 once more awoke, not in the excelling beauty of its former life, 
 but rude, unpolished, and crippled by religious necessity, which 
 placed, as in Egypt of old, a restriction upon the forms of 
 nature, lest by copying them the people should relapse into the 
 idolatrous worship of graven images. In the Eastern or Greek 
 Church, even the rude and grotesque sculpture first allowed was 
 speedily forbidden and banished for ever. The mosaic painting, 
 however, was continued by Greek artists, and this peculiar style 
 of ornamentation is one of the most distinctive features of 
 Byzantine architecture. Not only were the walls and ceilings 
 covered with extraordinarily rich examples of glass mosaic work, 
 formed into pictures illustrative of Scripture subjects and saintly 
 legends, or arranged in elaborate patterns of geometrical and other 
 ornament, but columns, pulpits, &c., were rendered brilliant with 
 
 Greek Cross, 
 
 Latin Cross, 
 
72 
 
 GENERAL GUIDE BOOK. 
 
 its glowing colours. Mosaic work also is at times found on the 
 facades of the Byzantine buildings ; whilst the pavement, if less 
 gorgeous, was at least as richly ornamented with coloured inlay of 
 Marble mosaic. As we have, however, just observed, the fear of 
 idolatry led to the comparative neglect of sculpture, and the edict 
 forbidding the sculpture of images for religious purposes became 
 one cause of the separation of the Latin Church in Rome from, 
 the Greek Church in Constantinople, and thenceforth the two 
 churches remain distinct. In the former, sculpture continued to 
 exist, not as an independent art, but as a mere architectural 
 accessory. 
 
 Byzantine architecture flourished from a.d. 328 to 1453 : but 
 the Byzantine proper can be said to extend only from the 6th to 
 
 Before entering this Court the visitor will do well to examine 
 its external decoration, affording, as it does, not only an excellent 
 notion of the splendid mosaic ornament we have already alluded 
 to as peculiarly Byzantine, but for its paintings of illustrious 
 characters of the Byzantine period, taken from valuable illumina- 
 
 the 1 1th centuries. Romanesque 
 architecture in its various deve- 
 lopments was more or less im- 
 pressed with the Byzantine cha- 
 racter, and in its general features 
 resembles the source from which 
 it was in a great measure derived ; 
 although the dome is generally 
 absent in the churches of northern 
 Europe, which retained the plan 
 *>f the old Roman basilica in 
 preference to that of the Greek 
 cross, for a long time peculiar to 
 the Eastern Church. 
 
 Romanesque Tower. 
 
 It would not be hazarding 
 too much, to assert that By- 
 zantine architecture was gene- 
 rally adopted throughout most 
 European countries from the 6 th 
 to the 11th century, with such 
 modifications as the necessities 
 of climate, the differences of 
 creed, and the means of building 
 necessitated. 
 
THE BYZANTINE AND ROMANESQUE COURT. 73 
 
 tions and mosaics still in existence ; such as, the fine portraits of 
 J nstinian and his consort Theodora, from Ravenna (by the entrance 
 from the\Nave), and those of Charles the Bald of France, and the 
 Emperor ^Nicephorus Botoniates of Constantinople, copied from 
 valuable existing authorities ; whilst an allegorical representation 
 of Night, on the return side, is a proof that the poetry of Art 
 was not altogether dead in the 10th century, to which date it 
 belongs. 
 
 Byzantine Court — Arches from the Nave. 
 
 In front of all the Courts facing the Nave, are placed many very 
 interesting examples of Mediaeval and Renaissance Art, a brief 
 notice of which will be found later in this volume, under the head 
 of a A Tour through the Nave." 
 
 The entrance to the gallery at the back of the Byzantine Court 
 is formed by the Chancel Arch of Tuam Cathedral in Ireland, 
 built about the beginning or middle of the 13th century, a most 
 interesting relic of art in the Sister Isle. 
 
 Entering through the arches at the North end, we turn to the 
 right into a cool cloister of the Romanesque school, a restored 
 
74 GENERAL GUIDE BOOK. 
 
 copy of a cloister at the church of Santa Maria in Capitolo at 
 Cologne, an ancient edifice said to have been commenced about the 
 year 700. The cloister is, however, of the close of the 10th 
 century. The restoration gives us an excellent notion of the 
 arches, columns, and capitals of this period, and shows the 
 difference that exists between Byzantine and ancient Greek or 
 Roman art. Proceeding through the cloister, the roof of which is 
 beautifully decorated with Byzantine ornament, in imitation of the 
 
 glass mosaic work, we remark various 
 pieces of sculpture, chiefly from Venice : 
 at the extreme end, to the left on 
 entering, is a recumbent effigy of 
 Richard Cceur de Lion, from Rouen ; 
 at the farthest end, to the right, is 
 placed the Prior's doorway from Ely, 
 in a late Norman style, and next to 
 this, to the right, a representation of 
 the Baptism of Christ, from St. Mark's, 
 at Venice. Returning to the central 
 entrance from the Nave, we enter the 
 Court itself. The black marble foun- 
 tain in the centre is an exact copy of 
 one at Heisterbach on the Rhine. 
 We may now obtain some notion of 
 the different features which mark the 
 Arch and column from Cloister. Byzantine, the German Romanesque, 
 and Norman styles, all agreeing in 
 general character, but all varying in treatment. The cloister 
 we have just quitted, with the cubical capitals of its external 
 columns and its profuse mosaics, presents a strongly marked 
 impress of the Byzantine style, the same influence being also 
 remarked in the external mosaic-work of the small but beautiful 
 portion of the cloisters of St. John Lateran at Rome ; on each 
 side of which are fine examples of German Romanesque, which 
 is frequently also called the Lombard style, as indicative of its 
 origin ; and beyond these again, in the extreme angles, are 
 interesting specimens of the Norman style as practised in England 
 during the twelfth century. These examples will enable the 
 visitor to judge in some measure of the differences that charac- 
 terize the three. To the left is a very curious Norman doorway, 
 from Kilpeck Church, in Herefordshire ; the zigzag moulding 
 around it is peculiar to the Norman ; and in the sculptured reliefs 
 
THE BYZANTINE AND ROMANESQUE COURT, 
 
 75 
 
 which surround the doorway a symbolism is hidden, for the mean- 
 ing of which we must refer our readers to the Handbook of this 
 Court. Next to this is a doorway from Mayence Cathedral, the 
 bronze doors within it, which are from Augsburgh Cathedral, in 
 Germany, being interesting examples of the art of bronze-casting 
 in the latter half of the 11th century. The rudely-executed 
 subjects in the panels are mostly taken from the Old Testament, 
 but no attempt at chronological arrangement has been made. 
 Above the St. John Lateran cloister is an arcade from Gelnhausen 
 in Germany, a good specimen of grotesque and symbolic sculpture 
 quite in the style of the early Lombard work in northern Italy. 
 The doorway on the opposite side of the St. John Lateran 
 cloister is a composition showing the general characteristics of the 
 Romanesque style ; the doors are from Hildesheim Cathedral, and 
 were executed in 1015, by order of Bishop Bernwardus. They 
 contain sixteen panels, arranged in proper order, eight representing 
 scenes in the Old Testament, commencing with the creation of 
 man, and eight representing subjects from the New Testament, 
 beginning with the Annunciation. Next to this, and corresponding 
 to the Kilpeck doorway, is a second side door from Shobdon Church, 
 Herefordshire. The circles ornamented with foliage over the 
 Shobdon Chancel Arch, are from Moissac. On the side wall next 
 to the Arch, is the monument, from Salisbury Cathedral, of Bishop 
 Roger, who died a.d. 1139 ; it is transitional in style, from the 
 Norman to the Early English. 
 
 On either side of the fountain in this Court, are placed the 
 celebrated effigies of Fontevrault Abbey, (the burying-place of the 
 Plantagenets), consisting of Henry II. and his Queen Eleonora ; 
 Richard I. ; and Isabella, wife of King John. These date from 
 the 13th century, and they are not only interesting as works 
 of art, but valuable as portraits, and as evidences of costumes of 
 that period. An effigy of King J ohn from Worcester, and another 
 of Berengaria, wife of Richard I., from the Abbey of L'Espan, 
 near Mans in France, are also to be found here. 
 
 The inlaid marble pavement of the Court is copied from churches 
 in Florence, and is of the beginning of the 13th century. 
 
 Having thoroughly examined the various contents of this Court, we 
 pass through the opening in the arcade of St. John Lateran, before 
 mentioned, and enter a vestibule, the vaulting of which is from the 
 convent of the Franciscans, at Assisi, in Central Italy, with the 
 paintings in the four compartments of the vault, from their originals 
 by Cimabue. 
 
76 
 
 GENERAL GUIDE BOOK. 
 
 In the centre of this compartment is a large black marble Nor- 
 man font from "Winchester Cathedral : the date of which has given 
 rise to much controversy ; those assigned, ranging from 630 to 
 1150. Next to this font is another from Eardsley Church, 
 Herefordshire, of the 12th century. 
 
 Passing now to the left, we see on the back wall, looking towards 
 the Garden, three openings, the central one of which is a doorway 
 from the church of Freshford, in Kilkenny, of about the latter end 
 of the 11th or beginning of the 12th century, and on either side of 
 it, are windows from the church of Tuam, in Ireland. Above the 
 Freshford doorway is a large circular window from Rathain Church, 
 remarkable for its great antiquity, and said to have been erected as 
 early as the middle of the 8th century. In this compartment are 
 also placed Irish crosses, affording examples of the sculptural antiqui- 
 ties of the Sister Isle ; and some interesting crosses from the Isle of 
 Man. Having examined this com- 
 partment, we proceed for a short 
 distance southwards, down the cor- 
 ridor or gallery, and pass, on the 
 back wall of the Byzantine Court, 
 first, a doorway composed prin- 
 cipally from an existing example 
 at Romsey Abbey, the bas-relief 
 in the door-head being from 
 Shobdon : and on the other side 
 of the St. John Lateran arcade, 
 a beautiful Norman doorway from 
 Birkin Church, Yorkshire : after 
 which we reach the smaller division 
 of the Mediaeval Court, dedicated 
 to works of German Mediaeval 
 Art, the entrance to which is beneath the Pointed arcade on our 
 right. 
 
 Door from Birkin Church. 
 
THE GERMAN MEDIEVAL COURT. 
 
 77 
 
 THE GERMAN MEDI/EVAL COURT. 
 
 This small Court is devoted exclusively to examples of Gothic 
 art and architecture in Germany, and, taken with the English and 
 French Mediaeval Courts, — which we shall presently reach, — gives 
 an excellent idea of the style and character of architecture in these 
 three countries during the Middle Ages. Such remarks as are 
 required to explain the transition from the Romanesque and 
 Byzantine to the Pointed style of architecture, we shall defer until 
 we find ourselves in the Mediaeval Court of our own country. "We, 
 therefore, without preface, conduct the visitor from the gallery of 
 the Byzantine Court, through the side arches directly into the 
 German Mediaeval Court. The large doorway in the centre at 
 once attracts attention. This is cast from a celebrated church 
 doorway at Nuremberg, and is especially worthy of notice. On the 
 wall to the right is a doorway leading into the Byzantine Court. 
 This is not copied from any one particular example, but is a com- 
 position displaying the elements of the German style. The 
 equestrian statue of St. George is from the Cathedral square at 
 Prague, a work of the 14th century. The seven round bas-reliefs 
 at the top of the doorway, representing scenes from the life of 
 Christ, are fac-simile copies of the originals by Veit Stoss, at the 
 Church of St. Lawrence, in Nuremberg. On either side of this 
 doorway are two monuments, of bishops Siegfrid von Epstein and 
 Peter von Aspelt, opposite to which are the fine monuments of Albert 
 of Saxony, and of Bishop Von Gemmingen ; all of these are cast 
 from the originals, in Mayence Cathedral. Above the arches, and 
 all round the Court, is a small arcade, the capitals, brackets, and 
 other monuments of which are taken from various German churches, 
 but more especially from the Cathedral of Cologne. Immediately 
 over the arches through which we have entered, and between the 
 columns of the arcade, are four bosses with the symbols of the 
 Evangelists, also from Cologne Cathedral. 
 
 Passing through the Nuremberg doorway, in the centre, we see 
 immediately before us, and over the arches leading to the nave, 
 eight dancing mummers, from the Town-hall, at Munich ; they 
 are represented as exhibiting before an audience, probably at 
 some civic festival, and are full of grotesque drollery. Beneath 
 the mummers are placed consols or brackets, from the hall 
 of Gurzenich, at Cologne, remarkable for the humour displayed 
 in their conception. On the wall to the right are three large 
 
78 
 
 GENERAL GUIDE BOOK. 
 
 reliefs, from the church of St. Sebald, at Nuremberg. They 
 are the work of Adam Krafft, and represent : — 1. The Betrayal 
 of our Saviour ; 2. The Mount of Olives ; 3. The Last Supper ; — 
 and in their execution show great power and much less stiffness 
 than is generally found in msdiseval works. Adam Krafft 
 was an excellent sculptor, who flourished at the close of the 
 15th century. His works, which are chiefly to be found at 
 Nuremberg, possess great merit both in their search after truth 
 and the unusual manual ability they display. Immediately 
 beneath these reliefs is another by the same artist, taken from 
 the Frauen-Kirche, or Church of our Lady, at Nuremberg. It 
 represents an adoration of the Virgin, and shows even more vigorous 
 handling than the other three. On the left hand wall, next to the 
 Nuremberg door, is abas-relief of " Justice with the Rich and 
 Poor," by Yeit Stoss, from the Town-hall, at Nuremberg ; and on 
 the other side of the composition doorway, leading into the English 
 Mediaeval Court is the celebrated rose wreath and cross, by Yeit 
 Stoss, from Nuremberg, which deserves especial examination as 
 one of the master-pieces of that sculptor, and on account of its 
 very peculiar arrangement. The other subjects found in this 
 Court present excellent examples of German Mediaeval Art down to 
 the time of Peter Vischer, whose works evince an evident influence 
 derived from the Renaissance School of Italy, at the close of the 
 15th and at the commencement of the 16th centuries. 
 
 We now emerge into the Nave ; and turning to the left, find 
 ourselves in front of 
 
 THE ENGLISH MEDIEVAL COURT. 
 
 It will have been remarked in the German Mediaeval Court 
 that architecture has undergone another change. No sooner 
 had the Lombard or Romanesque style become systematized, than 
 features arose which contained the germs of yet more important 
 changes. 
 
 The Horizontal line principle of antique Art was gradually given 
 up, and a marked inclination towards the Vertical line principle 
 took its place. The full change was yet by no means complete, 
 and it remained for the introduction of the pointed arch in the 
 12th century, under Norman influence in England and France, to 
 effect a gradual revolution in the whole system of construction and 
 ornamentation, until nearly every trace of the preceding style was 
 lost, and another essentially distinct in all its characteristics arose 
 in its stead. 
 
THE ENGLISH MEDIEVAL COURT. 
 
 71> 
 
 As we are now standing before the ecclesiastical architecture of 
 our own country, it may be interesting to notice briefly, and in 
 
 Entrance to English Mediaeval Court. 
 
 chronological order, the progress of Pointed architecture in 
 England, and to specify a few of those leading features which 
 serve to distinguish the style of one period from that of 
 another. 
 
 Prior to our doing this, it will be well briefly to notice the 
 Norman style which preceded the Pointed, and which was exten- 
 sively practised by the Normans and English in this country, after 
 the successful invasion by William in 1066. Its leading features are 
 extreme solidity, absence of ornament (at its earliest period), semi- 
 circular or horseshoe arches, and the peculiar zigzag mouldings 
 before noted. The buttresses or supports placed against walls to 
 give them strength are broad, but project very little. The pillars 
 are short, massive, and frequently circular, whilst the capitals are 
 usually cubical and channelled in a peculiar manner, sometimes 
 being quite plain, and at others carved with grotesque and symbolic 
 figures and foliage. 
 
 The Norman lasted until the 13th century, when it made 
 way for the first pointed style, which is known as Early 
 
80 
 
 GENERAL GUIDE BOOK. 
 
 English. The arches in this style are lancet-shaped ; the pillars 
 consist frequently of small shafts clustering round a circular 
 pier, and are much slighter and taller than the Norman : the 
 capitals are frequently without ornament, being simply plain 
 mouldings. When the capital is carved with foliage the work is 
 boldly executed. Spires too, although originating in the later 
 Norman, rose in the Early English high into the air, like land- 
 marks to the people, to point out where they might congregate to 
 worship their Divine Creator. The buttresses are bold, generally 
 rising in diminishing stages, and either terminating in a triangular 
 head or sloping off into the wall. Windows, two or three in 
 number, were often grouped together under a moulded arch, 
 between the point of which and the tops of the windows an 
 intervening space was formed. This space, pierced with one or 
 more openings, gave rise to that most distinctive and beautiful 
 element of the Gothic style — Tracery. 
 
 The Decorated style, which succeeded to the Early English, 
 flourished during the 14th century, and the Court we are now 
 about to enter possesses numerous examples of this, the best 
 and brightest period of English Gothic ; for in the Early 
 English the style had not yet reached its highest point of beauty, 
 and in the later Perpendicular it already suffered decline. 
 
 Tracery, as we have stated, was the 
 chief characteristic of the Decorated 
 style ; and it consists either of geo- 
 metrical forms or of flowing lines. 
 As an example of the former, the 
 visitor may examine the arches of 
 the cloister now before us, on the 
 side niche of the Tintern door. The 
 foliated details and carvings, which 
 also give character to this style, 
 may, in like manner, be studied 
 with advantage in this Court. The 
 pillars are either clustered or single, 
 and generally of octangular or circular 
 form ; the capitals are sometimes 
 carved with foliage, at other times 
 Side niche of Tintem door. they are plain. The buttress is in 
 stages and terminated occasionally 
 with Decorated pinnacles. The execution of the details of this 
 style was admirable, and the variety and beauty of the ornaments, 
 
THE ENGLISH MEDIAEVAL COURT. 
 
 81 
 
 founded chiefly on natural subjects, give to the Decorated style 
 an effect which has seldom, if ever, been surpassed. 
 
 From the latter part of the 14th to the beginning of the 
 16th century the Perpendicular style was in vogue. It derives its 
 name from the tracery, which instead of taking flowing forms, 
 consists chiefly of vertical lines, The arches became depressed in 
 form, the Tudor arch being distinctive of its later phase, whilst the 
 ornaments were crowded and departed more from natural models. 
 The more important buildings were covered throughout with 
 shallow pannelled work and profuse ornament, over which the eye 
 wanders in vain for much-needed repose, and the effect of breadth 
 and grandeur of parts is lost and frittered away. 
 
 These few observations, imperfect as they are, may perhaps assist 
 the visitor's appreciation of the Court we are about to examine. 
 Without further preface, then, we proceed through the archway, as 
 usual, from the Nave. 
 
 We are in a cloister of the Decorated period, founded in its arches 
 and columns on the Abbey of Guisborough, Yorkshire. Looking 
 through the cloister, to the left, we see before us a doorway from 
 the Chapel of Prince Arthur, son of Henry VIT., in Worcester 
 Cathedral, which will enable us to test in a 
 measure the truth of our summary of the 
 Perpendicular style. Crossing the cloister 
 we enter the Mediaeval Court, which con- 
 tains architectural specimens taken from our 
 ancient churches and magnificent cathedrals. 
 
 Entering the Court from the Nave, we 
 find, immediately facing us, the magnificent 
 door- way from Rochester Cathedral, coloured 
 so as to give an idea of its appearance when 
 first erected. We may remark here that 
 the practice of colouring and gilding was 
 carried to an almost extravagant extent in 
 the Gothic style, although the effacing hand 
 of Time has left comparatively few examples 
 in a perfect state. 
 
 The most remarkable monument on the left 
 of the door, is the richly-decorated Easter Arcade from Guisborough. 
 sepulchre, from Hawton Church, Notting- 
 hamshire, representing the Resurrection and Ascension of Christ. 
 It was used as an altar ; various rites being performed before it, 
 between Good-Friday and Easter-day. Further on in the angle 
 
 G 
 
82 
 
 GENERAL GUIDE BOOK, 
 
 is a portion of Bishop Alcock's chantry chapel, from Ely Cathedral ; 
 on the other side of the adjoining doorway, which is a composition 
 
 Doorway of Rochester Cathedral, 
 
 chiefly from the choir of Lincoln Cathedral, we remark the very 
 beautiful oriel window of John o' Gaunt, at Lincoln, and next to 
 it a portion of the elaborate altar-screen of Winchester Cathedral. 
 
 On the right of the Rochester door is the finely designed monu- 
 ment of Humphrey de Bohun, from Hereford Cathedral, with the 
 effigy of the knight in complete armour. The door beyond cor- 
 responds to the one opposite ; and further on, near the cloister, is 
 one of the doors' of Lichfield Cathedral, with its beautiful iron- 
 work, the painting of which is remarkably clever ; and a portion 
 
of Bishop Bub- 
 with's monu- 
 ment, from 
 Wells, the door 
 beneath the 
 cloister being 
 from Bishop 
 West's Chapel, 
 Ely. The exqui- 
 site niches and 
 canopies round 
 the walls of the 
 court are from 
 Southwell Min- 
 ster, Ely Cathe- 
 dral, Beverley 
 Minster, &c. 
 The statues on 
 a line with, and 
 corresponding 
 to those on the 
 monument of 
 Bishop Bub- 
 with, are excel- 
 lent examples of 
 late Gothic 
 work, from Ar- 
 magh Cathedral. 
 The upper tier, 
 consisting prin- 
 cipally of sculp- 
 ture, presents 
 valuable exam- 
 ples of that art. 
 The large sta- 
 tues beneath 
 the canopies are 
 from the facade 
 of Wells, and 
 the angels in 
 the spandrels of 
 the arches are 
 from the choir 
 of Lincoln Ca- 
 
 G 2 
 
84 GENERAL GUIDE BOOK, 
 
 tlieclral ; tliey are all of the highest interest with reference to 
 the history of sculpture in England. The floor presents a remark- 
 able and interesting series of the best sepulchral monuments of 
 the Gothic period which England possesses, viz., those of Queen 
 Eleanor, from Westminster ; Edward II., from Gloucester; the cele- 
 brated monument of William of Wykeham, from Winchester ; and 
 that of Edward the Black Prince, from Canterbury Cathedral. 
 
 Indeed all the subjects in this Court are full of value and 
 interest, and the numerous examples of Gothic art here collected, 
 which we have not space to describe in detail, form a Museum in 
 which the visitor may obtain no inadequate idea of the rich 
 treasures of our country. Passing beneatht he Rochester doorway 
 we enter a vaulted and groined vestibule, the window of which is 
 a beautiful example of the Decorated style, from Holbeach, in 
 Lincolnshire, filled in with rich stained glass. In the centre is the 
 very richly-decorated font, from Walsingham, in Norfolk, an 
 excellent example of the Perpendicular style. The walls of the 
 gallery are lined with statues and monuments ; those on the G arden 
 side are all English, principally from the facade of Wells Cathedral ; 
 those on the side of the Court are chiefly from Germany and 
 France. Amongst the latter, we draw particular attention to the 
 bas-reliefs on the walls, from ISTotre-Dame, Paris, as excellent 
 examples of early French Gothic. Amongst the central monu- 
 ments should be particularly remarked the Arderne tomb, from 
 Elford church, Staffordshire ; the monument of Henry IV., and 
 Joan of Navarre (his queen), from Canterbury Cathedral ; the 
 tomb of Sir Giles Daubeny, from Westminster Abbey, of about 
 the year* 1507 ; and the splendid monument of Hichard Beau champ, 
 Earl of Warwick, from Warwick, one of the finest Gothic sepul- 
 chral monuments remaining in England. Passing beneath the 
 arcade, near the Beauchamp monument, we enter 
 
 THE FRENCH AND ITALIAN MEDI/EVAL COURT, 
 
 On the walls of which, on the ground row, are ranged a series of 
 arches from the choir of Eotre-Dame, at Paris, the greater number 
 of the canopies which surmount them being taken from the 
 Cathedral of Chartres, both fine examples of early French Gothic 
 art. The very excellent statues, bosses, &c, are from various 
 French churches. The central statue on the floor is by the great 
 Italian sculptor, Giovanni Pisano (13th century), and stands 
 on a pedestal from the celebrated altar-piece of Or San Michele^ 
 
THE RENAISSANCE COURT. 
 
 at Florence, by Andrea Orgagna (14th century). The two 
 statues nearest the gallery are by Nino Pisano, son of Giovanni. 
 The very elaborate example of iron- work near the nave entrance 
 is from one of the great west doors of the Cathedral of Notre- 
 Dame, Paris, and evinces such consummate skill in workman- 
 ship as to have obtained for its artist, when first made public, the 
 unenviable credit of being in close league with the Evil One. 
 The exact date of this iron-work is not ascertained, but it is of the 
 best period of the French Pointed style. 
 
 Once more regaining the Nave, we proceed on our journey south- 
 ward, until a few steps bring us to 
 
 THE RENAISSANCE COURT. 
 
 Man had wrought for centuries patiently and laboriously at 
 Gothic architecture, and had advanced, by regular stages, to the 
 perfection of that style, which, after reaching its zenith in the 
 14th century, as regularly and decidedly declined in excellence, 
 until the indispensable principles of true art — simplicity, and good 
 taste — were, towards the close of the 15th century, overwhelmed 
 by excess of ornament. Whilst this downward road was followed 
 by most European artists, various causes led to the revival of 
 the Antique in Italy, and at the commencement of the 15th 
 century, the celebrated Brunelleschi produced a work founded on 
 the Antique Roman style, of the highest merit, viz. , the Dome of 
 Florence Cathedral. In the year 1420, Ghiberti executed his 
 wonderful bronze doors, and from thenceforward the new style of 
 the revived art, or the Renaissance, as it is now usually called, 
 advanced rapidly, first throughout Italy, and, in the succeeding 
 century, throughout Europe. Amongst the causes which led to this 
 revival may be included the decline of the feudal system, the growing 
 freedom of thought, the recent discoveries of the New World, and 
 of the art of Printing. With the rise of the spirit of personal inde- 
 pendence was created a thirst for ancient literature and art, and 
 a search for the hidden fountains of antiquity was enthusiastically 
 persevered in, until in the end it proved eminently successful. 
 
 Monastic libraries, in obedience to the demands of the public 
 .voice, yielded up their treasures of ancient literature, whilst the 
 soil of Italy was made to disgorge its mutilated fragments of 
 antique art. The effects of these sudden, unexpected, and precious 
 acquisitions may readily be imagined ; they created a complete 
 revolution in literature and art throughout Italy, which spread 
 
86 
 
 GENERAL GUIDE BOOK. 
 
 thence into other countries. The two beautiful arts of Painting 
 and Sculpture saw with emulative shame their present inferiority 
 in the ranks of Art ; and in their noble aspirations towards the 
 perfection newly placed before them, they assumed their position 
 as distinct and legitimate creations. But if the Gothic system was 
 now dying out, it had left at least one valuable legacy to the 
 future, in its appreciation and adoption of natural models. The 
 Italian artists of the 15th century received the gift joyfully, 
 and, combining it with what treasures antiquity afforded them, 
 produced a style which, in sculpture especially, has all the fresh- 
 ness of nature and the refinement of the antique, as both were 
 capable of being united by gifted men whose names have come 
 down in glory to our own day, and will command the admiration 
 of the latest posterity. 
 
 On no branch of art did the revival of the antique more strongly 
 act, than on the art of architecture ; the Gothic style, which had 
 never taken deep root in the soil of classic Italy, speedily fell 
 altogether in that country before the recent discovery and imita- 
 tion of the Roman antiquities. No powerful body of Freemasons 
 was there, as in England, France, andr Germany, to oppose the 
 
 ^^^^f"^^^^ ^^^^ ^^ ^ The facade before us is a re- 
 ^ stored copy of a portion of the 
 
 Arcade of H6tel Bourgtheroulde at Rouen. Hotel Bourgtheroulde, at Rouen. 
 
 It was built at the end of the 
 15th and the beginning of the 16th centuries. The bas-relief 
 before us represents the Field of the Cloth of Gold, and the 
 memorable meeting (in 1520) of Francis I. of France and our own 
 
 progress of the new style; and 
 the individual energy of such 
 men as Brunelleschi, Bramante, 
 and the great architects of the 
 northern states, soon established 
 it on an indestructible basis. 
 And, however much a partizan 
 spirit may decry this or that 
 particular style, the productions 
 influenced by the revival of 
 the antique, throughout the 
 15th century, especially in ar- 
 chitecture and sculpture, will 
 never fail to excite our astonish- 
 ment and emulation. 
 
THE RENAISSANCE COURT. 
 
 S7 
 
 Henry VIII. The frieze above is from the Hospital of the Poor, 
 at Pistoia, in Tuscany, and shows monks or priests relieving the 
 poor ; the original is in coloured porcelain. Entering the Court, 
 we find in the lunettes under the ceiling of the small loggia, or 
 gallery, portraits of twelve of the most celebrated persons of Italy, 
 Spain, France, and Geipnany, of the Renaissance period, including 
 in the central compartment Francis I. of France, and Catharine de' 
 Medici. In the compartment to the right are, Lorenzo de' 
 Medici and Lucrezia Borgia ; and, in that to the left, Mary of 
 Burgundy and Maximilian of Germany. In the centre of the 
 Court we find a fountain of the Renaissance period, from the 
 Chateau de Gaillon, in France ; and on either side of the 
 fountain are two bronze wells, from the Ducal Palace at Venice. 
 Directing our steps to the right, we may first examine the deco- 
 rations on the lower part of the interior of the facade, the bas- 
 relief of which is taken from the high altar at Granada Cathedral, 
 in Spain. The statue j.n the centre is that of the wife of Louis 
 de Poncher, the original of which is now in the Louvre ; its 
 date may be assigned to the early portion of the 16th century. 
 The altar on which the statueis placed is from the Certosa near 
 Pavia, in Northern Italy. The first object on the side- wall is a 
 door, by Jean Goujon (a French sculptor who executed many 
 works at the Louvre), from the church of Saint Maclou, at Houen ; 
 then a doorway from the Doria Palace at Genoa, a fine specimen 
 of the cinque-cento ; above this are five bas-reliefs from the 
 museum at Florence, representing Faith, Prayer, Wisdom, 
 Justice, and Charity ; and beyond it, one of the most beau- 
 tiful objects in the palace, a copy of the far-famed gates, from 
 the Baptistery at Florence, executed by Lorenzo Ghiberti, who was 
 occupied upon his work for the space of twenty-one years. One 
 glance is sufficient to assure the spectator that sculpture had indeed 
 advanced to an extraordinary degree of excellence at the period 
 which we have now reached. The visitor having sufficiently admired 
 these " Gates of Paradise," as Michael Angelo termed them, will 
 proceed on his way, passing another doorway, which, like that on 
 the other side, already seen, is from Genoa. Close to it, is a door 
 by Goujon, corresponding to the door in the opposite corner. 
 
 On the back wall we first notice a composition made up from 
 various examples of cinque-cento work. Adjoining it is a portion of 
 an altar from tne Certosa, near Pavia,— a beautiful specimen of 
 sculptural art of the time. Next to this is another piece 
 of cinque-cento composition, from specimens at the same Certosa, 
 
88 
 
 GENERAL GUIDE BOOK. 
 
 from Rouen Cathedral and other places. In the centre, two 
 colossal figures (Caryatides), from the Louvre, by Jean Goujon, 
 support a large cast of the Nymph of Fontainebleau, by the 
 celebrated Benvenuto Cellini. Next to the Caryatides we see an 
 exquisite specimen of a portion of the interior of the principal 
 entrance to the Certosa most elaborately carved, and the panels 
 filled in with bas-reliefs ; the doorway by its side is from the 
 Hotel de Ville, of Oudenarde, in Belgium. It stands out from 
 the wall, and looks very like an antique cabinet or screen. 
 Another architectural example from the Certosa follows, being a 
 sort of military monument erected to the memory of G. G. 
 Visconti, Duke of Milan ; the date of its execution is the end 
 of the 15th century. On the side next the French Mediaeval 
 Court is first another oak door from Saint Maclou by Jean 
 Goujon,, and then a doorway, from Genoa ; and, above it, the 
 frieze of " The Singers," by Luca della Robbia, the original 
 of which is at Florence, a most charming work, full of life 
 and animation. In the centre of this — the northern — side of the 
 Court, is a cast from one of the windows of the facade of the 
 Certosa, a remarkably fine example of cinque-cento ; next to it, 
 another doorway, from the Doria Palace at Genoa ; and in the 
 corner a fourth door from Saint Maclou, by Goujon, the central bas- 
 relief of which represents the Baptism of Christ. The lower part of 
 the interior of the facade is devoted to examples of Italian sculpture 
 of the 15th century, including a head of St. John by Donatello. 
 
 The monument placed against the wall is that of Ilaria di 
 Caretto, from Lucca Cathedral, executed by Jacopo della Quercia, 
 of Sienna, early in the 15th century : it is a very fine example 
 of the cinque-cento style. 
 
 Two statues by Donatello cannot fail to be noticed— his St. 
 John and David, which display great power and study of nature. 
 
 We now x>ass out through the doorway under the Nymph of 
 Fontainebleau, and enter a vestibule in the Renaissance style. Here, 
 on the ceiling, is a copy of a painting from the Sala del Cambio 
 (Exchange) at Perugia, in Italy, by Perugino, the master of 
 Raffaelle, who assisted Perugino in the work. The painting 
 represents the Seven Planets, with Apollo in the centre, as the 
 personification of the Sun. The wall of the Renaissance Court to 
 the left of the entrance is decorated with terra-cotta arches, 
 and a frieze from the Certosa ; the singing boys in the frieze are 
 of great merit. The bronze monument in the centre is that 
 of Lewis of Bavaria, a very interesting example of late German 
 
THE ELIZABETHAN COURT. 
 
 89 
 
 Gothic, remarkable for the finish of its details. On either side of 
 the doorway are parts of Gouj on' s doors from St. Maclou, at Rouen. 
 In the centre of the gallery are placed Germain Pilon's " Graces," 
 now in the Louvre, a charming example of the French school of 
 sculpture. The four angles under the Perugia ceiling are occupied 
 by four statues, also by Pilon ; and the very remarkable bronze 
 effigy in the centre, against the garden, is from the Museum at 
 Florence ; it is ascribed to Yecchietta of Sienna. 
 
 The kneeling effigies in the gallery are from the Hertford 
 monument in Salisbury Cathedral, probably erected in the first half 
 of the 17th century. On the back wall, to the right of the 
 doorway, are richly ornamented arches in terra-cotta, from the 
 large cloisters of the Certosa, and also bas-reliefs and specimens of 
 the Renaissance style from various parts of Italy. The central 
 monument of Bernard von Gablenz is an exceedingly fine example 
 of the style as practised in Germany, at the close of the 16th cen- 
 tury. After examining these objects, we turn into the narrow court 
 adjoining the Renaissance Court, and find ourselves in 
 
 Facade from Elizabethan Court. 
 
 THE ELIZABETHAN COURT. 
 
 The architectural details in this Court are taken from Holland 
 House, at Kensington, a fine old mansion made interesting to us 
 by many associations. Elizabethan architecture, which was in its 
 
90 
 
 GENERAL GUIDE BOOK. 
 
 flower during the latter half of the 16th century — more than a 
 hundred years after the revival of classical architecture in Italy — 
 shows the first symptoms of the adoption of the new style in 
 England. The Elizabethan style — the name reaches back over the 
 century — is characterized by a rough imitation of antique detail 
 applied to masses of building, in which many Gothic features 
 were still retained as regards general form, but altered as to orna- 
 ment. The style being in its very nature transitory, it gradually 
 gave way, although characterized by a certain palatial grandeur and 
 striking picturesqueness, before the increasing knowledge which 
 England obtained of Italian architecture, until we find it entirely 
 displaced in the first half of the 17 th century by the excellent 
 style of building introduced by Inigo Jones. We must add, that, 
 although it has no pretensions to the character of a regular or 
 complete system, yet few who have visited the great Elizabethan 
 mansions scattered over England can have failed to admire their 
 picturesque and solid appearance, their stately halls, corridors, 
 staircases, and chimney-pieces, and the beautiful garden terraces, 
 which form so important a feature in their general design. 
 
 This Court contains several tombs of the period. The first is 
 that of Sir John Cheney, from Salisbury Cathedral : a soldier who 
 distinguished himself in the wars of the Roses, and was attached 
 to the party of Henry VII. The original effigy is in alabaster, 
 a material much used during the early part of the 16th century. 
 The next monument is that of Mary Queen of Scots from West- 
 minster Abbey, executed in the beginning of the 17th century, 
 and displaying in its treatment all the characteristics of the Eliza- 
 bethan style. The succeeding monument is that of Queen 
 Elizabeth, also from Westminster, constructed at about the same 
 period as that of Queen Mary ; the original effigy is of white 
 marble. The last monument is that of Margaret, Countess of 
 Richmond and Derby (the mother of Henry VII. ), at Westminster. 
 It is the work of the Florentine sculptor Torrigiano ; the original 
 is in copper, and its date the early part of the 16th century ; it 
 is of unusual merit. Advancing a few paces, the visitor again 
 reaches the Nave, and turning still southward, finds himself before 
 
THE ITALIAN COURT. 
 
 91 
 
 The Italian Court. 
 
 THE ITALIAN COURT: 
 
 Which, as will be at once remarked, closely resembles the style 
 of antique Roman art, on which, indeed, the modern is professedly 
 founded. Although Brunelleschi, as we have before observed, revived 
 the practice of antique af chitecture as early as the year 1420, yet 
 various causes combined to delay a thorough investigation of the 
 antique remains until the close of the century ; and it even is not 
 until the commencement of the 16th century that we find the 
 Italian style, or modernized Roman, regularly systematized and 
 generally received throughout Italy ; from whence it gradually 
 extended, first to Spain and to France, and at a somewhat later 
 period into England and Germany. The power and excellence of 
 the style are nobly exhibited in a large number of buildings, 
 amongst which may be noted the ancient Library at Venice, 
 St. Peter's at Rome, the Pitti Palace, Florence, the Basilica of 
 Vicenza, the great Colonnade of the Louvre, Paris ; St. Paul's 
 Cathedral, London ; and the Escurial Palace, near Madrid. 
 
 In this style, architecture rests chiefly on its own intrinsic 
 excellence, or on proportion, symmetry, and good taste. The arts 
 of sculpture and painting, in a great measure, become independent 
 of architecture ; and their absence in buildings of a later period 
 (the 17th and 18th centuries, for instance) led to a coldness of 
 
92 
 
 GENERAL GUIDE BOOK. 
 
 character, wliicli happily promises at the present day to find its 
 remedy. 
 
 The Court before which we stand is founded on a portion of the 
 finest palatial edifice in Home, — the Farnese Palace, commenced 
 by the architect Antonio Sangallo, for Cardinal Farnese, and 
 finished under the direction of Michael Angelo. A curious fact in 
 connexion with the original building is, that the stones which 
 compose it were taken from the ancient Coliseum, within whose 
 mighty walls the early Christians suffered martyrdom ; so that, in 
 truth, the same stones which bore witness to the faith and courage 
 of the early devotees, served afterwards to build, for the faith 
 triumphant a palace in which luxury, worldliness, and pride, found 
 a genial home. 
 
 Prior to entering the Court, we may remark, in the niches, the 
 bronze statues by Sansovino, from the Campanile Loggia at Venice, 
 amongst which Apollo is conceived quite in the old Roman spirit. 
 Passing beneath the columns in the centre of the court, we see the 
 fountain of the Tartarughe, or " of the Tortoises" at Pome, 
 designed by Giacomo della Porta, with bronze statues by Taddeo 
 Landini. Turning to the right, the first object that attracts our 
 attention is a statue of the Virgin and Child, by Michael Angelo, the 
 original of which is at San Lorenzo, Florence. Advancing to the 
 south side, we enter a loggia or arcade, the interior of which is richly 
 ornamented with copies of PafFaelle's celebrated frescoes in the Loggie 
 of the Vatican palace at Pome. They consist of a most fanciful, yet 
 tasteful, combination of landscape figures, architecture and foliage, 
 founded on antique models, and bearing a close resemblance to the 
 ornamental work discovered in various Poman ruins, especially at 
 the towns of Pompeii and Herculaneum, which, however, were at 
 that time unknown. In the centre of the arcade, towards the 
 Court, is the monument of Giuliano de' Medici, from San Lorenzo, 
 Florence. On each side of his statue are the reclining figures 
 Night and Light (part of the same monument). This is one of 
 Michael Angelo's masterpieces, and is remarkably characteristic of 
 the sculptor's style. At the back of it, in the Loggia, is a fine spe- 
 cimen of bronze casting, from Venice. On each side of the entrance 
 to the gallery are two groups of a Virgin with the dead Christ, that 
 to the right being by Bernini, the other to the left by Michael 
 Angelo, both especially interesting as serving to indicate the state 
 of art in the 16th and 17 th centuries respectively. The remaining 
 statues, as far as the loggia, are by Michael Angelo. The visitor 
 may now enter the loggia, which, like its companion on the other 
 
THE ITALIAN COURT. 
 
 93 
 
 side of the Court, is ornamented with copies of Rafiaelle's frescoes 
 from the Vatican ; in the centre of this side of the Court is placed 
 Michael Angelo's celebrated monument of Lorenzo de' Medici, from 
 the church of San Lorenzo at Florence ; the reclining figures on 
 each side of the statue of Lorenzo represent Dawn and Twilight. 
 At the back of this monument within the arcade is the fine bronze 
 door by Sansovino from St. Mark's, Venice, on which he is said to 
 have laboured from twenty to thirty years. The projecting heads 
 are supposed to be portraits ; amongst them are those of Titian, 
 Aretino, and of the sculptor himself. Proceeding onwards, the 
 beautiful composition of Jonah and the Whale, by Raffaelle, 
 is from the Chigi Chapel at Rome. Passing into the gallery on 
 the Garden side, we remark in the four angles the pedestals of the 
 Venetian standards, from the Square of St. Mark, Venice. The 
 painted ceilings of this gallery deserve especial attention. The 
 first on entering the gallery is from an existing example at the 
 " Old Library," Venice ; the last is from the " Camera della 
 Segnatura," by Raffaelle, at the Vatican ; beneath which is the 
 fine statue of St. Jerome, by Torrigiano, from Seville, in Spain. 
 
 The monuments on the external wall of the vestibule afford 
 excellent examples of the later Renaissance style. Amongst them 
 may be particularly noted the monument of Lancinio Curzio 
 (nearest the gallery), from Milan, by Agostino Busti, evincing 
 that delicate execution for which the sculptor was famous ; and 
 the central altar of La Madonna della Scarpa, from the Cathedral 
 of St. Mark, Venice — an elaborate specimen of bronze casting, 
 completed early in the 16th century by Pietro Lombardo and 
 others. The monument on the side nearest the Nave is an excel- 
 lent example of the Renaissance style. 
 
 The decoration of the vestibule is founded on the very elegant 
 Casa Taverna at Milan, by Bernardino Luini, a pupil of Leonardo 
 da Vinci, and affords an excellent idea of the peculiar „ painted 
 mural ornament prevailing in Italy at the commencement of the 
 16th century. The doors are from the Palace of the Cancellaria at 
 Rome, by Bramante, the famous designer of St. Peter's in that 
 city, and the immediate predecessor of the great architects of the 
 16th century. The vestibule itself is rich in very beautiful 
 drawings after the old masters, by Mr. West. 
 
 We have now completed our survey of one of the most interest- 
 ing features of the Crystal Palace. We have performed our 
 prornise to guide the visitor through the various Fine Art Courts, 
 bringing before his notice some of the principal objects that have 
 
9 i GENERAL GUIDE BOOK, 
 
 adorned his road, and endeavouring, by our brief remarks, to 
 heighten the pleasure he must necessarily have experienced from 
 
 Facade of Italian Vestibule, 
 
 the sight of so noble an assemblage of architectural and sculptural 
 art. Much however remains to be seen and accomplished — much 
 that requires patient examination and study— examination that 
 will yield fresh beauty, and study that will be rewarded by per- 
 manent and useful knowledge. For guidance and help we refer 
 the visitor to the handbooks of the several Courts. The mission of 
 
 Frieze of Italian Court. 
 
THE STATIONERY COURT, 
 
 95 
 
 this little work, as far as the Fine Art Courts are concerned, is 
 accomplished : and "The Guide Book" now only waits until the 
 visitor has sufficiently recovered from his fatigue, in order to 
 resume, in other parts of the building, the part of cicerone. 
 
 Crossing the great transept to the west, we proceed towards the 
 south end of the building, and,' keeping to the right hand, com- 
 mence our pilgrimage through the Industrial Courts, The first that 
 we arrive at is 
 
 THE STATIONERY COURT. 
 
 In the formation of this and of the other Industrial Courts, the 
 several architects have been solicitous to express, both in the con- 
 struction and the decoration, as far as possible, the specific 
 destination : with the view of maintaining some harmony between 
 the objects exhibited and the building in which they 
 are contained. The Stationery Court has been designed and 
 erected by Mr. J. G. Crace. The style of this Court is composite, 
 and may be regarded as the application of cinque-cento ornamental 
 decoration to a wooden structure. Externally the aim has been to 
 furnish certain coloured surfaces, which shall harmonize with the 
 plants around and with the general aspect of the Palace. In the 
 interior of the Ccmrt, the dark neutral tint on the lower level will 
 be seen to serve as an admirable background to the objects exhibited ; 
 whilst the panels covered with cinque-cento decoration, combined 
 with the elegant imitation of marquetrie work, produce an effect 
 which deserves the highest praise. Over the opening through which we 
 enter this Court, and between the stained glass windows let into 
 the wall, have been introduced allegorical figures of the arts and 
 sciences applied in the manufacture of the articles exhibited in the 
 Court, and over the opening at the back the artist has depicted the 
 Genii of Manufacture, Commerce, &c. In the centre of the panels 
 throughout the Court representations are painted of the processes 
 which the objects exhibited undergo during their manufacture. 
 
 As the visitor passes round this Court, let him step out at one of 
 the entrances on the north side, close to which he will find erected 
 " The Crystal Palace Medal Press." This machine, which is 
 official, and worked on behalf of the Company by Messrs. T. P. 
 Pinches and Co., will be employed from time to time in striking 
 commemorative medals, designed by Mr. Pinches or other artists 
 connected with the Palace. The machine is worked by four men, 
 one of whom adjusts the metal to be stamped between the emsk 
 
96 
 
 GENERAL GUIDE BOOK. 
 
 dies : as soon as the metal is fixed, the other workmen swing the 
 lever rapidly round, and the great pressure produces impressions of 
 the dies on the metal, which is turned out sharp and distinct, and 
 then put into a lathe and completed. In the glass cases placed 
 near, the visitor will have an opportunity of inspecting numerous 
 specimens of the medals produced by the machine, amongst which 
 those in frosted silver deserve especial notice for the beauty of 
 their appearance. 
 
 The visitor, proceeding round the Stationery Court, from right 
 to left, will find amongst the works of industry exhibited, fancy 
 stationery, books, specimens of ornamental printing, pencil 
 drawings, and other articles of the kind. At the back of this and 
 of the Birmingham Court, or towards the west front of the 
 building, is situated " The Hardware Court," in which are 
 placed household utensils, iron and zinc bronzes, gas-fittings, 
 refrigerators, and numerous articles in metals. At the back of this 
 Court again, is a large space extending in a southerly direction from 
 the Hardware Court to the Pompeian .Court (at which the visitor 
 will presently arrive), devoted to the exhibition of furniture. 
 Here will be found not only useful articles of household furniture, 
 but specimens of tapestry work, wood carving, picture frames, and 
 other ornamental articles which give grace to our rooms, and 
 which, by means of our great mechanical excellence, are daily 
 becoming more and more within the reach of the great body of the 
 people. The visitor will do well, in examining these Courts, to view 
 them in sections, so as not to miss those Industrial Courts which 
 face the Nave. Emerging from the opening that leads to the south 
 side of tire Stationery Court, a few steps will bring him once more 
 into the Nave, where he will notice a stand appropriated to the 
 exhibition and printing by the Messrs. Day, of chromo-lithogmphic 
 views of some of the most picturesque and interesting portions of the 
 contents of the Crystal Palace. These coloured views are produced 
 by Mr. P. H. Delamotte, and they gain an additional interest from 
 the fact, that the process of printing is witnessed by the visitor in 
 the Palace. The greatest accuracy is obtained in fixing the colours 
 by means of the registring process. 
 
 Next in order of the Industrial establishments, comes 
 
 THE BIRMINGHAM COURT. 
 
 This Court has been designed by Mr. Tite, and the architect has 
 considered that the purpose to which the Court is applied might 
 
THE SHEFFIELD COUKT. 
 
 97 
 
 best be expressed by showing some of the principal ornamental 
 uses of iron in architecture. With this intention, he has designed 
 for the facade of the court a restoration, in modern work, of the 
 English ornamental iron enclosures of the 17th century, which 
 differed but slightly from those prevailing at the same time in 
 France in the style of Louis XIV. The English, however, are 
 generally richer in foliage, while the latter are more fanciful in 
 scroll work. At the period referred to, the whole of those 
 enclosures were of wrought and hammered iron, cast-iron being at 
 that time little known, but in the enclosure before us, although it 
 has been executed on much the same principle as the old work, the 
 ornaments are cast, in order to secure greater durability, cast-iron 
 not being so easily destroyed as wrought-iron, by the oxidation 
 which proceeds with such enormous rapidity in this country. The 
 castings have been most admirably executed, and so sharp and 
 distinct were the outlines of the patterns, that they required but 
 little after-finishing. The pilasters are of enamelled slate, excellent 
 for their imitation of marble, surmounted by iron capitals. Entering 
 through the gates in the centre, the visitor finds the interior of the 
 court panelled in the style of the same period and decorated by 
 Mr. Sang with emblematical paintings and other appropriate 
 ornamentation in encaustic. 
 
 In this court will be found articles in nickel silver, seal-presses, 
 gilt toys, metallic bedsteads, and similar manufactured goods of 
 universal use. Quitting this department, we approach the next 
 Industrial Court in succession, 
 
 THE SHEFFIELD COURT. 
 
 The architect of this court is Mr. G. H. Stokes, whose structure 
 at once compels attention by the novelty of its design, and by its 
 general striking effect. Although there is a considerable admixture 
 of styles in the court, the parts have been so well selected and 
 their blending is so excellently contrived, that they yield a 
 harmonious result in every way pleasing to the eye. The materials 
 used in the construction are plate-glass and iron, an appropriate 
 and happy selection for a court intended to receive the productions 
 of Sheffield. The panels on the outer walls are of plate-glass, 
 inclosed within gilt-mouldings ; the pilasters and the frieze over 
 the large panels are likewise of plate-glass. The iron columns 
 above, forming an arcade, are in a composite Moresque-Gothic 
 style, and elaborately ornamental in design. Entering the court 
 
 n 
 
9S 
 
 GENERAL GUIDE BOOK. 
 
 from the nave, we find the interior decorations identical with those 
 of the exterior — with two differences, viz., the large lower panels, 
 instead of being of plate-glass, are of red cloth, which serves as a 
 back ground to throw up and display the articles exhibited. The 
 frieze or space above the columns, now merely covered with painted 
 decorations, will, at a future period be adorned with paintings, 
 illustrative of the manufacture of Sheffield ware. 
 
 Leading out of this department will be found, at the back, 
 a space devoted to mineral manufactures, including works of art 
 in terra-cotta, tiles, marble, and glass, <fec. Having made our 
 way to the nave, a step brings us at once before the exquisite 
 restoration of 
 
 The Bay and City of Naples. 
 
 THE POMPEIAN COURT. 
 
 Seventeen hundred and seventy-five years ago, the cities of 
 Herculaneum and Pompeii, beautifully situated on the shores of 
 the Bay of Naples, were buried beneath the cinders and 
 ashes vomited forth by Vesuvius. The horrors of this cala- 
 mity are recorded in the writings of Pliny, and of other Roman 
 historians of the period. So sudden was the outbreak and general 
 convulsion that, as we learn, many of the inhabitants of those 
 cities were caught in their terrible doom before the thought of 
 
100 
 
 GENERAL GUIDE BOOK, 
 
 escape occurred to them. The dread event completed, nature 
 resumed her former aspect. The mountain flames ceased, the 
 intense blue sky again looked down upon the dancing waters, and 
 there was nothing to tell of the general havoc, but a vast desolate 
 tract covered with white ashes, under which man and his works lay 
 entombed. 
 
 For upwards of sixteen hundred years the cities continued undis- 
 turbed beneath their crust. But about the middle of the last cen- 
 tury, curiosity with respect to them was stirred, inquiry commenced, 
 and excavations were attempted. As in the more recent case of 
 Nineveh, but with still more satisfactory results, success at once 
 crowned investigation. The material that had destroyed Hercula- 
 neum and Pompeii had also s preserved them. That which had 
 robbed them of life had also perpetuated their story in death. 
 The cities were redelivered to man so far undecayed, that he 
 obtained actual visible knowledge of the manner of life of one of 
 the most remarkable people that ever governed the world. To the 
 insight thus obtained, the visitor is indebted for the reproduction of 
 the Pompeian house before which he now stands — a habitation of 
 the time, complete in every respect, from the outer walls to the 
 most insignificant object in domestic use. 
 
 The doorway of this house stands fronting the nave. Entering 
 it, we pass through the narrow prothyrum or passage, on either 
 side of which is a room devoted to the door-keeper and slaves, and 
 on its pavement the words " cave canem" — beware of the dog — 
 meet the eye. It is the usual notice engraved on the threshold 
 of these Roman houses. Emerging from the passage, we are at 
 once in the "atrium," or outer hall of the edifice. The eye is 
 not attracted here, as in other restorations of the palace, by the 
 architectural design alone ; the attention is also secured and charmed 
 by the decorations. The bright coloured walls, the light, fanciful 
 character of the ornaments, the variety of patterns, and the excellent 
 method of colouring, which at the lower part is dark, and graduates 
 upwards, until it becomes white on the ceiling — constitute some 
 of the beautiful features that give individuality to Pompeian houses, 
 and cause them to differ most essentially from every other style. 
 
 This entire hall, or "atrium" was the part of the building 
 common to all visitors. The opening above is the " compluvium" 
 and the marble basin beneath, the " impluvium" which received 
 the rain that fell from the roof. In the actual houses at Pompeii, 
 the size of the " impkivium" corresponds, of course, with the 
 dimensions of the opening above. Here the ct com/pluvium" has- 
 
THE POMPEIAN COURT. 
 
 101 
 
 been widened in order to admit more light into the court. The 
 flooring consists of tesselated pavement, and near the two other 
 doorways leading into the " atrium" is inscribed the well known 
 word " Salve " — "welcome " — announcing the profuse hospitality of 
 the owner. Two out of the three entrances mentioned are formed 
 here for convenience of egress and ingress, and are not copied from 
 actual buildings, in which only one door exists. 
 
 As soon as we have entered the court, we turn to the right, and 
 proceed round it, stepping into the " cubicula" or bed chambers, 
 to admire the figures that seem to be suspended in the intensely 
 fine atmosphere, and — with our English experiences — to wonder 
 how, whether by day or by night, comfort could be attained in 
 such close dormitories. We reach the side entrance, next to which 
 is an open recess corresponding with a second recess on the other 
 side of the "atrium." These recesses were called " alai" or wings, 
 and were used for the transaction of business with visitors. On the 
 central panel of the first recess is painted a scene from the story 
 of "Perseus and Andromeda," and on the side panel are again 
 exquisite figures, painted not in the centre of the panel, producing 
 a stiff formality, but nearer to the top than to the bottom, so that 
 the forms still seem to float before us. Continuing our way, we 
 turn into the large apartment opposite the door at which we 
 entered. This is the " tablinum" and was used for the reception 
 of the family archives, pictures, and objects of art. It probably 
 served the purposes also of the modern " drawing-room." Across 
 the "tablinum" a curtain was no doubt drawn, to separate the 
 private dwelling-house from the more public " atrium" although it 
 is a remarkable fact that no remains of hooks or rings, or of 
 anything else, has been discovered to convey an idea of the means 
 by which such a curtain could be attached. In order to enter 
 within the "tablinum" a special invitation was required. 
 
 From this point, the " Peristyle " is also visible, with its columns 
 coloured red some way up, a flower garden in the centre, and a back 
 wall, upon which are curious specimens of perspective decoration, 
 in which the Romans seem to have delighted. This court was 
 always open to the sky in the middle. Passing through the 
 "tablinum" and turning to the right, we come to a small door- 
 way which admits us into the " triclinium," or dining-room. The 
 Roman dining-room generally contained three couches, each large 
 enough to hold three persons. In feeding, the Roman was accus- 
 tomed to lie on his breast and to stretch out his hand towards the 
 table in order to serve himself. When dinner was over, he turned 
 
102 
 
 OENEilAL GUIDE BOOK, 
 
 on his left side, and leant on his elbow. Ile-entering the Peristyle, 
 we proceed on our way, still to the right, and pass a drinking- 
 room, on the walls of which fruits are painted, some hanging in 
 golden clusters on a wreath of foliage, supported by Cupids. Next 
 to this is the "porta postica" or back door, and, adjoining it a 
 small recess, which served as kitchen. Crossing the " Peristyle," 
 near one end of which is the domestic altar, we turn to the left, 
 and, after passing a small chamber, reach the bath-room — that 
 chamber so essential to the luxurious Roman. Close to this 
 is the summer dining-room, and beyond this again, and corres- 
 ponding with the " triclinium" is the bed-chamber of the mistress 
 of the house. Quitting this, we once more gain the " atrium" 
 by means of narrow fauces, or passages, and return to the nave^ 
 through the door of the house at which we originally entered. The 
 visitor has seen the extremes of decorative art, when, after sating 
 his eyes with the profuse and dazzling embellishment of the 
 Alhambra, he has also dwelt upon the delicate work of colours 
 gracing the walls of Pompeii. 
 
ETHNOLOGICAL AND NATURAL HISTORY DEPARTMENT. 103 
 
 ETHNOLOGICAL AND NATURAL HISTORY DEPARTMENT. 
 
 Upon quitting the Pompeian Court the visitor, still walking south- 
 wards, crosses the south transept and enters that division of the 
 building which is devoted to geographical groupings of men, animals, 
 and plants. The illustrations of the animal and vegetable kingdoms 
 in the Crystal Palace have been arranged upon a specific principle 
 and plan. Although the British Museum contains nearly all the 
 examples of animals and birds known in the world, and Kew Gar- 
 dens exhibit specimens of the majority of trees and plants known to 
 botanists — still neither of these collections affords the visitor any 
 accurate idea of the manner in which these numerous objects are 
 scattered over the earth. Nor do they assist his conjectures as to 
 the nature or the general aspect of their native countries. Here 
 an attempt has been made to remove the confusion ; and it is 
 believed that the associations of these two branches of Natural 
 Science, in groupings arranged in such a manner as the nature 
 of the building will permit, coupled with illustrations of the 
 human variety belonging to the same soil (a collection which has 
 never before been attempted in any country) will prove both 
 instructive and amusing, and afford a clearer conception than can 
 be obtained elsewhere of the manner in which the varieties of 
 man, animals, and plants, are distributed over the globe. 
 
 Zoology (from Zoon, an animal,) is, strictly speaking, that science 
 which investigates the whole animal kingdom, comprehending man 
 as well as the inferior animals. Zoology therefore, in a wide sense, 
 includes Ethnology, or so much of that science as considers the 
 different varieties or races of m.en in a physical point of view, 
 instituting comparisons between them, and carefully pointing out 
 the differences or affinities which characterize the physical structure 
 of various branches of the great human family. In more confined 
 use, the term zoology relates only to the consideration and study 
 of the mammalia, or warm-blooded animals ; the requirements 
 of scientific research having occasioned a new nomenclature in 
 order to distinguish the different branches of the same study. 
 Hence the natural history of birds is particularized as Ornithology, 
 and that of fish, as Ichthyology, whilst the investigation of those 
 characters in man which serve to distinguish one race from 
 another is, as previously remarked, called Ethnology (from the 
 Greek Mhnos, " nation This last-named science is subdivided 
 again into different branches, but, in a limited and inferior 
 sense, and as illustrated by the various groups in the Palace, 
 
104 
 
 GENERAL GUIDE BOOK. 
 
 it may be described as that science which distinguishes the 
 differences in skin, hair, bone, and stature that exist between the 
 various races of men. This zoological branch of Ethnology relates 
 to the physical history of man as opposed to his mental history, 
 and following up the course of his wanderings, endeavours by 
 the above-mentioned physical peculiarities to ascend to the source 
 from which the several migrating races have proceeded. 
 
 Within the Palace itself, we have been enabled to remark the 
 works of man, and the gradual development of his ideas, especially 
 in Art, leading to a variety of so-called " styles," which answer in 
 a measure to the varied species of Divinely created life. We have 
 now an opportunity of attentively considering the more marvellous 
 and infinite creations of the Deity in the organization and develop- 
 ment of that greatest of all mysteries — life itself; and of obtaining 
 a vivid idea of those peculiar varieties of mankind, that have 
 hitherto not fallen under our personal observation. If the visitor 
 should feel astonishment in the presence of some of the phases of 
 human existence here presented to him, he may do well to bear 
 in mind, that they are representations of human beings endowed 
 with immortal souls ; to whose capabilities we may not place a 
 limit, and that it is not yet two thousand years since the fore- 
 fathers of the present European family tattooed their skins, and 
 lived in so savage a state, that late archaeological researches 
 induce us to suspect they were not wholly free from one of the 
 worst charges that is laid to savage existence ; viz. the practice of 
 cannibalism.* 
 
 Entering upon the path immediately before him, the visitor will 
 commence the examination of the groups arranged on the western 
 side of the nave which illustrate the Ethnology, Zoology, and 
 Botany of 
 
 THE NEW WORLD. 
 The first section we come to is devoted to the illustration of the 
 Arctic regions : to the left on entering are placed two polar bears ; 
 the skin of the largest having been brought home by Captain 
 Inglefield on his last memorable return from the Arctic regions. 
 The smaller bear died in England some years ago. To the right 
 will be found a group of Esquimaux, a race of people inhabiting 
 the ice-bound shores of the Arctic regions, and who from the nature 
 of their language, and the position of their country, are compara- 
 tively isolated from the rest of mankind. They pass their short 
 
 * Archssol. Journ., p. 207. Sept. 1853. 
 
ETHNOLOGICAL AND NATURAL HISTORY DEPARTMENT. 105 
 
 summers in hunting foxes and fishing, and during the winter, form 
 dwelling-places in the frozen snow ; their principal means of 
 subsistence being, during that season, dried fish, and whale oil. 
 They are short of stature, possess broad faces, resembling in some 
 respects the Chinese, straight long hair, and well-proportioned limbs, 
 and are generally plump and even fat. Since the introduction of 
 Christianity amongst the Esquimaux, they have advanced in civi- 
 lization. Continuing along the path, we pass a glass-case con- 
 taining a selection of North American birds, and beyond this we 
 arrive at a group of North American Red Indians engaged in a 
 war-dance, and surrounded by the trees and shrubs indigenous to 
 North America. The most conspicuous amongst these are the 
 American Rhododendrons, the Kalmias, the Andromedas, and the 
 American arbor vitas. The Indians of the valley of the Mississippi, 
 and of the drainage of the Great Lakes supply us with our current 
 ideas of the so-called Red Man, or the Indian of the New World. 
 In stature they are above the middle height, and exhibit great mus- 
 cular force, their powers of endurance being very great ; in temper 
 they are harsh, stoical, and unsociable, whilst in warfare they are 
 savage and cruel. The general physiognomy of the Red Indians is 
 the same from the Rocky Mountains to the Atlantic. Between 
 the Alleghanies and the Atlantic, the first-known country of these 
 tribes, the variety is now nearly extinct. 
 
 Quitting this group and continuing our way, the visitor finds 
 before him a glass tank containing some of the North American 
 fiuviatile (river) animals, such as the bull frog and snapping turtle, 
 and on his right a case of West Indian marine objects, exhibited 
 in order to afford an idea of the nature of the sea bottom in that 
 region. In this case are mollusques, corals, sponges, &c. This 
 rare collection of objects is the property of J. S. Bowerbank, 
 Esq. , by whom they have been kindly lent to the Crystal Palace, and 
 arranged. 
 
 Returning a short distance, and taking the left-hand path, we 
 find on our right the trees and animals of Central America ; 
 amongst the latter a fine male puma grey with age. Before 
 reaching this, the visitor will note a large specimen of 
 Agave Americana, one of the most striking plants of Central 
 America. The puma may be regarded as the American represen- 
 tative of the lion of the old world, the distribution of both these 
 animals throughout their respective hemispheres having originally 
 been very general. Like most of the cat tribe the puma is a 
 good climber, and usually chooses trees, rocks, and other elevated 
 
106 
 
 GrENEEAL GUIDE BOOK. 
 
 positions from which it can clart upon its prey. On the left of 
 the* visitor are two groups, representative of the North Brazils. 
 The greatest group on the left hand is characteristic of Guiana, and 
 beyond it is the Amazonian group. These two are intended to serve 
 as types of the South American varieties of Indians. And if we 
 institute a comparison between the various races of North and South 
 America, it will be found that the latter possess more delicate 
 features, rounder forms, and are of smaller stature. Their habits 
 and pursuits also differ. The red Indian of North America gives 
 himself up entirely to hunting, whilst the South American 
 devotes his life to fishing, guiding his light canoe down the 
 rapid rolling rivers of his country, in search of the means of sub- 
 sistence. 
 
 Continuing our path, we arrive at a case of South American 
 birds, and, beyond this, a zoological group. On the ground, to the 
 left, is a jaguar, which has just killed a brocket deer, and is about 
 to eat it, when his repast is disturbed by a growl from a black 
 jaguar, who is coming down the rocks, on the right, to contest the 
 prey with his spotted brother. As the leopard is found only in 
 the old world, so is the jaguar met with in the New World only, 
 and each may be regarded as a representative of the other, on 
 opposite sides of the Atlantic ocean ; the jaguar having greatly the 
 advantage in size and muscular strength. Near these is placed an 
 adult and a young specimen of the llama, or guanaco, as it is 
 called by the Peruvians, who employ this animal as a beast of 
 burden, notwithstanding its small size and apparent inability to 
 sustain heavy loads. Like the dromedary, it is capable of enduring 
 great fatigue, and can climb over almost impassable roads. Indeed, 
 until the introduction of mules and horses by the Spaniards, these 
 little creatures brought to the sea-side all the gold and silver from 
 the world-famous mines of the Andes. 
 
 Leaving this episode of wild animal life, the visitor advances on 
 his path, and, after passing a case of birds, arrives at another 
 group of animals, illustrative of South America. Amongst these 
 will be seen a specimen of the tapir, of which there are but three 
 kinds, this (the American) being not only the largest of the three, 
 but also the largest native animal of South America. It is of a 
 harmless and timid nature, living on vegetable food, and shunning 
 the haunts of man. It appears intermediate in form between 
 the hog and the elephant, and may be regarded as the New 
 World representative of the latter, amongst thick-skinned animals. 
 
 Next to this is a puma, about to spring upon a brocket-deer, 
 
ETHNOLOGICAL AND NATURAL HISTORY DEPARTMENT. 107 
 
 whose shoulders it would seize, and whom it would destroy by- 
 pulling back the head with its paws, until it would breafi the 
 little creature's neck. The ethnological group, on the right, is 
 a representation of a party of Botocuclos, two of whom are 
 engaged in a fierce fight with sticks. These inhabitants of South 
 America are regarded as the fiercest of American savages ; they 
 are yellow in colour, their hair is long and lank, their eyes are 
 small, their cheek bones prominent, the expression of their coun- 
 
 The Tapir. 
 
 tenance is excessively savage, and they give themselves a still 
 wilder appearance by the introduction of blocks of hard wood in 
 the under-lip, and in the ears. Missionary efforts, it is consolatory 
 to think, have done something towards civilizing these savages, who 
 have been induced to become industrious and to turn their attention 
 to the cultivation of the soil. Owing to the tropical character of the 
 regions to which the foregoing groups of South American men and 
 animals belong, the bota,nical specimens are not large. Nevertheless, 
 
108 
 
 GENERAL GUIDE BOOK. 
 
 the species introduced are strictly correct. They consist, principally, 
 of Brugmansias, Fuchsias, Calceolarias, and those two splendid 
 members of the fir tribe, Araucaria imbricata and Braziliana. 
 
 Such are the first specimens presented, in the Crystal Palace, of 
 the zoological and other curiosities of the New World. Others in 
 due time will follow ; but the present examples will be sufficient 
 to show the object attempted, in the way of scientific instruction, 
 and to impress the mind of the visitor with the importance of the 
 study of natural history, by the means of grouped illustrations. 
 
 Crossing the road, and passing the screen, we proceed to examine, 
 on the garden-side of the Palace, the various natural history 
 illustrations of 
 
 THE OLD WORLD. 
 
 On entering this section of the department will be found two cases 
 of South African birds, — for it is at South Africa we commence 
 our investigation — and immediately before us is seen a group of 
 Zulu Kaffres. This tribe has become especially interesting to 
 Englishmen on account of their long war with the KafFre people, 
 and of their acquaintance with a number of Zulus who visited this 
 country in 1853. The KafFre tribes are far above the rest of the 
 South African races : they are in a measure civilized, some of them 
 build houses and towns, and pay considerable attention to arts and 
 manufactures. In general they are tall and well proportioned ; 
 their skin is of a brown colour ; they have woolly hair, high fore- 
 heads, and prominent noses, and are of an excessively warlike and 
 predatory disposition. On one side of this group are two Bosjes- 
 men, and on the other two Earthmen, all of whom are generally 
 styled Bushmen ; they fix their abode on unappropriated tracts of 
 land, which frequently separate hostile tribes. 
 
 On the right of the visitor, amidst the vegetation of South 
 Africa, are placed a giraffe, a leucoryx, and a bontebok. The giraffe 
 is a male born in London about ten years ago. Its long neck 
 enables it to browse upon the young shoots of tall trees, and to 
 curl around them its tongue, which it can extend a great way, and 
 with which it draws its food into its mouth. As the two-humped 
 camel is peculiarly an Asiatic animal, and the llama a South 
 American one, so is the giraffe peculiar to Africa, and perhaps the 
 most characteristic animal of that rich zoological region. 
 
 In the space on tho left of the visitor, which is also devoted to 
 South Africa, are groups of a lion and cub, a brown hyaena, 
 and a battle between a leopard and a duyker-bok. Such a 
 
The Giraffe. 
 
110 
 
 GENERAL GUIDE BOOK. 
 
 battle is not an uncommon occurrence in savage life. The leopard, 
 making too sure of its prey, lias fearlessly sprung upon it, and the 
 little antelope has received the attack upon its knees with its head 
 down. No sooner does it feel the claws of its enemy, than it at 
 once partly raises itself, and - at the same instant, by means of the 
 great muscular strength which all the deer tribe possess in the 
 head and neck, it buries one of its horns in the ribs of the leopard, 
 whose countenance plainly indicates the deadly nature of the 
 wound. The plants of this region are chiefly heaths. There are 
 also some fine specimens of Polygala and Amphelexis, together 
 with several plants whose aspects are as curious as their names. 
 
 Choosing the path to the right, as he faces the group of Kaffres, 
 the visitor will presently arrive at the section which separates 
 Eastern Africa, on the confines of which will be found a female 
 hippopotamus. As this animal is found in both Southern and 
 Eastern Africa, it here occupies an intermediate place between 
 the two provinces. From the fine young male now in the Regent's 
 Park Zoological Gardens, the habits of this animal are too 
 generally known to need comment here. We now come to a 
 group of those Danakils who inhabit the country between 
 Abyssinia and the sea, leading a camel to water. The 
 Danakils are a nomad or wandering tribe ; they are of a cho- 
 colate-coloured complexion, and have woolly hair, which they 
 dress in a fantastic manner ; they are of slender make, tall, and 
 differ widely in appearance from the Negro. The Danakils are tran- 
 sitional between the Negro and the Arab, possess a Jewish 
 physiognomy, and have acquired the Negro element from their 
 intercourse with the neighbouring members of that race. Proceed- 
 ing a short distance, we find, on the extreme left, a group of slaves, 
 which, with the plants and animals, represent Western Africa. The 
 Negro nations of Guinea are those that have supplied slaves for the 
 Americas. These specimens are typical of the Negroes from the 
 Delta of the Niger, and are chiefly Ibos, but the lighter varieties 
 are the Fellatahs and Nufis, from the interior of the country, and 
 they exhibit less of the Negro type. Near this group will be found 
 three specimens of the chimpanzee, the animal whose form most 
 nearly resembles that of man. It is found only on the Western Coast 
 of Africa, though it may probably also exist in the far interior, where 
 no European as yet has penetrated. Though similar to the ourang 
 outang of Sumatra in general form, the chimpanzee is a smaller 
 animal ; it lives in woods, builds huts, uses clubs for attack as well 
 as for defence, and in Jftiany ways exhibits an intelligence that 
 
ETHNOLOGICAL AND NATURAL HISTORY DEPARTMENT. Ill 
 
 presses with rather uncomfortable nearness upon the pride of the 
 sole rational animal. 
 
 The Chimpanzee. 
 
 Beyond this, and upon the verge of Northern Africa, is repre- 
 sented a battle between two leopards, forcibly reminding us of a 
 quarrel between two cats, which, in fact, it is. Any one who 
 has seen one cat advancing towards another, must have observed 
 that there is always a desire to receive the assault lying on the back, 
 
112 
 
 GENERAL GUIDE BOOK. 
 
 with the four legs upwards. The motive is to be in a position to have 
 free use of the claws of all the legs ; and in the group before us, 
 though the smaller animal appears to have the advantage both by 
 position and by the grip he has taken on the throat of the other, 
 yet the laceration he is receiving underneath from the hind 
 legs of the larger animal, will soon oblige him to release his 
 hold. The vegetation of North Africa includes orange and lemon 
 trees, the date palm, the oleander, the sweet bay tree, and the 
 laurustinus. 
 
 On the right we have before us an illustration of Asia, in which 
 the tiger hunt forms a most important feature. The danger of this 
 sport is sufficiently known to all who have engaged in or heard of 
 it. The tiger, seen extended on his back, has been wounded from 
 the howdah, or car on the elephant's back, and in his struggle has 
 rolled over into that position. The other tiger seeks to revenge his 
 companion by an attack upon the persons in the howdah, whilst 
 the elephant is in the act of tittering a roar of fear, and starting 
 off with the speed of terror from the scene of action. Under such 
 circumstances, the keeper, seated on the neck of the animal, has no 
 control over him, and the riders are in imminent peril of being jolted 
 out of their seats, and of falling into the clutches of the tiger. 
 Near this episode of hunting-life in India will be found a group of 
 Hindoos, in which will be readily distinguished two distinct kinds 
 of physiognomy, one coarse-featured and dark-skinned — the low 
 caste — and the other with fine features, and lighter-skinned — the 
 high caste. The Hindoos belong to the Indo-European nations, 
 and are spread over British India ; some of them are exceed- 
 ingly handsome, possessing small foreheads and black lively 
 eyes ; they are physically weak, and incapable of hard, manual 
 labour. Some are very skilful artisans, and employ their time 
 in painting on ivory, in wood-carving, and in manufacturing 
 the beautiful Indian shawls and fine cloths so much esteemed by 
 Europeans. The most conspicuous shrubs here are the Indian 
 Rhododendrons, contrasting with the American Rhododendrons in 
 the New World. Here are also the India-rubber tree, the Assam tea 
 plant, and the drooping Juniperus recurva. Opposite the group of 
 Hindoos the visitor will see a lion and lioness with a cub under the 
 shade of some orange trees, as further illustrations of North Africa. 
 Near them is a specimen of the Barbary Ape, the only monkey found 
 in Europe. He is seen in the wild state inhabiting the caverns of 
 impregnable Gibraltar. 
 
 Further on, and on the left of the visitor, will be seen a group 
 
ETHNOLOGICAL AND NATURAL HISTORY DEPARTMENT. 113 
 
 representing the population of Chinese Tartary, and several speci- 
 mens of Asiatic animals, including the large-horned sheep called 
 Ovis Amnion, which is exceedingly rare ; the Yaks, or grunting 
 oxen, which are used by the Tartars for riding or driving, as 
 well as for food or clothing ; the tail being very much in request 
 
 The Yak. 
 
 in India for brushing away flies, no less than as an emblem of 
 authority ; and the Ounce, an animal which three hundred years 
 ago was comparatively well known, but whose skin has since become 
 so rare that the very existence of the animal has been questioned. 
 
114 
 
 GENERAL GUIDE BOOK. 
 
 European travellers have lately visited its haunts in Central Asia, 
 and satisfactorily proved that it still lives. The most conspicuous 
 plants are the Camellias and the Indian arbor vitae, which is the 
 Asiatic representative of the similar plant in the new world. 
 Amongst this botanical group will be found also specimens of the 
 black and green tea plants. 
 
 Let the visitor now pass under the staircases leading to the 
 galleries, and, bearing somewhat to the right, he will come to a 
 small plot of ground dedicated to the illustration of Australia 
 and New Guinea. Selecting the left-hand path, he will first notice 
 a case of marine objects, consisting of the mollusques, corals, &c, of 
 Australia, and advancing a few paces, will find, on his left, a small 
 piece of ground devoted to New Guinea. The ethnological group 
 are the Papuans of New Guinea, easily distinguishable by their 
 curious, frizzled hair, which makes their heads resemble mops ; 
 they are neither Malays, nor Negroes, but a mixed race between 
 the two, retaining the characteristics of the tribes from which 
 they sprung : hence they may be called Malay-Negroes. Turning 
 to the right from this group, a few steps conduct us to a case 
 filled with Australian birds, and then proceeding towards the 
 entrance to this portion of our geographical illustrations, we 
 have on our right a general illustration of Australia ; and on 
 the left another marine case. Amongst the animals will be 
 noticed that most characteristic form, the kangaroo. The Austra- 
 lian men here depicted strike us at once by their half-starved, 
 lanky, and ill-proportioned bodies ; they may be looked upon as 
 savages, hunters, and inhabitants of forests ; they possess that 
 excessive projection of the jaw which ethnologists make one of 
 the distinguishing traits in the most degraded forms of man. 
 
 Here the visitor will find numerous plants with which he is 
 acquainted in conservatories ; the Banksia, the Acacias, and the 
 different kinds of Epacris and Eriostemon, are amongst the most 
 Conspicuous. He will see also specimens of three other kinds of 
 Araucaria, the most elegant of which is the Norfolk Island Pine. 
 
 Quitting this part, and proceeding up the building in a northerly 
 direction, after crossing the transept we find, close to the open, 
 corridor looking out on the gardens, a plot of ground devoted to 
 the illustration of the Indian isles. The principal group of men 
 represents a party of the natives of Borneo in their war dresses, 
 and to the left is a group of Sumatrans, with three opium eaters 
 from Java ; there will likewise be noticed a black leopard and two 
 Malay bears. 
 
MUSICAL INSTRUMENT COURT. 
 
 115 
 
 The plants of the Indian islands, with the exception of those 
 beautiful Orchids (for the growth of which our building is not 
 sufficiently warm or humid), are not to be procured in England. 
 The vegetation of these regions is, accordingly, unrepresented. 
 Our illustrations here are conventional and picturesque. 
 
 With this group we complete our rapid survey of the Natural 
 History department of the Crystal Palace. It remains to mention 
 that the Ethnological section has been formed under the direction 
 of Dr. Latham ; that the Zoological Collection has been formed by 
 Mr. G. R. Waterhouse ; that Mr. Gould has formed the Ornitholo- 
 gical Collection, and that Sir Joseph Paxton has selected the plants to 
 illustrate the Botany. The whole of the Natural History arrangements 
 have been effected under the general direction of Professor Edward 
 Forbes, and the personal superintendence of Mr. Wm, Thomson. 
 
 Turning now to the left, a few paces bring us to the side of the 
 first Industrial Court ; or, of 
 
 THE MUSICAL INSTRUMENT COURT. 
 
 This Court displays much inventive fancy in its general design 
 and execution, and may fairly challenge comparison with any archi- 
 tectural novelty in the Palace. It is the production of Mr. John 
 Thomas, who is well known as the sculptor of the statues at the 
 new Houses of Parliament. The aim of the architect here has 
 been, not so much to build a mere Court for the exhibition of 
 musical instruments, as to produce a Temple dedicated to Music, 
 and to render the architectural detail and ornament typical of the 
 high and beautiful art as well as of the subservient mechanical 
 craft. The end of the Court before which We are now standing is 
 symbolical of Sacred Music. Over the two doorways are alto- 
 relievo figures of Miriam and David, and in the centre is a 
 bust of Jubal. The three-quarter columns are of a composite 
 design, part of the shaft being made to represent organ-pipes. 
 Turning into the nave, we advance towards the principal side, 
 or rather front of the Court, which is divided into three com- 
 partments, and may be regarded as the typification of mytho- 
 logical and primitive music, a head of Apollo appearing in 
 the centre, the frieze along the whole length of this side being 
 ornamented with heads of Pan, lyres, sea-shells, and other 
 instruments of sound. In front are the statues of Musidora to 
 the left and Diana to the right ; the recumbent figures near them 
 are allegorical of Hight (to the left) and Morning. Entering 
 
 i 2 
 
116 
 
 GENERAL GUIDE BOOK. 
 
 through one of the central openings, we find the interior of the 
 Court more highly decorated than the exterior. Over the 
 entrances are figures of St. Cecilia and Erato, under which are 
 lines from Dryden and Collins. Round the other portions of 
 the Court are ranged the busts of the most celebrated English 
 and foreign composers, and on the frieze are figures of boys 
 playing upon various instruments. In fact the whole Court, 
 externally and internally, is descriptive of the music of all ages and 
 all countries ; whilst the pleasant subdued colouring harmonizes 
 charmingly with the pervading spirit. Making his way round this 
 court by the usual route, viz., from right to left, the visitor will 
 notice the places appropriated to pianofortes, harps, drums, wind 
 and stringed instruments. The windows of this court afford a 
 favourable opportunity for exhibiting printed music. On issuing 
 into the nave we come next to the 
 
 PRINTED FABRICS COURT. 
 
 This court represents a branch of trade peculiarly belonging to 
 England, and one indeed, in which, until of late, she has been 
 almost without a competitor ; viz. , the manufacture and printing 
 of cotton and woollen goods. The architects, Messrs. Banks and 
 Barry, have adorned the walls of this court with medallion portraits 
 of the eminent men to whose genius we are indebted for improve- 
 ments in this particular branch of manufacture ; and the frieze, with 
 bas-reliefs representing the introduction of the raw material into 
 this country, and the several processes through which the same 
 material passes, until it finally quits England, again in its most 
 highly finished and useful form. JSTo particular style is followed 
 in this court : the architects have suited their fancy by appro- 
 priating what they found picturesque in several styles ; and the 
 character of the court may be called decorative Italian, combined 
 with Elizabethan, and even Byzantine features. Entering through 
 the central opening, the most important object in the interior is an 
 allegorical figure of Manchester placed in the centre : a distinction 
 due to the city which is the heart of the cotton trade of the 
 country. Next in order to this court we reach the 
 
MIXED FABRICS COURT. 
 
 117 
 
 MIXED FABRICS COURT/ 
 
 This Court has been erected by Professor Gottfried Semper. It 
 is divided into two parts : one covered by a ceiling, for the 
 reception of the more delicate fabrics likely to suffer by exposure 
 to the sun's rays, and which may be seen to better advantage in a 
 subdued light ; and the other uncovered, and appropriated to raw 
 produce, and such textile manufactures as are not susceptible of 
 injury from sunshine. The style of decoration employed is Cinque 
 Cento, and the ornaments are, as in other cases, symbolical of the 
 manufactures to which the Court is dedicated. 
 
 On the tympanum above the entrance to the covered portion is 
 placed a head of Minerva, the traditional inventress of spinning and 
 weaving. In the panels on either side of the head will be paintings 
 of the olive tree, sacred to Minerva, and, in our idea, to Peace, 
 the true protecting goddess of human industry. On the roof 
 of the covered portion will be placed a fountain, composed of 
 Majolica ware, at the angles of which are placed small figures of 
 boys on sheep, and the general decorations of which are symbolical 
 of weaving and spinning. This fountain will, however, be better 
 seen from the gallery above. 
 
 Entering through the opening in the semicircular uncovered 
 portion, on either side of which are pedestals, to be surmounted 
 by typical groups, we may first examine the decorations of the 
 Court, and then the contents of the glass cases, which include 
 hosiery, shawls, and other textile fabrics. After this we enter 
 the covered division. The lower portion of the Court is occupied 
 with glass cases, and above are placed ornamental columns, support- 
 ing the ceiling ; the latter is panelled in oak, and the insides of the 
 panels are filled in with representations of the hemp and flax 
 plants, from which linen is manufactured ; mulberry bushes, the 
 leaves of which are the food of the silk- worm ; and the symbolical 
 Golden Fleece, all painted on blue and red grounds. On the ceiling 
 also are tablets inscribed with the names of the principal continental 
 and English manufacturing towns. In this court are exhibited 
 manufactured silks, India and China shawls, and other costly and 
 delicate fabrics. 
 
 Quitting this collection of manufacture, we pass- on, in the 
 nave, to the 
 
118 
 
 GENERAL GUIDE BOOK, 
 
 FOREIGN INDUSTRIAL COURT. 
 
 Conspicuous amidst the articles of art and manufacture exhibited 
 in this Court are the specimens of Sevres porcelain and Gobelin 
 tapestry, sent for exhibition at the Crystal Palace from the Imperial 
 manufactories of France by his Majesty the Emperor of the 
 French. The Gobelins factory at Paris is celebrated for its 
 tapestry work and carpets ; and the quarter of the city in which it 
 is situated has for four or five centuries past been inhabited by 
 wool-dyers, for the sake of a valuable and peculiar stream of water 
 that passes through it. Jean Gobelin, a wool-dyer, lived here in 
 the 15th century, and amassed a large fortune in his trade, which 
 after his death was carried on for a time by his descendants, who 
 having in their turn become rich, allowed the business. to pass into 
 other hands. Their successors, the Messrs. Canaye, added a new 
 branch of trade — the manufacture of tapestry, which until then 
 had been confined to Flanders. Louis XIV. purchased the factory 
 from these proprietors ; and the Gobelins, which has since remained 
 crown property, was in 1826 made also the seat of the royal manu- 
 factory of carpets. Le Brun, the painter, was appointed director 
 of the Gobelins in 166*7, and painted his " Battles of Alexander 
 the Great " as patterns for tapestry. At the present time many 
 eminent artists and chemists are connected with the factory, 
 including M. Chevreuil, whose connexion with the Gobelins has 
 led to the production of a most valuable and complete work on the 
 contrasts of colour. 
 
 The manufactory of Sevres porcelain was originally established 
 at Vincennes ; but in the middle of the last century the farmers- 
 general purchased and transferred it to the little village of Sevres, 
 situated a few miles from Paris. Louis XV., in compliance with 
 the wish of Madame de Pompadour, afterwards bought it from the 
 farmers-general, and, like the Gobelins manufactory, this, too, has 
 since remained the property of the crown. 
 
 Porcelain is of two kinds, soft and hard, and up to 1770, the 
 former only was produced in France ; but after that period the 
 latter also was manufactured at Sevres. Common earthenware 
 vessels are soft : white stone ware and crockery are hard : and hard 
 porcelain during the last century was alone considered worthy of the 
 name, the manufacture being confined chiefly to China and Japan. 
 In 1761, however, the secret of its composition had been imparted 
 to the director of the Sevres works, who was, however, unable to 
 
THE FOREIGN INDUSTRIAL COURT. 
 
 119 
 
 produce the superior ware in consequence of the scarcity of the 
 white Kaolin, or clay, employed in its production. A large 
 quantity of this material having been shortly afterwards accidentally 
 discovered at Limoges, in France, the manufacture of hard porce- 
 lain of the finest quality was commenced, and has ever since 
 been carried on, at Sevres. The common specimens of Sevres 
 china are ornamented with beautifully painted flowers on a 
 plain ground ; but the more splendid pieces have grounds of 
 various colours, including those most highly prized and beautiful, 
 the Hose Dubarry and the Bleu de Hoi. When the first named 
 ground is employed the cups are frequently jewelled, and generally 
 these splendid examples are decorated with the most beautiful 
 paintings of fruits, flowers, and figures. The specimens painted 
 with subjects after Watteau are much prized. 
 
 Specimens of Sevres china command large sums amongst 
 collectors, and like most objects of vertu are often fraudulently 
 imitated. Attached to the Sevres factory is a museum, in which 
 are placed specimens of all the different kinds of china manufac- 
 tured there since its establishment, and a most valuable collection 
 of works in ceramic ware of all ages and nations. "We may add, 
 that this manufactory, in the hands of government, is not a 
 profitable speculation, and barely covers its necessary expenses. 
 
 This Court was originally entrusted to a French architect, who, 
 late in the spring, on account of the short period allowed for its 
 construction, declined its execution. At the eleventh hour, Sir 
 Joseph Paxton took it in hand, and in the short space of one 
 month the Court has risen from its foundations to its present state 
 of completeness, the builder being Mr. George Myers. The style 
 chosen by Sir Joseph Paxton is late Gothic. It is built, like the 
 Stationery Court, chiefly of wood, the construction not being con- 
 cealed, but allowed to appear, and emblazoned with colour. The 
 lower panels facing the nave are of silvered-plate glass, and above 
 are panels ornamented with beautiful examples of illuminated art. 
 The decorations of the interior consist of shields emblazoned with 
 the arms of various nations, and legendary scrolls setting forth 
 the names of the principal seats of manufacture. 
 
 This Court concludes the series of Industrial establishments 
 erected within the Crystal Palace for the display of the skill of 
 England and of other nations. The attempt to collect under 
 one roof the best specimens of various trades whose seats of 
 manufacture are scattered over the world, is now for the first time 
 made in connexion with the most elevating exhibition ever offered 
 
120 
 
 GENERAL GUIDE BOOK. 
 
 for the instruction and enlightenment of man. The union of 
 industry and Fine Art first formed in the Crystal Palace of 1851, 
 but severed at the close of a few months, is here permanently 
 consolidated and secured. The advantages to both purchaser and 
 seller offered by this gigantic museum of intellectual and manual 
 production are self-evident. Here the manufacturer and trades- 
 man may bring his specimen, assured of an admirable site for 
 exposition : and here the purchaser has an opportunity of com- 
 paring the best works of different hands, and lands, without the 
 labour and fatigue of journeying from sho}) to shop in search 
 of his requirements. His selections made — a school of art, 
 unrivalled in the world, solicits his contemplation, and a garden, 
 of beauty certainly unmatched in England, invites to repose and 
 restoration. 
 
 Quitting the last Industrial Court, and turning to the right 
 towards the garden, we reach the Photographic Departmemt 
 entrusted to Mr. P. H. Deiamotte, the photographer to the Crystal 
 Palace Company, for the exhibition of the views of the Palace and 
 grounds — illustrations, of a kind promising to displace the unsatis- 
 factory prints which of late years have formed the sole questionable 
 ornament for the walls of the working classes. 
 
 The visitor having explored all the Fine Art Courts as well as 
 the several Courts of Manufacture, may now give his exclusive 
 attention to the chef-cVceuvres and valuable examples of ancient and 
 modern sculpture, which he has not found in the Fine Art 
 Courts ; but which will arrest his eye from point to point, as he 
 accompanies us in 
 
 A WALK THROUGH THE NAVE. 
 
 Our starting point shall be the screen of the kings and' queens 
 of England, at the south end of the building, containing casts of 
 the regal statues at the new Houses of Parliament, Westminster, 
 executed by Mr. John Thomas. 
 
 The screen itself is from the design of Mr. M. D. Wyatt, and is 
 characterized by much originality and appropriateness of treat- 
 ment. The series of monarchs is placed in chronological order, 
 commencing, on the return side to the left (as we face the screen), 
 with the kings of the Saxon heptarchy ; and beneath them the 
 Saxon kings, the first on the left being Egbert, by whom the 
 greater number of the petty kingdoms were first consolidated. 
 The Norman series commences, on the principal front, with 
 
122 
 
 GENERAL GUIDE BOOK, 
 
 William I. and his queen, above whom are the statues of St. 
 George and St. Andrew. Amongst the various rulers of the state 
 may be noticed as of great excellence, in that style of sculpture 
 which has been termed "the Romantic/' Henry II., Berengaria, 
 Henry V., Henry VI., Richard III., Edward VI., Charles the 
 First and his Queen Henrietta, and Cromwell ; this last was 
 rejected by the Committee of the Houses of Parliament, but is 
 clearly necessary for completing the historical series which is con- 
 cluded on the return side, to the right, with the royal per- 
 sonages of the reigning Guelph family, and a lower row of Saxon 
 kings. 
 
 Quitting the screen, we are first attracted on our road by Osier's 
 Crystal Fountain, which occupied so conspicuous a place in the 
 Great Exhibition in Hyde Park. On the water which surrounds 
 it, float the gigantic leaves of the Victoria Regia, the Nymphaea 
 JSTelumbia, and other tropical plants. We will now proceed to 
 the west end of the south, or Norwood transept, in which is placed 
 a cast of the well-known 
 
 EQUESTRIAN STATUE OF CHAELES I. 
 
 from the original at Charing Cross. It was designed and executed 
 in 1633, by Hubert Le Sueur, a French sculptor, pupil of the 
 celebrated John of Bologna, but was not at the time raised on its 
 intended site. During the civil wars, the Parliament, wanting 
 men more than statues, sold it to John Rivet, a brazier, living 
 in Holborn ; by him it was kept concealed until the restoration 
 of Charles II., when it returned again into the hands of the 
 government, and was finally erected at Charing Cross in 1674. 
 The pedestal is a work of the celebrated sculptor Grinling 
 Gibbons. 
 
 Beyond the statue of Charles I. in the central line, is placed 
 that of James II. by Grinling Gibbons, cast from the original 
 now in the court at the back of Whitehall. It is an excellent 
 example of a portrait statue treated in the classical style ; and 
 affords us a proof of the higher reach of Gibbons's genius ; whose 
 well-earned reputation in the seventeenth century, we may remark, 
 rested more especially on his works in ornamental carving, of 
 which the exquisitely cut fruits, flowers, wreaths and other orna- 
 ments on the facade of St. Paul's, London, are examples. 
 
 A selection from the best productions of various English 
 sculptors surrounds this portion of the transept. At the south 
 
A WALK THROUGH THE NAVE, 
 
 123 
 
 angle is the original model of the colossal statue of the great Earl 
 of Chatham (449),* forming a portion of his monument in West- 
 minster Abbey. It was executed by J. Bacon, B.A., a contem- 
 porary sculptor, who was celebrated for the truth and vigour of 
 his portraits. Bacon should also be mentioned with honour, as 
 one of the first native artists who founded the English school of 
 sculpture in the last half of the eighteenth century. Amongst the 
 statues in the transept itself, we would notice Macdonald's excel- 
 lent compositions of Ulysses recognised by his Dog (48), and 
 Andromeda (45) ; the very gracefully designed figure of a Bather 
 (36), by Lawlor, and a group of Boys Contending for a Prize, by 
 the same artist. Near the entrance are placed two figures of Dogs, 
 cast from the antique, and the well-known Florentine Boar : the 
 originals of these are in the gallery at Florence. 
 
 The statues on the north side of this end of the transept are 
 principally by Spence and Theed, amongst them will be remarked 
 the Highland Mary (58), and the statue of Flora (59), both by 
 Spence ; Narcissus at the Fountain (60), and Psyche (61), by 
 Theed. 
 
 At the junction of the Transept and the Nave is placed 
 the colossal statue of Dr. Johnson, from his monument at St. 
 PauPs, the first that was erected in that Cathedral. This portrait- 
 statue, as that of Chatham, is by Bacon ; but composed, as will 
 be remarked, on a diametrically opposite principle ; the great 
 writer being half clad in a classic toga, whilst the great statesman, 
 is brought more vividly to our minds by being represented in the 
 costume of his period and his order. 
 
 Proceeding in front of the Pompeian Court on this side of the 
 Nave, will be found various works illustrative of modern German 
 sculpture ; amongst which we notice a prettily conceived figure of 
 a Child-Christ (163), designed for the Royal Christmas tree, by 
 Blaeser of Berlin, and a group of Minerva Protecting a Warrior 
 (162), by the same sculptor. 
 
 A charming little composition, by Brugger, of a " Centaur" 
 instructing the young Achilles (No. 164). The original model of 
 a nymph, with an urn (167), by Dannecker, executed as a 
 fountain at Stuttgard. An allegorical figure of Medicine (171), 
 by Hahnel of Dresden. Two seated statues, in the Greek style, 
 of Thucydides and Homer (176), by Launitz. A statue of a 
 Magdalen (261), by Wagner. A statue of Hector (166), by 
 
 * This number refers to " The Handbook to the Portrait Gallery." 
 
124 
 
 GENERAL GUIDE .BOOK. 
 
 Dannecker. A very spirited group of a Hunter defending his 
 family against a Panther (264), by Widermann, of Munich # ; 
 the statue of a Hunter (263), is a chef-d'oeuvre by Wittig. 
 Opposite the Stationery Court are excellent life-size statues of 
 stags (193*), by Professor Pauch, of Berlin, excellent examples of 
 that difficult branch of the sculptor's art — the study of animal 
 nature. Beyond the Stationery Court, a little to the back, is a 
 very beautiful group of a Pieta (196*), by Pietschel, of Dresden. 
 The fine statues of Victory (184 to 188 inclusive), by Professor 
 Pauch, are characteristic examples of that great sculptor's style, 
 and of the successful variety of treatment in five designs for one 
 and the same subject. And the statue of a Nymph holding a 
 Basket of Fruits and Flowers (160), by Professor Drake, is a 
 picturesque example of the "Bomantic" school. A little beyond 
 this is the Court of 
 
 ENGLISH AND GERMAN SCULPTURE, 
 
 which we may enter and explore with advantage. 
 
 In this Court is placed a selection of the finest productions of 
 the English and German schools of modern sculpture, prominent 
 amongst which is seen the noble colossal head of Bavaria, by 
 Ludwig Sch wan thaler, of Munich, who enjoyed a European celebrity. 
 The original bronze statue to which it belongs, erected outside the 
 city of Munich, is fifty feet in height, the pedestal on which it 
 stands being thirty feet high. For ten years did the great 
 artist, weak and broken in health, still devote himself with a true 
 artist's love to the progress of his task : but he was not destined 
 to witness its perfect completion ; and when the statue of the 
 Genius of Bavaria was cast in bronze, its author had passed from 
 amongst us. The statue was first publicly exhibited in 1850. 
 
 Opposite the head of Bavaria, is another example of those 
 embodiments of towns and nations, which are so frequently to be 
 found on the Continent. The present colossal statue allegorizes 
 Franconia, a province of Germany ; it is characterized by much 
 nobility of conception, and worthily sustains the reputation of the 
 modern German sculptors. The original, by Professor Halbig, is 
 erected at Kilheim, in Bavaria. 
 
 In the centre stands a part of the monument of Frederick the 
 Great at Berlin, designed by Professor Pauch ; and near to it is 
 
 * These numbers refer to those in the {{ Handbook of Modern Sculpture*" 
 
THE PORTRAIT GALLERY. 
 
 125 
 
 placed a small model, showing the complete monument. The 
 equestrian statue of the King, which surmounts the largest of the 
 two, deserves particular attention, as one of the finest examples of 
 modern portrait sculpture ; whilst the artistic management of the 
 costume, the drapery of the cloak, and the general success seen in 
 the treatment of modern costume, constitute the statue, in this 
 respect, also, a model in art. 
 
 Amongst other works representative of the German school, may- 
 be noticed two statues of Nymphs by Schwanthaler (Nos. 202 and 
 203), remarkable for their beauty of form. Placed on either side 
 of the head of Bavaria, are two colossal "Victories," by the same 
 artist, from the " Iluhmeshalle," or Hall of Fame, at Munich. 
 The life-size statue of a Danaid (188), by Ranch, also deserves 
 especial notice, whilst Tieck's charming collection of statuettes 
 (Nos. 253, 254, 255, 256, 257, and 258) claims equal praise. 
 
 Several examples of the works of the celebrated Thorwaldseii 
 will also be found collected in this Court, and evoke especial 
 admiration for the beauty of their forms, for their ideality of 
 expression, and for the purity of sentiment which characterizes 
 their conception. Amongst them we would particularly point out 
 "Venus with the Apple" (217), the Three Graces (222), 
 Mercury (219), and the very beautiful bas-reliefs on the wall, 
 illustrating the triumphs of Alexander (226). 
 
 Amongst the productions of the English school, we would draw 
 attention to Crawford's graceful statue of Flora (10), Wyatt's 
 Bather (77), and a Nymph with an Urn (76). 
 
 On quitting this Court (towards the great transept) we enter 
 that section of 
 
 THE PORTRAIT GALLERY 
 
 which is devoted to the portrait-busts of celebrated Germans ; 
 amongst them will be found the greatest names from that crowd of 
 remarkable men, of whom Germany, in modern times, has been the 
 prolific mother. They are arranged chronologically and in regular 
 succession as artists, musicians, poets, dramatists, scientific men, 
 authors, statesmen, soldiers, prelates, theologians, and royal per- 
 sonages ; amongst them are to be remarked Beethoven (321), 
 Mendelssohn (331), Goethe (337), Blucher (360), Berzelius (354), 
 Handel (314 a), Humboldt (351), Eadetzky (370), and the reigning 
 King of Prussia (384). # In order the better to appreciate this, 
 
 * These numbers refer to those marked in "Handbook to the Portrait 
 Gallery." 
 
126 
 
 GENERAL GUIDE BOOK. 
 
 and the three remaining sections of the Portrait Gallery, we refer 
 the visitor to the Handbook of the Portrait Gallery, which contains 
 not only a notice of the lives, but general information as to the 
 character and claims to renown, of the several notabilities. 
 
 Returning to the nave, the visitor will find, at the angle of the 
 great transept, a cast from the colossal bronze statue of Sir Ro- 
 bert Peel by Marochetti, from Manchester ; and turning at this 
 point, to the left, may proceed to examine the statues and monu- 
 ments at the west end of the great transept. The subjects 
 ranged in front of the German portrait gallery, are selections 
 from the works of the Roman school of English sculpture, includ- 
 ing a fine collection of the works of Gibson and Wyatt. Amongst 
 the principal productions of the latter, may be noticed Penelope 
 (82), # a charming group of Ino and Bacchus (73), Zephyr and 
 Flora (80), a Huntress (79), and a graceful composition of a Girl 
 with a Lamb (81). The chief works of Gibson's chisel are the 
 Flora (14) ; a very beautifully conceived Venus (13) ; the 
 wounded Amazon (16), which it will be interesting to compare 
 with the same subject, the work of an ancient Greek sculptor 
 (to be noticed shortly) ; a Hunter holding in a Dog (20) ; the 
 graceful statue of Hylas (22) ; Cupid disguised as a Shepherd 
 (15), and the very elegant group of Aurora borne by the 
 Zephyrs (21). 
 
 The central place, at this end of the great transept, is oc- 
 cupied by 
 
 THE CHORAGIC MONUMENT OF LYSICRATES. 
 
 This beautiful example of ancient Greek architecture is usually 
 styled the Lantern of Demosthenes, on account of a tradition, 
 which ascribes its erection to that celebrated orator. "No weight, 
 however, can be attached to this supposition, although it may be, 
 and in all probability is, due to the time of Demosthenes. 
 
 An inscription on the architrave informs us that this monument 
 was erected by Lysicrates of Kikyna, at his own expense, in order 
 to commemorate a musical triumph obtained by various members 
 of his tribe or clan, the Akamantis. The ancient Greeks were 
 in the habit of holding a species of musical tournament, in whicll 
 the most celebrated masters of the art vied with each other; 
 in this particular case, the palm was awarded to Theon, the flute- 
 
 * ThQse 111111111)618 refer to those in the " Handbook of Modern Sculpture. M 
 
THE PORTRAIT GALLERY. 
 
 127 
 
 player, and the chorus of boys led by Lysiades ; the magistrate 
 for the year being Evanectus. It was to celebrate this triumph 
 that the monument was erected ; the tripod at the summit being 
 the prize awarded, and on it was sculptured the story of Bacchus 
 transforming the Tyrrhenian pirates into dolphins, which was the 
 subject of the music. A tripod was the usual prize granted in 
 these contests, and the victor either placed it in one of the temples, 
 or, as in the present instance, consecrated a monument specially 
 for its reception. 
 
 Around the pedestal of this interesting work are placed four 
 noble Greek statues of Zeno (321), Aristides (322), ^schines (323), 
 and Phocion (324), and on either side are seen the celebrated 
 statues of men and horses, now at Rome, on the Quirinal hill, 
 generally known as 
 
 THE MONTE CAVALLO GROUP. 
 
 The figures are supposed to represent Castor and Pollux, and 
 the two groups are respectively attributed to the sculptors 
 Phidias and Praxiteles, their names being found engraved on them. 
 They are admirable and striking works, remarkable for the life 
 and vigorous action displayed in them. 
 
 Passing these ancient classic monuments, and directing our steps 
 along the northern side of the transept, we find several works 
 of Greek sculpture, including a poetically conceived statue of 
 Polyhymnia (341). The spirited figure of the Dancing Faun (352), 
 from Florence. The admirable seated portrait statue of Posi- 
 donius (342). The Sleeping Faun (408). A copy of Yenus de ? 
 Medici. A statue of Mercury, seated. The Discobolus of 
 Nausidas, from Naples. And the wounded Amazon (330). 
 Amongst the remaining subjects, the Faun with a Goat may be 
 selected as a characteristic example of the Poman style of sculpture: 
 
 At the back of these, will be found another section of the 
 Portrait gallery, consisting of the busts of celebrated Englishmen 
 and Americans, arranged as previously described in the German 
 portrait section ; among the most remarkable may be selected — - 
 Inigo Jones * (388), Sir C. Wren (389), Garrick (390), Flaxman 
 (394), Bacon (420), Locke (422), Newton (423), Franklin (424 a), 
 Adam Smith (426), and Washington (451). 
 
 * These numbers refer to those marked in the Handbook to u Portrait 
 Gallery.'' 
 
128 
 
 GENERAL GUIDE BOOK. 
 
 At the j miction of this angle of the great transept with the nave, 
 is placed the celebrated Farnese Hercules, from the Museum, at 
 Naples ; a fine example of antique sculpture, characterized by a 
 massive and somewhat exaggerated muscular development, not 
 however altogether inappropriate to the Hero of Physical force. 
 Keeping still to the left, along the nave, we remark several 
 antique statues including the Antinous as Mercury from the 
 Capitol at Rome (316), and the Adonis from Capua (213). 
 
 Before reaching the Egyptian Court, we turn to the left, and a 
 few steps bring us to the 
 
 GREEK AND ROMAN SCULPTURE COURT, 
 
 In which, as the name denotes, are collected some of the chef- 
 d'ceuvres of the Greek and Roman schools ; the first group that 
 attracts the eye, being that in the centre of the Court, known as 
 the 
 
 TOPvO FARNESE, OR FARNESE BULL. 
 
 The original of this beautiful group, which is now preserved in 
 the Museum at Naples, was discovered in the Baths of Caracalia 
 at Rome, and derives its name from having been placed in the 
 Farnese Palace in that city. The subject is the revenge of Queen 
 Antiope and her two sons, Zethus and Amphion, on Dirce, for 
 seducing the affections of her husband, Syeres, King of Thebes. 
 The sons, enraged at the insult offered to their mother, are repre- 
 sented as about to revenge themselves by tying the unfortunate 
 Dirce to the horns of a bull, when their mother, moved with 
 womanly pity, intercedes for her rival, and induces them to forego 
 the intended punishment. According to Pliny, the Toro Farnese 
 was the work of the Khodian artists, Apollonius and Tauriseus. 
 Among other remarkable subjects in this Court, we would draw 
 attention to the colossal " Yelletri Pallas," (407) so called from 
 having been discovered at Yelletri, near Pome, and now preserved 
 in the Louvre, at Paris ; the Dying Gladiator (309) ; a Boy with 
 a Dolphin ; and a colossal head of Pallas (409). 
 
 A fine collection of Greek ideal and portrait busts will also be 
 noticed in this Court ; amongst which the colossal heads of Ves- 
 pasian (332),* Trajan (354), Pertinax (379), Lucius Yerus (361), 
 and Titus (333), are particularly deserving of notice. The visitor 
 
 * These numbers refer to those in the "Handbook to the Greek Court and 
 Nave." 
 
THE GREEK AND ROMAN SCULPTURE COURT. 
 
 129 
 
 should not quit this compartment without noticing the collection 
 of antique vases which it contains, amongst which the Medicean 
 Vase (343) is a peculiarly elegant example of antique art. 
 
 Retracing our steps, we once more regain the Nave, and 
 advancing in front of the Egyptian Court, remark several works 
 of Greek art, including a statue of Bacchus (311). 
 
 From this point, extending throughout the facade of the Greek 
 Court, are ranged excellent examples of Greek sculpture, which 
 the visitor may compare with the subsequent works of the Roman 
 sculptors, or of Greeks settled at Rome, placed before the walls of 
 the Roman Court. Amongst the Greek statues we select the 
 group of Silenus and a youthful Bacchus (306), excellently treated 
 and full of life ; : seated statues of Demosthenes the philosopher 
 (303) ; and of Posidonius (307), on each side of the first entrance 
 to the Court ; a Bacchus and Faun (305) ; the fine group of 
 the Wrestlers, from Florence (304), the well-known Drunken 
 Faun (295), from the Museum at Naples ; and the Apollo 
 Sauroctonus (298), from the Vatican.* Nor must we omit the 
 excellent seated statues (271, 290). 
 
 In front of the Roman Court will be first noticed Meleager and his 
 dog (289) ; the fine Mercury from the Vatican (287), and the 
 same subject (288) from Naples. Before the first entrance to the 
 court are placed the seated statues of Trajan and Agrippina. 
 
 The Mercury disguised as a shepherd (285), and the Adonis 
 (282),f are characteristic specimens of the ordinary Roman style. 
 
 Passing the facade of the Alhambra Court, we arrive at the 
 Fountains, which at this end of the Nave correspond to those of the 
 south end, in position, and with respect to the aquatic plants which 
 live in the water of the long basin. The two fountains here are 
 designed by Monti the sculptor. The figures of Syrens, sup- 
 porting the large shells, typify by their colour four races of men : 
 the Caucasian, white ; the Nubian, black ; the North American 
 Indian, red ; and the Australian, olive. The smaller figures above 
 these bear fruit indigenous to various soils. The design of the 
 Fountains is most appropriate, and the entire composition very 
 artistic. The bronze colour of these statues and of many others, 
 in the building, is produced by means of the electrotype process 
 with signal success. 
 
 Traversing the Avenue of Sphinxes — to be noticed on our return 
 
 * These numbers refer to those in " Handbook in Greek Court." 
 f These and the following numbers refer to those in "Handbook to Roman 
 Court and Nave." 
 
 K 
 
130 
 
 GENERAL GUIDE BOOK. 
 
 clown the garden side, from which point a better view of the whole 
 transept is gained — we pass a variety of Palms, Bananas, and. 
 other tropical plants, continued throughout this part of the nave, 
 and rendered more agreeable to the eye by the addition of an 
 artificial soil and rock- work. 
 
 Beyond this portion, and at the extreme north end of the nave, 
 are placed 
 
 THE JEGIKA. MARBLES. 
 
 These most interesting monuments of ancient Greek art are now 
 in the Glyptothek at Munich. 
 
 They were discovered in the island of iEgina, and are supposed 
 to have ornamented the tympana of the east and west fronts of 
 the temple of Minerva in that island. The group, representing the 
 contest over the body of Patroclus, belonged to the western ; and 
 the five figures descriptive of the battle of Hercules and Telamon 
 against the Trojan king Laomedon were in the eastern tympanum. 
 They are most remarkable examples of Greek sculpture during its 
 second period, or from the close of the sixth to the middle of the 
 fifth century b. c. 
 
 The conception, the anatomy, and beauty of form found in 
 these statues denote a highly cultivated artistic taste and power, 
 to which the peculiar faces, the invariable smile on the mouth, and 
 a certain stiff angularity of treatment, form a marked contrast. 
 We observe in them that turning-point in the history of Greek 
 sculpture, when the conventionalities of an earlier system were 
 receding before that love of nature and extraordinary perception of 
 the beautiful, which subsequently rendered the Greeks so pre- 
 eminent in art. 
 
 The originals, which had, as may be supposed, suffered con- 
 siderably from the effects of time, were restored by Thorwaldsen, 
 the Dane, whose conscientious spirit and thorough appreciation of 
 the antique give assurance of the correctness of the interesting 
 examples now before us. 
 
 Commencing our return journey down the garden side of the 
 Nave, we turn our steps towards the artificial rock- work, covered 
 with tropical foliage, and arrive at a fountain of toilet vinegar, 
 erected by Mr. E. BAmmel, from a design by Mr. John Thomas, by 
 whom the four statues placed at the angles of the fountain are also 
 executed. Continuing onwards, we obtain a fine view of the north 
 transept, with its noble avenue of sphinxes and palm trees, termi- 
 nating with 
 
K 2 
 
132 
 
 GENERAL GUIDE BOOK. 
 
 THE COLOSSAL EGYPTIAN FIGURES, 
 
 which are from the temple of Rameses the Great at Aboo Simbel, 
 in Nubia. These immense seated statues towering to the roof of 
 the transept afford us some adequate idea of the stupendous mag- 
 nitude and passive grandeur which characterize the monuments of 
 ancient Egyptian art. Their height is 65 feet. 
 
 It may be remembered that in the Egyptian Court we directed 
 the attention of the visitor to a model of the temple at Aboo 
 Simbel ; on the facade of which were four statues of Rameses the 
 Great. Two of these statues are here reproduced on the scale of 
 the originals, the smaller figures around them representing the 
 mother, wife, and daughter of the king. 
 
 The temple of Aboo Simbel, in Nubia, is excavated from the 
 rock, and was first discovered by Burckhardt, the traveller ; the 
 accumulated sand of centuries, which then covered it, was removed 
 by order of Belzoni, the first, with Captains Irby and Mangles, to 
 j)ass its long closed entrance. The interior was covered with 
 paintings and hieroglyphics relating to Rameses the Great, and the 
 date of the temple has been consequently placed at about 1560 B.C. 
 
 The sphinxes which formed the avenue are cast from one pre- 
 served in the Louvre, the writing engraved on which presents us 
 with a curious but not uncommon instance of a custom that pre- 
 vailed amongst the Egyptian monarchs. On one side of the 
 shoulder the name " Pthalomen Miotph " is written in hierogly- 
 phics, and on the other shoulder is the name of Shishak I. The 
 last named lived about 1000 B.C., and the first nearly two hundred 
 years before him. Other instances occur where the name of the 
 original founder has been erased altogether, in order to make way 
 for the name of some comparatively modern king. 
 
 Leaving the fountain on our right, we arrive almost imme- 
 diately in front of the Byzantine Court, where, resting beneath the 
 foliage, are six effigies of knights from the Temple Church, 
 London. They are clad, with one exception, in ring-mail, and 
 afford us perfect representations of military costume in the 
 early part of the 13th century. They are usually called the 
 Knights Templar ; but without evidence : the cross-legged 
 statues are probably crusaders. The entire series have been 
 carefully restored by Mr. Richardson. The two first statues in 
 front of the German Mediaeval Court, as we face the entrance, are 
 fine examples of German Gothic sculpture, from Cologne and 
 Nuremberg : the three subjects beyond them are from Langen 
 
THE GREEK AND ROMAN SCULPTURE COURT. 133 
 
 Church, Germany. The two first statues on our right are from 
 the facade of Wells Cathedral, and next to them are various 
 examples of German sculpture. Facing the English Mediaeval 
 Court, will be noticed, on each side of the entrance, the effigies 
 of Bishop Kilkenny from Ely Cathedral, Henry III. from 
 Westminster, and of Longespee from Salisbury Cathedral : the 
 two last being especially interesting monuments of the 13th 
 century. 
 
 On the right of the entrance, and nearest to the nave, are two 
 statues from Wells Cathedral, noticeable as fine examples of Early 
 English sculpture, and the effigy of Bishop JSTorthwold from Ely. 
 Nearer the facade is placed the remarkable effigy of Queen Philippa, 
 the wife of Edward III. , from Westminster Abbey, belonging to the 
 last half of the 1 4th century. Beyond this again, will be noticed 
 the effigy from Salisbury Cathedral, of Bishop Poer, who died in 1228, 
 one of the earliest monumental statues in England. In front of the 
 facade of the French Mediaeval Court, will be found several pieces 
 of Gothic sculpture of the early period of the Pointed style, from 
 Chartres Cathedral ; on the right of the entrance from the nave are 
 placed the busts of Henry II. and Diana of Poictiers, Bayard and 
 Louis XII., and nearer to the nave will be seen the Virgin " de 
 Trumeau," from Notre Dame, at Paris ; and a fine picturesque 
 bronze statue of a knight from the monument of Maximilian, of 
 Innspruck, in the Austrian Tyrol, a remarkable work of art, 
 executed by native artists in the early part of the 16th century. 
 Further on is placed the fine bronze statue of Albert of Bavaria, 
 from the tomb of Lewis of Bavaria, at Munich, remarkable as 
 serving to illustrate the very rich and characteristic costume of the 
 close of the 16th century. Opposite to it is the very fine St. George, 
 by Donatello, from Florence, one of the masterpieces of that 
 celebrated sculptor, whilst another Innspruck statue occupies a 
 position nearer the nave. Advancing onwards, still in front of 
 the Renaissance Court, we recognise amongst the busts, those of 
 Francis I., Sully and Henry IV. of France, Shakspeare, Machia- 
 velli, Ben Jonson, Cosmo de' Medici, and Lord Bacon. The 
 statues on each side of the path are from the Tartarughe fountain, 
 at Pome, the extreme figure being the celebrated Bacchus, by Michael 
 Angelo. Amongst the works of Italian art placed in front of the 
 Italian Court, we remark the Bacchus by Sansovino, from Florence, 
 the Triton from the gardens of the Doria palace, Genoa, the 
 Tartarughe statues from Pome, and at the angle, in front of the 
 Italian vestibule, the beautiful statue of Mercury, by John of 
 
134 
 
 GENERAL GUIDE BOOK. 
 
 Bologna, a chef-d'oeuvre of the 16th century school. Among the 
 busts will be remarked those of Raffaelle and Michael Angelo, Inigo 
 Jones and other celebrities of the Renaissance period. 
 Still advancing, a few steps to the left, will lead us into 
 
 THE GOTHIC RENAISSANCE SCULPTURE COURT 
 
 Or " Court of Monuments of Christian Art." 
 
 The first subjects that attract our notice as we enter are the 
 very interesting crosses of the early Irish Church, and the richly 
 sculptured bronze column from Hildesheim Cathedral in Germany, 
 a fine example of the Byzantine period. 
 
 Beyond these are monuments of the Gothic period, amongst 
 which are conspicuous the Cantilupe shrine from Hereford Cathedral, 
 and the effigy of Edward III., from Westminster. The central 
 tombs of Bishop Wakeman, from Tewkesbury, and of Bishop Brid- 
 port, from Salisbury (the last-named being that to the left). 
 
 The tomb of Henry VI T. , an interesting example of the Italian 
 Renaissance style in England, at an early period of its introduction, 
 and the fine monument of Cardinal Zeno from Venice, occupy 
 the further end ; and the equestrian statue of Gattamelata, by 
 Donatello, forms a conspicuous feature in this portion of the 
 Court, which is completed with a cast of the celebrated Moses, by 
 Michael Angelo. 
 
 As we quit this Court, we remark in front of it two statues of 
 Perseus : one by Cellini, and the other by Canova. That on the 
 left, as we face the Court, by Cellini, is characterized by a 
 grandeur of conception and power of execution, which place his 
 name among those of the greatest sculptors of his day. 
 
 For minute and interesting information respecting the monu- 
 ments, and all the statues on this side of the Palace, the visitor is 
 referred to the Handbooks of the Mediaeval and Italian Courts (by 
 Messrs. M. D. Wyatt and J. B. Waring), where they are fully 
 described. 
 
 The section of the Portrait Gallery, situated next to this Court, 
 is devoted to the most celebrated characters of Italy, arranged in 
 the order hitherto observed. The great nobility of expression 
 seen in these heads will not fail to arrest the visitor, and to 
 command his respect for the intellectual vigour which marks the 
 creations of one of the most favoured spots — with respect to Art 
 — on the earth's surface. "We select from amongst them, Brunel- 
 leschi (131), Leonardo da Vinci (141), Michael Angelo (143), 
 
THE GOTHIC RENAISSANCE SCULPTURE COURT. 
 
 135 
 
 Falladio (155), Canova (168), Paganini (1T0), Dante (173), Tasso 
 (177), Alfieri (180), and Galileo (185 a).* 
 
 Bending our steps from this department to the junction of the 
 nave and grand transept, we find the colossal statue of Pubens, 
 by Geefs of Brussels, erected in the cathedral square at 
 Antwerp, of which city Pubens was a native : the original is in 
 bronze, and a fine example of the modern "Pomantic" school 
 of sculpture. Advancing along this side of the transept, and 
 continuing across the garden end, we observe several chef-d'wuvres 
 of the late celebrated Italian sculptor, Canova : conspicuous 
 amongst which are the well-known " Graces" (125), the Dancing 
 Girls (136, 137), Venus and Adonis (126), Mars and Venus (135), 
 Venus emerging from the Bath (131), a group of Hebe and Paris, 
 and a Magdalen (138).f 
 
 The finely designed equestrian statues of Castor and Pollux at 
 this end of the transept, are cast from the originals in bronze, by 
 San Giorgio, of Milan ; and form no unworthy pendants to the 
 ancient Greek sculptures of the same subject, on the opposite side. 
 The equestrian statue in the centre is the celebrated one of 
 Colleone, modelled by Andrea Verocchio and cast by Leopardo. 
 The original, in bronze, is erected at Venice, and has always been 
 admired as one of those Penaissance monuments, in which energy 
 and power are exhibited with unusual spirit and knowledge. 
 Fringing the southern side of this transept are placed subjects 
 from the extinct French school of sculpture, the earliest charac- 
 teristic example of which may be seen in the Milo, by Puget 
 (117). Amongst the remaining statues we would notice the 
 Bather, by Houdin (112), Julien's Amalthea (113), a Bacchante 
 by Clodion (90), and Venus at the Bath (83), by Allegrini.f 
 . At this angle of the nave and transept is placed 
 
 THE COLOSSAL FIGURE OF DUQUESNE. 
 
 The original of this fine bronze statue is erected at Dieppe 
 in honour of the great French admiral, Duquesne. It was designed 
 and executed by the sculptor Dantan, and is remarkable for the 
 noble expression of the form and its spirited " Pomantic " treat- 
 ment at the hands of the artist. 
 
 From this statue, extending at the back of the extinct French 
 school, will be found the fourth and last section of the Portrait 
 
 * Numbers of < < Portrait Gallery." 
 f Numbers of "Handbook of Modern Sculpture." 
 
136 
 
 GENERAL GUIDE BOOK. 
 
 Gallery, containing the illustrious men and women of France. 
 Amongst them we remark Jean Goujon (196), Felibien (203), 
 Rachel (216), Corneille (218), Lafontaine (220 a), Moliere (221), 
 Racine (225), Voltaire (233), Le Sage (230), Buffon (245), 
 Massena (279), ]STey (283), and the present Emperor Louis Napo- 
 leon (312). * In the centre of this compartment is another of Mr. 
 Himmel's fountains, executed from a design by Mr. John Thomas. 
 The crystal basin, Parian marble figures, ebony pedestal, and 
 natural flowers, harmonize excellently. At the back of this 
 compartment, and corresponding to the German and English 
 sculpture on the opposite side of the nave, is 
 
 THE COURT OF FRENCH AND ITALIAN SCULPTURE. 
 
 Amongst the very beautiful productions of the sculptor's art to 
 be found in this Court, our space prevents more than a mere 
 enumeration of some of the most remarkable, such as a colossal 
 group of Cain (99), by Etex ; "The Chase" (No. 94), by Jean 
 Debay, of Paris ; Melpomene, by Binaldi (154) ; Ishmael, by 
 Strazza (160) ; Diana, by Benzoni (123) ; Esmeralda, by Rossetti 
 (154) ; a child sewing, by Magni (148) ; and " the first cradle," 
 by Auguste Debay (96), which deservedly occupies the place of 
 honour in the centre, being one of the most charming works of 
 modern sculpture ; Venus disarming Cupid, byPradier (116) ; Night, 
 by Pollet (115) ; The Fates, by Jean Debay (93) ; Cupid in a 
 Cradle (102), by Fraiken, a very prettily conceived and charming 
 design in the style of the modern school ; Yenus with aDove (103), 
 by Fraiken ; a Dancing Faun, by Luquesne (114), designed with 
 much vigour ; and, lastly, a Neapolitan " Dancer, "by Duret (98).^ 
 
 At the back of this Court, on the garden side, are placed some 
 remarkable historical statues of great interest : L'Hopital (259) 
 Chancellor of France under Henry II. (a.d. 1562), D'Aguesseau 
 (269) Chancellor under Louis XI Y. ; Louis XIII. from the 
 original in the Louvre, by Couston, a pupil of Coysevox. Louis 
 XI Y. (308 a), by Coysevox ; f and the same monarch when a boy 
 (308), from a bronze now preserved in the Museum of the Louvre. 
 The remaining statue is that of Louis XY., by Couston (fils), an 
 interesting work of the early part of the eighteenth century. 
 
 Quitting the Court, we continue our examination of the statues, 
 which extend along this, the garden side of the nave, commencing 
 
 * Numbers of " Portrait Gallery." 
 + Numbers of "Handbook of Modern Sculpture." 
 
THE COURT OF FRENCH AND ITALIAN SCULPTURE. 137 
 
 next to Duquesne with Monti's admirable allegorical statue of Italy 
 (159). The most notable of the succeeding subjects are the Prodigal 
 Son (145), by San Giorgio ; David (147), by Magni, an artist whose 
 studies of every-day life are remarkable for their truth to nature ; 
 Cain (99), by Etex ; Geefs's Malibran (108) ; a colossal group of the 
 Murder of the Innocents (142) ; a grand seated figure of Satan, by 
 Lough (41) ; the Horse and Dead Knight (46), also by Lough ; 
 a statue of Dargan, the munincent founder of the Irish Exhibition 
 of 1853, by Jones (403 # ) ; an admirable statue, by Moore, of Sir 
 Michael O'Loughlin, Master of the Rolls in Ireland, and the first 
 Roman Catholic raised to the judicial dignity since the Revolution 
 of 1688 (473). Near to these is a characteristic and striking 
 seated statue of Lord Brougham, by Papworth senior. 
 
 We now bend our steps to that junction of the Transept and 
 Nave which is marked by a colossal statue of Huskisson, the first 
 statesman to pioneer the way to Free-trade. It is a noble work in 
 the Classic style, by Gibson. 
 
 In this portion of the Transept are several works of the English 
 School of Sculpture, amongst which may be particularly remarked 
 a statue of Shakspeare (407b) by John Bell ; the Maid of Sara- 
 gossa ; a very picturesque and vigorous ideal figure of a heroine, 
 who has also inspired the pencil of Wilkie ; The Dorothea, so well 
 known to the public by small copies in Parian marble ; a graceful 
 statue of Andromeda, and Jano Shore. All these specimens of 
 Bell's power as a sculptor are on the north side of this part of the 
 Transept. Opposite to them will be found graceful statues of a 
 Nymph (65) and Psyche (64), by Sir Richard Westmacott. A 
 Dancing Girl (50), by Calder Marshall, R.A. The First Whisper 
 of Love (49), Zephyr and Aurora (52), and an excellent portrait 
 statue of Geoffrey Chaucer (53), the father of the school of English 
 Poetry, also by Marshall. Nearer the Nave is an ideal statue of 
 Shakspeare by Roubilliac, cast from the original, still preserved in 
 the vestibule of Drury-lane Theatre. The colossal statue at the 
 angle is that of the great German Philosopher, Poet, and Writer, 
 Lessing, byRietschel of Berlin. Along the centre of the Transept are 
 placed the Eagle Slayer (6) by Bell, a work remarkable for its vigorous 
 treatment ; the well-known and graceful composition, also by Bell, 
 of Una and the Lion ; and the fine monument erected by the good 
 citizens of Frankfort to the memory of the first printers, Gutenberg, 
 Faust, and SchcefFer. The central statue represents Gutenberg, 
 
 * Numbers of "Handbook of Modern Sculpture." 
 
138 GENERAL GUIDE BOOK. 
 
 who rests with an arm on the shoulder of each of his fellow- 
 workmen. The original is by Baron Launitz of Frankfort, and is 
 a creditable instance of the public spirit, which does not, after the 
 lapse of centuries, forget the originators of The Press — that mighty- 
 power, — which performs at this day so grand a part in the 
 governance, and for the benefit, of the civilized world. On our way 
 towards the Queen's screen we pass several excellent works of 
 statuary art, amongst which may be noticed, A Faun with Cymbals 
 (66), by It. Westmacott, R.A., and a David (67 # ) by the same 
 sculptor ; and opposite to these Thorwaldsen's beautiful Yenus 
 with the Apple (218), and a fine statue of Erato (174), by 
 Launitz. 
 
 LIST OF MODERN SCULPTURES. 
 
 No. 
 
 1. William Pitt, "the Great Lord 
 
 Chatham." 
 
 2. Dr. Johnson. 
 2*. The Elements. 
 
 3. A Nymph preparing to bathe. 
 3 a. Sleeping Nymph. 
 
 3 b. The Graces. 
 
 3 c. Apollo discharging his bow. 
 
 4. The Tired Hunter. 
 
 4 a. Maternal Affection. 
 4 b. Eve. 
 
 4 c Eve listening. 
 
 5. Una and t,he Lion. 
 
 5 a. Dorothea. 
 
 6. The Eagle Slayer. 
 
 6 a. Jane Shore. 
 
 6 b. The Maid of Saragossa. 
 
 7. Andromeda. 
 
 S. The Infant Hercules. 
 
 8 a. The Brother and Sister. 
 
 9. Shakespeare. 
 
 10. Flora. 
 
 11. The Dancers. 
 
 12. Small model. 
 12*. Venus. 
 
 13. Venus Vincitrice. 
 
 14. Flora. 
 
 15. Cupid disguised as a Shepherd- 
 
 boy. 
 
 16. A Wounded Amazon. 
 
 17. Narcissus. 
 
 18. Aurora. 
 
 19. Venus and Cupid. 
 2D. The Hunter. 
 
 21. Psyche borne by the Zephyrs. 
 
 22. Hylas and the Nymphs. 
 
 23. Cupid with a Butterfly. 
 
 24. Cupid and Psyche. 
 
 25. Venus and Cupid. 
 
 26. The Hours lead forth the Horses 
 
 of the Sun. 
 
 27. Phaeton. 
 
 28. j ocasta and her sons. 
 
 29. WlLLIAN HUSKISSON. 
 
 .^0. Grazia. 
 
 No. 
 
 31. Beatrice. 
 
 32. Christ's entry into Jerusalem. 
 
 33. The Procession to Calvary. 
 
 33*. Children with a Pony and a 
 Hound. 
 
 34. The Emigrant. 
 
 35. Two Boys wrestling. 
 
 36. A Bathing Nymph. 
 
 37. Samson. 
 
 38. Musidora. 
 
 39. Murder of the Innocents. 
 
 40. Milo. 
 
 41. Satan. 
 
 42. Ariel. 
 
 43. Titania. 
 
 44. Puck. 
 44*. David. 
 
 45. Apotheosis of Shakspeare. 
 
 46. The Mourners. 
 
 47. Andromeda. 
 
 48. Ulysses. 
 
 49. The First Whisper of Love. 
 
 50. A Dancing Girl. 
 
 51. Sabrina. 
 
 52. Zephyr and Aurora. 
 
 53. The Poet Chaucer. 
 
 54. A Nymph of Diana. 
 
 55. Mercury. 
 
 56. Shakespeare. 
 
 57. Lavinia. 
 
 58. Highland Mary. 
 
 59. Flora. 
 
 60. Narcissus'. 
 
 61. Psyche. 
 
 62. Humphrey Chetham. 
 
 63. A Boy with a Butterfly. 
 
 64. Psyche. 
 
 65. A Young Nymph. 
 
 66. A Faun with Cymbals. 
 
 67. An Angel watching. 
 67*. David. 
 
 68. Venus and Cupid. 
 
 69. Venus instructing Cupid. 
 
 70. Venus and Ascanius. 
 
 71. "Go and sin no More." 
 
SCULPTURES. 
 
 139 
 
 No. 
 
 72. Paolo and Francesca. 
 
 73. Ino and Bacchus. 
 
 74. Cupid and the Nymph Eucharis. 
 
 75. A Nymph. 
 
 76. A Nymph entering the Bath. 
 
 77. A Nymph about to Bathe. 
 
 78. A Huntress. 
 
 79. A Nymph of Diana. 
 SO. Zephyr wooing Flora. 
 
 81. A Shepherdess with a Kid, 
 
 82. Penelope. 
 
 83. Venus at the Bath. 
 83 * Bacchante. 
 
 84. The Nymph Salmacis. 
 
 85. Modesty. 
 
 86. Cupid. 
 
 87. Cyparissus. 
 
 88. A Dog. 
 
 89. Casimir Perrier. 
 
 90. A Bacchante. 
 
 91. A Neapolitan Girl. 
 
 92. Admiral Duquesne. 
 
 93. The Three Fates. 
 
 94. The Chase. 
 
 95. Modesty and Love. 
 
 96. The First Cradle. 
 
 97. L'Ingenuite. 
 
 98. A Neapolitan Dancer. 
 
 98*. A Neapolitan Improvisators. 
 
 99. Cain. 
 
 100. A Bather (La Baigneuse). 
 
 101. Milo of Crotona. 
 
 102. Cupid cradled in a Shell. 
 
 103. Venus caressing her Dove. 
 
 104. Cupid Captive. 
 
 105. A Woman of the Campagna of 
 
 Rome. 
 
 106. A Woman of the Rhine. 
 
 107. Peter Paul Rubens. 
 
 108. Malibran. 
 
 109. The Life of St. Hubert in a series 
 
 of eight Bas-reliefs. 
 
 110. A Dog. 
 
 111. An Italian Mower. 
 
 112. A Bather. 
 
 113. Amalth/ea. 
 
 114. A Dancing Faun. 
 
 115. Eurydice. 
 
 115. * Charity. 
 115**. Night. 
 
 116. Venus disarming Cupiix 
 116*. A Child. 
 
 117. Milo of Crotona. 
 
 118. Innocence. 
 
 119. Venus. 
 
 120. A Girl Praying. 
 
 121. Charity. 
 
 122. Cupid Disguised in a Lamb's Skin. 
 
 123. Diana. 
 
 124. Psyche. 
 
 125. The Three Graces. 
 
 126. Venus and Adonis. 
 
 127. Endymion. 
 
 128. Nymph with Cupid. 
 
 129. Paris. 
 
 130. Terpsichore. 
 
 No. 
 
 131. Venus leaving the Bath. 
 
 132. Venus. 
 
 133. Hebe. 
 
 134. Psyche. 
 
 135. Mars and Venus. 
 
 136. Dancing Girl. 
 
 137. Dancing Girl. 
 
 138. The Magdalene. 
 
 139. Perseus. 
 
 140. Perseus. 
 
 141. A Funereal Vase. 
 141*. Pope Clement XIII. 
 141 f. A Sleeping Lion. 
 
 142. The Murder of the Innocents. 
 
 143. The Dead Body of Abel. 
 
 144. Castor and Pollux. 
 
 145. The Prodigal Son. 
 
 146. David. 
 
 147. A Girl Sewing. 
 
 148. The First Steps, or the Italian 
 
 Mother. 
 
 149. Italy. 
 
 150. Veritas. 
 150*. Eve. 
 
 152 Melancholy. 
 
 153. Eve. 
 
 154. Melpomene. 
 
 155. PIope. 
 
 156. Esmeralda. 
 
 157. Greek Slave. 
 
 158. The Mendicant. 
 
 159. Audacity. 
 
 160. Ishmael. 
 
 161. The Peri. 
 
 162. Minerva protecting a Warrior. 
 
 163. A Child Christ. 
 
 164. The Centaur Chiron instructing 
 
 the Young Achilles. 
 
 165. Penelope. 
 
 166. Hector. 
 
 167. A Nymph. 
 
 168. A Girl bearing Fruit. 
 
 169. Vase. 
 
 170. Pomona. 
 
 171. Medicine. 
 
 172. A Bacchanal. 
 
 173. Franconia. 
 
 174. Erato. 
 
 175. Johan Gutenburg. 
 
 176. Homer. 
 
 177. Thucydides. 
 
 178. A Guardian Angel. 
 
 179. Mercury and a Little Satyr. 
 
 180. A Child Praying. 
 
 181. A Boy holding a Book. 
 
 182. A Boy holding a Shell. 
 
 183. A Danaid. 
 
 184. A Victory. 
 
 185. A Victory. 
 
 186. A Victory. 
 
 187. A Victory. 
 
 188. A Victory. 
 
 189. A Victory. 
 
 189*. Public Happiness. 
 
 ItO. The Maiden on the Stag. 
 
 191. An Eagle. 
 
140 
 
 GENERAL GUIDE BOOK. 
 
 No. 
 
 192. Four Long Bas-reliefs. 
 
 193. An Eagle. 
 193*. Two Stags. 
 
 193**. Two Youths, or Students. 
 
 194. Small Model of the Memorial 
 
 erected to frederic the great. 
 
 195. Equestrian Statue of Frederic 
 
 the Great, King of Prussia. 
 195*. The Cardinal Virtues. 
 195**. The History of Frederic the 
 
 Great. 
 
 196. A "Pieta." 
 
 197. Cupids riding on Panthers. 
 
 198. The Christ-Angel. 
 
 199. Morning, Noon, Night, Dawn. 
 
 200. Lessing. 
 
 201. A Madonna. 
 201*. A Violin Player. 
 
 202. A Nymph. 
 
 203. A Nymph. 
 
 204. Ceres and Proserpine. 
 
 205. Bavaria. 
 
 206. A Figure of Victory. 
 
 207. A Figure of Victory. 
 
 208. Four angels. 
 
 212. A Knight. 
 
 213. Bellerophon with Pegasus and 
 
 Pallas. 
 
 214. Theseus and Hippolyta. 
 
 215. The Shield of Hercules. 
 
 216. Hope. 
 
 217. Venus. 
 
 218. Venus with the Apple. 
 
 219. Mercury. 
 
 220. Ganymede. 
 
 221. A Shepherd. 
 
 222. The Three Graces. 
 
 223. Love bending his Bow. 
 
 224. A Genius seated and playing 
 
 the Lyre. 
 
 225. A Vase. 
 
 226. The Triumph of Alexander. 
 
 227. Napoleon. 
 
 228. Lord Byron. 
 
 No. 
 
 229. Minerva adjudges the Armour of 
 
 Achilles to Ulysses. 
 
 230. Apollo playing to the Graces 
 
 and the Muses. 
 
 231. The Four Seasons. 
 
 232. The Genius of the New Year. 
 
 233. Cupid and Hymen. 
 
 234. Cupid and Ganymede. 
 
 235. Cupid and Psyche. 
 
 236. Cupid and Hymen. 
 
 237. Cupid eound by the Graces. 
 
 238. The Birth of Bacchus. 
 
 239. Love caressing a Dog. 
 
 240. Love making his Net. 
 
 241. Jupiter dictating Laws to Love. 
 
 242. The Four Elements. 
 
 243. Bacchus feeding Love. 
 
 244. Love awakening Psyche. 
 
 245. The Baptism of Christ. 
 
 246. A Guardian Angel. 
 
 247. Three Singing Angels. 
 24S. Three Playing Angels. 
 
 249. Three Floating Infants. 
 
 250. Charity. 
 
 251. Christ Blessing Children. 
 
 252. The Virgin with the Infant 
 
 Christ and St. John. 
 253 — 260. Eight small Statues. 
 
 261. A Magdalen. 
 
 262. Hagar. 
 
 263. A Hunter. 
 
 264. A Hunter defending, his Family. 
 
 265. The Shield of Hercules. 
 
 266. Telephus suckled by a Hind. 
 
 267. A Nereid. 
 
 268. A German Maiden with a Lamb. 
 
 269. Winter. 
 
 270. Diana. 
 
 271. A Flower Girl. 
 
 272. A Shepherd Boy. 
 The Zollverein. 
 Spain. 
 
 Paris. 
 
 Mixed with those exquisite productions of man that lie on 
 either side of the visitor's path, Nature also bestows here some 
 of her choicest treasures. We have still briefly to indicate the 
 contents of 
 
 THE GARDEN OF THE NAVE. 
 
 The south end of the Palace and the south transept contain a 
 selection of plants, consisting chiefly of Rhododendrons, Camellias, 
 Azaleas, and other choice conservatory plants, most carefully 
 selected ; in the south transept, especially, are arranged the finest 
 specimens of these jjlants that can be seen. Opposite the Pompeian 
 Court are placed two fine specimens of aloes, and, conspicuous 
 opposite the Birmingham Industrial Court, are two Norfolk Island 
 
THE GARDEN OF THE NAVE. 
 
 141 
 
 pines. Opposite the Stationery Court are two specimens of Morton 
 Bay pine, as well as several specimens of Telopea speciosissima from 
 Australia. Under the first transept may be noticed two remarkably 
 fine Norfolk Island pines, presented by his Grace the Duke of 
 Devonshire. 
 
 The garden facing the Egyptian Court is principally filled with 
 palms ; and on either side of its entrance are two curious plants 
 (resembling blocks of wood) called " Elephant's Foot they are 
 the largest specimens ever brought to Europe, and were imported 
 from the Cape of Good Hope by the Crystal Palace Company. This 
 plant is one of the longest lived of any vegetable product, the 
 two specimens before the visitor being supposed to be three 
 thousand years old. Before this Court will be noticed also two fine 
 Indian-rubber plants — a plant that has latterly acquired consi- 
 derable interest and value, on account of the variety and import- 
 ance of the uses to which its sap is applied. Here will also be 
 noticed an old conservatory favourite, though now not often met 
 with, the Spa/rmannia Africana. Amongst the palms will be 
 remarked many of very elegant and beautiful foliage, including the 
 Seaforthia elegans, one of the most handsome plants of New 
 Holland, and the Chamceclorea elegans of Mexico. On the left of 
 the entrance to the Egyptian Court will be seen perhaps the largest 
 specimen in Europe of the RMpidodendron plicatile from the Cape 
 of Good Hope. Opposite the central entrance to the Greek Court, 
 and in front of the beds, are two variegated American aloes. The 
 beds are filled with a variety of conservatory plants, and have a 
 border of olive plants. In front of the Boman Court will be 
 observed, first, on either side of the second opening, two large 
 Norfolk Island pines, presented by Her Most Gracious Majesty and 
 His Boyal Highness Prince Albert. The beds, like those before 
 the Greek Court, are principally filled with Camellias, Rhododen- 
 drons, and Orange-trees, and are also bordered by several small 
 specimens of the olive plant. Between the two foremost statues, 
 at the angles of the pathway leading to the second opening, are 
 placed two specimens of the very rare and small plant, which pro- 
 duces the Winter bark of commerce, and which is called Drymus 
 Winterii. The garden in front of the Alhambra is devoted to fine 
 specimens of the pomegranates. Having passed the Alhambra, we 
 find the garden of the whole of this end of the building devoted to 
 tropical plants, including a most magnificent collection of different 
 varieties of palms. 
 
 Between the sphinxes are placed sixteen Egyptian date palms 
 
142 
 
 GENERAL GUIDE BOOK. 
 
 (Phcenix clactylifera), recently imported from Egypt, and which 
 owe their present unflourishing appearance to the delay that took 
 place in their transmission, on account of the steamer in which they 
 were conveyed having been engaged, on her homeward passage, for 
 the transport of troops. Amongst the different varieties of palms, 
 the following may be noted, either for their large growth or beau- 
 tiful foliage : an immense specimen of the Sabal palmetta from 
 Florida, and a fine Sabal Blachburniana ; also several fine speci- 
 mens of the cocos, amongst which is the Cocos plumosa, reaching the 
 height of thirty-five feet ; numerous specimens of the wax palm 
 (Ceroxylon andricola), natives of Columbia, and the curious Calamus 
 maximus, which, in the damp forests of Java, grows along the 
 ground to an immense length, and forms with its sharp prickles an 
 almost impenetrable underwood, are also here. The Sagueras sac- 
 charifera of India, noted, for its saccharine properties, and the vege- 
 table ivory palm (Phytelephas macrocarpa), deserve attention. 
 The specimen of Pandamus odoratissimus, from Tahiti, is also 
 remarkable, on account of its sweet smell. 
 
 Opposite the Byzantine Court, the garden is filled with different 
 varieties of palms brought from South America, Australia, and the 
 Isle of Bourbon. Before the Mediaeval Court may be noticed two 
 Norfolk Island pines, and close to the monuments at the entrance 
 of the English Mediaeval Court, are two funereal cypresses, brought 
 from the Yale of Tombs, in North China. Close to the Norfolk 
 Island pine, on the right, facing the Court, is a small specimen of 
 the graceful and beautiful Moreton Bay pine. The garden in front 
 of the Kenaissance Court is filled with conservatory plants, con- 
 sisting of camellias, azaleas, &c. On either side of the entrance to 
 the Italian Court are two very fine American aloes, the beds here 
 being filled with orange-trees, olives, and other greenhouse plants. 
 In the garden, in front of the Foreign Industrial Court, will be 
 noticed two fine Norfolk Island pines. 
 
 Having now explored the length and breadth of the ground 
 fioor of the Palace, we ascend the flight of stairs on the garden 
 side (South), near the Great Transept, that leads to 
 
THE MAIN AND UPPER GALLERIES. 
 
 143 
 
 THE MAIN AND UPPER GALLERIES. 
 
 The main galleries are devoted to the exhibition of articles of 
 industry. It will be sufficient to give the visitor a general list of 
 the objects exhibited, and to point out the situations in which the 
 various articles of manufacture are placed. The gallery in which 
 the visitor stands, together with its return sides, is devoted to the 
 section of precious metals and the composed ornaments. 
 
 In the gallery beyond, towards the Sydenham or North end, are 
 placed four hundred French and Italian photographs, illustrative 
 of the architectural and sculptural arts of the periods represented 
 by the several Fine Art Courts on this side of the nave ; the 
 photographs being arranged in the order of the courts beneath, 
 and as nearly as possible over the courts which they serve to illustrate. 
 Here also will be found a fine collection of small works of art, con- 
 sisting of statuettes, medals, and architectural ornaments, in like 
 manner exemplifying the various styles from the Byzantine down to 
 the Italian. In the north end, are works in porcelain and glass. In 
 the north-western gallery (at the back of the Assyrian Court), space 
 is appropriated to Oriental manufactures. Here also is arranged 
 a collection of most interesting paintings, lent to the Crystal 
 Palace by the Honourable East India Company. They are copies 
 of some frescoes, found on the walls of a series of caverns at 
 Adjunta in Western India, and were made at the instance of the 
 Indian Government, by Captain Gill of the Madras army. The 
 paintings represent scenes in the life of Buddha and of Bhuddhist 
 saints, and various historical events connected with the rise and 
 progress of the Buddhist religion in India. The date of their 
 execution extends from about the Christian era to the 10th or 
 12th century ; and in style they closely resemble the contemporary 
 works of painters in Europe, possessing nearly the same amount of 
 artistic merit, and displaying the like absence of chiar'-oscuro, 
 and the same attempt to copy, with literal exactness, the object 
 represented. The collection is valuable, as affording the means of 
 comparing the state of art in the East and in the West during 
 the same period. 
 
 In the north-western Transept are specimens of photography. 
 Nearer the Great Transept, in the same gallery, is arranged a 
 valuable and interesting collection of photographs, illustrative of 
 Oriental architecture, amongst which the Egyptian remains are 
 particularly to be remarked ; whilst round the west end of the 
 
144 
 
 GENERAL GUIDE BOOK. 
 
 Transept itself philosophical instruments, cutlery, and fire-arms 
 will be exhibited. In the south-western portion of the gallery, 
 leather and articles manufactured in India-rubber occupy the 
 space to the centre of the south transept, from which point, to 
 the end of the building, the gallery is devoted to perfumery and 
 chemicals. 
 
 Along the south gallery, articles of clothing are displayed. Next 
 to these are various miscellaneous articles, including work-boxes, 
 fishing-tackle, and the thousand and one objects of general use. 
 From this department, to the point in the gallery to which we 
 first led the visitor, the space is appropriated to the department of 
 substances used as food. 
 
 The visitor may now ascend the flight of spiral stairs in the 
 central Transept, and step into the upper gallery, which is carried 
 round the building, where a curious effect is produced by a series 
 of circles extending along the building, and formed by the 
 casting of each of the girders in four pieces. From this gallery 
 a view is obtained of the whole length of the nave : and if we 
 station ourselves at any angle of the north and south transepts, 
 the nave will be seen to the greatest positive advantage. A still 
 higher ascent up the winding staircase brings us to a gallery which 
 extends round the centre transept itself ; and from this great 
 height, nearly 108 feet above the level of the floor, a noble bird's 
 eye view is gained, and the large Monte Cavallo groups below, as 
 well as the modern Castor and Pollux, sink into comparative 
 insignificance. 
 
 On the first small gallery, above the main gallery in the central 
 transept towards the road, will be found an exceedingly interesting 
 collection of drawings and models for the fountains in the Crystal 
 Palace, which have been furnished by Mr. M. D. Wyatt, Mr. Owen 
 Jones (the figures on whose designs were modelled by Signor 
 Monti), Mr. John Thomas, Mr. John Bell, Baron Marochetti, 
 Baron Launitz, and M. Hector Horreau. The models display much 
 artistic treatment, and no small amount of inventive fancy. 
 
 Descending the staircase by which we reached the transept 
 gallery, we regain the main floor of the palace, and proceed to the 
 basement story, a portion of which, on the garden side, is appro- 
 priated to the exhibition of machinery in motion. This most 
 important feature in the modern history of our country will receive, 
 in the course of a few weeks, ample illustration. Passing on now, 
 through the opening under the east end of the central transept, the 
 visitor finds himself standing before — 
 
THE PARK AND GARDENS. 
 
 145 
 
 View of Park and Gardens. 
 
 THE PARK AND GARDENS.* 
 
 Gardening, as an art, lias nourished in all countries ; and lias 
 possessed in each such distinctive features as the climate, the 
 nature of the soil, and its physical formation, as well as the 
 character of the people, have created. In the Gardens before us 
 
 * In the Park and Gardens, or in some part of the Palace, the band of the 
 Crystal Palace, which is composed of sixty performers on wind instruments, and 
 is the largest permanent band of the kind ever formed in England, will play every 
 day ; in the summer, from three until six o'clock, and in the winter from one 
 until four o'clock. The members constituting the musical company, which has 
 been collected from all parts of Europe, and includes Italians, Frenchmen, 
 Hungarians, Germans, and Englishmen, have been selected from seven hundred 
 candidates. The most important instruments employed are the saxophones, 
 the several kinds of which are capable of expressing the qualities and volume 
 of sound produced by stringed instruments. The musical director is Mr. Henry 
 Schallehn. 
 
146 
 
 GENERAL GUIDE BOOK. 
 
 two styles are seen, The Italian and The English Landscape. 
 A few words may be sufficient to describe the leading charac- 
 teristics of both. 
 
 In Italy, during the middle ages, internal warfare confined men 
 to their fortresses, and no gardens existed save those "pleasaunces" 
 cultivated within the castle's quadrangle. When times grew more 
 peaceful, men became more trustful, ventured forth, enjoyed the 
 pleasures of a country life, and gardening prospered. In monas- 
 teries especially, the art received attention ; but it was not until 
 the beginning of the 16th century that a decided advance was 
 manifest, and then we have to note a return to the style of gar- 
 dening that flourished in ancient Rome itself. Lorenzo de' Medici 
 possessed a garden laid out in the revived classical manner, and 
 this style, which is recognised as the Italian, has existed in Italy 
 with certain modifications ever since. Its chief features are the 
 profuse use of architectural ornaments — the grounds being sub- 
 divided into terraces, and adorned with temples, statuary, urns, 
 and vases, beds cut with mathematical precision, formal alleys 
 of trees, straight walks, hedges cut into fantastic devices, jets 
 of water, elaborate rock-work, and fish-ponds dug into squares 
 or other geometrical forms. Everything in these gardens 
 is artificial in the extreme, and in set opposition to the wild 
 luxuriance of nature ; and although the trees and shrubs are 
 planted with a great regard to precision, they are too frequently 
 devoid of all artistic effect. During the last century, the Italian 
 style became blended with English landscape gardening, but with- 
 out much success ; for the formality of the original style clings to 
 all Italian gardening at the present day. 
 
 English gardening does not seem to have been regularly culti- 
 vated until the reign of Henry VIII. ; although, previously to his- 
 time, parks and gardens had been laid out. Bluff King Hal 
 formed the gardens of Nonsuch Palace in Surrey on a most mag- 
 nificent scale, decking them out with many wonderful and curious 
 contrivances, including a pyramid of marble with concealed holes, 
 which spirted water upon all who came within reach, — a practical 
 joke which our forefathers seemed to have relished highly, for the 
 ingenious engine was imitated in other gardens after that period. 
 In this reign also were first laid out by Cardinal Wolsey the 
 Hampton Court Gardens, containing the labyrinth, at that period 
 an indispensable device of a large garden. The artificial style in 
 James the First's time called forth the indignation of the great 
 Lord Bacon, who, although content to retain well-trimmed hedges 
 
THE PARK AND GARDENS. 
 
 147 
 
 and trees, pleaded strongly in the interests of nature.. He insisted 
 that beyond the highly-dressed and embellished parts of the garden 
 should ever lie a portion sacred from the hand of man — a fragment 
 of wild nature! He calls it "the heath, or desert." During 
 Charles II. 's reign, landscape gardening received an impulse. It 
 was in his time that Chatsworth was laid out, and that buildings 
 were introduced into gardens. During his reign too lived Evelyn 
 — a spirit devoted to the service of the rural genius. In his diary, 
 Evelyn makes mention of several noblemen's and gentlemen's 
 gardens which he visited, and some of which indeed he himself 
 devised. His remarks convey an idea of the state of gardening 
 during the reign of the merry monarch. cc Hampton Park, 
 Middlesex," he says, " was formerly a flat, naked piece of ground, 
 now planted with sweet rows of lime trees, and the canal for water 
 now near perfected ; also the hare park. In the garden is a rich 
 and noble fountain, with syrens, statues, &c, cast in copper by 
 Fanelli, but no plenty of water. There is a parterre which they 
 call Paradise, in which is a pretty banqueting-house set over a 
 cave or cellar." It was under Charles too that St. James's Park 
 was formed, a labour upon which the king employed Le Notre, the 
 celebrated gardener of Versailles, — an artist of singular good taste, 
 and with an admirable eye for the picturesque. 
 
 During the reign of William and Mary, Hampton Court was 
 considerably improved. Some Dutch features were introduced into 
 gardening, and vegetable sculpture, and parterres in lace, came 
 into vogue. 
 
 To the Dutch must be conceded the earliest manifestation of a 
 love for gardening, in Northern Europe — a feeling possessed by 
 them even before the thirteenth century. The taste owed its 
 origin, no doubt, partly to the general monotony of their country, 
 partly to the wealth of their merchants, and partly to an extended 
 commerce, which enabled the Dutch to import from the East those 
 bulbous roots which have long been cultivated in Holland, and 
 were once valued at fabulous prices. Dutch gardening soon 
 acquired a peculiar character of its own. The gardens of Loo, laid 
 out in the time of William III., were excellent examples of the 
 symmetrical Dutch style ; a canal divided the upper from the lower 
 garden ; the beds were cut in squares, and filled at various seasons 
 of the year with tulips, hyacinths, poppies, sun-flowers, <fca ; 
 straight walks intersected the grounds, which were adorned with 
 numerous statues, grotto-work, and fountains, some exceedingly 
 whimsical and curious ; the trees and shrubs were cut into devices, 
 
 l 2 
 
148 
 
 GENERAL GUIDE BOOK. 
 
 principally in pyramiclical forms, whilst hedges separated the 
 different parts of the garden, and were not allowed to grow above 
 a certain height. Straight rows and double rows of trees constitute 
 another characteristic of the Dutch style, and elaborate lace-like 
 patterns for parterres were much in vogue during the latter part of 
 the seventeenth century. The influence of this style upon English 
 gardens may still be perceived in the clipped hedgerows and trees, 
 green terraces, and now only prim, now magnificent avenues, so 
 frequent in our country. 
 
 It would appear that from William down to G eorge II. , gardening 
 in England suffered sad deterioration as an art. Formality pre- 
 vailed to the most deadening and oppressive extent. The shapes of 
 men and animals were cut in trees, and the land was threatened with 
 a vast and hideous collection of verdant sculpture. Pope and Addi- 
 son came to the rescue of nature, and ridiculed the monstrous 
 fashion. Pope, in one of his papers in " The Guardian," details an 
 imaginary set of plants for sale, including a " St. George, in box, his 
 arm scarce long enough, but will be in condition to stick the dragon 
 next April ;" and a "quickset hog shot up into a porcupine by 
 being forgot a week in rainy weather." Addison, in " The 
 Spectator," says, " Our British gardeners, instead of humouring 
 nature, love to deviate from it as much as possible. Our trees rise 
 in cones, globes, and pyramids. We see the marks of the scissors 
 upon every plant and bush." Pope himself laid out his grounds 
 in his villa at Twickenham ; and his gardens there, which still 
 bear the impress of his taste, attest to his practical skill as a 
 gardener. 
 
 The satire of these great writers contributed not a little to a 
 revolution in English gardening. Bridgeman seems to have been 
 the first to commence the wholesome work of destruction, and to 
 introduce landscape gardening ; and it is said that he was instigated 
 to his labour by the very paper of Pope's in "The Guardian," to 
 which we have alluded. But Kent, at a later period, banished the 
 old grotesque and ridiculous style, and established the new pictur- 
 esque treatment. He laid out Kensington Gardens, and probably 
 Claremont. Wright and Brown were also early artists in the new 
 style, and deserve honourable mention for their exertions in the 
 right direction. The former displayed his skill at Fonthill Abbey, 
 the seat of Mr. Beckford ; Brown was consulted at Blenheim, 
 where he constructed the earliest artificial lake in the kingdom 
 — the work of a week. Nor must Shenstone, the poet, be forgotten. 
 His attempt towards 1750, to establish the rights of nature in his 
 
THE PARK AND GARDENS. 
 
 149 
 
 own ornamental farm at the Leasowes places him fairly in the 
 front rank of our rural reformers. Mathematical precision and the 
 yoke of excessive art were thus cast off, the men and animals 
 gradually removed themselves from the foliage, which was intended 
 for birds and not for them, and nature was allowed a larger extent 
 of liberty and life. She was no longer tasked to imitate forms 
 that detracted from her own beauty without giving grace to*the 
 imitation ; but she was questioned as to the garb which it chiefly 
 delighted her to wear, and answer being given, active steps were 
 taken to comply with her will. Then came Knight and Price to 
 carry out the goodly work of recovery and restoration. To them 
 followed an early opponent but later convert, Repton, the gardener 
 of Cobham Hall ; and as the result of the united labours of 
 one and all, we have the irregularly-bounded pieces of water which 
 delight the English eye, the shrubberies, the noble groups of trees, 
 the winding walks, the gentle undulations, and pleasant slopes, — 
 ail which combined, give a peculiar charm to our island land- 
 scapes that is looked for in vain in fairer climates and on a more 
 extended soil. 
 
 In the Crystal Palace Gardens, the Italian style has not been 
 servilely copied, but rather adapted and appropriated. It has been 
 taken, in fact, as the basis of a portion of our garden, and modified 
 so as to suit English climate and English taste. Thus, we have the 
 terraces and the architectural display, the long walks, the carefully 
 cut beds, and the ornamental fountains : but the undulations of green- 
 sward, that bespeak the English soil, give a character to the borrowed 
 eilements which they do not find elsewhere. The violent juxtaposi- 
 tion of the two styles of gardening — the Italian, and the English — 
 it may readily be conceived, would produce a harsh and disagreeable 
 effect. To avoid the collision, Sir Joseph Paxton has introduced, 
 in the immediate vicinity of the terraces and the broad central walk, 
 a mixed, or transitional style, combining the formality of the one 
 school with the freedom and natural grace of the other ; and the 
 former character is gradually diminished until, at the north side of 
 the ground, it entirely disappears, and English landscape gardening 
 is looked upon in all its beauty. 
 
 The Crystal Palace and its grounds occupy two hundred acres, 
 and it is of importance to note that, in the formation of the 
 gardens, the same uniformity of parts is adhered to as in the build- 
 ing itself ; that is to say, the width of the walks, the width and 
 length of the basins of the fountains, the length of the terraces, 
 the breadth of the steps, are all multiples and sub-multiples of the 
 
150 
 
 GENERAL GUIDE BOOK. 
 
 one primary number of eight. By this symmetrical arrangement 
 perfect harmony prevails, unconsciously to the looker-on, in the 
 structure and in the grounds. The length of the upper terrace is 
 1576 feet, and its width 48 feet ; the terrace wall is of Bath-stone. 
 The granite pedestals on each side of the steps, leading from the 
 great transept, are 16 feet by 24 feet. The width of the central 
 night of steps is 96 feet ; and this is also the width of the grand 
 central walk. The lower terrace is 1656 feet long between the 
 wings of the building, or nearly one third of a mile, and 512 feet 
 wide, the basins for the fountains on this terrace being, as just 
 stated, all multiples of eight. The total length of the garden front 
 of the wall of this terrace, which is formed into alcoves, is 1896 
 feet. The large circular basin in the central walk is 196 feet in 
 diameter, and the cascades beyond are 450 feet long, the stone- 
 work that surrounds each cascade reaching to the extent of a mile. 
 The two largest basins for the fountains are 784 feet each in length, 
 having a diameter in the semicircular portion of 468 feet each. 
 Such are a few of the principal measurements connected with the 
 Palace Gardens, as these are seen on the surface. But although 
 the work that is above ground may be recognised and calculated 
 with little trouble by the visitor, there is beneath the surface an 
 amount of labour and capital expended, of which he can with diffi- 
 culty form an accurate idea. Drain-pipes spread under his feet 
 like a .net-work, and amount in length to several miles ; he 
 treads on thousands of bundles of faggots which have formed his 
 path ; he walks over ten miles of iron piping which supply the 
 fountains for his amusement. 
 
 As the visitor quits the building, let him pause at the top of 
 the broad flight of steps leading to the first terrace, and notice the 
 prospect before him. At his feet are the upper and lower terraces, 
 bordered by stone balustrades, the long lines of which are broken by 
 steps and projecting bastions. Along these balustrades, at intervals, 
 the eye is attracted by the statues that surmount them. Straight 
 before him runs the broad central walk, and, on either side of it, 
 on the second terrace, the ground is covered with green turf, now 
 relieved by beds filled with gay-coloured flowers, and hereafter to 
 be further heightened in effect by fountains throwing water high 
 up into the air. As a side boundary to the foreground of this 
 picture, the wings of the building stretch out their blue colouring 
 and cheerful, light aspect, harmonizing with the rest of the scene. 
 Looking straight forward, below the level of the second terrace, 
 we see the site of the large circular fountain, surrounded by 
 
THE PARK AND GARDENS. 
 
 151 
 
 architectural ornament, and white marble statues, which stand out 
 sharp and clear against the dark landscape beyond. On either side, 
 on a yet lower level, a glimpse will soon be caught of the glistening 
 waters in the two largest fountains, backed by embankments of turf ; 
 and beyond these again, will be visible the waters of the large lake, 
 TjFhose islands are peopled by monsters that inhabited the earth when 
 the world was young. To the right, and to the left, in the grounds, are 
 pleasant sloping lawns, dotted here and there with trees, and thickly 
 
 View from the Terrace. 
 
 planted shrubs ; and then, beyond the Palace precincts, stretching 
 away into the far distance, is visible the great garden of nature 
 herself, a picture of rural loveliness, almost unmatched by any scene 
 so close as this to the great London city. Undulating scenery 
 prevails : here it is rich with bright verdure, there dark with thick 
 wood : here, the grass field ; there, the grey soil, which, in the spring 
 time, is covered with the delicate green of young wheat ; and, in 
 the autumn, waves thick with golden corn. Across the fields run 
 long lines of hedgerows, telling plainly of the country in which they 
 aire found ; and in the very heart of all, the village church spire 
 
152 
 
 GENERAL GUIDE BOOK. 
 
 shoots through the trees, surrounded by clusters of cottages, whose 
 modest forms are almost hidden by the dark foliage in which they 
 are nestled. The exquisite scene is completed by a long line of blue 
 hills that ranges at the back of all. 
 
 Descending the steps we reach the first terrace, on the parapet 
 of which are placed twenty-six allegorical statues of the mo^ 
 important commercial and manufacturing countries in the world, 
 and of the chief industrial cities of England and France. 
 
 On each side of the great central staircase are statues represent- 
 ing Mulhausen, Glasgow, and Liverpool (to the right as we face 
 the gardens), the two first by Calder Marshall, the third by Spence. 
 On the left side are personifications of Paris, Lyons, and Marseilles, 
 the first by Etex. 
 
 The next bastion, on the Sydenham side, is surmounted by statues 
 of Spain and Italy, admirably executed by Monti ; the succeeding 
 bastion forms a pedestal for the very characteristic figures of 
 California and Australia by Bell. The staircase at this end of the 
 terrace is ornamented at the first angle with representations of 
 South America, by Monti, and of Turkey and Greece by Baron 
 Marochetti ; the second group consisting of China, India, and 
 Egypt, also by Marochetti. 
 
 The first bastion, on the Norwood side of the central staircase, 
 supports allegorical statues of Manchester, by Theed, and Belfast, 
 by Legrew. On the succeeding one are placed those of Sheffield 
 and Birmingham, by Bell. 
 
 On each side of the staircase, at this point, are very excellent 
 representations of the Zollverein and Holland, by Monti, and of 
 Belgium, by Geefs. 
 
 The last group consists of a fine allegorical statue of the 
 United States, by Powers, and of Canada and Russia, by Launitz. 
 
 All these figurative subjects are more or less composed in the 
 style of the modern "Bomantic" school of sculpture, and afford 
 excellent illustrations of the character, nature, and chief occupa- 
 tions of the countries and cities they represent. 
 
 Proceeding in a northerly direction, we pass on until we reach a 
 flight of steps, by which we gain the lower terrace, or Italian 
 ilower-garden. At the bottom of these steps are stone recesses, built 
 under the terrace above, in which streams of water will fall from 
 dolphins' mouths into bronze basins. Crossing the terrace by the 
 path facing the steps, the visitor turns to the right, examining the 
 flowers and the fountains, until he arrives at the central steps 
 leading to the circular basin, from which point a most admirable 
 
THE PARK AND GARDENS. 
 
 153 
 
 view of the whole crystal structure is obtained. The deep 
 recesses in the transepts, the open galleries, the circular roof to 
 the nave, the height of the central transept, the great length of 
 
 South Transept, as seen from the Garden. 
 
 the building, and the general aerial appearance of the whole 
 crystal fabric, produce an effect, winch, for novelty, and 
 lightness, surpasses every other architectural elevation in the 
 
154 
 
 GENERAL GUIDE BOOK. 
 
 world. Turning his back upon the building, the visitor beholds 
 0:1 either side of him green undulating lawns, beds planted with 
 
 The Arcade and Rosary. 
 
 rhododendrons and other flowers, and winding gravel walks. He 
 now surveys the mixed garden, before mentioned, which extends 
 
 The Ced ir Trees. 
 
THE PARK AND GARDENS. 
 
 155 
 
 throughout the south side. To the right is a mound, surrounded 
 by an arcade of arabesque iron work, around which innumerable 
 roses are twined ; and, to the left, two spreading cedar trees — of 
 a kind familiar to this neighbourhood — attract attention by their 
 thick, spreading, sombre foliage. Descending the steps, and 
 walking round the broad gravel path, the visitor reaches the large 
 circular fountain, which is destined to form one of the most brilliant 
 water displays in the gardens, depending solely upon the water for 
 its effect, and not at all upon architecture or sculpture ; the 
 water in this fountain will be made obedient to the hand of the 
 artist, and shoot into the air, forming innumerable beautiful 
 devices. Around the basin it will become a liquid hedge, whilst, 
 in the centre and over the whole surface of the basin, it will be 
 thrown up in sparkling showers, in all shapes, to all heights, — 
 some breaking into misty spray at an elevation of seventy feet from 
 the surface. 
 
 Hound the basin of the fountain are white marble statues, 
 copies from the antique, and of works by Thorwaldsen and 
 Canova. Amongst them will be found the celebrated. Farnese 
 Hercules, the free and graceful Mercury by Thorwaldsen, and the 
 Paris by Canova. Having made one half of the circle, the 
 visitor, instead of proceeding down the central avenue, turns to the 
 left, round the other side of the central fountain, and passing the 
 first outlet finds his way through the second, and descends the 
 steps into a walk which leads him to a smaller fountain. 
 
 Keeping to the left hand side, we make half the circle of this 
 smaller fountain, and then enter upon a pleasant path, on 
 the right side of which stands one of the noble cedar-trees 
 before mentioned. We are now quitting the mixed Italian and 
 English gardens for the pure English landscape. Trees wave their 
 long branches over our heads, the paths wind, and art recedes 
 before nature. Travelling for a short distance, we come to a 
 junction of two roads. Selecting the left, we journey on through 
 a path bordered on one side by trees, and on the other by a lawn, 
 until we approach a valley at the bottom of which is a small 
 piece of water, lying close to a thicket forming a pleasant summer 
 shade. Leading out of this small piece of water is seen a large 
 lake, which forms the second or intermediate reservoir for the 
 supply of the fountains. Under the hand of Sir Joseph Paxton 
 the lake is made to serve for ornament as well as use. Pursuing our 
 way along the path chosen, and which is now open on both sides, 
 we descend towards the east, and on either side of us are beds 
 
THE GEOLOGICAL ISLANDS AND THE EXTINCT ANIMALS. 157 
 
 filled with American rhododendrons. Our road takes us along the 
 edge of the lake. Bearing to the right, we presently reach the 
 junction of two paths. If the visitor turns to the left, he enters 
 the Park which occupies this side of the ground, and forms not 
 one of the least agreeable features of the place. 
 
 Quitting this Park, the visitor resumes his journey, continuing 
 on the road which has brought him to the Park. He will shortly 
 regain the Anglo-Italian gardens. Proceeding still to the left, he 
 conies to a raised mound, or Rosary. Taking the right-hand path 
 on the mound, we travel round it until we descend the path 
 leading to the basin of one of the great fountains. Keeping to 
 the right-hand side of the large basin, we proceed southwards 
 along the gravel walk, at whose far end we find a stone arcade 
 through which we pass, and over which, water rushing down 
 from the temple, will, hereafter, form a sparkling veil as it falls 
 into the basin. Having left the arcade, we turn to the right 
 towards the building, and ascend the steps to the broad central 
 gravel walk. We here behold the temples from which the water, 
 of which we have just now spoken, is to flow. ISTow returning 
 down the steps, we continue our road along the central walk, and 
 skirt the margin of the right-hand basin, until we reach a flight 
 of steps. These we ascend, and find ourselves upon an embank- 
 ment called the Grand Plateau. 
 
 THE GEOLOGICAL ISLANDS AND THE EXTINCT ANIMALS. 
 
 Taking our stand on the Grand Plateau, fifty feet in width, to 
 which we have arrived, we obtain an extensive and general view of 
 the geological illustrations, extending over twenty acres of ground. 
 This ground is divided into two islands, representing successive 
 strata of the earth, and by aid of the restorations of the once 
 living animals that are placed upon them, presenting us, on the left, 
 with the tertiary, and on the right, with the secondary, epochs of 
 the ancient world. 
 
 Long ages ago, and probably before the birth of man, the earth 
 was inhabited by living animals, differing in size and form from 
 those now existing, yet having a resemblance in habit and struc- 
 ture, sufficiently close to enable us to institute a comparison that 
 goes far to enlighten us upon the nature of these gigantic forms, 
 
 * The water for these islands will be supplied in the course of a few weeks. 
 
153 
 
 GENERAL GUIDE BOOK. 
 
 whose bones, and sometimes even entire skeletons, are found 
 buried in the earth, on the surface of which they once crawled ; 
 and it is from the study and comparison of these fossil remains 
 that the vast bodies which the visitor sees before him have been 
 constructed with a truthful certainty that admits of no dispute. 
 
 Quitting the plateau by an easy descent, we cross the bridge at 
 the foot of it, and, on our right, divided by a watercourse, find a 
 partial illustration of the Coal Formation. This has been admirably 
 constructed by Mr. James Campbell, a practical engineer and 
 mineralogist, and has been selected on account of the peculiar 
 interest attaching to its strata of coal, iron, lead, and lime, all of 
 which have helped so largely towards the prosperity of our com- 
 mercial nation. The illustration commences at the lowest stratum 
 with the old red sandstone, and ascends to the new red sandstone* 
 The former is shown cropping out from under the mountain lime- 
 stone and millstone grit above, — which in this case are thrown up, 
 and display a great fault or break ; whilst the displacement of the 
 coal illustrates those faults, or troubles, as they are technically 
 called, so often found in the working of that mineral, and which is 
 caused by an upheaving convulsion of nature at some early 
 geological period, as indicated by the stratum of new red sand- 
 stone above, which lies unconformably upon the dislocated masses 
 below. 
 
 Proceeding still to the right, we come to a cleft in the limestone 
 formation, in which will be found a reduced model of a lead mine, 
 illustrating the characteristics of the lead mines near Matlock, in 
 Derbyshire. The veins selected for illustration ?tre called in 
 mining phraseology the pipe veins and rake veins, the nature of the 
 latter affording the opportunity of examining the interior, and 
 walking through to the top of the limestone strata. Entering by 
 the opening at which we have arrived, the visitor will at once have 
 an opportunity of forming an idea of the general appearance and 
 working of a lead mine, as a small shaft has been constructed, with 
 a number of miners' implements exhibited, including, at the mouth 
 of the shaft, a windlass, technically called a stoce. Having 
 examined the interior, and proceeded through to the top of the 
 limestone strata, we find ourselves again on the plateau, and by 
 descending, regain the margin of the lake, where we face the 
 secondary island. 
 
 The geological illustration immediately before us is the Wealden 
 formation, so well known in Kent, Surrey, and Sussex, and 
 formerly the great metropolis of the Dinosaurian orders, or the 
 
THE GEOLOGICAL ISLANDS AND THE EXTINCT ANIMALS. 159 
 
 largest of gigantic lizards ; these orders are here represented by 
 the two Igitanodons (Iguano-toothed), and by the Hyloeosaurus 
 (the great Spiny Lizard of the Wealden), and the Megalosaurus 
 (the Gigantic Lizard.) 
 
 Proceeding southwards, or to the right from the plateau, we 
 come to the next stratum represented on the island. This is of 
 the oolite period, so called from the egg-shaped particles of 
 which the stony beds are composed, in which the bones of the 
 great carnivorous lizard were discovered by Professor Buckland, 
 called by him Megalosaurus , or Gigantic Lizard. Next in succes- 
 sion is the lias, formerly a species of bluish grey mud, but now 
 
 The Geological Island. 
 
 hard stone, containing an immense quantity of bones in the most 
 perfect state of preservation, particularly those of the Ichthyosaurus , 
 (Fish Lizard), and the Plesiosaurus (Serpent-like Lizard), with its 
 long serpent-like neck, of which we see three specimens on the island. 
 The two long-headed crocodiles, very like those of the Ganges, but 
 double their size, together with the Ichthyosauri before mentioned, 
 were the inhabitants of that part of England now known as Whitby, 
 in Yorkshire, where the bones are found in perfect condition. The 
 termination of this island represents the new red sandstone, re- 
 markable for the numerous and varied footmarks found in it at 
 different parts of our island, particularly at Liverpool, Chester, and 
 
160 
 
 GENERAL GUIDE ROOK. 
 
 in Warwickshire, where also have been found the bones and frag - 
 ments of large frog-like animals, three of which are here built up by 
 the creative mind and hands of Mr. Hawkins, under the guiding 
 eye of Professor Owen. When the teeth of these animals were 
 inspected by Professor Owen under a microscope, it was found that 
 they had a singular labyrinth-like construction ; and the Professor 
 accordingly gave to this particular inhabitant of the far-distant 
 world the distinguishing name of Labyrinihodon (labyrinth tooth). 
 
 At this point the visitor will do well to retrace his steps, and to 
 proceed again to the bridge, which will conduct him to the third, 
 or tertiary island, where he will discover animals approaching more 
 nearly in form and appearance the creatures of our own day. The 
 most conspicuous is the Irish Elk with his magnificently branching 
 
 The Extinct Animals. 
 
 antlers. This restoration has been produced from an entire skeleton 
 of the animal in the possession of the Company, and the horns are 
 real, having been taken from the actual fossil. Another of the 
 more recent wonders, meriting more than a passing glance, is the 
 great wingless bird from New Zealand. The skeleton of this bird 
 was theoretically constructed by Professor Owen from a small 
 fragment of bone a few inches in length ; and when subsequently 
 all the bones belonging to this bird arrived from New Zealand, 
 
THE GEOLOGICAL ISLANDS AND THE EXTINCT ANIMALS. 161 
 
 proving its entire structure, the account they gave of themselves 
 corresponded exactly with the account which the learned Professor, 
 from deduction, had given of them in their absence. 
 
 Amongst the remaining monsters here represented may be noted 
 the Megatherium (Great Beast), and the Glyptodon (Sculptured 
 tooth Armadillo), from South America. The former is pourtrayed 
 in his natural action of pulling down lofty trees for the purpose of 
 more conveniently securing the foliage upon which he lived. The 
 collection of extinct animals upon this island is as yet incomplete ; 
 but at a future period the Indian series, and other large Mam- 
 malia, or suckling animals, including the Mastodon (the Breast- 
 like tooth), the Mammoth, and the Dinotherium (Monstrous Beast), 
 will be added to complete this instructive series. 
 
 The Cherry Tree. 
 
 Having surveyed these islands, the visitor returns to the Plateau. 
 
 Pedescending from this point once more to the large fountain, 
 he turns to the left, and proceeds round its margin until he 
 arrives at the flight of steps on the opposite side. Ascending 
 there, the path conducts him through a belt of young cedars which 
 encircle the basins. A few steps further, and he arrives at the 
 junction of two roads. Selecting that to the left, he will speedily 
 gain the foot of the rosary, and the mound, at the top of which is 
 
 X 
 
162 
 
 GENERAL GUIDE BOOK. 
 
 an ornamental arabesque arcade designed by Mr. Owen Jones. 
 He will here — as on the corresponding mound — find roses of every 
 variety, besides other plants which climb the sides and around the 
 roof of the arcade. Looking from the opening in the arcade 
 towards the large circular fountain in the great central walk, he will 
 note, close to one of the projecting stone bastions, a fine cherry- 
 tree, which may be identified by the annexed engraving. This 
 tree has an historical association in connexion with the Crystal 
 Palace ; for it was beneath its shade that Sir Joseph Paxton 
 planned the magnificent gardens upon which we look. 
 
 View in Grounds. 
 
 Proceeding through the arcade to the right, we quit the mound 
 at the second outlet, and journey along a path, on either side of 
 which are flower-beds and groups of Rhododendrons and Azaleas. 
 Bearing to the right we reach the basin of a fountain. Choosing 
 the left-hand side of this basin, we turn into the broad walk which 
 leads us by means of a flight of steps to the second terrace, making 
 our way to the south-end of which we shall reach an orangery in 
 the basement of the wing, where will be found a fine collection of 
 orange-trees — better known to Englishmen in general by their 
 delicious fruit than by acquaintance with themselves. Leaving 
 the orangery for the terrace, we make our way by the steps to the 
 upper terrace. 
 
THE GEOLOGICAL ISLANDS AND THE EXTINCT ANIMALS. 163 
 
 At this point the visitor may either enter the southern wing of 
 the building on his left, and proceed thence through the colonnade 
 to the railway station, or advance by the right along the upper- 
 terrace until he once more places foot in the building. 
 
 Having accompanied the visitor on his garden tour, we have 
 now performed our office of cicerone through the Palace and 
 grounds, and have brought before his notice the most beauti- 
 ful and striking objects on his path. We have selected, both in 
 the Palace and Park, a route which has enabled him to see the 
 chief subjects of interest presented by our national Exhibition ; 
 but, as a reference to the plans will show, there are many other 
 roads ' open, which may be explored in future visits ; where 
 our companion may wander as fancy guides him, within doors 
 or without, through his eye feeding his spirit, whilst, as though in 
 presence of the past and the distant, he looks on the imaged 
 homes and works of the nations, or turns from the creations of 
 human art and genius, to drink in delight, with wonder, from the 
 strange or most familiar productions of bountiful, inexhaustible 
 Nature. On every side, a soothing and ennobling contemplation, 
 in which he may find rest from the fatigues, and strength for the 
 renewed labours, of an active, a useful, and an enjoyed, if tran- 
 sitory, existence. 
 
 m 2 
 
LIST OP EXHIBITOES. 
 
 STATIONERY AND FANCY GOODS COURT. 
 
 Abbott, J. S., Specimens of Short- 
 hand writing .... 9 
 Barritt and Co. , Ecclesiastical Book- 
 binding 2 2d 
 
 Baxter, G., Specimens of Oil Colour 
 
 Picture Printing .... 20 
 Boatwright, Brown, and Co., Spe- 
 cimens of Sealing Wax . . 9 
 
 Bohn, H. G., Printed Books . 15 and 16 
 Bradbury and Evans, Printed 
 Books— Relief and Wave-line de- 
 sign engraved for Surface-printing 
 — and the New Process of Nature- 
 printing .... 6 and 29 
 
 Collins, H. G., Maps, Globes, &c, 
 Lithographic Printing Press in 
 
 action 25 
 
 Cook, T., Ed graving 
 
 Dolman, C, Printed Books . . 5a 
 
 Gilbert, G. M., Frames, Brackets, 
 &c, Modelled in Leather . 
 
 Hyde and Co., Specimens of Seal- 
 ing-wax and Stationery . . 11 
 
 Haddon, Bros., and Co., Specimens 
 of Type-Music ; Stereotyping in 
 various branches .... 31a 
 
 Jarrett, G., Embossing, Copying, 
 and Printing Presses . . . 13a 
 
 Jones and Causton, Account Books, 
 
 Stationery, and Printing . . 22b 
 
 King, T. R., Paintings and Pencil 
 Drawings 12 
 
 Knight and Foster, Mercantile Sta- 
 tionery 19a 
 
 Lay ton, C. and E., Specimens of Or- 
 namental and Writing Engraving 13 
 
 Leighton, Bros., Chromatic Block 
 Printing and Lithography . . 5 
 
 Letts, Son, and Steer, Articles of 
 Stationery . . . . 1 to 4 
 
 Marion and Co., A., Photographic 
 Papers, Stamp-dampers; Sundry 
 Fancy Articles .... 24 
 
 Miland's Library, Plain and Orna- 
 mental Stationery . . . 31b 
 
 Novello, J. A., Specimens of Musi- 
 cal Typography, Printing, and 
 Illuminations . . . .22 a 
 
 Pemberton, R., Books, Plans, &c. . 7 
 
 Pinches, F. R., Stamping Die En- 
 graving, &c, Crystal Palace 
 Medal Press .... 2a 
 
 Pope, H., Mercantile Stationery . 12a 
 
 Ralph, F. W., "Envelope Paper," 
 Sermon Paper, and Business En- 
 velopes 18 
 
 Robersonand Co., C, Artists' Co- 
 lours and Apparatus . . . 22c 
 
 Routledge and Co., G., Printed 
 Publications 21 
 
 Saunders, T. H., Papers, hand and 
 machine made, Bank note, Loan, 
 Share, Cheque, and for Photo- 
 graphic purposes .... 23 
 
 Shepherd, T 
 
 Shield, Elizabeth, Portraits and 
 Drawings in Pencil . . .19 
 
 Smith, J., Stationery . . . 32a 
 
 Stanford, E., Maps, Books, and 
 Stationery 
 
 Taylor and Francis, Ornamental 
 Printing, Embossing, <fec. . . 14 
 
 Tebbut, Rebecca, Desk, Stationery, 
 &c 
 
 Williams and Co., J., Account 
 Books of a Patent Construction . 8a 
 
 BIRMI 
 
 Allen, F., Articles of Gold and Silver 
 Filagree Work, suitable for Pre- 
 sents and Testimonials 
 
 Blews and Sons, W., Standard 
 Weights and Measures, and Naval 
 Brass-foundings 
 
 Cope and Son, D., Electro, Nickel, 
 and German Silver Spoons, &c. . 
 
 Greatrex and Son, C. 
 
 HAM COURT. 
 
 Horsefall, J., Improved Music-wire, 
 Cove ring- wire, Pins, &c. 
 
 Jennens, Bettridge and Co., Speci- 
 mens of Papier Mache manufac- 
 ture 
 
 Lingard, E. A., Coffin Furniture, 
 Patent Cock, Seal Presses, Dies 
 and Tools .... 
 
 Lloyd, W. R 
 
166 
 
 GENERAL GUIDE BOOK. 
 
 Parker, W., Jewellery, Gilt Toys, 
 Masonic, and other Ornaments . 
 
 Peyton and Harlow, Patent Metal- 
 lic Bedsteads . 
 
 Sutton and Ash, Specimens of 
 
 Manufactured Iron 
 Timmins and Sons, R. 
 Warden and Co., J. 
 
 SHE 
 
 Addis, S. J., Carvers' and General 
 
 Edge Tools . 
 Butterly, Hobson, and Co., Scales, 
 
 Scythes, &c 
 
 Cammell and Co.,C, Springs, Steel, 
 
 Files, &c 
 
 Cocker, Bros., Sheffield Tools, and 
 
 Mechanical manufactures 
 Fisher and Bramall, Specimens of 
 
 Iron and Steel, Tools, &c. 
 Guest and Chrimes, Various Patent 
 
 High Pressure and Fire-cocks, &c. 
 Jowett, T., Various kinds of Files, 
 
 ELD COURT. 
 
 and specimens of the manufac- 
 ture of Steel 
 
 Mappin and Bros., J., Cutlery; 
 Silver and Electro-plated goods ; 
 Dressing-cases . 
 
 Nowill and Sons, J., Silver and 
 Steel Cutlery .... 
 
 Parker and Thompson. Assortment 
 of Tools, &c 
 
 Smith, J. J. .... 
 
 Turton and Sons, T. 
 
 Wilkinson and Son, T., Cutlery, 
 Tailor's-shears, &c. 
 
 MINERAL MANUFACTURES COURT. 
 
 Blan chard, Works of Art in Terra- 
 Cotta 3 and 5 
 
 Blashfield, J. M., Artistic Manu- 
 factures in Terra Cotta . 19 and 21 
 
 Browne, R., Various kinds of 
 Tiles 14 to 18 
 
 Bucknell, Jones, and Co. 
 
 Burgon, J. T., Patterns of Gun- 
 flints, German and Turkey Whet' 
 stones .... 
 
 Doulton and Co., Stoneware Che- 
 mical Apparatus, Filters, Jars, 
 Pipes, &c, Terra Cotta Vases . 10 
 
 Farnley Iron Co., Iron and Fire 
 clay Productions . 
 
 Finch, J., Patent Bricks, Tiles, 
 and Bath-room Furniture . 
 
 London and Penzance Serpentine 
 Co. , Obelisks, Monuments, Vases, 
 Fountains, and various other 
 Mineral Manufactures ... 9 
 
 Minton, Hollins, and Co., Tiles, in 
 Mosaic, Encaustic, Plain Vene- 
 tian, Ornamented, Moorish, and 
 other Styles ..... 
 
 Morgan and Rees, Implements, &c. 
 used in the Manufacture of the 
 Precious Metals .... 
 
 Stevens, G. H., Glass and other 
 Mosaic Work 20 
 
 Workman, J., Patent Brick and 
 Cement 
 
 HARDWARE COURT. 
 
 Adams and Sons, W. S., Victoria 
 Regia Registered Baths, Fur- 
 nishing Ironmongery . 
 
 Billinge, J. . . . . .25 
 
 Barlow, J., Household Utensils, &c. 22 
 
 Barringer and Co., D. C, Spe- 
 cimens of Moulding Sand, and 
 Bronze Castings .... 40a 
 
 Beverly and Son, J., Gas-Cooking- 
 Stoves and Gas Meters. 
 
 Benham and Sons, Ranges, Stoves, 
 Fenders, Gas Cooking Apparatus, 
 Tea Urns, Lamps .... 41 
 
 Bufney and Bellamy, Iron Tanks 
 and Cistern 40b 
 
 Chubb and Son, Patent Locks and 
 Safes 
 
 Clarke, S., Lamps, &c, of various 
 kinds 16 
 
 Crook, E. and F., Improved Kit- 
 chen Range, Hot-plates, &c, 
 Wrought Iron Lily 
 
 Duley and Sons, J., Patent 
 Ranges, &c 18 
 
 Hart and Sons, J., Patent Door 
 Furniture, Ornamental Metal 
 House-fittings .... 32 
 
 Hill, J. V., Mechanical Tools . .12 
 
 Hulett and Co., D,, Gas Apparatus 23 
 
 Huxham and Brown 
 
 Jobson, R 1 
 
 Kent, G., Domestic Utensils . . 14 
 
 Knight, T. and S 6a 
 
 Kuper and Co., Wire Ropes and 
 Submarine Electric Telegraph 
 Cables 
 
 Lyon, A., Machine for Mincing, 
 and for Manufacturing Sausages. 33 
 
 Masters, T., Various Patent House- 
 hold Apparatus .... 4 
 
 More wood and Rogers, Galvanized 
 Tinned Iron, and Plumbic Zinc 29&31 
 
 Newall and Co., Patent Wire Rope 
 and Cord 2 
 
 Nye and Co., S., Patent Mincing 
 Machine 7 
 
 Parnell and Puckridge, Iron Safes, 
 Locks, Doors, &c. ... 3 
 
LIST OF EXHIBITORS. 
 
 167 
 
 Ralph and Co., C, Articles of Fur- 
 nishing Ironmongery ... 5a 
 
 Rickets, C, Gas Ranges, Stoves, 
 &c. 5b 
 
 Robinson, Langton, and Co., Iron 
 and Brass Ware, Tools, &c. . 12b 
 
 Russell and Co., J., Iron Tubing . 34 
 
 Russell and Sons, J., Gas and Lo- 
 comotive Tubing, Patent Lap- 
 welded Marine and Locomotive 
 Tubing 42 
 
 Spiller, E., Bachelor's Tea Kettle . 6b 
 
 Stocker, Bros., Patent Beer Engines, 
 
 FURNITUR 
 
 Alderman, J., Carriages and Furni- 
 ture for Invalids .... 
 
 Bateman, H., Specimens of Wood 
 used in Pianoforte and Cabinet- 
 work 22 to 24 
 
 Bayly, J. D., Paper Hangings and 
 Oil Paintings . . . 35 to 39 
 
 Betjemann, H. J., Patent Re- 
 volving, Rocking, Combination, 
 and Reading Chairs . . .51 
 
 Betjemann, G. S., Patent Self- 
 Fastening Centripetal Spring 
 Bedstead ; Indispensable Chair . 50 
 
 Blyth, Son and Cooper, Bedfeathers 
 and Horsehair, Ottoman-Chair- 
 Bedsteads 69 
 
 Baynes and Son, Specimens of 
 dyed and cleaned Damask and 
 Chintz furniture .... 8 
 
 Box, J., Fancy Cabinet Furniture 
 and manufactures . . .49 a 
 
 Cooke, Hindley, and Law, Velvet- 
 pile, Brussels, Kidderminster, 
 and Berlin Carpets . . 8 and 9' 
 
 Cox and Son, Ecclesiastical Furni- 
 ture, Church Decorations, and 
 Vestments ... 40 and 41 
 
 Crace, W., Chairs, &c, in carved 
 Rosewood and Mahogany . 10 to 12 
 
 Day, H., Illuminated lettering of 
 the 14th century ... 44 
 
 Filmer, T. H., Cabinet Furniture, 
 Easy-chairs, and Decorative 
 Upholstery . . . 31a to 33a 
 
 Greenwood, J., Models of Glass 
 Cases, fitted with India Rubber 
 and Wooden Stops ... 77 
 
 MIXED 
 
 Allan and Co., M. W., Silk Mercery 
 
 and Drapery Shawls . 
 Bull and Wilson, Cloths, Fancy 
 
 Silks, Cashmeres, &c. 
 Chironnet, V., Laces, Cleaned, &c. 
 Dick and Son, J., Sewing Cotton on 
 
 Reels 
 
 Elliot, M. A. , Irish Tabinet or Poplin 
 Farmer and Rogers, India, China, 
 
 and Paisley Shawls 
 Faulding, Stratton, and Brough, 
 
 Damask Table Linens , - . 
 
 Lift-Pumps, Water Bottles, Pew- 
 ter Goods, &c 
 
 Thomas, R., Tools for various 
 Trades 12 a 
 
 Warner and Sons, J., Hydraulic 
 Apparatus, Bells, Braziery 
 Goods . . . . 15 to 19 
 
 Wenham Lake Ice Co., Refrigera- 
 tors, &c 21 
 
 Young, W., Spirit Lamps and Ves- 
 sels, Gas Burners ... 24 
 
 Zimmermann, E. G., Iron and Zinc 
 Bronzes 5 
 
 E COURT. 
 
 Harrison, R., Tapestry Work . 49 
 
 Home, R., Pompeian and other 
 Panelled Decorations ... 29 
 
 Jackson and Graham 
 
 Loader, R., Household Furniture . 
 
 Lyle, J. G., Newly-invented Easy 
 Chairs, Mattrass, &c. ... 74 
 
 Moore, J., Patent Moveable Glass 
 Ventilator; Patent Respirator; 
 and Specimens of a New System 
 of Enamelling .... 42 
 
 Oliver and Sons, W., Specimens of 
 Foreign Fancy Hardwoods . 17 and 18 
 
 Reed and Marsh, Library-table . 48 
 
 Rogers, W. G., Twenty Specimens 
 of Carving in Wood ... 1 
 
 Smee and Sons, W., Cabinet Fur- 
 niture . . . .43 a and 44a 
 
 Teale and Smith, Imitation Mar- 
 quetry 46 
 
 Vokins, J. and W., Mechanical, 
 Imitation Metal and other Frames 76 
 
 Wallis, J., Walnut Chess Table, or- 
 namented with original paintings 
 
 Wallis, T. W., Specimens of Wood 
 
 Carving 45 
 
 Wilkinson, Son and Co. . . 25 and 26 
 Winterbotham, A., Dacian Paper- 
 hangings, Damasks, and Calicos . 4 
 Ward, J., Invalid Chairs for In-door 
 
 and Out-door use . . . 49b 
 Webb, E., Coloured Damask, Da- 
 mask Hair-Cloth, Hair Carpets, 
 
 &c 3 
 
 Yates and Nightingale, Painted and 
 Embossed Table Covers, &c. „ 
 
 FABRICS COURT. 
 
 12 
 
 43b 
 
 43a 
 43 
 
 Groucock, Copestake, and Moore, 
 Lace and Muslin Manufactures . 42 
 
 Jay, W. C, Mourning Furnishing 
 Goods 45 
 
 Leach, Broadbent, Leach and Co., 
 Woollen Stuff and Fabrics . 22 
 
 Reid, J., Printed Muslins and 
 Drapery 
 
 Simmons, W., Millinery, Fancy 
 Bonnets, &c. .... 
 
 Swears and Wells, Articles of Ho- 
 siery 23 
 
168 
 
 GENERAL GUIDE BOOK. 
 
 PRINTED FABRICS COURT. 
 
 Lewis and Allenby, Manufactured 
 Silks, and Shawls 
 
 Simpson, J. and J., Tapestry Da- 
 mask for Curtains. . . .18 
 
 MUSICAL INSTRUMENTS COURT. 
 
 Boosey and Sons, Various Wind In- 
 struments, Patent Drum-stick, 
 &c 24 
 
 Brinsmead, H., Improved Piano- 
 forte 42 
 
 Cooper and Son, J., Michrochordon 
 Pianoforte 38 
 
 Challen and Son, Cottage Pianoforte 43 
 
 Distin, H., Various Wind Instru- 
 ments, Patent Side Drum . . 13 
 
 Greaves, E., Musical Tuning Imple- 
 ments 18 
 
 Hughes and Denham, Patent Grand 
 Range Harmonichordon Piano- 
 forte 
 
 Jones, J. C, Pianoforte . . 52 
 
 Kohler, J., Lever and other kinds 
 of Brass Musical Instruments, of 
 Patent Manufacture . . .12 
 
 28 
 
 Levesque, Edmeades, and Co., 
 Pianoforte 
 
 Marsh and Steedman, Cottage, and 
 Michrochordon Pianoforte . 41 and 47 
 
 Moore, J. and H., a Cottage-Grand 
 Pianoforte 35 
 
 Pam, W. G., Two Cottage Piano- 
 fortes 48 and 49 
 
 Peachey, G., Albert Piccolo Piano- 
 forte 25 
 
 Sacred Harmonic Society, Model of 
 Orchestra as arranged for the 
 Oratorios of the Society . . 65 
 
 Taylor, S. C, Two Concertinas 
 
 Tolkien, H., Pianoforte ... 46 
 
 Ventura, A. B., Various Musical In- 
 struments, Ancient and Modern . 4 
 
 SOUTHEASTERN CORNER OF CENTRAL TRANSEPT. 
 
 Rinimell, E., Fountain of Sydenham Crystal Palace Bouquet, 
 
 NAVE. 
 
 Atkinson, J. and E., Perfumery, 
 Soaps, and Toilet Furniture 
 
 Brown, S. R. and T., Specimens of 
 Muslins and Laces, embroidered 
 by Scotch and Irish Peasantry . 
 
 Forrest and Sons, J., Various kinds 
 of Irish Lace and Embroidery . 
 
 Groux's Improved Soap Co., House- 
 hold, Toilet, and Marine Soaps . 
 
 Hanhart, M. and N., Lithography 
 and Chromolithography 
 
 Heath, J., Invalid Bath Chairs 
 
 Lancashire Sewing Machine Co., 
 Sewing Machines .... 
 
 Macdonald and Co. , D. and J. , In- 
 fants' Clothing .... 
 
 Meyers, B., Walking Canes and 
 Sticks. 
 
 Morgan, J., Wicks, &c, in illus- 
 tration of the manufacture of 
 Candles 
 
 7 
 12 
 10 
 
 3 
 
 5 
 4 
 18 
 
 Mechi, J. J., Dressing and Writing 
 Cases, Cutlery, Pocket - books, 
 ike 2 and 17 
 
 Osier, F. and C, Crystal Glass Can- 
 delabra 6 
 
 Powell, J. H., Books and Maps, 
 Hair Dye 16 
 
 Price's Patent Candle Co., Speci- 
 mens of Candles, ar?d of the 
 Material manufactured ; Extracts 
 of Stearine and Oleine . . .11 
 f Fountain of Eau de 
 
 Rimmell E 1 Cologne (S. E. End) 
 
 lximmeil >^'>1 Fountain of Toilet 
 I Vinegar (N. E. End) 
 
 Robinson, H., Writing and Dress- 
 ing Cases 15 
 
 Spiers and Son, Ornamented 
 Works in Papier Mache . . 1 
 
 Thomas, W. F., Thomas' Patent 
 London Sewing Machine 
 
 SOUTH WING. 
 
 IN OR NEAR THE REFRESHMENT DEPARTMENT. 
 
 Lipscombe and Co., Marble and Glass Fountains, &c. . 
 
 NORTH WING. 
 
 DEPARTMENT FOR AGRICULTURAL IMPLEMENTS. 
 
 Barrett, Exall, and Andrews, 
 Steam Engines, Agricultural Im- 
 plements and Machinery 
 
 Barry, Bros., Specimens of Non- 
 Poison^ us Sheep-Dressing Com- 
 position. . . 
 
LIST OF EXHIBITORS. 
 
 169 
 
 Bigg, T., Dipping Apparatus for 
 using Bigg's Patent Compo- 
 sition ...... 
 
 Boulnois and Son, 
 
 Buerell, C, Portable Steam Engine, 
 Various Farming Machines . 
 
 Clayton, H., Various Patent Ma- 
 chines 
 
 Clayton, Shuttleworth, and Co., 
 Steam Engine, Threshing Ma- 
 chine, Grinding-Mill . 
 
 Cogan and Co., .... 
 
 Cottam and Hallen, 
 
 Croggon and Co., .... 
 
 Croskill and Son, W. 
 
 Dray and Co., W. . 
 
 Ferrabee, J. and H., Steam 
 Engine, Grinding-mill, Mowing 
 Machines, &c 
 
 Garrett and Son, Models and 
 drawings of Implements and 
 Machines for Agricultural pur- 
 poses 
 
 Haines, F., Shoes for Sheep, to cure 
 Foot-rot, Foot-rot Powder . 
 
 Hart, C. , Threshing Machines, with 
 combined apparatus for Winnow- 
 ing, &c. 
 
 Hill and Smith, . 
 
 Hornsby and Son, R, Portable 
 
 Steam Engine, Machines for 
 Dressing and Drilling Corn 
 
 Howard, J. and F., Patent Ploughs, 
 Harrows, Horse Hoes, &c. 
 
 Huxham and Brown, Three Mill- 
 stones 
 
 Lyon, A., Machines for Cutting 
 Vegetables 
 
 M'Neill and Co., . 
 
 Nicholls and Co. Weighing and 
 Chaff-cutting Machines, Scales, 
 Weights and Measures, Corn 
 Bruisers and Mills 
 
 Pierce, W., 
 
 Ransomes and Sims, Agricultural 
 Machinery, Steam Engines, &c. 
 
 Smith, S., 
 
 Smith and Ashby, Patent Hay- 
 making, and Chaff-cutting Ma- 
 chines, Horse Rake, and Wheel 
 Hand Rake, &c 
 
 Smith, W., Improved Steerage, 
 Horse-hoes, &c 
 
 Stanley, W., 
 
 Tournay and Co., Wheels Manufac- 
 tured by Machinery worked by 
 Steam power .... 
 
 Wilson, F. J. , Patent Barrows 
 
 Wilkinson, T., .... 
 
 Young and Co., C. D., 
 
 EAST GALLERY, ADJACENT TO CENTRAL TRANSEPT. 
 
 DEPARTMENT FOR PRECIOUS METALS. 
 
 Acheson, W., Irish Jewellery 
 and Ornaments, Antique and 
 Modern 86 
 
 Benson, S. S. and J. W. , Jewellery, 
 Watches, and Plate . . . 1 & 2 
 
 Biden, J. and F., Process of manu- 
 facture of Gold Chains, &c, 
 Specimens of Seal Engraving, 
 &c 42 
 
 Chaffers, Jun., W., Coins, Medals, 
 and Antiquities .... 100 
 
 Connell, Mrs. M., Irish Bog Oak 
 Ornaments 87a 
 
 Elkington, Mason, and Co. . 103 to 106 
 
 Forrer, A., Jewellery and Fancy 
 Work in Hair . . . . 87 & 88 
 
 Gorsuch, W. H., Precious and other 
 Stones, with a Lapidary's Table, 
 and Illustrations of the Process . 44 
 
 Goggen, J., 68 
 
 Hawkins, F.G.S., F.L.S., B. Water- 
 house, Sketch Models of the 
 Extinct Animals, <fec. . . . 42a 
 
 Holt, R. W., Work in Jet, Foreign 
 Jewellery, &c. . . . 131 & 132 
 
 Jackson, W. H. and S., Chronome- 
 
 ters and Watches, with Regis- 
 tered Improvements . . .100 a 
 
 Keith, J., Plate, &c, for Ecclesi- 
 astical Service .... 44 a 
 
 Mahood, S., Jewellery, Bog Oak 
 Manufactures, &c. . . . 64a 
 
 Marriott, J. , Glass Apiary, Humane 
 Cottage Beehive, with Bees at 
 Work 
 
 Marshall, E. S., Specimens of Gold- 
 beating 62 
 
 Meyers, M., Jewellery, and Irish 
 Bog Oak Ornament . . . 88a 
 
 Restell, R., Clocks, Watches, Plate, 
 Jewellery, &c 
 
 Staight, T., Manufactures in Ivory, 
 Pearl, Tortoiseshell, &c. . . 46 
 
 Steinitz, Bros., Parquetose Floor- 
 ing, Ivory Carved, Wood Mosaic. 
 
 Vieyres and Repingon, An Astro- 
 nomical Clock .... 100b 
 
 Watherston and Brogden, Gold 
 Chains and Miscellaneous Jewel- 
 lery 101 & 102 
 
 Waterhouse and Co., Ancient and 
 Modern Irish Jewellery . . 65 & 66 
 
 SOUTH-EASTERN GALLERY. 
 
 DEPARTMENT FOR SUBSTANCES USED AS FOOD. 
 
 Batty and Co., Pickles, Preserves, I Dunn and Hewett, Cocoa, Cofiee, 
 
 Sauces, and Oilmen's Stores . 15&16 | Extracts and Spices ... 6 
 
170 
 
 GENERAL GUIDE BOOK. 
 
 Edwards, Bros, Preparations of Fa- 
 rinaceous and other Food . . 12 
 
 Fry and Sons, Cocoa, its Varieties 
 of Growth and Manufacture . 17 
 
 Glass, G. M., Isinglass, Gelatine 
 Lozenges, and Jujubes . . 12b 
 
 Gunter, R. , Bride Cakes and Con- 
 fectionery 20 
 
 Horniman and Co., Tea as Imported 
 free from Artificial Colouring . 10 
 
 Kent and Sons, Bordeaux Wine 
 Vinegar 12 a 
 
 Lea and Perrins, Sauces, Chemical 
 Drinks, &c 18 
 
 Paris Chocolate Co. , Cocoa and its 
 various manufactures . 
 
 Phillips and Co. Tea and Coffee in 
 all their various kinds ... 11 
 
 Slee, T. P. and C. B., Mustard in 
 the Seed and Manufactured. Blue 
 for Laundry purposes ... 6a 
 
 Turner, G., Wedding and other 
 Cakes 9 
 
 Vickers, J., Russian Isinglass in 
 Shapes 18 A 
 
 White, G. B., Cocoa, and Chocolate 
 in their various stages of prepa- 
 ration 
 
 DEPARTMENT FOR MISCELLANEOUS ARTICLES. 
 
 Austin, J., Patent Line . 
 
 Cave, A., Fancy Articles, Work- 
 boxes, &c 14 
 
 Davis, Mrs. Cigars and Tobacco- 
 nists' Goods in General . .12a 
 
 Davis, J. J., Seal Engraving, Co- 
 pying and Embossing Presses . 16 
 
 Farlow, C, Fishing Tackle . . 12 
 
 Inderwick, J., Fancy Goods, more 
 particularly in connection with 
 Smoking, Tobaccos, &c. . . 21 & 22 
 
 Jones, B. C, Cigars of every de- 
 scription 1&2 
 
 Kite, J., Patent Ventilating and 
 Smoke Curing Apparatus, illus- 
 trated by experiment ... 3a 
 
 La tour, Rateau and Co. , Dyed and 
 Cleaned Goods . ... 7 
 
 Lilly white, Bros., Articles con- 
 nected with the Game of 
 Cricket 9 
 
 Marsland, Sons, and Co., Fancy 
 Work and Cotton. . . . 5&6 
 
 Muggleton, W. H., Linen Stamps, 
 Marking Ink, &c. ... 4. 
 
 Nixey, W. G. Patent Revolving 
 Till, Blacklead, &c, Dyes, Var- 
 nishes, &c 10 
 
 Phillips and Co., Pipes, Stems, and 
 Cigar Tubes 17 
 
 Rymer, S. L 4a 
 
 DEPARTMENT FOR FINE LINENS AND DAMASKS. 
 
 Hollins, E., Patent Shirting . 
 Russell, H. and G., Specimens of 
 
 Sail Cloth of English and Ame- 
 rican manufacture 
 
 SOUTH GALLERY. 
 
 DEPARTMENT FOR CLOTHING. 
 
 Berni and Meillard, Velvet and 
 Beaver Hats of all descriptions . 4 
 
 Brook, Bros., J 39&40 
 
 Caplin, Mme. R. A., Medical 
 Corsets, Belts, Supports for In- 
 valids, &c 8 
 
 Capper and Waters, Shirts of va- 
 rious fashions . . . . 12&14 
 
 Carrol, Bridget, Various Articles 
 of Dress in Lace .... 
 
 Carter and Houston, various Kinds 
 of Improved Corsets ... 38 
 
 Coles, W. F. Newly Invented 
 Socks, of various kinds . . 16a 
 
 Cooper and Fryer, the Gorget Pa- 
 tent Shirt, Elliptic Collars, &c. . 
 
 Daily and Co., Specimens of Dyeing 
 and Cleaning Silks, &c. . . 5 
 
 Dando, Sons, and Co., Hats and 
 Caps Manufactured for lightness 16 
 
 Davies, J., Fashionable Riding 
 Habit ... . 36a 
 
 Eason, J., Ready-made Linen, 
 French flowers, &c. . . 24 to 26 
 
 Ellwood and Sons, J., Air- 
 
 Chamber Hats, &c, for Warm 
 Climates 34 
 
 Gaimes, Sanders, and Nicol, 
 
 Pliant Ventilating Hats . 19 & 20 
 
 Glenny, C, Balbriggan Cotton 
 Hosieiy 10a 
 
 Grundy, T., Easy Boots of a New 
 and Improved Manufacture . 32 
 
 Hawkins, Mrs., Corsets and Belts . 32a 
 
 Hay ward and Co., Embroidered 
 
 Cloth, Silk, Berlin Cloth, &c. . 32b 
 
 King and Co., W., Silks, Satins, 
 Velvets, Woollen Manufactures, 
 Cambrics, Linen, Haberdashery, 
 &c 2 
 
 Marion and Maitland, Corsets, 
 Medical Supports, &c. . . 36 
 
 Nicoll, B., Specimen Shirts . .ISA 
 
 Nicoll, H. J. and D., Specimens of 
 the Fashion, Patented and Regis- 
 tered Articles of Dress and Per- 
 sonal use . . . . 17 & 18 
 
 Paine, H. and Co., Trousers . 
 
 Philps and Son, Ladies and Chil- 
 dren's Clothing and Hosiery 25a & 26a 
 
LIST OF EXHIBITORS. 
 
 171 
 
 Price and Co., "Waterproof and Air- 
 proof Goods .... 
 Rumble, Mrs., Surgical Bandages, 
 
 Supports, &c 
 
 Smith, Mrs. J., Corsets and Socco- 
 
 pedes, Elastic or Silk Boots 
 Smith, Julia, Corsets . . . 35a 
 Stray, F., and Co., Specimens of 
 Embroidery and Articles of Fash- 
 
 ionable Dress for Gentlemen . 28 
 Stroud, M. and D., Articles of Ho- 
 siery, <fec 6 
 
 Stuart, J. K., Patent Ventilating 
 Hats 35b 
 
 Nosotti, C, Large 
 Solid Carved Fl< 
 Frame . 
 
 Allaire, Rene*, Specimens of Dyeing 
 
 and Cleaning 34a 
 
 Barnett, B. , Specimen of Old Paint- 
 ing Restored .... 
 Bartlett, J., Patent Compressed 
 
 Cricket Bats . . . . .36a 
 Burningham, C, Assortment of 
 
 Goods in Papier Mache . . 47 
 Carles, H. R., Gentlemen's Head- 
 dresses and Perukes ... 32 
 Child, W. H., Specimens Brushes 
 manufactured in Ivory, Bone, 
 Tortoiseshell, and Wood 
 Collings, J., Tailor's Registered 
 
 Arm-pad 39 
 
 Cowvan, B. and S., The Canton, or 
 
 Quadrilateral Strop ... 38 
 Cullingford, W., Various kinds of 
 Netting 53a 
 
 Curtis and Son, M. I., Pianoforte- 
 strings, Wire-screws and Pins 
 
 Dillon, A., Specimens of Orna- 
 mental Writing .... 
 
 Farley, H., Models of Naval Archi- 
 tecture and Implements 
 
 Foot, Mary, Artificial Flowers, 
 Head-dresses, &c. . . .49 
 
 Freckingham, Mrs. E. Specimens 
 of Fancy Work .... 37 
 
 Giles, J. A., Specimens of Portrait 
 Painting 56 
 
 Gittens and Allkins, Patent De- 
 tector Tills and Base Coin 
 Detectors 27a 
 
 Grujeon, A., Cases of Plants, ar- 
 ranged in Botanical Order . . 39a 
 
 Hack, R., Harmonicon and Flute 
 Flageolet 30 
 
 Helfrick, F., An Invention to Navi- 
 gate the Air, invented by W. 
 Bland, Esq., N. S. W. . . 29a 
 
 Thompson, Miss S. C. , Widows' Caps 8 a 
 
 Thresher and Glenny, Under-cloth- 
 ing for Warm Climates, Notting- 
 ham Hosiery . . . .10 
 
 Upton and Co., W., Specimens of 
 English and Foreign Leathers, 
 and Leather Mercery ... 30 
 
 Watkins, W., Military and other 
 Clothing . . . . . 1 
 
 Whitelock and Son, Articles of 
 Hosiery 41 
 
 Williams and Son, R., Umbrellas, 
 Parasols, Whips, Canes, &c. 21 & 22 
 
 Wright, E. J., Corsets, &c. . . 35 
 
 Stained Glass 
 
 Hodges and Turner, Various kinds 
 of Elastic Fabrics .... 31a 
 
 Holliday, R., Self-generating ^ Gas 
 Lamps, Chemicals, &c. . . 31 
 
 Hyams, M., Cigars, Tobacco, and 
 Illustrations of their Manufac- 
 ture 29 
 
 Jackson, W., Wirework Mountings 
 for Whips, &c 72 
 
 Joyce, F., Percussion Gun-caps, 
 Primers, Waddings, &c. . . 27b 
 
 Judson and Son, D. Dyewoods and 
 General Drysalteries . . 
 
 Lee, Thomas, Waterproof and Air- 
 proof Goods 28a 
 
 Levin, L., Glass Beads, Real and 
 Artificial Coral, &c. . . . 32a 
 
 Loysel, M., Newly-invented Ma- 
 chines for Making Coffee . 41 & 42 
 
 Maynard, J., Wire, &c, used in the 
 Manufacture of Pianofortes . 36 
 
 Mead and Powell, Toys, &c, Fancy 
 Cabinetwork . . . 43 & 44 
 
 Noden, J., Hair-Dye, with Speci- 
 mens of its Application . . 49b 
 
 Olin, L., Purses made by Machi- 
 nery 
 
 Parker, J., Stag's-horn Umbrella 
 
 Stand 47a 
 
 Pierotti, H., Wax Dolls and Figures 
 for Hairdressers .... 40a 
 
 Ralph and Son, Articles of Gentle- 
 men's Fashionable Dress 
 
 Ramage, R., Fair's Patent Venti- 
 lators 39b 
 
 Read, T., Specimens of Ornamental 
 Writings, Embossing, Household 
 Decoration, and Lithography . 27a 
 
 Re veil, J., Ornamental Leather- 
 work, and Implements, and 
 Materials used , . . 38a 
 
 SOUTH END OF BUILDING. 
 
 DEPARTMENT FOR STAINED GLASS, &C. 
 
 Looking Glass in 
 orentine Style of 
 
 Waites, W., Three 
 Windows 
 
 SOUTH-WESTERN GALLERY. 
 
 DEPARTMENT FOR MISCELLANEOUS ARTICLES. 
 
172 
 
 GENERAL GUIDE BOOK. 
 
 Riddell and Co., W., (Anglo-Conti- 
 nental Co.) 
 
 Roe, F., Models of Fountains, Jets 
 d'Eau, Valves, &c. 
 
 Salmon, 1 35a 
 
 Samuel, M., Foreign Shells, Corals, 
 and China 53 
 
 Sanders, W., Modelling in Leather 32b 
 
 ter, W. J., Parasols, Um- 
 brellas, &c., of various kinds . 34 
 Saunders, J., Specimens of Teas 
 
 and Coffees 40 
 
 Saunders, R., Fast-dyed Woollen 
 
 Goods and Dye Detector 
 Walden, H., Variegated Linen- 
 
 55 
 
 DEPARTMENT FOR PERFUMERY. 
 
 Eason, R., Hair Perfumery, Combs 
 and Brushes 
 
 Higgins, J., Distilled Essences for 
 Perfumes 
 
 Lewis, J., Perfumes, Soaps, and 
 Toilet Furniture . 
 
 Saulson, M., Soaps, Essences, Po- 
 matums, ike. . . . . 5 
 
 Sturrock and Sons, Perfumery, and 
 Toilet Furniture . . . 3 & 4 
 
 DEPARTMENT FOR CHEMICALS. 
 
 Allshorn, F., Homoeopathic Medi- 
 
 cine Chest, Medicines, Works, &c. 4a 
 Andrew, F. W., Cemented China 
 and Glass, Articles of Toilet Fur- 
 niture 6 
 
 Blundell, Spence, and Co., Assort- 
 ment of Painter's Colours . . 5a 
 Burton and Garraway, Cudbear, 
 
 Orchil, and Indigo Dyes . . 4 
 Electric Power Light and Colour 
 
 Co., Electric Colours ... 2a 
 Field, J. C. Specimens of Wax, 
 
 Candles, Sealing Wax, &c. . 7 
 Gibbs, D. and W., Fancy and other 
 
 Soaps 1a 
 
 Jones and Co., Orlando, Specimens 
 
 of Starch from Rice ... 3 
 
 King, W. W., Effervescent Citrate 
 of Magnesia 4b 
 
 Prockter, Bevington, and Prockter, 
 
 Inodorous Glue ... 6a 
 
 Rottmann and Co., G., Soda water 
 Machines and Filters . 
 
 Reeves and Sons, Artists' Water 
 Colours and Implements . . 5 
 
 Rose, W. A., Oil and Grease, for 
 Burning and Machinery, Var- 
 nishes, Paints, &c. ... 8 
 
 Walker and Stembridge, Gums, 
 Glues, Dyes, and Chemicals 
 
 Williams and Fletcher, Colours and 
 Chemicals .... 
 
 DEPARTMENT FOR LEATHER. 
 
 Blackwell, S., Assortment of Sad- 
 dlery and Harness, patent and 
 otherwise 40 
 
 Brown, J., India Rubber Beds, 
 Sofas, Chairs, and Marine Spring 
 Bed 
 
 Cant and Sons, G. W., Ladies and 
 Gentlemen's Boots and Shoes of 
 all kinds 14 
 
 Clarke, C. and J M Manufactures 
 from the Angora and Sheep Skin, 
 Boots, Shoes, and Slippers 21 and 22 
 
 Davis, Mrs. A., Saddlery, Harness, 
 and Horse Clothing . . .12 
 
 Deed, J. S., Morocco Leathers of 
 Various Kinds, Dyed Sheep and 
 Lamb's-wool Rugs ... 24 
 
 East and Son, T., Specimens of 
 Leather and Manufactures from 
 the Skin of the Sheep ... 4 
 
 Ford, A. F., Boots and Shoes . . 23 
 
 Gutta Percha Co. , the West Ham, 
 Articles manufactured in Gutta 
 Percha, under Letters Patent 
 
 Gottung, J. B., Two sets of Har- 
 ness, worked with Peacock- 
 quills ; Covers and Mats of Pea- 
 cock-work 19 
 
 Hall, J. S. , Models of Boots manu- 
 factured for the Royal Family 
 and Nobility .... 10 
 
 Haines and Nobes, Mill-bands and 
 other Articles of Leather Manu- 
 facture 26 
 
 Hall and Co., Leather-Cloth Boots 
 and Shoes, Goloshes, &c. . . 20 
 
 Jeffs, R., Furs of the Arctic and 
 Cold climates .... 6 
 
 Jones and Waters, Fancy Leathers 
 used in the Manufacture of Hats, 
 Caps, &c 28 
 
 Marsden, C, Ventilating Boots, 
 Shoes, Goloshes, &c. . . -37 & 38 
 
 Maxwell and Co., H., Spurs and 
 Sockets 10a 
 
 Newton, T., Harness and Horse 
 appointments generally 
 
 Norman, J. W., Boots and Shoes, 
 &c 28a 
 
 Oastler and Palmer, Specimens of 
 Tanned Skins . . . . 34 & 36 
 
 Preller, C. A., Patent Leather 
 Machine Bands, &c. ... 18 
 
 Roberts, E. B., Manufactures from 
 the Beaver, and various other 
 Skins 8 
 
LIST OF EXHIBITORS. 
 
 173 
 
 Swaine and Adeney, Whips and 
 Riding Canes of all kinds . 
 
 Southgate, G. , Solid Leather Port- 
 manteaus 
 
 Urch, H., Saddlery . 
 
 Wansbrough, J., Garments Manu- 
 factured from the Patent Para- 
 India Rubber Cloth . 
 
 Watson, C. J., Utilis Portman- 
 
 32 teau 30a 
 
 White, J. C, Harness, with White 
 
 16 a Patent Tugs 1G 
 
 6a Wilson, Walkden, and Co., Pre- 
 pared Sheep Leather . . . 35a 
 Wright, R., Patent Boots and 
 39 Shoes 
 
 DEPARTMENT FOR INDIA-RUBBER. 
 
 Edmiston and Son, India Rubber 
 Clothing, Ornamental Objects, 
 in Gutta Percha and India 
 Rubber 19 & 20 
 
 Goodyear, C, Articles Manufac- 
 tured from India-Rubber . . 1 to 12 
 
 Grueber and Co., Patent Asphalte 
 Sheathing and Dry Hair Felt 
 
 Mackintosh and Co. , India-Rubber, 
 native, and manufactured, 
 with illustrations of the pro- 
 cess 13 to IS 
 
 WEST GALLERY, ADJACENT TO CENTRAL TRANSEPT. 
 
 DEPARTMENT FOR PHILOSOPHICAL INSTRUMENTS. 
 
 Bailey, W. H., Medical Instru- 
 ments, Invalid Supports, &c. . 87 
 Beard, Jun., R., Daguerreotype 
 and Photographic Pictures. Ste- 
 reoscopes, &c 33 & 34 
 
 Bermingham, Esq., T., Maps, 
 
 Plans, &c 48a 
 
 Caplin, M.D., J., Medical Gymnasia, 
 Instruments, and Furniture for 
 the Cure of Deformities . . 47a 
 Claudet, A., Daguerreotype and 
 
 Stereoscopic Portraits 
 Coles, W„ , Patent Trusses 
 Colt, Colonel S., Patent Repeating 
 
 Firearms . . . . 91 & 92 
 Cronmire, J., M. and H., Mathe- 
 matical and Nautical Instru- 
 ments 60 
 
 Deane, Adams and Deane, Fire 
 
 Arms 
 
 Elliott, Bros., Optical, Mathema- 
 tical, and Philosophical Instru- 
 
 ments 29 
 
 Elliot, J., Daguerreotype and Ste- 
 reoscopic Portraits ... 40 
 Grossmith, W. R., Artificial Eyes, 
 Limbs, and other Productions of 
 Surgical Mechanism ... 27 
 Harnett, W., Dentistry and Articles 
 
 used in Dental Surgery 
 Hennah and Kent, Photographs . 49 
 
 Hobson, T 38a 
 
 Hogg, R., Photographic Portraits, 
 
 Landscapes, &c 40a 
 
 Home, Thornthwaite, and Wood, 
 
 Photographic Cameras, <fcc, 
 Pictures, Medical Electro-Gal- 
 vanic Machine .... 48 
 
 Laroche, M., Photographic Pic- 
 tures 
 
 Mayall, J. E., Photographic Pic- 
 tures 31 
 
 Miles, E., Artificial and Mineral 
 Teeth, Gums, and Palates . . 37 
 
 Newson, H., Patent Wire Trusses 49a 
 
 Novra, G., Cutlery, Articles in 
 Electrotype 11 
 
 Pottinger, C. R., Photographic 
 Apparatus, Stereoscopes, &c. 1 & 2 
 
 Potter, J. D., Scientific and Philo- 
 sophical Instruments . . 58a 
 
 Prince and Co., Models of Inven- 
 tions 
 
 Read, R., Agricultural and Hor- 
 ticultural Machines, Surgical 
 Instruments, &c. ... 41 
 
 Reid, W., Instruments and manu- 
 factures in connection with the 
 Electric Telegraph ... 47 
 
 Smith S., Trusses, Medical Sup- 
 ports, &c 
 
 Statham, W. E., Philosophical 
 Instruments in connection with 
 Chemistry 58 
 
 Stidolph, W., Educational Instru- 
 ments for the Blind ... 38 
 
 Sharpe, T., Photographic Portraits 50 
 
 White, J., Patent Trusses, Belts, 
 Surgical Supports, &c. . . 30 
 
 DEPARTMENT FOR PRINTED BOOKS, ETC 
 
 Kent, W., Printed Books . . I Tweedie, W., Temperance Books 
 
 and Publications 
 
174 
 
 GENERAL GUIDE BOOK. 
 
 NORTH-EASTERN GALLERY. 
 
 DEPARTMENT FOR CHINA AND GLASS. 
 
 Aire and Calder Bottle Co., Speci- 
 mens of Glass Bottle Manu- 
 facture 33&34 
 
 Bourne and Son, Patent Stone- 
 Ware Bottles, Jars, Vases, &c. . 15 
 
 Brace and Colt, Manufactures of 
 the " Serpentine" stone 
 
 Clarke, Miss C, Antique China, 
 Point Lace, &c. . . . 65 & 66 
 
 Claudet and Houghton, Glass 
 Shades and Photographic Glasses 
 
 Copeland and Son .... 
 
 Goode and Co., T., China, Glass, 
 China Lace Figures, imitation 
 Majolica Ware .... 6 
 
 Green, J., Useful and Ornamental 
 China, Glass, and Earthen- 
 ware 37 to 40 
 
 Hetley, H., Glass Shades and 
 Cases 28 
 
 Hetley and Co., J., Glass-shades 
 Window and Horticultural Glass 36 
 
 Kerr, Binns, and Co. . . .41 
 
 Litchfield, S., Ancient Furniture, 
 China, Clocks, Candelabra, 
 Bronzes, &c. .... 
 
 Lockhead and Co., J., Patent Per- 
 forated Glass, Specimens of 
 Glass, and Glass Manufactures . 13 
 
 Roberts, J., Patent Invention for 
 Cooling Drinks and Edible Mat- 
 ters; Specimens of Terra Fer- 
 rum 10 
 
 Sinclair, C, Glass and China . 11a & 12 a 
 
 BASEMENT. 
 
 DEPARTMENT FOR MACHINERY. 
 
 Beecroft Butler and Co. 
 Bellhouse and Co., E. T. 
 Bernard, J. 
 
 Birmingham Patent Ir 
 
 Brass Tube Company 
 Bradbury and Evans . 
 Burch, E. J. 
 Calvert, F. C. 
 Collins, H. H. . 
 Coltman, W. 
 Condie, J. 
 
 Dalgetty, Ledger, and Co. 
 Bering, G. E. . 
 Dunn, Hattersly and Co. 
 Galloway, W. and J. 
 Gent and Co., G. 
 Goodall, H. 
 Goodfellow, B. . 
 
 Grout, J 
 
 Hanson and Chadwick 
 Harrison and Sons, J. 
 Hill, W. 
 
 Hughes and Denham 
 Hughes, R. and T. . 
 Lister and Co. A. 
 Lloyd, Jun., G. B. 
 Lloyd, G. . 
 
 on and 
 
 Lomas, Fromings, and Sykes 
 Muir, G. W. . 
 
 Mansell, T 
 
 Mason, J. ... 
 Manlove and Alliott . 
 Moseley and Co., J. . 
 Onions, J. C. . 
 Percy, W. C. S. . 
 Piper and Co. . 
 Preston, F. . 
 Quick, J. V. 
 Ramsbotham, J. 
 Reade, Spencer, and Co. 
 Renshaw, G. P. . 
 Robinson and Co., H. 0. 
 Richmond, S. 
 Samuelson and Co. M. 
 Shand and Mason 
 Smith, B. and J. 
 Snowden, F. W. 
 Taylor, T. 
 
 Walker and Hacking 
 Walsh and Co., A. J. 
 Warner and Sons 
 Whitworth and Co. 
 Wright and Co. . 
 Williams, W. . . 
 
 DEPARTMENT FOR CARRIAGES. 
 
 Corben and Sons, Carriage upon 
 improved principles 
 
 Hedges, W., Patent Curriculum . 
 
 Hoadley, A. and S., A Carriage of 
 First-class Manufacture 
 
 Holmes, H. and A., Two Improved 
 Four-wheeled Carriages 
 
 Kinder and Co., Light Dog-Cart 
 Phaeton 
 
 Kesterton, E., A Dog-Cart of Im- 
 proved Construction, with Patent 
 Shaft, &c 
 
 Lenny, C, Carnage of the latest 
 Plan 
 
 Mason, W. H 
 
 Meaden, M., Four-wheeled Car- 
 riage . . . 
 
 Offord and Co., R., A Carriage 
 
 Starey, T. R., Cottage Dog-Cart 
 
 Thrupp and Co., C. J., A Four- 
 Wheeled Carriage 
 
 Tudor, W. H., Barouche, Park 
 Phaeton. . , . 
 
LIST OF EXHIBITORS. 
 
 EXHIBI" 
 
 Boorer, R., Slate Tables in imita- 
 tion of various Marbles 
 
 Cross and Co., J. W., Pails and Pa- 
 tent Fire Engines 
 
 Camolera, M. de, Specimens of 
 Flower Painting on Porcelain 
 
 Kennard and Co., R. W., Cast Iron 
 Gates and Railing made for the 
 Peruvian Government. Vases 
 and Ornamental Castings. The 
 Cast Iron Garden Chairs in the 
 Grounds 
 
 McCrea, H. 
 
 NOT CLASSED. 
 
 Merryweather, M., Fire Escapes, 
 Fire Engines, and Implements . 
 
 Stewards and Co., Statue in Port- 
 land Stone 
 
 Taylor, Mrs. A. M. N., Various 
 Specimens of Sea Weed 
 
 "Wood and J erry, Carved and En- 
 graved Shells .... 
 
 Wilson, J., Statuette in Parian 
 Marble 
 
 Wilkinson, Letitia, a Churn on 
 Stand 
 
 EKADB'jai AND EVANS, PIUK WHIT SFKIAKS, 
 
CROUND PLAN OF CRYSTAL PALACE 
 
 io WOO 0 • . 11 1| ip i ft: ; r ^ °(B (D lC l j P 
 
 t t t -i 4j^-"-jQ- r- 
 J. + | a!x ^ 
 
 — — x -L.__.. — ..j 
 
 <?v :.: 
 
 ° ; 
 
 ofCol, 
 
 jc Mon'ofLysic 
 D TneEquesrdan Stat 
 
 E. Castor | Colossal Equest 
 
 F . Polka./ Grains by S an 
 1 Faruese Hercules 
 
 I J 
 
 I Rubens 
 
 K. Duijuesne. 
 
 M Mode! of ikAboo Sjmbel Tomb 
 
 !J Modelol" tk ftrthenon 
 
 0 Niope Group 
 
 P The E^m Marbles 
 
 ?., Model of .forums Rome. 
 
 S. Model of tie Coliseum at Rome. 
 
 ' Pompaan House . 
 
 2. Sheffield Court . 
 
 5. Mineral Manufactures 
 
 i. Fumitarp. 
 
 5. Carpets. 
 
 7. PaperBangaiJs 
 
 8 Hardware . 
 
 9 Furniture Court 
 
 10 Stationery. 
 
 U English 8c German Sculpture 
 12 . «Rnman & Greek S culpture 
 
 3 . 15 Egyptian Court 
 
 □ 
 
 ENTRANCE FROM THE 
 
 25. Mixed Fabrics Court 
 Z6. Ennfcd . 
 
 27. Musical Instruments 
 
 28. Refreshment Court. 
 
 29 Aboo Simbel Tomb * Colossal Egores 
 
 lusMsson. 
 Lord Chatham. 
 D r Joku,soD . 
 
 U "McoVvai ^Renaissance Sculp tin 
 2'j. FiencbJi' Italian Sculptui'e 
 '& trench Com 
 
Since this Handbook was sent to press some of the 
 objects mentioned have received a new position ; but the 
 numbers upon the objects correspond with the numbers 
 in the book. 
 
 June 2nd, 1854. 
 
I 
 
THE 
 
 PORTRAIT GALLERY 
 
 OF THE 
 
 CRYSTAL PALACE. 
 
 BY 
 
 SAMUEL PHILLIPS. 
 
 CRYSTAL PALACE LIBRARY; 
 
 AND 
 
 BRADBURY AND EVANS, 11, BOUVERIE STREET, LONDON. 
 1854. 
 
BRADBURY AND EVANS, 
 PRINTERS TO THE CRYSTAL PALACE COMPANY, 
 WHITE FRIARS. 
 
PEEFACE. 
 
 The object of the following pages is to extract from the 
 valuable collection of Statues and Busts, that will be found 
 adorning the vast area of the Crystal Palace, some of the 
 interest and instruction which such works, if properly addressed, 
 are certain to yield. Man loots at his own image with a more 
 feeling curiosity than he regards the architectural remains of a 
 city, however ancient, or of any structure, however beautifuL 
 The broad brow of the poet whose works we have read, or the 
 martial air of the soldier whose deeds we have heard, excite an 
 instant desire for more intimate acquaintance with the men ; 
 and such acquaintance can never be formed without lasting 
 advantage to all who are susceptible of instruction. 
 
 The limits of the present small volume have prevented my 
 doing more than record, as briefly as I might, the salient 
 points in the characters of the various personages whose 
 statues and busts constitute the Portrait Gallery of the Crystal 
 Palace ; but I trust sufficient has been done to throw a little 
 light upon the various features which the visitor will contem- 
 plate on his pleasant journey, and to indicate, however indis- 
 tinctly, the universal path which, in life itself, leads to all true 
 greatness. A portrait gallery exhibits the men who have worked 
 their way to eminence. Biography teaches how they travelled 
 the difficult and thorny road. 
 
 b 2 
 
PREFACE. 
 
 The collection of Statues and Busts in the Crystal Palace is 
 necessarily imperfect ; but it begins with a goodly array. It 
 is the intention of the Directors to extend and, as far as the 
 nature of the subject allows, complete it ; and there can be 
 no doubt that we have already the elements of one of the 
 finest portrait galleries in Europe. 
 
 I desire in this place to express my thanks to my friend 
 M. Eegnier, the eminent French comedian, to whose kindness 
 I am indebted for much information in connexion with the 
 French busts. I am also anxious to acknowledge the services 
 of my assistant, Mr. Shenton, who, under severe pressure, 
 has rendered me great help in the collecting and verifying of 
 our interesting materials. 
 
 SAMUEL PHILLIPS. 
 
 Ckystal Palace, 
 June, 1854. 
 
CONTENTS. 
 
 ANTIQUE PORTRAITS. 
 GREEK COURT. 
 
 SOUTH SIDE COURT — 
 
 PAGE 
 
 GREEK POETS AND DRAMATISTS 13 
 
 NORTH SIDE COURT — 
 
 GREEK PHILOSOPHERS, STATESMEN, AND GENERALS . . t 19 
 
 ROMAN COURT. 
 
 ROMAN EMPERORS 29 
 
 AVENUE IN FRONT OF ROMAN COURT 41 
 
 COURT OF THE ROMAN LADIES 43 
 
 COURT OF ROMAN GENERALS AND POETS 46 
 
 THE ITALIAN PORTRAITS — 
 
 INTRODUCTION 54 
 
 ARTISTS AND MUSICIANS 56 
 
 POETS AND DRAMATISTS ........ 69 
 
 SOLDIERS AND STATESMEN . . . . . . . . 76 
 
 PRELATES AND THEOLOGIANS . . . . • • .78 
 
 KINGS AND QUEENS 79 
 
 THE FRENCH PORTRAITS- 
 INTRODUCTION 80 
 
 ARTISTS AND MUSICIANS . . . . • . . . 83 
 
vi CONTENTS. 
 
 PAGE 
 
 POETS AND DRAMATISTS 91 
 
 SCIENTIFIC MEN AND WRITERS 98 
 
 SOLDIERS AND STATESMEN 109 
 
 PRELATES AND THEOLOGIANS 121 
 
 KINGS AND QUEENS .124 
 
 THE GERMAN PORTRAITS — 
 
 INTRODUCTION 134 
 
 ARTISTS AND MUSICIANS . . . . . . .136 
 
 POETS AND DRAMATISTS . . . . . . . . 145 
 
 SCIENTIFIC MEN AND WRITERS 149 
 
 SOLDIERS AND STATESMEN ........ 157 
 
 PRELATES AND THEOLOGIANS . . . . . . .162 
 
 KINGS AND QUEENS . . . . . . . . . 163 
 
 THE ENGLISH PORTRAITS- 
 INTRODUCTION 168 
 
 ARTISTS AND MUSICIANS 169 
 
 POETS AND DRAMATISTS 179 
 
 SCIENTIFIC MEN AND WRITERS . . . . . . 188 
 
 SOLDIERS AND STATESMEN 202 
 
 PRELATES AND THEOLOGIANS . 218 
 
 KINGS AND QUEENS . . 220 
 
INTRODUCTION. 
 
 Portraiture is associated with the earliest attempts at repre- 
 senting living objects, both in sculpture and in painting. Even 
 amongst savages we find resemblances, carved or painted, or both, 
 of the human form, generally grotesque, but always presenting an 
 idea of Art. With the advance of civilization, the demand for 
 portraits increased, as the knowledge of the means available 
 for painting and sculpture improved. Men in authority, or 
 possessed of great wealth, or renowned by deeds of arms and 
 feats of strength, became the first subjects for the art. 
 
 That the Egyptians early practised portrait-painting, is evident 
 from the discovery of mural sculpture, at a date anterior to the time 
 of Rameses, representing painters delineating men and animals, and 
 sculptors carving out of granite the very figures reproduced in 
 another material, in the Egyptian Court of the Crystal Palace. 
 Herodotus records the fact that Amasis sent his portrait painted on 
 wood to Cyrene as a present ; and some portraits of this kind were 
 found in the tombs at Thebes. On comparing the heads of 
 Rameses and Amenoph, several of which are to be seen in the 
 Egyptian court, the individuality of each is at once perceived. 
 Pameses has an aquiline nose and thin lips, while Amenoph has 
 the turned-up nose and thick lips of the African. 
 
 In Clarac's "Musee de Sculpture," are collected many accu- 
 rate engravings of the portraits of the Egyptians contained in 
 the Louvre, which, according to this authority, are all verified, as 
 many as eighty-six of them having their names attached. In the 
 Imperial Library, at Paris, there is a collection of a hundred 
 Chinese portraits of great antiquity. They were brought from 
 
viii 
 
 INTRODUCTION. 
 
 China by the well-known J esuit missionary, Pere Ameot, Pauthier, 
 author of a History of China, refers to these portraits, and considers 
 them to be those of celebrated men and women living at a period 
 long anterior to Confucius. 
 
 Croesus, King of Lydia, had the image of his baking woman 
 set up in gold : and Herodotus has preserved the names of two 
 Argive youths, Biton and Cleobis, who for their piety in drawing 
 their mother, the priestess of Juno, to the temple, when the oxen 
 for her car in a great solemnity did not arrive, had their statues 
 placed by their countrymen at Delphi. 
 
 To the Greeks, indeed, we owe the finest examples of portraits 
 in Sculpture. Their temples, forums, and other public places, as 
 well as their private dwellings, were ornamented with the busts and 
 statues of heroes, kings, poets, orators, and others distinguished 
 by their achievements. Many of these examples have for- 
 tunately been rescued from destruction, and preserved to the 
 present time. 
 
 The Romans, although not themselves, either by the gift of 
 Heaven, or by their own tastes, artists, were great patrons of art. 
 Many a rich Roman citizen had the court of his house converted 
 into a kind of forum, which he adorned with his favourite por- 
 trait statues. From the precious ruins of Ancient Rome — from 
 her temples, palaces, villas — countless statues and busts have been 
 dug out. Her tombs also were furnished with portraits, busts, and 
 statues, recumbent, or in other postures. 
 
 In all times, and in all countries, we note a desire to perpetuate 
 the memory of the dead ; and the pious as well as humane inten- 
 tion was carried out in various ways. The Egyptians enclosed 
 their mummies in wooden and stone cases, carved and painted in 
 order to resemble, more or less, the inhabitant within. The 
 tombs of Etruria are usually surmounted by a half recumbent 
 statue, which although but rudely representing the features and 
 attitude of life, clearly reveal the intention to produce a portrait 
 of the deceased person, but never — which became the custom in after 
 ages — as though he were dead. 
 
 From the employment of sculptured portraits upon the monu- 
 ments of the dead, and from the use of other images in the 
 funeral rites, such representations came to be called "busts," 
 
INTRODUCTION. 
 
 ix 
 
 from the Latin word Bustum, signifying a tomb, or rather place 
 where the burning of the body took place. Since the majority 
 of persons conld not afford a statue, the less expensive memo- 
 rial, consisting of the head and shoulders, was the more 
 generally adopted ; and hence the name now current amongst us. 
 
 Portraits played a still more important part in the economy 
 of the ancient Romans. Images, or rather masks, made in 
 wax and representing their ancestors, were kept by the Romans 
 in the vestibules of their houses, placed in cases formed like 
 temples, and there constantly exposed to the notice of the 
 family and of visitors. When a member of the family died, 
 these masks were worn by the friends who assisted at the funeral, 
 as were the dresses and robes of office belonging to the ancestors 
 whom they personated. After the ceremony, the images w ere faith- 
 fully restored to their sanctuaries in the vestibule. 
 
 Another use of portraiture was originally peculiar to the Greeks, 
 but it became subsequently adopted by other nations. We refer 
 to the practice of painting upon a metal shield the portraits of a 
 family — often with the father in the centre — and of hanging it up 
 as sacred to the gods. There are similar portraits extant, in terra- 
 cotta, of Demosthenes in exile at Calauria, and of Thales. The 
 ancients also painted portraits on wood in encaustic, and some 
 portraits formed in mosaic still exist. 
 
 In proportion to the growth of luxury, and to the development 
 of the arts, do we find the increased employment of portraiture. 
 Every kind of work was decorated with a portrait. This was 
 especially the usage of the Greeks under the successors of Alex- 
 ander, at Alexandria, Antioch, and Pergamus ; and with the 
 Romans, towards the close of the Republic, and under the 
 Emperors. 
 
 Engraved stones of seals and rings are exceedingly valuable in 
 enabling us to identify antique busts and statues ; their hardness 
 having preserved them from injury. Very frequently they give 
 the impression of being most accurate portraits. In the Greek Court 
 is a large collection of casts of these extremely interesting works, 
 which merit careful examination. Many of the heads are won- 
 derfully beautiful — far surpassing in execution any similar work of 
 the present time. 
 
X 
 
 INTRODUCTION. 
 
 In like manner the portraits upon coins, being connected with 
 writing, have been most useful in contributing to the knowledge and 
 naming of antique busts and statues. Of these illustrations also, 
 the visitor is enabled to study a very complete series from very 
 early times. 
 
 The universal taste for portraiture exhibited by the ancients, and 
 the encouragement to art which the vast wealth of many enabled them 
 to afford, soon led to the formation of a gallery of portraits in every 
 house of importance. Such a gallery contained portraits, both 
 sculptured and painted, of great men in art, science, letters, and 
 arms, and was called " The Pinacotheca." The desire to render 
 such a collection as complete as possible, led to the production of 
 an infinite number of copies from those originally taken from the 
 life : just as with us, houses are adorned with plaster-casts of the 
 busts of Wellington, Shakspeare, and Milton. 
 
 It will now be understood how it has happened that so large a 
 number of portrait-busts have remained to us from antiquity. 
 Unless they had been multiplied in the manner described, the acts 
 of ignorance and the accidents of time would have effaced all 
 record of the features and aspect of the good and great in ancient 
 story. Most of the works, executed in metal, were melted down 
 and converted into money. One valuable mine, however, was 
 happily discovered in the ruins of Herculaneum, completely preserved, 
 and was removed to the Museum at Naples, where it still exists. 
 Of several, so recovered, we possess fine copies in the Crystal Palace. 
 
 During the reign of Hadrian in Home (a.d. 120), art enjoyed a 
 revival — a Medicean period. A multitude of works of every kind 
 were produced, and portraiture was carried to its height through the 
 very zealous loyalty to which sculptors gave way, in their desire to 
 flatter their imperial and magnificent patron, by representing the 
 members of his family as so many gods and goddesses. The like 
 encouragement was afforded under the dominion of Antoninus 
 Pius (a.d. 140), and his adopted son, Marcus Aurelius ; followed, 
 unfortunately, by the destructive propensities of the odious 
 Commodus, who would have limited portraiture to the repre- 
 sentation of his own face. 
 
 We see the first efforts of portraiture in Christian art, in the 
 representations — sculptured and painted — of saints in the early 
 
INTRODUCTION. 
 
 xi 
 
 ages of the faith. Some examples of these will be found in the 
 Byzantine and Mediaeval Courts. A certain conventional form 
 was adhered to in all these works, in which we remark especially 
 a general elongation of the face and features, as if the aim had 
 been to impress upon them the natural effects of emaciation from 
 penance and fasting, the body and limbs being also subjected to 
 the same treatment. The eyes are always almond-shaped, half 
 closed, and sloping upwards from the nose. The portraits of 
 Justinian, Theodora, Nicephorus, and Charles the Bald, on the 
 facade of the Byzantine Court, bear evidence of their authenticity. 
 
 In forming our idea of an individual portrait painted in the 
 early Christian period, we must never forget to allow for the 
 formalities by which an artist of that time was inexorably 
 directed. Statues and pictures were then produced (as indeed 
 they are to this day by the monks of Mount Athos,) in accordance 
 with rule and system — a sort of holy heraldry. At the time of 
 which we now speak, we trace no general and popular use of portraits, 
 such as we observed amongst the ancients, although they were still 
 to be found in the hands of the most wealthy and cultivated. These 
 were of an expensive kind, in mosaic and in miniature painting, 
 the latter style being frequently employed when a valuable manu- 
 script or missal was copied for presentation, and a portrait of the 
 author or donor was usually painted upon it. 
 
 Mediaeval portraiture shows a considerable advance upon the 
 Byzantine, but is still inferior to the antique and to the portraiture 
 of our own time. It was confined, almost exclusively, to monu- 
 mental effigies, in which the artist was constrained to present the 
 lifeless form, in the stiffness of very death — whether sleeping the 
 sleep of eternal peace, or kneeling in the attitude of prayer. Some of 
 the finest examples are to be seen in the Mediaeval Court : of 
 these more than one are doubtless portrait-statues of the time. 
 The same may be said of some of the effigies of the Knights 
 Templar, which exhibit great individuality, having been executed 
 in a very hard kind of marble, that has well retained the features 
 originally carved out of it. Busts of this period are exceedingly 
 rare ; inasmuch as portraiture of the kind was not in accordance 
 with the religious feeling of the age. We must be content to 
 take the effigies of mediaeval art as portraits of the time ; treated, of 
 
xii 
 
 INTRODUCTION. 
 
 course, after certain conventionalities, but nevertheless truthful and 
 most interesting. 
 
 The art of portraiture revived under the creative genius of 
 Giotto and Orcagna, and of the great men of the Renaissance — 
 Domenico Ghirlandaio and Giovanni Bellini — until it reached the 
 highest dignity and beauty in the superb works of the mightiest of 
 the mighty Italians — Michael Angelo, Raffaelle, and Titian. The 
 most remarkable portraits of this period are paintings, and are there- 
 fore not to be found in large numbers in the Crystal Palace. In the 
 beautiful gallery, however, of copies from the old masters, will be 
 found several fine examples. In the Renaissance and Mediaeval 
 Courts, will be seen some of the statues from the tombs of 
 Maximilian and Albert of Saxony — the finest portrait-statues of 
 their kind. In the Italian Court, too, there are the immortal monu - 
 mental statues of the Medici, and a superb bust of Cosmo de' 
 Medici by the inimitable Cellini. 
 
 The antique statues and busts described in the following pages 
 are from 
 
 The Vatican, at Rome, 
 The Capitoline Museum, 
 The Naples Museum, 
 The Florence Gallery, 
 The Louvre, 
 The Berlin Museum, 
 The British Museum. 
 
THE PORTRAIT GALLERY. 
 
 ANTIQUE PORTRAITS. 
 
 GrEEEK COTJET.— South Side-Cottrt. 
 
 POETS AND DRAMATISTS. 
 
 * 1. Homes. Great Epic Poet of Greece. 
 
 [Born, probably b.c. 850. Place of birth unknown.] 
 A majestic antique Bust. The kingly and venerated Patriarch of all Poets, for 
 the western civilization — or, the sound of a Name ! The two wonderful poems 
 which bear down this name — whatever signifying — through the lapse and revo- 
 lutions of time, preserve, as it were, the image of an extinct world : although 
 of a world, perhaps less than half real, and more than half ideal : — for the 
 manners were : the persons and events may, or may not have been : and the 
 gods and goddesses of the " Iliad" and the " Odyssey" were, we know, only 
 a believed-in, waking dream. But, by the potency of the song, the picture 
 lives ! The war, imaginary or no, raging between the Hellespont and the 
 
 * The objects forming the Portrait Gallery in the Crystal Palace, are numbered in 
 ed figures throughout. 
 
14 
 
 PORTRAIT GALLERY. 
 
 foot of Mount Ida, remains, to the educated memory of the nations, like the 
 beginning — if not of the world's, yet of its western half's — history. And 
 those heroes and heroines, with their high actions and their deep passions — 
 the unrolling, embroidered web of their fortunes and fates : — the king of 
 men, Agamemnon, — the swift-footed son of the sea-goddess, Achilles, — the 
 sage, long-lived Nestor, — the shrewd, enduring Ulysses, — Ajax, a tower in 
 the fight, — Diomed, favoured of Minerva present beside him in the storm 
 of spears ; — and that grey-headed, imperial sire of Troy, with all his falling 
 sons, Priam, — the gallant and good Hector, — the loving and faithful Andro- 
 mache, — the aged, too fruitful mother, Hecuba; — even the fatal and 
 criminal, but divinely beautiful Helen — Is it not a strange magic that 
 dwells in the creative thought of the poet, and in his modulated words, 
 and that thus, in a language, and with manners, a faith, an age — all so long 
 since dead and gone — can, as if reviving all, render those Shadows, to us — now, 
 here — the earliest objects of a wondering and aspiring enthusiasm : — the 
 first enkindlers in our bosoms of that glowing, intense, comprehensive, and 
 intelligent sympathy, which transports us out of the central self, and beyond 
 the close-drawn horizon of our own particular life, to feel the conditions and 
 to understand the spirits of all our fellow men ? Let the theory be true, 
 which denies to these incomparable works an individual author — which 
 supposes them woven together of many songs, first sung in many places, by many 
 singers ; let the benignly august, fillet-bound head before us, be — that which 
 only at last it can be — a conjecture of the Grecian chisel ;— -we see at least 
 here how the consummated art of sculpture has chosen to express, in corpo- 
 real form, the one soul of power which animates those immortal twins of 
 poesy. We see in what shape of a human head, crowned with its own 
 irradiations, the fountains of all song might have sprung. We see what the 
 living and wandering minstrel of Greece, beloved and honoured wheresoever, 
 in hall or on green, he and his harp came, — what the individual Homer, for 
 whose birth seven cities contended, and whom in the after-day the land 
 numbered amongst her half-divine and worshipped heroes — would have 
 been : — or, was ! 
 
 [Although modern antiquaries agree with Pliny that busts of Homer are 
 apocryphal, yet there can be no doubt this is the true Greek conventional 
 portrait of that poet. A headless marble was dug up inscribed with his name 
 and shortly afterwards the head itself was found in the same hole, and 
 it fitted precisely to the marble previously discovered. The bust, so found, 
 is now in the Naples Museum. The same head is constantly found in other 
 representations of the ancient poet. The head is bound with the "stro- 
 phium," an ornament given by the Greek artists to their gods and heroes. 
 The attitude of the head would seem to express the blindness with which 
 Homer, according to tradition, was afflicted. This bust is from the marble 
 in the Stanza dei Filosofi of the Capitoline Museum, Rome.] 
 
 2. Aechilochus. Greek Poet. 
 
 [Born at Paros, about B.C. 700. Killed in battle, about B.C. 635.] 
 
 A satirical poet of great renown, whose acrid pen spared neither friend 
 nor foe. A writer also of licentious verse. Fragments only of his compo- 
 sitions have come down to us. To him is attributed the invention of the 
 Iambic measure, and he shares with Thaletas and Terpander the honour of 
 establishing lyric poetry in Greece. The victors in the Olympic games were 
 accustomed to sing one of his hymns in their triumphal procession. The 
 countenance of his statue denotes impudent boldness. 
 
 [The two early poets united : a mode of portraiture adopted by the Greek artists 
 
GREEK COURT — ANTIQUE PORTRAITS. 
 
 15 
 
 when two celebrated men were of the same country, and of kindred pursuits, 
 as Herodotus and Thucydides, parallel historians; Metrodorus and Epicurus, 
 philosophers of the same sect (see No. 20). This double terminal or Janus 
 was found at Rome on the Celian Hill : it is now in the Vatican. The ends 
 of the noses are modern, as are some other parts in the Homer. That 
 portraits of Archilochus existed so long after his death is proved by the 
 existence of an inscription in the Analecta of Thucydides written for his 
 portrait.] 
 
 2a. Homer. Great Epic Poet of Greece. 
 [For life see No. 1.] 
 
 3. iEsop. Writer of Fables. 
 
 [Born in Phrygia, about b.c. 620. Died about B.C. 560.] 
 The reputed author of the fables to which his name has been for 
 centuries attached. According to the general account, he was originally 
 a slave, and gained much notice for his wit, and especially for his talent of 
 communicating useful maxims in the form of apologues. His talent pro- 
 cured him favour at the court of Crcesus. He is said to have been thrown 
 from the top of a rock and killed, by the priests of Delphi. His fables, at 
 first preserved by tradition, were at a later period converted into Greek 
 and Latin verse by Babrias and Phsedrus. We have them in Greek x*rose, 
 told naturally and in the utmost simplicity. In stature iEsop is described 
 as small and hump -backed, with a prominent stomach and pointed head, 
 yet the intellectual expression of his countenance is not that usually given to 
 dwarfs. 
 
 [From the very remarkable half-figure in marble in the Villa Albani, at Rome ; 
 the whole of which is of great antiquity. It has been maintained that iEsop 
 was not deformed, inasmuch as the circumstance is not mentioned by writers, 
 before the time of the Greek monk, Planudes Maximus. There are, how- 
 ever, traditions affirming his deformity, and Plutarch, in his Feast 
 of the Sages, makes him sit upon a low stool at the feet of Solon. The 
 countenance has a thoughtful and elevated expression. Lysippus sculptured 
 the portrait of iEsop to be placed amongst the sages of Greece at Athens. 
 Phsedrus refers to this work, and the celebrity of the man is fixed by the 
 fact that the court sculptor of Alexander employed himself upon his statue.] 
 
 4. Homer. Great Epic Poet of Greece. 
 
 [From the marble. Once in the Capitoline Museum ; now in the Louvre.] 
 
 5. Epimenipes. Poet and Prophet of Crete. 
 
 [Flourished about b.c. 596.] 
 St. Paul in his Epistle to Titus (i. 12) is supposed to allude to Epimenides. 
 But little more than his name and existence are known, apart from tradition. 
 About b.c. 596, he was invited to Athens, in order to stay the plague brought 
 upon the city by an impious outrage committed by Cylon, one of the Athenian 
 rulers, on the altars of the Acropolis. Succeeding in arresting the pestilence, 
 he augmented his already great fame — but he refused any other reward 
 beyond the goodwill of the Athenians in favour of the inhabitants of Gnossus, 
 where he dwelt. He was a native of Crete. 
 
 [From the marble in the Vatican. One of the conventional portraits of the 
 ancient Greek poets. The closed eyes are to represent the sleep which 
 tradition says he fell into for fifty-seven years.] 
 
 6. JEschyltjs. Tragic Poet. 
 
 [Born at Eleusis, in Greece, b.c 525. Died at Gela, in Sicily, B.C. 456. Aged 69.] 
 The founder of Greek tragedy as it existed in its greatness. He intro- 
 
16 
 
 PORTRAIT GALLERY. 
 
 duced a second actor upon the scene, and gave dramatic interest to his act, 
 by rendering dialogue the most important element in the play. He 
 improved the masks and dresses of the actors, and raised the character of 
 the choral dances. The scenes painted under his direction were, it is' said, 
 the first in which the idea of perspective was maintained. Sublimity and 
 magnificence characterize the style of his tragedies, in which the action 
 and plot, with an unparalleled simplicity of structure, move on, in com- 
 manding and stern strength, to their catastrophe ; supported by grand 
 imagery, with diction wrested to the height of energy and solemn passion. The 
 characters drawn by iEschylus are as lofty as the language which they speak. 
 We almost yearn for the simple voice of Nature as we listen to the sustained 
 thunder-tone of this great master. His mind seems ever attuned for dis- 
 course with the Gfods ; yet in the "Prometheus," though dealing with a 
 demigod, he describes with awful power, human suffering and human passion 
 in its saddest and most thrilling aspect. The family of iEschylus were 
 remarkable for their valour, and he himself fought bravely at Marathon 
 and Salamis. He was an actor in his own plays. 
 
 [From the marble in Stanza dei Filosofi, of the Capitoline Museum, at Rome.] 
 
 7. Sophocles. Tragic Poet. 
 
 [Born at Colonus, in Attica, about B.C. 495. Died probably at Athens, B.C. 405. 
 Aged 90.] 
 
 In Sophocles, iEschylus found a rival and a conqueror. When Cimon 
 (b.c. 468) returned from the Isle of Scyros, with the ashes of Theseus, the 
 first play of Sophocles (" Triptolemus ") was preferred to the composition of 
 iEschylus, who in chagrin retired to Sicily. From this time Sophocles 
 stood alone, until he, in his turn, met a successful rival in Euripides. In 
 440, he produced " Antigone," for its calm beauty, and the pure picture of 
 heroic, feminine self-devotion, one of the finest antique tragedies extant, and 
 the occasion of his promotion through the favour of Pericles. In the person 
 of Sophocles was represented the ideal of Greek perfection. He was very 
 beautiful ; he excelled in gymnastics, music, and dancing ; in temperament 
 he was calm and contented ; in disposition kind and cheerful ; he had a 
 ready wit, a serene piety, and intellectual grandeur. His tragedies have an 
 advantage over those of iEschylus, in being essentially human ; they appeal 
 to the feelings of an auditory, and are written in a less magniloquent style 
 than that of the .sublime father of Greek tragedy, — to whom, however, 
 Sophocles lay under the obligations of a pupil to his instructor. Both are 
 profound masters of their art. 
 
 [This bust is from the Capitoline Museum, and is identified by another in the 
 Vatican — found in 1778 — on which all the letters of the name remained, 
 except the SO. It was for a long time called Pindar,* because of the 
 inscription ; Bottari has proved it to be Sophocles, whom it completely 
 resembles. Compare the Lateran statue, No. 325, standing in the great 
 Transept, near the monument of Lysicrates.] 
 
 *. Pindar. Greek Poet. 
 
 [Born probably at Thebes, about B.C. 522. Died there, about B.C. 442. 
 Aged about 80 years.] 
 
 The most famous lyric poet of Greece. Sent at an early age to Athens^ 
 he became the pupil of Lasus. He sung the victors in the Olympic, 
 Nemsean, Pythian, and Isthmian games, — the great festivals of assembled 
 Greece. Forty-five of these odes of triumph are all that have descended to 
 
GREEK COURT — ANTIQUE PORTRAITS. 
 
 17 
 
 us ; they are characterized by great boldness of style, spirit, and trumpet- 
 toned enthusiasm, but the brilliant diction does not escape obscurity ; and 
 the modern student often follows with difficulty the excursive wing of 
 "The Theban Eagle," through the wide regions of Hellenic mythology. 
 Pindar's earliest extant work was written in his twentieth year. He is 
 described as a man of strong religious feelings, and a devout worshipper of 
 the gods. 
 
 8. iEsCHiNES. Greek Orator. 
 [Born in Attica, about b.c. 3S9. Died in the Isle of Samos, B.C. 314. Aged about 75. j 
 One of the greatest Greek orators. Was at the battle of Mantineia (b.c. 
 362), and distinguished himself at the battle of Tamynte in Euboea (b.c. 358). 
 Afterwards entered into political life, and became a partizan of Philip of Mace- 
 donia. Accompanied Demosthenes on two embassies to Philip, and was accused 
 by Demosthenes of betraying the interests of the state to that monarch. The 
 speech of his accuser and his own admirable defence are extant. His last great 
 public act was the prosecution of Otesiphon for illegally proposing to present 
 Demosthenes with a golden crown for his services to the state. Demosthenes 
 defended the accused, and the speeches of the two orators delivered on this occa- 
 sion are also preserved. The prosecution failing, iEschines at once went into 
 exile (b.c. 330). As a popular leader and orator worthy to be called the rival of 
 Demosthenes. He lacked the vehement passion and powerful invective of 
 that consummate master, but his lucid arrangement, his facility and per- 
 spicuity, have never been surpassed. 
 
 [For an account of this statue, so long called Aristides,* see Handbook to 
 Roman Court and Nave, No. 326.] 
 
 * AEISTIDES. Athenian Patriot. 
 
 [Born (uncertain). Died about B.C. 468.] 
 His unbending integrity procured him the title of "The Just." "Was 
 at the battle of Marathon (b.c. 480), where he fought bravely. Opposed to 
 the extreme democratical party in Athens, headed by Themistocles, by 
 whose influence he was banished (about B.C. 483). He was still in exile at the 
 time of the sea-fight of Salamis (b.c. 482), but he raised a band, and fought 
 for his country in this battle. Recalled by the Athenians from banishment, 
 and commanded their army at the battle of Platsea (b.c. 479). His sense 
 of justice spotless : his self-denial unimpeachable. At his death he was 
 very poor, although he had borne the highest offices of the State. The 
 Athenians became more virtuous from the contemplation of this bright 
 example. It is related that in the representation of one of the tragedies of 
 JEschylus, a sentence was uttered in favour of moral goodness. The eyes cf 
 the audience turned involuntarily and at once from the actor to Aristid.es. 
 
 9. Eubipides. Greek Poet. 
 
 [Bom at Salamis, B.C. 480. Died in Macedonia, b.c 406. Aged 74.] 
 The father of Euripides, putting his own interpretation upon the oracle 
 which promised that his son should be crowned with " sacred garlands," had 
 him carefully trained in gymnastic exercises, and whilst yet a boy Euripides 
 won the prize at the Eleusinian and Thesean games. But the lad was soon 
 allured from physical sports, by the fascinations of philosophy and literature. 
 He became the ardent pupil and friend of the philosopher Anaxagoras, and 
 the instruction thus derived is visible in many of his productions. At the 
 
 c 
 
18 
 
 PORTRAIT GALLERY. 
 
 age of 18, Euripides wrote his first tragedy. He gained the first prize B.C. 
 441, and continued to exhibit his plays until within two years of his 
 death. He died in Macedonia, and is said to have been torn in pieces 
 by the dogs of the Macedonian king. Twenty of his plays are extant. 
 Like Anaxagoras, Euripides was of a serious temper, and averse to 
 mirth. He was intimate with Socrates, and the contemporary of Herodotus, 
 Xenophon, Thucydides, Pindar, Aristophanes, iEschylus, and Sophocles. To 
 assign him his poetical rank we must look back. In the three great Attic 
 tragedians we trace a natural progress of their theatre. In iEschylus, the 
 stage appears attracted with predominant force to the high mythological ideas 
 which it arose to embody : the muse stalks sublimely above the heads of men. 
 In Sophocles, the art tempers and adjusts, with admirable equipoise, the 
 superhuman and the human element ; the spirits and hearts of men are more 
 closely approached by the poet, still overshadowed by the heroic and the 
 divine. In Euripides, although the story which he represents is still drawn 
 from the same source of divine and heroic fable, the sympathy with passions, 
 events, interests, and sufferings, incident to humanity, prevails in excess. 
 With him, amidst strewings of beautiful poetry, and whilst penetrated with 
 strokes of singular pathos, we too much feel that we step on our own daily 
 and common earth. We miss the elevation of an art which should, in 
 reflecting ourselves, lift us above ourselves : as we have experience in 
 our own Shakspeare. Sophocles said that 1 i he himself represented men as 
 they ought to be, but Euripides as they are." 
 
 [This bust is verified by another in the Louvre, and one in the Naples Museum, 
 which has the name of Euripides engraved on the breast. There is also a 
 cameo of exceeding beauty in the Louvre, on which we find the same head. 
 Portraits of Euripides were common at Athens, and even as late as the 5th 
 century his statues were to be seen at Constantinople. A small seated 
 statue of Euripides will be found in the Bas-relief Gallery, No. 215. It is 
 inscribed with his name, and has a list of his plays, upon the slab which 
 supports the statue. See Handbook to Greek Court, No. 215.] 
 
 10. Aratijs. Astronomer. 
 
 [Flourished about B.C. 270.] 
 A fellow-countryman of St. Paul, who quotes one of his works in his 
 address to the Athenians. Called to the Court of Antigonus Gronatas, King 
 of Macedonia. He there pursued physics, grammar, and philosophy. He 
 also versified two astronomical treatises by Eudoxus. There are many 
 errors with much want of precision in the descriptive portions of these works, 
 proving the poet to have been neither a mathematician nor an acute 
 observer. As a poet, Aratus was hardly more eminent. He is wanting in 
 originality and poetic feeling ; yet his verses obtained popularity both in 
 Greece and Rome. 
 
 [The well known head, representing, as it is supposed, the Poet of the Stars, in 
 the attitude of viewing the heavens. The same head is found on medals, of 
 which the best is preserved in the Hunterian Museum of the College of 
 Surgeons, London.] 
 
GREEK PHILOSOPHERS, STATESMEN, etc. 
 
 19 
 
 GREEK COURT.— North Side-Court. 
 
 GREEK PHILOSOPHERS, STATESMEN, AND GENERALS. 
 
 11. Bias. Greek Philosopher, 
 
 [Born at Priene, in Ionia. Flourished, it is believed, about the middle of the Sixth 
 
 Century B.C.] 
 
 One of the Seven Sages ; and of the four to whom alone the title was 
 universally conceded : the remaining three being Thales, Pittacus, and 
 Solon. His profession was that of an advocate ; his philosophy was prac- 
 tical — the fruit of experience. Many of his sayings and doings have been 
 recorded. He died at a very advanced age. 
 
 [From the marble in the Vatican, which bears his name and the motto : — 
 OI nAEHTOI 
 
 AN©pnnoi 
 
 KAKOI. 
 
 " The majority of men are bad." 
 A curious mistake of the engraver is observable in the word IIPHNEY5, 
 in which the I is omitted ; it should have been IIPIHNET2, the name of his 
 birth-place. This bust was found at Tivoli, with that of Periander, No. 29.] 
 
 12. Thucydides. Greek Historian, 
 
 [Born at Athens, B.C. 471. Died (place uncertain) b.c 395. Aged 76.] 
 This great historian, holding military command in Thrace, suffered 
 Amphipolis to be surprised and taken by the Spartan general, Brasidas ; and 
 for this misfortune was banished by his countrymen during the space of 
 twenty years. It would have been a greater misfortune for the world had 
 Thucydides proved a warier soldier ; for it was during his exile, that he 
 collected with infinite care the materials of his immortal history. That 
 history chronicles, in eight books, the events of twenty out of the twenty- 
 seven years of the Peloponnesian War : — a record of most interesting facts. 
 Where political and moral observations occur, they reveal great knowledge 
 of human character and motives. The style is pregnant, precise, and 
 severely simple. Demosthenes is said to have copied the entire history many 
 times with his own hand as a lesson of composition. The principal actors 
 in the war were the historian's books of reference. As an historical monu- 
 ment the work is matchless. It has been always believed that Thucydides 
 came to a violent end, but it is not known whether he died at Athens, or in 
 Thrace. 
 
 13. Socrates. Philosopher, 
 
 [Born near Athens, b.c. 468. Died at Athens, B.C. 399. Aged 69.] 
 One of the greatest names in ethics, philosophy, and religion before the 
 Christian era. It was the belief of Socrates that he was specially charged 
 by the Deity to awaken moral consciousness in men. He had no school, neither 
 did he, like the sophists of his time, deliver public lectures. But he 
 stood in the market-places, or entered the work -shops, or visited the 
 schools, in order to teach the people his ideas respecting the scope 
 and value of human speculation and action. Aristophanes, the comic poet, 
 ridiculed and misrepresented the philosopher, who proceeded, neverthe- 
 
 c 2 
 
20 
 
 PORTRAIT GALLERY. 
 
 less, with undaunted perseverance. After the banishment from Athens of 
 the 1 'Thirty Tyrants," Socrates was impeached for corrupting the youth, and 
 despising the tutelary deities of the state. He was condemned, and, prefer- 
 ring death to acknowledging, by a supplication for pardon, that he deserved 
 punishment, he swallowed poison. Whilst the cruel draught was per- 
 forming its work, he developed the grounds of his immovable conviction 
 of the immortality of the soul, and with his very last breath pointed 
 to a future state, as the true recovery from impurity and disease. 
 He left no writings behind him. We derive our knowledge of his doc- 
 trines and character, mainly from his illustrious disciples, Xenophon 
 and Plato. He effected a grand revolution in philosophy, for he first 
 connected with Supreme intelligence, the attributes of goodness, justice 
 and wisdom, and the idea of direct interposition in human affairs, and 
 recalled Reason from vain disquisitions, to the questions which come home 
 to the business and bosoms of men. In person, Socrates was said to resemble 
 the god Silenus. His looks were as repulsive as his life was irreproachable 
 and perfect. His peculiar method of teaching, since called the Socratic, 
 was, by a series of artfully contrived questions, to draw out from the 
 mind of his colloquist the truths which lay unconsciously embosomed there, 
 or to entangle proud and false reasoning in self-confutation. 
 
 [A countenance so little expressive of wisdom and goodness, that it might be 
 mistaken for that of a Silenus, whom he also equalled in the almost deformed 
 rotundity of his figure. But this bust, which is from that in the Louvre, 
 and an exceedingly fine work, has been proved to be a portrait of him by its 
 close resemblance to the other busts of the same subject, and to that in 
 particular in the Farnese Collection which bears his name, and the motto 
 which Plato gives him (Criton). Busts and cameos of Socrates are 
 numerous. No. 13a is from the Stanza dei Filosofi of the Capitoline Museum ; 
 it is inferior to the first described. ] 
 
 13a. Soceates. Philosopher. 
 
 14. Hippoceates. Physician. 
 
 [Born at Cos, in the ^Egean Sea, about B.C. 460. Died about 357. Aged 104.] 
 The great fame acquired by Hippocrates, would seem to have been won 
 by a steadfast adherence to the sagacity of common sense. He had no 
 chemical knowledge, and his acquaintance with anatomy appears to have 
 been scanty and uncertain ; yet, knowing how to turn a rare experience to 
 account, and confining his operations mainly to the watching and assisting 
 of Nature, he succeeded in obtaining credit for superhuman skill. His 
 nephew, who is reputed to have possessed almost equal merit with his 
 uncle, was murdered in a fit of jealousy, by Hippocrates, who shortly after- 
 wards fell a sacrifice to the torments of remorse. A great number of works 
 are extant under his name, but most of them were written by his disciples. 
 [From the marble in the Louvre, which has been verified by a medal bearing the 
 
 name of Hippocrates, and showing a perfect resemblance to the head. 
 
 There are several busts of Hippocrates in existence— one in the Capitoline 
 
 Museum, another at Florence, and two in the Louvre.] 
 
 15. Isoceates. Rhetorician. 
 
 [Bom at Athens, B.C. 436. Died B.C. 33S. Aged 98.] 
 It is said that Isocrates was the first man to describe the true value and 
 objects of oratory. His language is the purest Attic ; his style, which he 
 elaborated with great pains, elegant and polished. As teacher of rhetoric, 
 he became the instructor of the chief youths of his time. He composed 
 
GREEK PHILOSOPHERS, STATESMEN, etc. 
 
 21 
 
 several discourses on great political occasions, and amassed considerable 
 wealth. He had throughout life a constitutional timidity, and a weakness of 
 voice that prevented him from speaking in the assemblies of the people. 
 Socrates had been one of his masters. His character appears to have been 
 spotless. 
 
 [From the bust in the Villa Albani at Rome, bearing the name of Isocrates. A 
 statue of him was sculptured by Leochares for the temple of Eleusis, and 
 another is described by Pausanias as in the temple of Jupiter Olympius, 
 which statue is spoken of by Christodorus, as being at Constantinople in 
 his time.] 
 
 16. Plato. Greek Philosopher. 
 
 [Born at Athens, B.C. 430. Died B.C. 347. Aged 83.] 
 The most illustrious amongst the disciples of Socrates. The doctrines of 
 the great teacher have descended to us chiefly through the writings of this 
 eloquent hearer. Whence, a singular and inextricable conflict. The sturdy, 
 keen, practical plain sense of the master, and the soaring, brilliant 
 imagination, and subtly-dividing wit of the pupil, have come down to us 
 mingled ever in the same composition. In these extraordinary dialogues, 
 which display the spoken Greek of Athens in its utmost purity, beauty, and 
 melody, how much is Plato's ? — how much is of Socrates ? The two busts 
 may go as far as any other authorities, in affording the almost discretionary 
 reply. The lip on which, whilst in the cradle, tradition says that the bee 
 settled — signifying the sweetness of the speech which should flow from it — 
 is before us, in part of the answer. Plato was, in his earlier life, a poet, but 
 gave his poetical compositions, amongst which are mentioned an epic poem 
 and a tragedy, to the flames. He excelled in bodily exercises, being distin- 
 guished as a wrestler. He travelled much in the quest of knowledge. 
 Like his illustrious preceptor, he taught that wisdom, under which we must 
 comprise goodness, is the attribute of the Gfodhead, — that philosophy is an 
 intellectual necessity, and, as the fountain of virtue, which it thus includes, 
 the most estimable of all the goods within the reach of man. Abstruse and 
 sublime, seeking to rest science and morals on an immutable basis, Plato 
 trains the intellect more than he teaches. In reading his writings, we enter 
 the Socratic school as hearers, as disputants. The Socrates, who constantly 
 leads the discussion, is rather the presiding Spirit, than the Man. We come 
 out, whatsoever else, worshipping students of the True, of the Fair, of the 
 Gfood. 
 
 [From the very beautiful little bust in the Florence Gallery. He wears the 
 " strophium " as a mark of his great honours. This bust possesses a great 
 claim to authenticity, on account of the name being deeply cut upon it in 
 Greek letters of the antique form. There is a similar bust in the Naple-i 
 Museum, of the same size, and inscribed with the name of Plato.] 
 
 17* Axtistiiexes. Philosopher. 
 
 [Date and place of birth unknown. Died at Athens. Aged 70. J 
 He is the founder of the Cynic philosophy and flourished about b. c. 375. 
 He taught the love of poverty and labour, the renunciation of all the plea- 
 sures and conveniences of life, and contempt for everything but virtue, in 
 which only he allowed true happiness to consist. It is said that Antisthenes 
 left more books than scholars. But Socrates was his friend and Diogenes his 
 pupil. His countenance did credit to his creed : it was severe, and looked 
 the more terrible from his dishevelled hair and hanging beard. He taught 
 
2-2 
 
 PORTRAIT GALLERY. 
 
 in the Gymnasium at Athens, called Cynosarges ; and hence the name of his 
 school — the Cynic. 
 
 [From the marble in the Vatican. It was found in the ruins of Hadrian's Villa, 
 and is of great beauty. It resembles another bust in the Vatican, which 
 was found in the villa of Cassius at Tivoli, but which is of less merit, except 
 that it bears his name. The portrait agrees precisely with the descriptions 
 given of Antisthenes by the ancients.] 
 
 18. Diogenes. Philosopher. 
 
 [Born at Sinope, in Asia Minor, about B.C. 412. Died at Corinth, B.C. 323 or 324. 
 Aged 90.] 
 
 Having "been detected with his father, a banker, in some dishonest 
 transaction, Diogenes went to Athens, where he became the pupil of Anti- 
 sthenes, and adopted the Cynic philosophy. He carried his contempt for 
 riches and the usages of society to an extravagant excess. He subsisted on 
 charity, and slept where he could. Some doubt is thrown upon the story of 
 his living in a tub. He said that all the vicissitudes of fortune which 
 Constitute tragedy, had been realized in him, but that patience had raised 
 him above them all. When advanced in years he was taken by pirates to 
 Crete, and there sold as a slave. Regaining his freedom, he revisited 
 Athens and Corinth, and in the last-named city had his memorable 
 interview with Alexander the Great. He inculcated morality, but despised 
 intellectual pursuits. His disposition was kind and humorous, though his 
 statue has an acute and caustic countenance. 
 
 [From the marble in the Sala delle Muse of the Vatican. It is verified by its 
 close resemblance to the head of a little statue in the Villa Albani at Rome, 
 representing the Cynic perfectly nude, and accompanied by his dog. It is 
 said that he sometimes appeared in the streets in this state, after having 
 anointed his body, a piece of eccentricity that gave rise to the joke of 
 Juvenal, that the Stoics differed from the Cynics only in the shirt, ' ' tunica 
 tantum." There is in the Villa Albani an antique bas-relief representing 
 Alexander the Great standing before the Cynic in his tub.] 
 
 19. Demosthenes. Greek Orator. 
 
 [Born at Athens, b.c 381. Died in the isle of Calauria, opposite Argolis, b.c 322. 
 
 Aged 59.] 
 
 A chief, if not the chief of — 
 
 " Those ancients, whose resistless eloquence 
 Wielded at will that fierce Democracie, 
 Shook th' Arsenal, and fulmin'd over Greece, 
 To Macedon and Artaxerxes' throne."* 
 
 This eloquence in Demosthenes — to the modern mind, the one unrivalled exem- 
 plar of the ancient Greek oratory — was like a trained athlete, living nerve and 
 bone. When Athens lay daunted under the successes of Philip of Macedon, Demos- 
 thenes, by the sole power of speech, roused the people to energetic warfare. His 
 style was fit for sustaining argument on the destinies of great nations. It was 
 simple, severe, lofty, vehement, and of irresistible power. He acquired this 
 consummate mastery, having, by an invincible perseverance, vanquished 
 seemingly invincible natural obstacles. At one period of his life Demosthenes 
 was accused of receiving a bribe from Harpalus, a Macedonian General, 
 who fled to Athens, to escape the vengeance of Alexander. He quitted 
 Athens. Upon the death of Alexander he returned to the city ; but the 
 Athenian arms proving unsuccessful against Antipater, the ruler of 
 Macedonia, the life of the orator was demanded by the conqueror. 
 
 * Paradise Begained. 
 
GREEK PHILOSOPHERS, STATESMEN, &c. 
 
 23 
 
 Demosthenes fled again — this time to the isle of Calauria — where he took 
 poison to save himself from the swords of the soldiery. Looking upon 
 the deep, contemplative, sad brow, figured in stone, we might well fancy- 
 that we see, gleaming there, a too real consciousness of the requital await- 
 ing even the greatest Athenian, for services which no reward could 
 measure. 
 
 [From the marble in the Louvre. Several busts in various collections had been 
 called Terence, Pythagoras, Plato, and other names, when there were dug 
 up in Herculaneum two bronze heads, on one of which was the name of 
 Demosthenes ; it was at once perceived that the busts above referred to 
 had been wrongly named ; for they one and all represented the great orator. 
 A very beautiful carved medallion in amethyst exists also at Rome, which is 
 an undoubted likeness of him. For an account of the statues of Demosthenes 
 see Nos. 308 and 321 in the Handbook to the Roman Court and Nave.] 
 
 20. Epicubus. Philosopher. 
 
 [Born probably at Samos, in Greece, B.C. 342. Died at Athens, B.C. 270. Aged 72.] 
 
 The system of Epicurus has been much misrepresented. He did not 
 teach mere refined animal enjoyment. He considered indeed human happi- 
 ness as the end of philosophy, and he defined happiness as pleasure, — 
 pleasure itself being defined as perfect independence, self-reliance, and 
 contentment. The great aim of his ethics was to point out the way to 
 the attainment of such happiness. The habits of Epicurus were temperate 
 and frugal. During the later years of his life, he was afflicted with much 
 physical suffering, and he bore it with fortitude and patience. He held his 
 celebrated school, which founded the sect bearing his name, in a garden 
 purchased by him at Athens. 
 
 20a. Metrodorus. Greek Philosopher. 
 
 [Born either at Lampsacus or Athens, b.c. 329. Died B.C. 277. Aged 52 
 A devoted follower of Epicurus, between whom and his disciple the closest 
 friendship subsisted. Upon the death of Metrodorus, Epicurus provided 
 for his children. But Metrodorus failed to do justice to the philosophy of 
 his master ; and was the first to attach to the Epicurean idea the sensual 
 notions that have ever since, more or less, been identified with it. 
 
 [The master and his intimate friend and disciple united. Busts of Epicurus are 
 common. Such was the enthusiasm of his followers, that his portrait was 
 multiplied in every way, and even the furniture of rooms engraved with his 
 name. This double terminal is from the Capitoline Museum, at Rome, aDd 
 bears the names of the two philosophers. It was dug up at Rome in 1742, 
 when the foundations were making for Sta. Maria Maggiore. Epicurus is 
 identified also by a beautiful and perfect little bronze found at Herculaneum 
 amongst the remains of a library of a disciple of Epicurus ; which bronze 
 is now in the Naples Museum.] 
 
 21. Zeno. Founder of the Stoic Philosophy. 
 
 [Born at Citium, in the Isle of Cyprus, about b.c 362. Year of death uncertain.] 
 
 The son of a merchant, and himself a trader. Whilst pursuing his 
 vocation, he obtained some works on the Socratic philosophy ; read them 
 with eagerness, and resolved to abandon trade for philosophy. Became a 
 disciple of the Cynics ; then a pupil of Stilpo of Megara ; then lent an ear 
 to the expositors of Plato. After twenty years' study and inquiry, he turned 
 aside from all existing schools, and created one for himself. The place 
 chosen by him for his instructions was a portico, adorned on the wall with, 
 paintings by Polygnotus, hence called " The Variegated Porch" (Stoa Poicile) 
 
24 
 
 PORTRAIT GALLERY. 
 
 Thus he and his pupils were called Stoics. They placed happiness in virtue. 
 Virtue is — to live, by the rule of right reason, a life consistent with itself and 
 with universal nature : and lifts above all consideration of pleasures and 
 pains. The absolute moral rectitude of volition and action is the steering 
 star. But that secured — the humanities, courtesies, and customs of life are 
 not, after the fashion of the Cynics, to be slighted and trampled upon. Zeno 
 commands our respect by the purity of his life. He lived to a great age, though 
 of weakly constitution, by dint of regularity and moderation. He had a 
 serious and thoughtful countenance, corresponding to the severity of the 
 doctrines he taught. In his 98th year, quitting his school, he fell to the- 
 ground and broke his finger. "Why am I thus importuned?" he ex- 
 claimed. "Earth, I obey thy summons." He went home, and strangled 
 himself. 
 
 [From the marble in the Sala delle Muse of the Vatican. It was identified by 
 the stooping attitude of the neck, a slight deformity which is referred to by 
 the contemporaries of Zeno. For an account of the statue of this philosopher,, 
 see No. 327, Handbook to Roman Court and Nave.] 
 
 22. Alexander the Third, surname d the Great. King of 
 Macedonia, B.C. 336 — 323. 
 [Born at Pella, in Macedonia, B.C. 356. Died at Babylon, B.C. 323. Aged 32.] 
 The pupil of Aristotle, and the conqueror of the world. He ascended the 
 throne of Macedon in the twentieth year of his age. Shortly afterwards he 
 reduced the chief cities of Greece, and rased Thebes sparing only the 
 house of the poet Pindar. In his twenty-second year, he crossed the 
 Hellespont, and turned his arms against the Persian king, Darius, whom 
 he defeated. He conquered Phoenicia, Damascus, and Tyre. Taking Gfaza,, 
 he passed into Egypt, subdued it, and founded the city of Alexandria. 
 Here, in the madness of his ambition, he claimed divine honours. In 
 331, B.C., he again attacked Darius, and destroyed the Persian monarchy. 
 Babylon, Susa, and Persepolis, next paid homage to Ms arms. A change 
 now came over the victor, hitherto temperate and forgiving. He gave 
 rein to his passions, and committed acts of cruelty and excess. But hi& 
 activity was still incessant. Pie advanced victoriously to the Indus, and 
 marched back in triumphal procession to Babylon, where, still full of mighty 
 plans of conquest, he fell a victim to intemperance, took fever and died in the 
 thirteenth year of his reign. There was no mediocrity in the character of 
 Alexander. His vices were great, and his virtues magnificent. His heart 
 and mind led him to the extremes of good and evil. His lust of dominion 
 amounted to insane passion. In accordance with his wish, his body, 
 enclosed in a golden coffin, was conveyed to Alexandria, and there 
 deposited in a richly adorned sarcophagus, — now supposed to be in the 
 British Museum. The military skill of Alexander was of a high order. His 
 movements were rapid, decided, and well-directed : — he made great use of 
 his cavalry. His conquests rendered eastern Asia accessible to European 
 enterprise. He retained his affection for his early instructor, Aristotle, to 
 the last, sending, from the scenes of his Eastern conquest, strange animals 
 for the study of the great naturalist. In Asia, to this hour, the exploits 
 of "Iskander," are told by the people to their children. 
 
 [From the marble in the Louvre, inscribed with his name. It was dug up near 
 Tivoli, in 1779, and afterwards presented to Napoleon by the discoverer, the 
 Chevalier d' Azara. It was by this bust, aided by the evidence of the coins,, 
 that all the portraits of Alexander were verified. Notwithstanding the 
 
GREEK STATESMEN AND GENERALS. 
 
 25 
 
 numerous statues, busts, and pictures of this renowned conqueror which 
 are mentioned by ancient writers, only few now remain. One of the 
 characteristics of the head is the curling up of the hair at the back, as 
 though a circlet had given the hair that form, and it is said he was the first 
 to wear a diadem. The peculiar rising up of the hair in front is also a 
 characteristic of Alexander. A very beautiful little equestrian bronze was 
 found at Herculaneum in 1751, conjectured at the time to be a copy of the 
 statue of Alexander, by Lysippus. No. 22a, the inscription on which is 
 evidently modern, is from the Berlin Museum.] 
 
 22a. Alexander the Thikd, surnamed the Gbeat. 
 
 23. Phocion. Athenian Statesman and General, 
 
 [Born in Attica, b.c. 402. Died at Athens, B.C. 317. Aged 85.] 
 He rose from the ranks of the people, and soon obtained military distinc- 
 tion ; exhibiting, whenever tried, great bravery and foresight. He was 
 forty-five times named general. He was opposed to the Macedonians, over 
 whom, by his moderation, valour, and prudence, he obtained signal 
 advantages. When, in his age, Athens — placed through the rejection 
 of his sagacious counsels at the mercy of the Macedonians — was occu- 
 pied by a foreign garrison, Phocion, whose integrity was invulnerable, 
 was suspected by his countrymen of treachery, and forced to swallow 
 hemlock. His body was denied burial, and cast beyond the confines of 
 Attica ; yet, according to the spirit of those singular times, in which the 
 wildest barbarity co-existed with the purest heroism, and towering ingratitude 
 seemed to be enacted only to make way for splendid remorse, his ashes 
 were subsequently brought back to Athens, his accusers put to death, 
 and a statue was raised to his honour. Phocion was surnamed "the 
 Good." Alexander, surnamed "the Great," endeavouring to win him from 
 his loyalty, offered him riches and the choice of four cities in Asia. The 
 answer of Phocion bespoke the spotless character of the man. 1 1 If Alexander 
 really esteems me," he said, " let him leave me my honesty." 
 
 [From the statue, No. 324, for account of which see Handbook of Roman Court 
 and Nave.] 
 
 24. Alcibiades. Athenian General, 
 
 [Born at Athens, b.c. 450. Died in Phrygia, B.C. 404. Aged 45.] 
 The nephew of Pericles, in whose house he was brought up. He was 
 beautiful in his youth, and he maintained his beauty throughout life, — a 
 personal advantage of which he was not a little conscious. He was the pupil 
 of Socrates, towards whom he entertained a sincere regard and friendship to 
 the last. He entered early into the service of the Republic, and soon distin- 
 guished himself by his eloquence and feats of arms. Accused of irreligion, he 
 quitted Athens and took refuge in Sparta, where he betrayed the designs of 
 his country, and also abused the hospitality of the Spartan king. Returning 
 to Athens he gained several victories at the head of her armies, and recovered 
 his position, but only to lose it again in consequence of his ill-success in an 
 expedition against Andros. By order of the " Thirty Tyrants," established by 
 Lysander in Athens, he was at length assassinated. Alcibiades was re- 
 markable for activity, eloquence, and address. He was very plausible, very 
 versatile, very unscrupulous, and a great dissembler. His unabashed 
 audacity was matchless, but it was relieved, as well as heightened, by good 
 nature, and good humour. He was also selfish, and ambitious, and inor- 
 
26 
 
 PORTRAIT GALLERY. 
 
 dinately vain. He had a slight defect in his speech, and could not pro- 
 nounce the letter R. 
 
 [From the marble in the Sala delle Muse of the Vatican. It has upon it the first 
 four letters of Alcibiades' name. By an inferior artist, and probably of a late 
 date. It conveys no idea of the beauty of this fiery-hearted soldier. No. 
 24a. is a much finer head, but is not entitled to the same confidence as a 
 portrait. Alcibiades is said to have been the model for Cupids and Mercuries 
 in his youth. He received all the honours of portraiture from the Athenians, 
 who made several statues of him in bronze, and the "Romans placed his 
 statue in the Forum by the side of one of Pythagoras. ] 
 
 24a. Alcibiades. Athenian General. 
 
 25. Miltiades. Athenian General. 
 
 {"Date and place of birth unknown. Died B.C. 489.] 
 An Athenian. Succeeded his father Cimon as " Tyrant" of the Thracian 
 Chersonesus. He accompanied Darius on his expedition into Scythia. He 
 was subsequently driven out of the Chersonesus by the Persians, and fled to 
 Athens, where he resumed his rights as an Athenian citizen. He was 
 one of the ten generals chosen by the Athenians to resist the Persian 
 invasion, but by the consent of his colleagues he was invested with sole 
 command. He defeated the Persians under Datis and Artaphernes, at Mara- 
 thon (b. c. 490), and saved Greece. The victory, as well for the import of 
 its consequences as for the disproportion between the numbers engaged, is 
 one of the most memorable recorded in history. Afterwards intrusted with 
 the command of a fleet, with which he attacked the Island of Paros, to 
 gratify a private enmity. This expedition proving unsuccessful, Miltiades 
 was impeached, condemned to a fine, and thrown into prison, where he died 
 of his wounds. 
 
 [The hero of Marathon received all portrait honours from the Athenians. 
 Pliny relates that Pansenus, the brother of Phidias, painted a picture of the 
 battle with portraits of the generals ; and the great sculptor himself made a 
 statue of the conqueror, the cost of which was appropriately paid out of the 
 spoils of the Persians. It was placed in the Temple of Apollo at Delphi. 
 The bust, No. 25a, is in the Louvre ; it was found on the Celian Hill at 
 Rome. The back part of the helmet has sculptured upon it the furious bull 
 of Marathon which Theseus killed, and which Miltiades wears as a trophy of 
 valour. This portrait has been identified by a bust engraved with the 
 name, described by Fulvius Ursinus, but which is unfortunately lost.] 
 
 25a. Miltiades. Athenian General. 
 
 26. Aspasia. 
 
 [Born at Miletus, in Asia Minor. Date of birth and death unknown ; but in 
 the fifth century B.C. J 
 
 A woman of great beauty and intellectual power, and the contemporary 
 of Pericles, who was her lover, and over whom she gained unbounded sway. 
 Her house was the resort of the greatest and most learned men in Athens, 
 and Socrates, Plato, and Alcibiades were her frequent guests. She is the 
 first of her sex whose portrait has been handed down from hoary antiquity 
 unto the present time. It is related that Pericles learnt political wisdom 
 from her instruction, and took eloquence from her lips. Pericles rewarded 
 his instructress by saving her life through his eloquence and tears, when, 
 like Socrates, Aspasia was arraigned on the charge of impiety. After the 
 death of Pericles, Aspasia attached herself to an obscure man of the name of 
 Lysicles, whom she advanced by her instructions to high office in the 
 Athenian republic. 
 
 [From the marble in the Vatican, which is inscribed with her name. This form 
 
GREEK STATESMEN AND GENERALS. 
 
 27 
 
 of bust is rare for women ; but it is thought to have been chosen purposely, 
 to show the superiority of one who gave counsel to Pericles and taught, 
 they say, Socrates eloquence. Her great celebrity is guaranteed by this 
 monument, which is the earliest antique Greek portrait of a lady.] 
 
 27. Pericles. Athenian Statesman. 
 
 [Born at Athens, b.c. 494. Died B.C. 429. Aged 65.] 
 
 For forty years at the head of the administration in Athens ; twenty-five 
 years in conjunction with others, and fifteen years alone. He was the pupil 
 of Anaxagoras, from whom he derived philosophic equanimity and lofty 
 principle. The eloquence of Pericles was a grand characteristic of the man, 
 but not the grandest. When dying, he affirmed that his greatest honour 
 had been, ' i that no Athenian, through his means, had ever put on mourn- 
 ing." He promised the Athenians immortality ; he secured it by means 
 of the memorials of beauty which he left on the Athenian soil, now 
 upwards of two thousand years ago. His oratory was rapid, penetrating, 
 condensed, energetic, persuasive, graceful, and fertile in resources. His 
 boundless influence was never degraded to unworthy purposes. Architec- 
 ture, sculpture, and literature, reached their highest point under his 
 protecting hand. Phidias was his director of public works ; Sophocles 
 and Euripides were his favoured friends. He governed with moderation 
 and justice, and eschewing all aggression for the mere sake of conquest, 
 endeavoured by every means to consolidate the dominion and to confirm the 
 maritime power of Athens. His eloquence was the golden sceptre of his 
 rule. He died in the great plague of Athens. 
 
 [Pliny mentions a painted portrait of him by Aristolaus, and Christodorus 
 states that his statue in bronze existed at Constantinople. Phidias, it is 
 said, sculptured the portrait of his illustrious patron on the shield of the 
 great Minerva, and the busts of him are taken from this figure. This bust 
 is from the British Museum. There is also a bust of Pericles in the Vatican, 
 which has the name on the breast. He wears the Corinthian helmet. ] 
 
 28. Pisisteatus. " Tyrant" of Athens* 
 
 [Born about B.C. 612. Died at Athens, b.c. 527.] 
 
 A prince who made his way to power by questionable means, but who 
 made of power a noble and an exemplary use. When Solon established his 
 constitution, and quitted Athens, Pisistratus headed one of the rival factions 
 that instantly rose up. He seized the citadel of Athens (b.c. 560), but was 
 subsequently driven from the city by the united efforts of his foes. After 
 six years' absence he regained Athens by a stratagem, but, again expelled, 
 suffered another exile for the space of ten years. He returned for a 
 second time, and vanquished those who opposed him, assumed power, and 
 maintained his position until his death. His rule was moderate, just, and 
 productive of great benefit to the Athenian people. He encouraged litera- 
 ture and the drama, protected religion, and regarded the interests of the 
 poor. To him we owe the first written text of the whole of the poems of Homer. 
 He is also said to have been the first in Greece to collect a library for public 
 use. He gave Athens repose, during which she nourished the elements of 
 her future strength and power. 
 
 [From the marble, which has hitherto been called a Pericles, in the Rospigliosi 
 Palace at Rome. ] 
 
 * The title " Tyrant " in the old republics, meant only " absolute monarch.'' 
 
23 
 
 PORTRAIT GALLERY. 
 
 29. Periander. " Tyrant" of Corinth. 
 
 [Born at Corinth, about B.C. 670. Died about B.C. 585.] 
 One of the ' 'Seven Wise Men of Greece," and the son of Cypselus, 
 "Tyrant" of Corinth, whom he succeeded b.c. 625. The first years of his 
 government were distinguished by moderation and wisdom, but afterwards 
 he exercised great cruelty towards his family and people. He reigned 
 many years. 
 
 [From the marble in the Vatican, which is remarkably well preserved. It bears 
 his name in Greek letters. It was found in 1780, near Tivoli, in the house 
 of Cassius, with the heads of Bias, Solon, Thales, Pittacus, and Cleobulus, 
 and probably formed part of the Gallery of Cassius, the letters being of the 
 Roman time. In the British Museum there is another original marble of 
 this philosopher, which formerly was in the Palace of Sixtus V. at Rome. ] 
 
 30. Lyctjrgus. Lawgiver. 
 
 [Date and place of birth and death unknown.] 
 Lycurgus holds an ambiguous place between tradition and history. Nothing 
 authentic is known of him, and a touch of the fabulous pervades his story. 
 He is said to have been of the line of Spartan kings, and, after having 
 travelled in nearly all countries of the world, to have brought back his laws 
 to Sparta, whose constitution he remodelled. Quitting Sparta, he exacted a 
 promise from the Spartans that they would not alter his laws until his 
 return. He never returned. He was honoured with a temple and a yearly 
 sacrifice. He inculcated, according to the tradition, rigid discipline, unques- 
 tioning obedience, and military ardour. 
 
 [From the head of the statue in the Sala delle Muse of the Vatican, Rome. It 
 is another example of conventional or traditional portraiture, but possesses 
 one very remarkable confirmation of an accident related in his life. In one 
 of the disturbances of the populace, he was struck in the eye ; and it will 
 be observed that one eye of the bust has the peculiar appearance of being 
 useless. Visconti, who noticed this peculiarity, first named the statue 
 Lycurgus. There is a head in the Naples Museum which corresponds with 
 this, and both are confirmed by the medals which bear his name* The drill 
 holes about the beard are interesting, as they prove that the ancient sculp toys 
 worked on the same plan as the moderns.] 
 
 31. Posidippus. Comic Poet. 
 
 [Born at Cassandreia, in Macedonia. Date of birth and death unknown.] 
 Nothing is known of his life or death. He was an Athenian comic poet, 
 of "The New Comedy," and his first dramas appeared b.c. 289. He was 
 the last, in order of time, of the six who are mentioned by the anonymous 
 writer on comedy, as the most celebrated poets of the New Comedy. He is 
 said to have written forty plays, of which little more than the titles of 
 eighteen are preserved. No accurate judgment can be formed of his style ; 
 some of his subjects, judging from the titles, must have been licentious. 
 
 [For account of this statue, see Handbook to Roman Court and Nave, No. 291.} 
 
 32. Menander. Comic Poet. 
 
 [Born at Cephissia, near Athens, B.C. 342. Died probably at Athens, B.C. 290. Aged 52. J 
 The model writer of " The New Comedy," which substituted for the per- 
 sonalities of the "Ancient Comedy," a more faithful portraiture of the vices- 
 and follies of men. A few fragments only remain of his numerous works. 
 His plays are said to have presented a most true and lively reflexion of the 
 manners and morals of his age. He had many imitators amongst the Greeks 
 and Romans, and Plautus and Terence profited by his writings. Only eight 
 
ROMAN COURT— THE EMPERORS. 
 
 29 
 
 -of his plays were crowned. He was probably in advance of his time and 
 audience. 
 
 [For account of this statue, see Handbook, to Greek Court, No. 290.] 
 
 33. Posidonius. Greek Philosopher. 
 [Born at Apameia in Syria, about 135 years b.c. Died, probably at Rome, about 
 
 51 B.C.] 
 
 A writer on History, Astronomy, Astrology, Cosmography, and Grammar, 
 but none of his works remain ; a great scholar and traveller. A Stoic in 
 philosophy, yet desirous of bringing all systems of philosophy into harmony. 
 He suffered much from illness. Pompey visited him during a sharp attack 
 of gout, but during his agony he sustained an argument with the orator 
 Hermagoras to prove that pain is no evil. 1 ' Torment me if you will, oh 
 Pain !" he exclaimed, " I shall not admit pain to be an evil, a bit the more 
 for that." 
 
 [For account of this statue, see Handbook to Roman Court and Nave, No. 307.] 
 
 ROMAN COURT. 
 
 ENTERING BY THE CENTRE ARCH FROM THE NATE. 
 
 {Numbers commencing on the right. ) 
 
 ROMAN EMPERORS. 
 
 34. H"toa Pompiliijs. Second King of Home.. 
 
 [Born at Cures, in the country of the Sabines.] 
 The life of Numa Pompilius belongs to the realm of fable. "His 
 name," says Dr. Smith, " represents the rule of law and order, and to him 
 are ascribed all those ecclesiastical institutions which formed the basis of the 
 ceremonial religion of the Romans." The legend attached to Numa describes 
 ldm as the mildest, wisest, and most virtuous of men. After his 
 election to the throne, vacated by Romulus, his first care was to ame- 
 liorate the condition of his people, and to legislate on behalf of religion. 
 He reigned thirty-nine years in uninterrupted peace. It is suggested 
 that as Numa was reputed chosen from amongst the Sabines, the 
 Romans, in all probability, drew their religious institutions from that nation, 
 rather than from the Etruscans. 
 
 [From the bust in the Vatican at Rome.] 
 
 35. Augustus. Roman Emperor, B.C. 30 — a.d. 14. 
 
 [Born at Rome, B.C. 63. Died at Nola, in Campania, a.d. 14. Aged 76.] 
 The first Roman Emperor. Trained for his public career by his great- 
 uncle, Julius Caesar. After the death of Csesar (b.c. 44), he formed with 
 Antony and Lepidus the league known as the triumvirate. But subsequently 
 quarrelling with Antony, and overcoming him, he annexed Egypt to Rome, 
 and became sole master of the State. His reign was tranquil, and he 
 
30 
 
 PORTRAIT GALLERY. 
 
 conciliated the people. His disposition appears to have been cold ; he lived 
 
 simply, and despised pomp and pageantry. 
 
 [Suetonius mentions the handsome features of Augustus as well preserved in his 
 old age. He is described with eyebrows meeting and thick, the ears small 
 and well formed, the nose finely chiselled. There are several busts of him 
 taken at different periods. This Bust is from the Statue Gallery of the 
 Vatican. It represents him in old age wearing a fillet and a medal bearing 
 the effigy of his wife Livia. No. 35a is a portrait at a younger period : it is 
 from the Museo Chiaramonti of the Vatican. There is a noble statue of him 
 in the " toga " in the Bas-relief gallery, see No. 80, Handbook of Greek 
 Court.] 
 
 35a. Augustus. Roman Emperor. 
 
 36. Neeo — Claudius Cjesae Deusus. Roman Emperor, a.d. 
 54—68. 
 
 [Born at Antium, in Latium, a.d. 37. Died near Borne, 68. Aged 31. J 
 When we desire to express in a word the height of sanguinary cruelty 
 and atrocious tyranny, the name of Nero at once occurs to us. He was the 
 son of Domitius Ahenobarbus, and of the infamous Agrippina, through 
 whose intrigues he was adopted by Claudius, to the exclusion of his own 
 son, as successor to the throne. Nero's government, at first moderate 
 and prudent, soon degenerated into fearful licentiousness. He poisoned 
 Britannicus, the son of Claudius ; he assassinated his mother ; he divorced 
 and murdered his wife Octavia, the daughter of Claudius, in order to marry 
 the beautiful and depraved Poppsea ; he set fire to Rome, and put many 
 Christians to death, on the pretence that they had caused the conflagration ; 
 he killed Poppaea by a brutal kick, and he ordered executions and perpe- 
 trated wrongs of all kinds, and without number. The Roman world was 
 at length tired of this monster ; an insurrection broke out in Gaul ; and 
 Galba, the governor of Spain, was proclaimed Emperor. Rome followed the 
 example of the provinces, and rose in insurrection. Nero took to flight, 
 and gave himself a mortal wound, when he heard the trampling of the 
 horses on which his pursuers were mounted. It is said that in his youth he was 
 instructed in many branches of knowledge — that he wrote poetry, and had 
 some skill in music. His criminal career may possibly have been the result 
 of furious insanity — we think, at least of a lunatic, when we read that Nero 
 appeared on the Roman stage as an actor, and played the fiddle whilst 
 the city was burning. 
 
 [From the marble in the Louvre. The circlet round his head was worn by him to 
 imitate the rays of the sun ; the holes for the rays are observable. No. 36a, 
 the bust crowned with laurel, is from the Statue Gallery of the Vatican.] 
 
 36a. Neeo — Claudius (Lesae Deusus. Roman Emperor. 
 
 37 [outside). Tibeeius — Claudius Neeo Cjesae. Roman Emperor y 
 a.d. 14—37. 
 
 [Born, b.c, 42. Died at Misenum, a.d. 37. Aged 79.] 
 Son of Titus Claudius Nero, and of Livia, whose second husband was 
 Augustus. The successor of his stepfather and the husband of Julia the 
 daughter of Augustus. During his earlier years of rule he governed with 
 moderation and justice ; but, growing suspicious of those around him, he 
 patronized a detestable class of men who acquired infamy in the state under 
 the title of u Delatores," or " Informers," and by establishing in its utmost 
 extent the law of Icesa irvajestas (high treason) obtained opportunity to the 
 
ROMAN COURT— THE EMPERORS. 
 
 31 
 
 shedding of some "base, and of much honourable blood. He also became a 
 religions persecutor, unfilial, hateful of the rising glory of other men, and 
 sensual. He quitted Rome, a.d. 26, and never returned to the city. 
 He took up his residence in the delicious island of Caprese, lying off the 
 Campanian coast. Mean, timid, irresolute, insincere : yet wise in his 
 generation, with some penetration and political skill. He wrote a brief 
 commentary of his life. His youthful name has been immortalized by 
 Horace. In the reign of Tiberius and in the year 33, Jesus Christ suffered 
 crucifixion in Judea, under the condemnation of Pontius Pilate. 
 
 38 {outside). Claudius I. — Tiberius Claudius Dkusus Nero Ger- 
 majsticus. Roman Emperor, a.d. 41 — 54. 
 
 [Born at Lyons, in Gaul, B.C. 10. Died a.d. 54. Aged 64.] 
 Fourth in the series of Roman Emperors. Called to the throne in his 
 fiftieth year, upon the murder of his nephew Caligula. Branded as a 
 tyrant, but ought rather to be pitied for his weakness, timidity, vacillation, 
 and utter helplessness. He was the sport of the wicked, and the victim of 
 his own wretched feebleness. Unfortunate in every relation of life. His 
 third wife was the notorious Valeria Messalina ; his fourth, his own niece, 
 the shameless Agrippina, who prevailed upon the half-witted Emperor to 
 disinherit his offspring in favour of her son Nero, and who afterwards 
 caused the unhappy Claudius to be poisoned. The rule of this Emperor, 
 when left to himself, is described as mild and popular ; but he had seldom 
 the advantage of independent action, and in the hands of others he was 
 robbed of moral will. Fond of building, Claudius raised the Claudian 
 aqueduct. He wrote Greek as well as Latin, and composed some works on 
 . history, besides memoirs of his own life. 
 
 39. GrALBA — Seryius Sulpicius. Roman Emperor, a.d. 68-69. 
 [Born at Terracina, in Italy, B.C. 3. Died at Rome, a.d. 69. Aged 73.] 
 The successor of Nero ; and governor of Spain when he was raised to the 
 supreme dignity. A strict military disciplinarian, and remarkable for care 
 and prudence. But when Emperor, his prudence became avarice, and he 
 practised sordid measures, under the plea of imitating the frugality of the 
 ancients. His niggardliness gave offence to the military and to the citizens, 
 who had been used to festivals under Nero ; and in his old age, Gfalba was 
 cut down in the streets of Rome. He reigned 7 months. 
 [From the marble in the Capitoline Museum at Rome.] 
 
 39 * Yespasian — Titus Flayius Sabinus Vespasianus. Roman 
 Emperor, A.D. 69-70. 
 
 [Born at Nursia, in the country of the Sabines, a.d. 9. Died at Cutilise, in the 
 country of the Sabines, a.d. 79. Aged 69.] 
 
 Of low origin. Went to Britain and subdued the Isle of Wight. Afterwards 
 sent to the East by Nero against the Jews, and was proclaimed Emperor by 
 his troops at Alexandria. On the death of Yitellius proceeded to Rome, 
 where, as Emperor, he restored order, reformed abuses, and improved the 
 condition of the empire. He commenced the Coliseum. A great Emperor, 
 popular with his army, upright, conscientious, simple in his living, and 
 affable in his manners. 
 
 [For account of the colossal Bust of Vespasian, see Handbook to Roman Court 
 and Nave s No. 338.] 
 
o2 
 
 PORTRAIT GALLERY. 
 
 40. Caligula. Roman Emperor, a.d. 37 — 41. 
 
 [Born at Antium, in Latium, a.d. 12. Died at Rome, a.d. 41. Aged 29.] 
 Son of Grermanicus and Agrippina. His real name was Cams Coesar, 
 but called Caligula by the soldiers, from his wearing in his boyhood small 
 caligas or soldier's boots. Passed his boyhood in his father's camp in Germany. 
 On the death of Tiberius he became Emperor, and for a time ruled wisely. 
 On recovering, however, from a severe illness, he perpetrated acts of horror 
 characteristic of a madman. He murdered the innocent for his amusement, 
 and married and dissolved his marriages in the most shameless manner. 
 His favourite horse he raised to the Consulship, and he deified himself. 
 After passing three years in raving crime and folly, he was struck down by 
 the conspirator's sword. 
 
 [From the marble in the Gallery of the Emperors, of the Capitoline Museum. 
 Busts of Caligula are very rare, because, like those of Commodus, they were 
 as far as possible destroyed, on account of his atrocities. He is said to 
 have had a complexion of repulsive paleness. Suetonius alludes to his thin 
 hps and expression of confirmed dissimulation.] 
 
 41. Yitellius — Aijltjs. Roman Emperor, A.D. 69. 
 
 [Born on the Island of Caprese, a.d. 15. Died at Rome, a.d. 69. Aged 54.] 
 A royal glutton. He commanded in Lower Germany, where his popu- 
 larity with the troops led to his being proclaimed Emperor by the soldiers at 
 Cologne. Vitellius succeeded Otho, and reigned eight months after the 
 death of the latter, when he was murdered. Avaricious of money for the 
 sake of what it would purchase for the stomach. The life of Vitellius is told 
 when we state that it was devoted to eating, drinking, and acts of cruelty. 
 It was his boast that the infamous Nero was his chosen model. 
 
 [From the Louvre. Full of the character of the man — bloated and debased. 
 He is said to have spent nine millions of sesterces in suppers.] 
 
 42. Keeya — Mahctjs Cocceitjs. Roman Emperor, a.d. 96 — 98. 
 
 [Born at Narnia, in Umbria, a.d. 32. Died at Home, a.d. 98. Aged 64.] 
 Pliny says that the commencement of the reign of Nerva was the era of 
 returning freedom ; and Tacitus praises the same Emperor, for reconciling 
 supreme authority with the liberty of the citizen. He succeeded the 
 Emperor Domitian, who was murdered, and his first care was to restore 
 tranquillity, and to repair the effects of his predecessor's tyranny. He put 
 an end to the persecution of the Christians, attended to the wants of the 
 poor, and exercised a rigid economy. Gentleness and goodness were marked 
 features in his character. 
 
 [From the gallery of the Emperors in the Capitoline Museum at Rome.] 
 
 43. Titus — Flayitjs Sabi^us Yespasianus. Roman Emperor, 
 
 a.d. 79—81. 
 
 Born at Rome, a.d. 40. Died at Cutilise, in the country of the Sabines, a.d. 81. 
 
 Aged 41. j 
 
 Elder son of the Emperor Vespasian, and one of the best of the Roman 
 emperors. It was he who besieged and destroyed Jerusalem (a.d. 70) : he also 
 completed the Coliseum at Rome, and during his reign Pompeii and 
 Herculaneum were buried by the eruption of Mount Vesuvius (a.d. 79). As a 
 soldier and general, his conduct marked by great humanity and bravery. As 
 Emperor, administered the laws justly and improved the condition of his 
 people by whom he was beloved. "The being beloved," to use the words 
 
ROMAN COURT— THE EMPERORS. 
 
 S3 
 
 of Voltaire, constituted Lis greatest glory. Possessed great intellectual 
 refinement and delicacy of feeling. It is said that he was poisoned by his 
 brother Domitian, who was impatient to succeed to the empire. 
 
 [From the marble in the Capitoline Museum at Rome. Busts of Titus are not 
 common : yet his statues were in every house, on account of his popularity. 
 For an engraving of one, see Handbookof Roman Court and Nave,] 
 
 44. Domitian — Titus Flayitts Sabinus. Roman Emperor, a.d, 
 
 81—96. 
 
 [Born at Rome, a.d. 51. Died there, a.d. 96. Aged 45.] 
 Son of the Emperor Yespasian, and brother of Titus. He was bloody and 
 cowardly throughout his career. Suetonius says his very virtues were turned 
 into vices. Before the death of his brother Titus he made many attempts 
 upon his life, and, during his own reign, he frequently compelled individuals 
 to undergo the terrors of death, sparing their lives, in order to enjoy the 
 sight of their sufferings. His government was disastrous for Rome, though 
 lie boasted annually of great victories, and assumed the title of God. Pliny 
 used to say that the triumphs of Domitian were certain ' ' proofs that the 
 enemy had gained an advantage." Neither talent nor virtue was safe from 
 his persecutions, yet, although the last three years of his life form one 
 of the most frightful epochs in history, Domitian had talent and a cultivated 
 mind. He promoted architecture and beautified R>ome ; he rebuilt the 
 libraries which had been burnt in the preceding reign, and sent literary men 
 to the famous Alexandrine library to make copies of books there. He was 
 the victim of a conspiracy, and the last of the twelve Csesars. 
 [From the marble in the Capitoline Museum at Rome.] 
 
 45. Trajan — M. Ulpius Trajanus. Roman Emperor, a.d. 98 — 117. 
 
 [Born at Italica, in Spain, a.d. 52. Died at Selinus, in Cilicia, 117. Aged 65.] 
 
 Trajan endeavoured to emulate the glory of Alexander by extending the 
 Roman Empire in the East, but with imperfect success. He improved 
 the social and physical condition of his subjects, was easy of access, 
 possessed good sense, a profound judgment and knowledge of the world. 
 Not a man of letters himself, he was the friend of Pliny the younger, Tacitus, 
 Plutarch, and Epictetus. He was tall, majestic, robust, and his hair per- 
 fectly white. 
 
 [From the marble in the Capitoline Museum. Busts of Trajan are not uncom- 
 mon. The seated statue of Trajan is described under No. 343, in Handbook 
 to Roman Court and Nave.] 
 
 46. Hadrian — Publitjs iEirus Hadrianus. Roman Emperor, 
 
 a.d. 117—133. 
 
 [Born at Rome, a.d. 76. Died there, a.d. 138. Aged 63.] 
 In his youth wedded to literature, especially that of Greece. He was the 
 adopted son of Trajan, whom he succeeded as Emperor, in a. d. 117. Travelling 
 was with him a passion. In a. d. 119, he set forth on a journey which lasted for 
 the space of 17 years. He visited Gaul, Britain (where he erected the famous 
 wall between the Sol way and the Tyne), Spain, Africa, and part of Asia. 
 On a second visit to the East he lost his favourite page Antinous, and his 
 grief for this youth has since resounded through the world. Shortly after 
 his return to Rome in 132, the Jewish war broke out. It ended in the 
 subjugation and slavery of the chosen people. He was a wise Emperor, a 
 
 D 
 
u 
 
 PORTRAIT QALLERY. 
 
 cultivator of the arts, and a lover of peace, though stained with vices of 
 his age. 
 
 [Busts of Hadrian are common. This is from the Rotunda of the Vatican. No. 
 123 is from a very perfect one in the Naples Museum. For engraving of the 
 fine statue in the British Museum, see Handbook of Roman Court and 
 Nave, p. 13.] 
 
 47. Antoninus Pius. Roman Emperor, a.d. 138 — 161. 
 
 [Born near Lanuvium, a.d. 86. Died at Lorium, a.d. 161. Aged 74.] 
 The successor of Hadrian, and one of the most distinguished of the Roman 
 Emperors. Improved the condition of his people, and consolidated the 
 power of the empire by enlightened and conciliatory measures. He was 
 respected and beloved. Of commanding aspect and dignified demeanour. 
 A deep-toned melodious voice heightened his native eloquence. One of the 
 most virtuous princes that ever sat upon a throne. 
 
 [From the marble in the Berlin Museum. There is in the Louvre a bust of 
 Antoninus Pius, having the head covered with a fold of the toga, and 
 crowned with ears of wheat, a copy of which is described under No. 381, 
 Handbook of Roman Court and Nave.] 
 
 48. Marcus Aueelius Antoninus. Roman Emperor, a.d. 161 — - 
 180. 
 
 [Born at Rome, a.d. 121. Died at Sirmium, in Pannonia, a.d. 180. Aged 59.] 
 Surnamed "The Philosopher." One of the best and greatest princes of 
 antiquity. He succeeded his adoptive father Antoninus Pius in a.d. 161, and 
 from that time until his death, his public and private acts conduced to the 
 welfare of his people and to the true glory of the empire. His sole 
 misfortune was to be father of the brutal Commodus, who succeeded 
 him on the Imperial throne. He was clement, charitable, generous, and 
 forgiving. His bodily health, always weakly, gave way beneath excessive 
 labour of mind and body, and his death created universal sorrow. After 
 the lapse of a hundred years his memory was still held in veneration by the 
 people. He was of a thoughtful nature. At an early period he admired 
 the precepts and adopted the costume of the Stoic philosophers. Later 
 in life he was wont to repeat with great satisfaction the saying of Plato 
 — " How happy would the people be, if philosophers were kings, and kings 
 philosophers." His "Meditations" — a work in the Greek language — is 
 one of the noblest productions of Pagan philosophy. 
 
 [From the marble in the Berlin Museum. No. 48a is called the young M. 
 Aurelius. The colossal head from the Louvre is described under No. 344, 
 Handbook to Roman Court and Nave. The Senate decreed that a bust of 
 M. Aurelius should be in every house.] 
 
 48a. Marcus Aurelius Antoninus. Roman Emperor. 
 
 49. Peetinax— Publius Helvius. Roman Emperor, a.d. 193. 
 
 [Born at Villa Martis, in Liguria, a.d. 126. Assassinated at Rome, a.d. 193. Aged 67. 
 The son of a charcoal-burner. First a schoolmaster in Liguria, then a 
 soldier. Rising to important command, he served in Great Britain and 
 Africa. Upon the murder of Commodus, the Pnetorians prevailed upon him 
 to assume the purple. He accepted the honour in difficult times, when virtue 
 met with as little mercy as vice. He stipulated that the dignity should not 
 extend beyond himself, to his wife or son ; he proclaimed that no man should 
 be prosecuted for treason ; he at once set about useful reforms in the state ; 
 
ROMAN COURT— THE EMPERORS. 
 
 35 
 
 "but in less than three months after his accession, he was murdered "by the 
 same Praetorians, simply because he was too upright and too good a man. 
 He had a venerable aspect, and was mild and winning in his address. 
 [From the marble in the Rotunda of the Vatican.] 
 
 50. Yeeus — Lucius Auhelius. Roman Emperor, a.d. 161 — 169. 
 
 [Born at Rome, a.d. 130. Died at Altinum, in the country of the Veneti, a.d. 169. 
 
 Aged 39.] 
 
 Licentious and dissolute ; the colleague of Marcus Aurelius in the empire, 
 and the husband of Lucilla, daughter of the latter. During a four years' 
 war against the Parthians, Lucius held command of the Roman army : but, 
 a drunkard and a gamester, his sole part in the war was to reap the 
 glory of the victories won by his generals. In his youth, he is described 
 as well made in person ; frank, simple, and gentle of disposition. 
 
 [A colossal Bust of him will be found described under Nos. 331 and 333, in the 
 Handbook to the Roman Court and Nave. It was found in the same place as 
 the colossal Marcus Aurelius.] 
 
 51. JSlius Vehus. Adopted Emperor, 
 
 [Born (uncertain). Died at Rome, a. d., 138. j 
 Of a noble Etrurian family. His beauty and literary accomplishments 
 drew the favour of the Emperor Hadrian, who changing his name, adopted 
 him for his successor. Twice Consul. Governor, for a short time, of 
 Pannonia. Died suddenly. Of a luxurious character. 
 
 [From the marble in the gallery of the Emperors of the Capitoline Museum at 
 Rome. ] 
 
 52. Annius Yebus. Roman Prince. 
 
 [Born a.d. 1G2. Died at Proeneste a.d. 170. Aged 7.] 
 The son of Marcus Aurelius and Faustina, and the brother of Commodus, 
 with whom he was raised to the rank of Caesar, a.d. 166. 
 
 [From the marble in the Louvre. Taken when young. A graceful little Bust, 
 remarkable for having the pupil of the eye so firmly indicated.] 
 
 53. Marcus Galerius Antoninus. Roman Prince. 
 
 [Date and place of birth unknown. Flourished a.d. 140,.] 
 Son of Antoninus Pius and Annia Graleria Faustina. Nothing is known 
 of his life or death. His ehigy is extant with that of his mother upon a 
 rare Greek coin ; but he is not styled Csesar in the inscription. Marcus 
 Galerius, no doubt, died before his father became Emperor. 
 
 [From the marble in the Gallery of the Emperors of the Capitoline Museum.] 
 
 54. Seyerus— -Lucius Septimius. Roman Emperor, a.d. 193 — 211. 
 
 [Born at Leptis, in Africa, a.d. 146. Died at Eboracum (York), a.d, 211. Aged 65.] 
 His family was of equestrian rank, and originally came from Gaul. In 
 a.d. 1 85, he was commander-in-chief of the army in Pannonia and Illyricum ; 
 and on the murder of Pertinax was elected Emperor. He disbanded and 
 banished the Praetorian guards, re- constituted the army, whose fidelity he 
 secured, and marched against his two rivals, Pescennius Niger and Clodius 
 Albinus, the first of whom had been declared Emperor in the East, and the 
 last, in Gaul. Defeating them both, he passed three years in the East, 
 warring against the Parthians, whom he subdued. In a.d. 203, he went to 
 Britain, in order to punish the Caledonians. But before his design could be 
 carried out, he fell himself a victim — it is said to grief, to the dissensions 
 
 D 2 
 
36 
 
 PORTRAIT GALLERY. 
 
 of his sons — in the city of York. He had many kingly qualities, but was 
 without clemency. A rigid disciplinarian, simple and sober in his tastes. 
 [From the marble in the Capitoline Museum at Rome.] 
 
 55. GrORDiAiros — Marcus Aktokius, surnamed Africanus. Roman 
 
 Emperor, a.d. 238. 
 
 [Born at Rome, a.d. 157. Died at Carthage, in Africa, a.d. 238. Aged 80.] 
 Born of an honourable family, claiming high descent, and possessing great 
 wealth. When iEdile, his public spectacles were pre-eminently magnificent. 
 At one of them 1000 gladiators fought at once. When appointed Pro- 
 Consul in Africa, he was called " The New Scipio," on account of his popular 
 manners. When eighty years of age he was forced to become Emperor by 
 the people of Carthage, who would not submit to the ferocious Maximinus. 
 After a few months' reign, however, he was attacked by Capellianus, the 
 Procurator of Numidia, and hearing of the fall of his son, strangled himself 
 with his own belt. A man of extraordinary self-command and sobriety, 
 and very studious. In his youth he composed a poem in thirty books ; 
 and, to his latest hour, he passed some portion of the day in the study 
 of Plato, Aristotle, Cicero, and Virgil. In temper gentle and affectionate. 
 
 [From the marble in the Capitoline Museum at Rome.] 
 
 56. Commodus — Lucius Aurelius. Roman Emperor, a.d. 180 — 
 192. 
 
 [Born at Lanuvium, in Italy, a.d. 161. Died at Rome, a.d. 192. Aged 31.] 
 Son of Marcus Aurelius and Faustina Junior. It is said that he was 
 handsome in form and feature. If history can be believed, he was 
 a monster in human form. He was cruel in hot and cold blood, vain, 
 cowardly, impious. He appeared many times in the Circus as gladiator, and 
 condescended to become a buffoon for the amusement of the lowest of his 
 people ; but he is chiefly famous for his human butcheries. He was poisoned 
 at last by his mistress, Marcia, who was only just in time to save her own 
 life, which had been already doomed by her sanguinary paramour. His 
 death gave occasion to almost frantic joy in Rome. 
 [From the marble in the Capitoline Museum at Rome. ] 
 
 57. Macrxnus — Marcus Opilius. Roman Emperor, a.d. 217 — 218. 
 
 Born at Csesarea, in Numidia, a.d. 164. Died near Archela'is, in Cappadocia, a.d. 218. 
 
 Aged 54.] 
 
 An Emperor of obscure birth. He is said to have been, in his youth, a 
 gladiator. When Prefect of the Prsetorian guards, he contrived the murder 
 of Caracalla, then at Antioch, in order to fulfil the prophecy of a 
 soothsayer, who had predicted his accession to the throne. Elected Emperor 
 by the soldiers, he was himself dethroned and assassinated in Cappadocia, 
 after a brief reign of fourteen months. He is represented as haughty, 
 bloodthirsty, cruel, and cowardly. 
 
 [From the marble in the Capitoline Museum at Rome.] 
 
 58. Pupienus — Marcus Claudius Pupie^us Maximus. Roman 
 
 Emperor, a.d. 238. 
 
 [Born a.d. 164. Died at Rome, a.d. 238. Aged 74.] 
 Called 4 ' the Sad" from the melancholy expression of his countenance. 
 He was of an obscure family, but a distinguished soldier. After the death 
 
ROMAN COURT— THE EMPERORS. 
 
 37 
 
 of the two Grordiani, he was elected with Balbinus, by the senate, to the 
 empire, in order to oppose Maximinns ; "but that tyrant was soon after 
 murdered by his own soldiers. The Prsetorians; however, regretting 
 Maximinus, assassinated the two Emperors when they were preparing to 
 depart on separate expeditions. 
 
 [From the marble in the Capitoline Museum at Rome.] 
 
 59. Maximinus — Caius Julius Yerus. Roman Emperor, a.d. 235 
 
 —238. 
 
 Bom on the confines of Thrace, a.d. 173. Died before Aquileia, a.d. 238. Aged 65.] 
 An Emperor of Gothic origin, who was originally a shepherd, and 
 owed his elevation entirely to his physical power and stature. He stood eight 
 feet high, and was muscular in proportion. Serving with Alexander Severus 
 on the Rhine, he excited a mutiny in the troops, in which Alexander and his 
 mother were assassinated, and he himself declared Emperor by the soldiers. 
 His reign was marked by mad severity, cruelty, and rapacity, and was 
 fiercely closed by a band of Prsetorians, who broke into his tent and slew 
 him, having first put an end to his son before his eyes. He was a rare 
 monster. It is related that his thumb was of the girth of a woman's wrist ; 
 he could wear his wife's bracelet as a ring : his eyes were inordinately large; 
 with a kick, he could break the leg of a horse ; and his appetite corresponded 
 with his muscular development. 
 
 [From the marble in the Capitoline Museum at Eome.] 
 
 60. Caracalla. Roman Emperor, A.D. 211 — 217. 
 
 [Born at Lyons in France, a.d. 188. Died in Mesopotamia, a.d. 217. Aged 29.] 
 
 In early life remarkable for gentle and pleasing address ; but on the death 
 of his father, Septimius Severus, he assassinated his brother (xeta, who was 
 left, with himself, joint heir to the throne. Other crimes were added, and, 
 conscience-stricken, he soon gave rein to the passions of a madman. He 
 oppressed his citizens by extortionate taxation, and plundered the world for 
 the means of paying for his soldiers and his amusements. He, however, 
 erected some great monuments in Rome. He was assassinated in Mesopo- 
 tamia by order of Macrinus, his chief officer. 
 
 [All busts of him show the peculiar deformed turn of the neck with which he 
 was afflicted.] 
 
 61. (xeta — Publius Septimius. Roman Emperor, a.d. 211 — 212. 
 
 [Born at Milan, a.d. 189. Died a.d. 212. Aged 23.] 
 The second son of Septimius Severus. During his second Consulship pro- 
 ceeded to Britain (208) and obtained the surname of Britannicus. Upon 
 the death of his father, he and his brother Caracalla were declared joint suc- 
 cessors to the Imperial crown ; but Greta, at the instigation of Caracalla, was 
 assassinated in the very arms of his mother, to whom he had fled for refuge. 
 Caracalla caused his brother's statues to be destroyed, and his inscriptions 
 to be obliterated. Greta was depraved in his habits, and unpolished, but 
 not without some good qualities. 
 
 [From the marble in the Capitoline Museum at Rome.] 
 
 62. Gordianus II. — Marcus Axtoxius. Roman Emperor, a.d. 238. 
 
 [Born, a.d., 192. Died at Carthage, in Africa, a.d. 238. Aged 46.] 
 Eldest son of Gfordianus Africanus, with whom he was proclaimed Emperor, 
 
33 
 
 PORTRAIT GALLERY. 
 
 in Africa, in opposition to Maximums. He was defeated and slain by 
 Capellianus, the Procurator of Numidia, who remained faithful to Max- 
 imums. His instructor, Serenus Sammonicus, left him heir to a large library. 
 Gordianus II. had a good knowledge of law, and cultivated literature. 
 [From the marble in the Capitoline Museum at Rome.] 
 
 63. Decius— Caius Messitxs Qdixtds Tkajanus. Roman 
 
 Emperor, a.d. 249 — 251. 
 
 [Born at Bubalia, in Lower Pannonia, a.d. 201. Died near Abricium, a.d. 251. 
 Aged 50.] 
 
 The first of a long line of monarchs who traced an Illyrian ancestry. In A.D. 
 245, he was entrusted with, an important command on the Danube. Shortly 
 afterwards he was ordered by the Emperor Philippus to calm the rebellious 
 soldiery of Mcesia ; but, on attempting to pacify them, he was offered, with a 
 sword to his breast, the alternative of instant death or the purple. Choosing 
 the purple, he was opposed in the field by Philippus, who fell. After 
 reigning thirty months, he met his death in battle against the Goths. 
 During his short rule, the Christians were bitterly persecuted. It is 
 difficult to form a just estimate of this Emperor's character. He has been 
 described as "most amiable, highly accomplished, mild, affable, and brave." 
 He has also been stigmatized as a monster of iniquity. 
 
 [From the gallery of the Emperors in the Capitoline Museum at Rome.] 
 
 64. Alexander Seveejjs — Maecus Aukelius. Roman Emperor, 
 
 a.d. 222—235. 
 
 [Born at Arce, in Phoenicia, a.d. 205-203. Died in Gaul, a.d. 235.] 
 Sleeted Emperor on the death of Elagabalus, in a.d. 222. His reign was 
 marked by a gradual improvement in religion, morality, and politics. In 
 a.d. 232, he drove the Persians under Artaxerxes, in defeat across the Tigris. 
 He was about to advance against the Germans, then ravaging Gaul, when he 
 was murdered, together with his mother Julia Mamasa, by a band of 
 mutinous soldiers, instigated by the ferocious Maximinus, who seized the 
 crown. His life was simple and pure ; his government considerate and just. 
 His death caused general regret. 
 
 [From the marble in the Capitoline Museum at Rome.] 
 
 65. Helto gad ALirs or Elagabalus — Tabids Ayitus Bassianus. 
 
 Roman Emperor, a.d. 218 — 222. 
 [Born at Antioch, a.d. 204. Assassinated a.d. 222. Aged 18.] 
 From his earliest years a priest of the Sun in the Temple of Emesa, 
 in Syria : but by the intrigues of his grandmother, Julia Msesa, declared 
 Emperor of Rome, in place of Macrinus, whom he defeated in battle, 
 and put to death. Elagabalus — so called from his sun-worship — the 
 priest taking the name of the God — introduced into Rome the super- 
 stitions in which he had been nurtured. By way of strengthening his 
 power, his grandmother induced him to associate with himself, in the govern- 
 ment, his cousin Alexander Severus. Repenting of this act, he was about 
 to undo it, when a revolt of the Praetorians decided the question of rule by 
 assassinating him and throwing his body into the Tiber. A more worthless 
 carcase had never floated down the polluted river. His vices were as gross 
 as his superstitions. He left behind him a smirched and hated name. 
 
 [All Busts of him were ordered to be destroyed by the Senate : they are conse- 
 quently rare. This is from the Capitoline Museum at Rome.] 
 
ROMAN COURT— THE EMPERORS. 
 
 39 
 
 66. GtAlliexus, — PuBLius Licikius Yalerianus. Roman Emperor, 
 
 a.d. 253—268. 
 
 [Born a.d. 218. Died before Milan, a. d. 268. Aged 50.] 
 Son of Valerian. When associated with his father in the empire, he 
 commanded with success against the barbarians on the Rhine and Danube. 
 In 260, Valerian was made captive by the Persians, and during the eight 
 years of his imprisonment, his son made no effort to release him. Rome, 
 whilst Gfallienus reigned, was a prey to pestilence, internal rebellion, and 
 the ravages of foreign nations. In a.d. 268, he laid siege to Milan, whither 
 Aureolus, an invader of his empire, had fled for refuge. During the siege 
 Gallienus fell — it is said by the hands of his own soldiers. His character 
 was very bad. He was cruel, treacherous, and indolent, apathetic to public 
 disaster, self-indulgent, frivolous, and a glutton. 
 
 [From the marble in the Capitoline Museum at Rome.] 
 
 67. Gtokdianus III. or Pius — Marcus Axtoxius. Roman 
 
 Emperor, a.d. 238 — 244. 
 
 [Born a. d. 224. Died near Castrum Circesium, in Mesopotamia, A. d. 244. Aged 20.] 
 An emperor, endowed with many good qualities. He was son of the 
 Consul Junius Balbus and Metia Faustina, daughter of Grordianus Africanus. 
 When sixteen years old he married the beautiful and virtuous daughter of 
 Misitheus, a wise and eloquent man, whom he appointed Prefect of the 
 Prsetorians, and by whose prudent advice he was successfully guided. Upon 
 the death of this able minister, Philip the Arabian contrived to associate 
 himself in the government with Gforclianus, who shortly afterwards fell a 
 victim, it is supposed, to the conspiracies of his colleague. 
 [From the marble in the Capitoline Museum at Rome.] 
 
 68. Caius Julius Yerus Maximus. Roman Prince. 
 
 [Date and place of birth unknown. Died at Aquileia, a.d. 238. Aged 18 or 21.] 
 
 Son of the Emperor Maximinus, who, on his accession to the purple in 235, 
 raised him to the rank of Csesar. Well educated, vain of his personal 
 beauty, and haughty of demeanour, but not evil disposed. He was massa- 
 cred with his father at Aquileia by the rebel Praetorians. 
 [From the marble in the Capitoline Museum at Rome.] 
 
 69. Philip the Younger. — Marcus Julius Philippus II. 
 
 Roman Prince. 
 
 [Born (place unknown), a.d. 237. Died a.d. 249. Aged 12.] 
 Son of Philip L, Emperor of Rome. When seven years old dignified with 
 the title of Csesar. When ten years old chosen Consul, and shared the 
 empire under the title of Augustus. A child of singularly serious tem- 
 perament. He could never be induced to laugh, and would turn away his 
 head when his father indulged in merriment. 
 [From the Statue Gallery of the Vatican.] 
 
 70. Carious — Marcus Aurelius. Roman Emperor, a.d. 283-285. 
 
 [Born probably at Rome, a.d. 249. Died inMoesia, a.d. 285. Aged 36.] 
 Eldest son of the Emperor Cams. Was appointed to the command of the 
 Western Provinces, a.d. 282. In a.d. 283, on the death of his father, was 
 associated in the government with his brother Numerianus, who was assas- 
 
40 
 
 PORTRAIT GALLERY. 
 
 sinated when Diocletian was proclaimed Emperor by the army in Asi$. 
 Carinns marched against Diocletian, bnt in the moment of triumph he was 
 slain by one of his own officers, whose domestic happiness he had destroyed. 
 Carinns was a brave and skilful general, but a profligate and vicious man. 
 He was sensual and ferocious. 
 
 [From the marble in the Capitoline Museum at Rome.] 
 
 71. Julian the Apostate — Flayitjs Claudius Julianus. Roman 
 
 Emperor, A.D. 361—363. 
 
 [Born at Constantinople, a.d. 331. Died in Persia, a.d. 363. Aged 32.] 
 Unquestionably a ruler of extraordinary capacity and power. He was the 
 nephew of Constantine the Great, and was brought up in strict seclusion by 
 the Christians, in order to save him from Constantius II,, who, upon his 
 accession, had murdered the male members of Julian's family. He withdrew 
 for a time to Athens ; was thence recalled by the relenting Constantius, and 
 invested with command in Graul. He resided chiefly in Paris, and it is 
 worthy of note that at a time of scarcity in that city, Julian drew his 
 supplies of corn from England. During his stay in Graul, the soldiers 
 proclaimed him Emperor. He marched against Constantinople, but before he 
 reached the city Constantius had died. Julian, created Emperor, renounced 
 Christianity for the Paganism of Greece ; hence the name which he has 
 carried as a brand ever since. The Heathens extol this prince, the Christians 
 blame him. His life at least was pure, and his rule sagacious ; and, 
 although he naturally hated his former co-religionists, he was no religious 
 persecutor. After his accession to the throne he carried war into Persia, 
 where he was slain in battle. He was a prince of profound knowledge, of 
 great eloquence, and remarkable for philosophic calm. He professed Stoicism. 
 He was also a writer, and many of his works, displaying reflexion and 
 inquiring thought, have come down to us. 
 
 [From the marble in the Capitoline Museum at Rome. A very interesting 
 
 statue of Julian will be found described under No. 92, Handbook of Greek 
 
 Court.] 
 
 72. Diocletian — Caius Valerius Aueelius. Roman Emperor , 
 
 a.d. 284—305. 
 
 [Born in Dalmatia, a.d. 245. Died a.d. 313. Aged 6S.] 
 At first a simple soldier, he rose by his own merit to the rank of Captain 
 of the Palace Gfuard, an office which he held until the death of JNfumerianus, 
 when he was declared his successor. He associated Maximianus with him 
 in the empire, and appointed Constantius Chlorus and Galerius, Csesars. 
 At the instigation of Gralerius he barbarously persecuted the Christians. In 
 A.d. 305, he resigned the empire in consequence of growing infirmities, and 
 withdrew to Salona, where he cultivated his own garden and lived in 
 philosophical retirement. Whilst he held power, he thought less of the 
 freedom and dignity of Rome, than of maintaining the power of the 
 sovereign, and of securing a regular succession. His cruelty to the Christians 
 has caused his reign to be described as " The Age of Martyrs." 
 [From the marble in the Capitoline Museum. ] 
 
 73. Constantius Chlorus— Flayius Yaleeius. Roman Emperor f 
 
 a.d. 305—306. 
 
 [Born a.d. 250. Died at York, in England, a.d. 306. Aged 55.] 
 The father of Constantine, surnamed " the Great," who was founder of Coe- 
 
ROMAN COURT— THE EMPERORS. 
 
 41 
 
 stantinople. Constanthis governed, as colleague of Diocletian, beyond the Alps, 
 and his dominion extended over Gfaul, Britain, and Spain. He died in 
 England whilst preparing for an expedition against the Scots. He was the 
 best of the later Roman Emperors, having a regard to the welfare of his 
 people, and exhibiting no rapacity in his administration. In religious 
 matters he was mild and tolerant, showing great humanity towards the 
 Christians. He had excellent talents, and was surnamed "Chlorus," or 
 "the pale," from the pallor of his countenance. 
 
 [From the marble in the Capitoline Museum at Rome.] 
 
 74. Hostilianiis. Roman Emperor, a.d. 251 or 252. 
 
 [Date and place of birth unknown. Died a.d. 251 or 252.] 
 Generally regarded as the second son of the Emperor Decius, whom he 
 "survived. Declared Caesar in a.d. 249, and was afterwards adopted by Tre- 
 bonianus Gfallus as his colleague in the empire. Died either of poison or 
 the plague. 
 
 [From the marble in the Capitoline Museum at Rome.] 
 
 75. Yoltjsianus — Caius Yibius. Roman Emperor, a.d. 252 — 254. 
 
 [Date and place of birth unknown. Died at Interamna, in Italy, a.d. 253 or 254.] 
 
 Son of the Emperor Grallus, with whom he reigned, being elected Augustus 
 in a.d. 252. Little is known of his life or character. When iEmilianus was 
 chosen Emperor, he went with Grallus to oppose him ; but, before a battle 
 could be fought, father and son were slain by their own troops. 
 [From the marble in the Capitoline Museum at Rome.] 
 
 76*. Mag-nus Decentitjs. Roman Prince. 
 
 [Date and place of birth unknown. Died at Sens, in Gaui, a.d. 353.] 
 A brother or cousin of the Emperor Flavius Magnentius. Nominated 
 Caesar, a.d. 351, he went into Graul, and suffered defeat in defending that 
 country against the Germans. He strangled himself upon hearing of the 
 defeat and deposition of his brother by Constantius, who succeeded to the 
 throne of Magnentius. 
 
 [For an account of a curious head of this Prince, placed in the Bas-relief gallery, 
 see Handbook to Greek Court, No. 217.] 
 
 AVENUE m EEONT OE EOMAN COTJET. 
 
 (Numbers continuing at the end next to the Greek Court.) 
 
 77. Trajan. Roman Emperor. 
 
 For life, see No. 45. 
 
 78. Tea j an. Roman Emperor. 
 
 79. Antinotts. Bithynian youth. 
 
 [Died in Egypt, a.d. 132.] 
 Celebrated for his beauty. He was the page and companion of the Roman 
 Emperor Hadrian, whom he accompanied to Egypt. He was drowned in 
 
42 
 
 PORTRAIT GALLERY. 
 
 the Nile, and the Emperor was inconsolable for his loss. On the spot where 
 he died, the city of Antinoea was raised ; temples and statues in Egypt and 
 Greece were erected to his memory ; and in Greece, coins were struck in his 
 honour. The numerous representations of his beauty gave a fresh impulse 
 to the Fine Arts, and may be compared with the works of the best periods 
 of Grecian Sculpture. 
 
 [From the marble in the Louvre ; the head bound with a fillet of vine. For 
 account of the many beautiful statues of Antinous see Handbook to Roman 
 Court and Nave.] 
 
 81. 1 
 
 82. 
 83. 
 84. 
 
 ) Four duplicate basts removed. 
 
 85. Antoninus Pius. Roman Emperor. 
 
 For life, see No. 47. 
 [From the marble in the Naples Museum.] 
 
 86. Augustus. Roman Emperor. 
 
 For life, see No. 35; 
 [This very beautiful Bust is from the Florence Gallery.] 
 
 87. Tiberius. Roman Emperor. 
 
 For life, see No. 37. 
 [This Bust is from the Berlin Museum.] 
 
 88. Claudius. Roman Emperor. 
 
 For life, see No. 38. 
 
 89. Herennius. Roman Emperor, a.d. 251. 
 
 [Date and place of birth unknown. Died near Abricium, in Thrace, a.d. 251.] 
 Little interest is connected with the history of this emperor. In 249, he 
 was declared Csesar, and in 251, Augustus, as the colleague of his father 
 Decius. In a battle fought near Abricium, between the Emperor Decius and 
 the Goths, both he and his father were slain. 
 [From the Capitoline Museum.] 
 
 90. Scipio Africanus. Roman General. 
 
 For life, see No. 109. 
 
 91. Julia M^sa. Roman Empress. 
 
 [Born at Emesa, in Syria, (date unknown). Died, probably at Rome, A. d., 223.] 
 
 Daughter to a Priest of the Sun. When her sister, Julia Donina, as wife 
 of Septimius Severus, became Empress, Julia Msesa resided at the Imperial 
 Court. Her bold political intrigues placed her grandson Elagabalus on the 
 throne. Against law, she was made a member of the Senate. She bore the 
 title of Augusta to her death, and was afterwards deified. A woman of 
 powerful mind, unscrupulously ambitious, but using power well. 
 
 [From the marble in the Gallery of the Emperors, in the Capitol, at Rome. ] 
 
COURT OF THE EOMAN LADIES. 
 
 43 
 
 92. Sabista. 
 
 [Died probably a.d. 137.] 
 Wife of the Emperor Hadrian, and grandniece of Trajan. Ill treated by 
 her husband, by whom, it is said, she was poisoned. Others assert that 
 in despair she put an end to her life. She was deified after her decease. 
 [From the original in alabaster in the Capitoline Museum, at Rome.] 
 
 COURT OF THE ROMAN LADIES. 
 
 (Numbers commencing on the right.) 
 93. Liyia Dktjsilla. Roman Empress. 
 
 [Born B.C. 56—54. Died a.d. 29.] 
 Married to Tiberius Claudius Nero, a Roman general ; but her beauty 
 captivating the Triumvir Octavian, afterwards Augustus, her divorce was 
 effected, and she became the Triumvir's wife. A consummate actress, full 
 of craft and dissimulation, possessing great knowledge of the world, and, by 
 an affected purity of life, maintaining to the last her influence over the 
 mind of Augustus. She successfully intrigued for the succession in favour 
 of Tiberius, her son by her first marriage, and, it is said, removed by 
 poison the grandsons of Augustus, who stood in the way of her own offspring. 
 Tiberius became Emperor, and repaid the service by base ingratitude. He 
 removed his mother from all share in the government, declined all inter- 
 course with her, refused to see her when she was dying, and rejoiced, in open 
 show, at her death. 
 
 94*. Downs' a — Julia (Pia Felix Augusta). Roman Empress. 
 
 [Bom at Emesa, in Syria, about a.d. 170. Died a.d. 217.] 
 A woman of humble origin, but beautiful, ambitious and crafty. She be- 
 came the wife of Septimius Severus, then of the rank of general, and acquired 
 boundless influence over his mind, persuading him that a prophecy had 
 destined her to become the wife of an Emperor, and inciting him to labour 
 to that end. After the death of .her husband, her son Greta was murdered 
 in her arms by his brother Caracalla ; and after the successful revolt of 
 Macrinus, being suspected of treason, she, possibly to avoid punishment, 
 starved herself to death. 
 
 [From the marble in the Rotunda of the Vatican. This colossal head will be 
 found No. 334, Roman Court.] 
 
 95*. Julia, daughter of Augustus. 
 
 [Born at Rome, B.C., 39. Died at Rhegium, a.d. 14. Aged 53.] 
 The daughter of the Roman Emperor by his third wife Scribonia. Strictly 
 brought up, she was married at fourteen to Marcellus. Left a widow at 
 sixteen, she was forced by her father to marry the veteran Agrippa, by 
 whom she had three sons and two daughters. Her conduct dissolute and 
 unrestrained. Agrippa dying, she married again Tiberius Nero (afterwards 
 emperor) who left her in disgust. She was banished by her father until the 
 accession of Tiberius, when she suffered still harsher exile. Consumption 
 
44 
 
 PORTRAIT GALLERY. 
 
 killed her. In spite of her vices, the people of Rome loved her for her frank 
 and lively manner, and frequently solicited Augustus to recal her. 
 
 [For further account of this graceful Statue of Julia, see No. 229, of Handbook to 
 Roman Court, and Nave.] 
 
 96. AGrRIPPINA — the Eldee. 
 
 [Born B.C. 15. Died a.d. 33. Aged 48.] 
 Daughter of Yipsanius Agrippa, and wife of Caesar Grermanicus, to whom 
 she bore nine children. Accompanied her husband in all his campaigns, 
 and aided him by her cool foresight and energetic will : once, on the Rhine, 
 in his absence, by her heroic resistance to the timid counsels of those about 
 her, saving the relics of an army. On his death in Asia, she returned to 
 Rome, whence she was banished by Tiberius, jealous of her popularity. 
 After three years' persecution and suffering, she died — possibly by her own 
 hand. She had all the lofty qualities of a Roman matron — nobility of 
 soul, purity, and a devoted love for her husband and children. Tacitus says 
 of her, that * ' the cares which belong to men supplanted, in her mind, the 
 vices common to her sex." 
 
 [From the seated Statue, for account of which, see No. 281, of Hand-book to 
 Roman Court, and Nave.] 
 
 97. Agrippina the Younger. Roman Empress. 
 
 [Born at Oppidum Ubiorum (Cologne), a.d. 14 — 17. Died at Rome, a.d. 60.] 
 
 The ruthless and dissolute daughter of noble parents — of Grermanicus and 
 Agrippina the elder. The unenviable mother of the madman, N ero. Upon 
 the death of her second husband, whom she was accused of poisoning, she 
 married her uncle Claudius, whom she induced to nominate Nero for his 
 successor, excluding his own son. She poisoned her uncle -husband, and 
 received her reward from her son, the matricide, — dying by hands com- 
 missioned by him to the murder. Tacitus speaks of some interesting 
 memoirs of her time, written by Agrippina, to which he had access in 
 writing his history. She was beautiful, but ambitious, and as wicked as 
 she proved unfortunate. 
 
 [From the marble in the Capitoline Museum, at Rome.] 
 
 98. Valeria Messalina. Roman Empress. 
 
 [Born, uncertain. Died at Rome, a.d. 48.] 
 The third wife of the Emperor Claudius I. Her name has become a bye- 
 word for profligacy. A murderess. Herself pierced through the breast by 
 the sword of a tribune entrusted with the execution of one of her victims. 
 The slave of lust, avarice, and ambition. Difiicult to find in history a 
 woman more blackened by crime than Valeria Messalina. 
 [From the marble in the Capitoline Museum, at Rome.] 
 
 99. Plotina — Pompeia. Roman Empress. 
 
 [Date, and place of birth and death unknown.] 
 
 The wife of the Emperor Trajan. A woman of clear, strong mind, and an 
 exemplary purity of life and consistency of character. Childless herself, she 
 prevailed upon her husband to adopt Hadrian, in whose reign she died. 
 Hadrian built a temple in her honour, and composed hymns in her praise. 
 [From the marble in the Rotunda of the Vatican.] 
 
COURT OF THE ROMAN LADIES. 
 
 45 
 
 100. Matedia. 
 
 [Date and place of birth unknown.] 
 The niece of Trajan. Declared Augusta, a.d. 113, and after death, 
 deified. 
 
 [From the marble in the Capitoline Museum, at Rome.] 
 
 101. Crispixa. 
 
 [Date and place of birth unknown. Died at Caprese, a.d. 183.] 
 Was married to the Roman Emperor Commodus, a.d. 177, but divorced 
 for infidelity, banished, and put to death, in her exile. She was very 
 beautiful and ambitious. 
 
 [From the marble in the Capitoline Museum, at Rome.] 
 
 102. Mamjea — Jitlia. Roman Empress, 
 
 [Born at Emesa, in Syria (date unknown). Died in Gaul, a.d. 235.] 
 The mother of Alexander Severus, for whom she governed wisely during 
 his minority. With many virtues, she possessed what, in the eyes of the 
 Soman soldiers, was invariably considered as a great vice — slie was an econo- 
 mist in her expenditure ; and, disgusting the army by recommending 
 retrenchments, she gave occasion to a mutiny, to which she and her son 
 Alexander both fell victims. It is said that, whilst at Antioch, she received 
 instruction from Origen in the Christian faith. 
 
 [From the very beautiful Bust in the Florence Gallery.] 
 
 102a. Mamjea — Julia. Roman Empress. 
 
 [The same as preceding, in advanced age.] 
 
 103. SaeoxiXxV — Cordelia. Roman Empress. 
 
 [Date and place of birth unknown. Died before Milan, a.d. 26S.] 
 Supposed to have been of Greek origin. Was the wife of the Emperor 
 Gallienus, and dignified with the title of Augusta upon his ascending the 
 throne. She cultivated literature and philosophy, and was the protector of 
 Plotinus the philosopher. She is described as a woman of great good sense, 
 and exceeding benevolence. She roused him to repel the barbarians, and 
 accompanied his army that she might attend to the wants of the soldiers. 
 She was massacred with her husband and youngest son before Milan. 
 [From the marble in the Capitol at Rome.] 
 
 104. Marentaka. 
 
 [Date and place of birth and death unknown.] 
 Little is known respecting this Princess, who was either wife, sister, or 
 daughter of the Emperor Valerian, and died at least four years before 
 his Persian expedition. Some coins, having on the obverse her name and 
 a veiled head, were struck, A. D. 254. 
 
 105. Faustina Juxior — Anxta Faustina.. 
 
 [Date and place of birth unknown. Died A.D. 175.] 
 The daughter of Antoninus Pius, and wife of Marcus Aurelius, whom she 
 accompanied into Asia, and there died suddenly. One of the most abandoned 
 and dissolute of the Roman Empresses, yet her virtuous husband preserved 
 
46 
 
 PORTRAIT GALLERY. 
 
 Ms first affection for her to the last ; and, on the spot where she died, erected 
 to her honour the city of Faustinopolis. 
 
 [From the Capitoline Museum, at Rome. The original is in the marble called 
 1 ' Paonazzetto " (peacock-stone).] 
 
 105a. Faustina. 
 
 [This bust, which is from the Florence Collection, bears the name of " Faustina, 
 Junior." It is a beautiful bust, well preserved, but bears little resemblance 
 to the preceding portrait. If it really represent the same person, the 
 work has been executed by a more flattering hand.] 
 
 106. Sabina — Poppjea. Roman Empress, 
 
 [Date and place of birth unknown. Died a.d. 65.] 
 " She possessed," says Tacitus, "everything but a virtuous mind." She 
 became the wife of the Emperor Nero, after having been his mistress ; at 
 her instigation Nero's mother was killed by him, and his former wife, Octavia, 
 divorced and put to death. She was herself destroyed by a brutal blow 
 from Nero, who pronounced her eulogium at the tomb. "As he could not," 
 says Tacitus, "speak of her virtues, he enlarged upon her beauty." She 
 was deified, and honoured with a temple. Her luxurious tastes were 
 extravagant. It is related that her mules were shod with gold ; and that 
 when she travelled, she was followed by five hundred asses, whose milk 
 furnished a bath to preserve her complexion. 
 
 [From the marble in the Capitoline Museum, at Rome.] 
 
 COUET OF SOMAN GENERALS AND POETS. 
 
 ADJOINING THE COURT OF ROMAN LADIES. 
 
 (Numbers commencing on the right.) 
 107. Lucius Junius Brutus. Roman Consul. 
 
 [Date and place of birth unknown.] 
 The first Consul, and one of the Founders, of the Roman Republic. Before lie 
 was elected to the Consulate in B.C. 509, he had been the main cause of the ex- 
 pulsion of royalty from Rome in the persons of Tarquin and his sons. He fell 
 in battle whilst defending, as Consul, the infant Republic against the royal 
 exiles fighting for their restoration. These are admitted facts in the life of 
 Lucius Junius Brutus. His assumption of idiotcy during the reign of the 
 Tarquins, in order to carry on with greater safety his patriotic designs, and 
 his connexion with the affecting history of the devoted Lucretia, are events 
 which in recent years have passed from the grave volume of history to the 
 more fascinating pages of poetry. Philosophical historians permit us to 
 sing, but no longer to believe in, the once cherished narratives of earliest 
 Rome. The act, whether historical or merely traditionary, which the most 
 memorably distinguishes his name, is that of ordering the execution of his 
 two sons, convicted of conspiring for the restoration of the Tarquins. 
 [From the bronze in the Palazzo clei Conservatori of the Capitol at Rome.] 
 
COURT OF ROMAN GENERALS AND POETS. 
 
 47 
 
 108. Marcellus — M. Claudius. Roman General. 
 
 [Born about B.C. 26S. Died in Apulia, B.C. 208. Aged about GO.] 
 A Roman of high fame. At his hands Hannibal received the first check 
 that he experienced in Italy. He subsequently besieged Syracuse, but was 
 forced to convert the siege into a blockade in consequence of the genius 
 displayed in the defence of the city by the great Archimedes, who rendered 
 of no avail every engine brought against Syracuse, and inspired dread by his 
 own instruments of war. At length Marcellus triumphed, the city was 
 given over to pillage, and its defender perished, whilst pondering over a 
 geometrical problem, by the hand of a common soldier. He again turned his 
 victorious arms against Hannibal, winning fresh laurels and new honours 
 from the state. It was whilst fighting against the Carthaginian hero that 
 he fell, slain by a spear of the enemy. Hannibal sympathized with his fall, 
 and paid honour to his remains. A plain, stern, unlettered soldier, brave 
 to recklessness, rude and unpolished in manners, unyielding in temper. 
 
 [This Bust bears the name of Marcellus in the Capitoline Museum. It may be 
 the nephew of Augustus when a child. ] 
 
 109. Scipio — Publius Cornelius Aericanus Major. Roman 
 
 General. 
 
 [Bom probably at Rome, B.C. 234. Died at Liternum, in Campania, B.C. 183. Aged 51.] 
 Son of Publius Cornelius Scipio, whose life he saved in the battle of the 
 Ticinus. One of the few Roman generals who survived the fatal battle of 
 Cannse, and chosen with Appius Claudius to command the remains of the 
 army. Went as Prsetor or Pro-Consul to Spain at the age of 24, where he 
 took Carthagena, gained the battle of Bcecula, and recovered the whole country. 
 Forcing Hannibal, the victorious Carthaginian general, to carry the theatre 
 of war to Africa, he gained the celebrated victory of Zama, which decided the 
 long conflict between Rome and Carthage for dominion. Received the sur- 
 name of Africanus in consequence, but, vexed with the ingratitude of his 
 countrymen he withdrew to Liternum, where he died. Like Mahomet and 
 Cromwell, he believed himself the special instrument of Heaven. He was 
 undoubtedly the greatest man of his age, and one of the first of the Roman 
 worthies. The affectionate friend of the poet Ennius, and the patron of 
 literature. The Spaniards, for his virtues, would have made him king. 
 [From the Capitol at Rome. Many busts of this great general are in existence. 
 They all represent him with the head and face close shaved, according to the 
 fashion of his day, when men shaved closely after the age of forty. The 
 authentic busts have the scar on the left side of the head, and some have a 
 scar on each side, and some on the wrong side. No. 127 is from the bust 
 in basalt belonging to the Rospigliosi Palace. No. 125 is from the bronze 
 found in the Villa of the Papyri at Herculaneum, and now in the Naples 
 Museum.] 
 
 110. Cato— Marcus Porcius. Roman Patriot and General. 
 
 [Born B.C. 95. Died at Utica, in Africa, B.C. 46. Aged 49.] 
 One of the classical undying forms reared in antiquity to symbolize high 
 moral purity, unquenchable love of liberty, and the sternest virtue. Cato 
 answers to the idea of Roman patriotism, as Julius C^sar to that of Roman 
 conquest. Before this one we stand, wondering at human power ; before 
 that, subdued by the might of the highest moral excellence. Cato as a 
 child was grave, pains-taking, resolute, tenacious ; as he grew, he became 
 strong in the love of virtue, and in his hatred of oppression. Attached to 
 the philosophy of the Stoics, he aimed at happiness through its teaching. 
 
43 
 
 PORTRAIT GALLERY. 
 
 He had served with honour many offices in Rome when Pompey, Caesar, and 
 Crassus found it necessary to remove him to Cyprus, in order that his 
 patriotism might offer no obstacle to their ambitious schemes. Returning 
 to Rome, he was made Praetor, the highest office he ever held. At the 
 breaking out of the civil war he was entrusted by the senate with the 
 defence of Sicily : he afterwards joined Pompey. Subsequently to the 
 battle of Pharsalia, at which he was not present, he sailed to Africa in 
 search of Pompey. Suffering defeat at Thapsus, he committed self-destruc- 
 tion. Before the fatal act he read Plato's Phaedon several times through. 
 His death caused great grief. It was mourned by great Caesar himself, 
 who grudged Cato his death, since Cato grudged him the glory of sparing 
 his life. 
 
 [Double bust representing Cato and his daughter Porcia ; it is from the Capito- 
 line Museum, but possesses no especial authenticity. ] 
 
 111. Julius Cjesae. Roman Dictator, 
 
 [Born at Rome, B.C. 100. Died there, B.C. 44. Aged 56.] 
 The mightiest amongst the mighty of men. At the outset of his career he 
 served in Asia, where he won a civic wreath. Subsequently made Consul in 
 Rome (b.c. 59) ; and, at the close of his term of office, appointed to the 
 government of Gaul — which country in nine years he wholly subjugated to 
 Roman rule. His invasion of Britain is amongst the earliest recollections of the 
 English schoolboy. The renowned Commentaries of Julius Caesar graphically 
 narrate these deeds. Rousing the jealousy of Pompey, in Rome, by his splendid 
 achievements, he marched into Italy — afterwards into Spain, in order to crush 
 the adherents of Pompey, and then returned to Rome in triumph, to be 
 created Dictator. As Dictator he overcame his rival in the battle of Phar- 
 salia, in Thessaly. He performed fresh service to the state in Egypt, and 
 going back to Rome in order to advance the social and material prosperity of 
 his country, he fell a victim to a conspiracy, of which Brutus and Cassius 
 were at the head. Twice had the crown been offered to him, and twice had 
 he refused it. No Roman before his time had ever won such honour as was 
 heaped upon his head. He suffered from epilepsy, and was very abstemious . 
 He was tall, fair and slight — very careful of his person, concealing his bald- 
 ness by a laurel crown. His was indeed a head inwreathed with palms. 
 He was a great captain, a great statesman, a great orator — a great writer. 
 He had innate personal intrepidity, instantaneous decision, answering 
 celerity of action, resources to meet every emergency, consummate military 
 skill, an unshaken presence of mind, a trust — whether in his fortune, as he 
 said, or in himself — which still augured and still conquered success. He had 
 also the most implicit confidence in his troops, whom he treated ever as com- 
 panions and brothers in arms. Intellectual action in him was without labour. 
 It was subtle, comprehensive, rapid, luminous, self-possessed. He dictated 
 to five secretaries at once, on different subjects : his strokes of eloquence in 
 the Senate, as his strokes of action in the field, were quick and irresistible. 
 In the terrible civil war of the dissolving Republic — a war wasteful of Roman 
 blood in the field, — thirstier for the flow of the same drear beverage by the 
 axe and the dagger, — there, where the sole sad policy of the victor hitherto 
 was revenge, Caesar tried the novel art of forgiveness : although in 
 his Gaulish conquests — when the barbarian stands before him — he looks 
 to us, by his own reporting, sanguinary and merciless. By toil and spare 
 diet, he hardened a feeble health for any work. A civilian, with but a 
 
COURT OF ROMAN GENERALS AND POETS. 
 
 49 
 
 taste, in youth, of war, lie, at forty, stepped into command, at once a su- 
 preme commander. Recklessly licentious, yet no intellect could be keener, 
 healthier, and more vigorous. His writings, with the simplicity of a soldier, 
 have the clearness and precision of a grammarian. And why not, since we know 
 that in the versatility of his genius, he wrote two books on grammar. In 
 the history of the world, Julius Caesar was a power. In the records of 
 psychology a wonder. 
 
 [From the bronze in the Florence Gallery. He wore the front of his head 
 shaven. It resembles the bronze medals of Caesar, but is suspected to be 
 modern. He is said to have been sensitive on account of his baldness, and 
 this bust shows the hair combed forward to hide it. No. 111b possesses 
 much individuality ; it is from the head in basalt in the Berlin Museum, and 
 stood constantly on the study table of Frederic the Great. No. 111a is the 
 bust from the Poniatowsky Collection, and remarkable for having the 
 diadem round the head. No. 125 is from the marble in the Gallery of the 
 Emperors, in the Capitol at Borne.] 
 
 Julius (Lesak. Roman Dictator. 
 
 112. Maecus Junius Beutus. Roman General. 
 
 [Born B.C. 85. Died B.C. 42. Aged 43.] 
 The friend of Cicero — the fellow conspirator of Cassius — one of those who 
 shared in the deed memorable to all time — questionable in its own — of 
 killing Julius Caesar. From his earliest youth, and through life, absorbed 
 in study and self-contemplation, to the detriment of his powers as a man of 
 action. He was much attached to Cato, whom he accompanied to Cyprus, 
 when it was found necessary to remove the republican leaders from Rome. 
 We are accustomed to think of Brutus — Shakspeare being greatly answerable 
 for the thought — as standing aloof from the vulgar ambition and desires of 
 his fellow-men ; yet we find him in Cilicia (b.c. 53), growing rich by letting 
 out money at usurious interest. In the civil war of Pompey and Csssar he 
 took part with Pompey ; Csesar, however, gave orders that at the battle of 
 Pharsalia his person should be sacred. Grateful for the consideration, 
 Brutus, upon the defeat of Pompey, asked pardon from Caesar, which was 
 generously accorded. In B.C. 48, appointed by Caesar governor of Cisalpine 
 Gaul : the inhabitants of which, delighted with his mild treatment 
 of them, and his justice, honoured him with public monuments. Four 
 years later he joined the conspiracy against his patron, and burdened 
 his hand with the death of that great soldier. Then took up arms 
 against Antony ; but suffering defeat at Philippi, fell by his own sword. 
 His reading and varied knowledge were immense : he was speculative, 
 superstitious, and highly imaginative. His aspirations pure and noble, but his 
 practical ability small, and his judgment imperfect and too easily led. He 
 wrote much, his chief productions being his orations. 
 
 [From the Capitol at Rome, where it stands in the same gallery as the Dying 
 Gladiator (No. 309) in the Nave.] 
 
 113. M. Yipsanius Agbippa. Roman General. 
 
 [Born b.c 63. Died in Campania, B.C. 12. Aged 51.] 
 His victories mainly contributed to make the Emperor Augustus, whose 
 daughter he married, master of the Roman Empire : and he was the chief 
 support of the rising monarchical institution in Rome. He spent much 
 money on public works, erected several public buildings, including the 
 
 E 
 
50 
 
 PORTRAIT GALLERY. 
 
 Pantheon and the Julian aqueduct ; was a patron of the fine Arts, and dying, 
 bequeathed his goods and his gardens to the people of Rome. 
 [From a Bust in the Louvre.] 
 
 114. Neeo Claudius Detjsus. Roman General, 
 
 [Born at Rome, B.C. 38. Died B.C. 9. Aged 29.] 
 A son of Livia who married the Emperor Augustus, and brother of 
 Tiberius. Victorious in Gaul and Germany. Unflinchingly firm and severe 
 towards all who resisted him, but generous to those who trusted and submitted 
 to him. He married Antonia, the daughter of Marc Antony. His known 
 desire to see the commonwealth restored endeared him to the Roman people. 
 Died in Germany, from an injury sustained in a fall from his horse. 
 
 [From the marble in the Capitoline Museum, at Rome. See also a statue of 
 him, No. 222, Roman Court.] 
 
 115. GtERMANICTJS Cjesar. Roman General, 
 
 [Born B.C. 15. Died at Antioch, in Syria, a.d. 19. Aged 34.] 
 Son of Nero Claudius Drusus, and his wife Antonia; was adopted by 
 Tiberius, at the request of Augustus. Occupied for a time in an exterminating 
 war against the eastern Germans. Afterwards appointed by Tiberius supreme 
 ruler of the eastern provinces. Died at Antioch, where, it is supposed, he 
 was poisoned by the governor of the place. A man of sensitive feeling, 
 temperate, and virtuous. Remarkable for the dignity of his person, for 
 captivating eloquence, munificence, and unaffected courtesy; but credulous, 
 nervous, and a believer in magic. Idolized by his soldiers, and popular with 
 the multitude. 
 
 [From the marble in the Capitol, at Rome. The statue generally called by 
 his name is described under No. 312 in the Hand-book to Roman Court 
 and Nave.] 
 
 116. CoRBULO — Cneius Domitius. Roman General, 
 
 [Date and place of birth unknown. Died at Cenchrese, in Greece, a.d. 67.] 
 One of the most celebrated generals of his age, and brother-in-law of 
 Caligula. He composed some military memoirs after the manner of Csesar's 
 Commentaries, but they have not been preserved. He was a good disciplin- 
 arian, and cautious as well as brave. He commanded against the Parthians, 
 and was victorious in every engagement. After Nero's accession, he 
 continued faithful to his new master, who summoned him to Greece, and 
 for his fidelity greeted him with an order for execution on his landing at 
 Cenchreoe. He stabbed himself with his own sword. His daughter Domitia 
 Longina, celebrated for her beauty and vices, was the wife of the Emperor 
 Domitian. 
 
 [From the marble in the Gallery of Philosophers, of the Capitoline Museum, at 
 Rome.] 
 
 117. Decimus Cloditjs Ceionius Septimius Albinus. Roman 
 
 General, 
 
 [Born at Adrumetum, in Africa. Date not known. Died at Lugdunum (Lyons), 
 in Gaul, a.d. 197.] 
 
 Entered the army at an early age, and served with distinction under 
 Marcus Aurelius. Held a command in Gaul, and afterwards in Britain, 
 under Commodus. After the murder of Pertinax, the successor of Commodus, 
 Clodius was proclaimed Emperor in Britain by the British legions, and 
 shared the purple with Septimius Severus. Subsequently discarded by 
 
COURT OF ROMAN GENERALS AND POETS. 
 
 51 
 
 Severus, lie put himself at the head of his legions, and met his colleague in 
 battle at Lugdunum, in Gaul, where he fell. He was of great beauty and 
 strength, and was called by his father " Albinus," on account of the great 
 whiteness of his skin. A skilful general, but severe : styled by some, the 
 " Catiline" of his time. 
 
 [From the gallery of the Emperors, in the Capitoliue Museum, at Rome.] 
 
 118. Terence — Publius Tekentius. Latin Comic Poet. 
 
 [Born at Carthage, B.C. 195. Died (place uncertain), B.C. 159. Aged 36.] 
 The second and last of the Latin comic poets — Plautus being the first— 
 whose plays have descended to our time. He was the slave of a Roman 
 senator, who, having regard to his talents and handsome person, gave him 
 his liberty : on which occasion the freedman assumed his patron's name — 
 Terentius. In person, he was thin and of the middle height, with an olive 
 complexion. Terence is the one Latin writer in whom the stateliness and the 
 lofty strength, seemingly inherent in the language of Rome, at once ceases : 
 and the tongue which we had deemed fit only to be spoken by the Kings of 
 the world, — by the Fathers convened in the temple of Capitoline Jove, — 
 gently condescends to the hearts and the hearths of men. In the six pre- 
 served comedies of his — both by the delineation of the characters, and by the 
 strain of their speaking — Ave feel ourselves in the familiar presence of known 
 humanity. Not but that the manner implies delicate choice and thoughtful 
 art ; but its easy, natural air deceives the belief in the actual study. The 
 words rise up from the heart, to drop from the lip. In the dialogue of 
 Terence, the barrier that hitherto has stood inflexibly between the modern 
 and the antique world has fallen. We are at home in the Roman theatre. 
 To great purity, grace, tenderness, the style adds, even in description, or 
 narrative, or continuous argument, that utter simplicity and obviousness of 
 the sense, which is found in the most trivial uses of speech. 
 
 [From the marble in the Stanza dei Filosofi of the Capitol, at Rome. On the 
 right shoulder is sculptured the histrionic mask, a curious fancy of the 
 artist, which may have been suggested by the custom in Egyptian portrai- 
 ture, of carving the name in a small " cartouche " on the shoulder, a practice 
 alluded to in the scriptures.] 
 
 119. (Jttxxtus Hoetensitjs. Roman Orator. 
 
 [Born B.C. 113. Died B.C. 49. Aged 64.] 
 He employed his great oratorical powers in the defence of Sylla, and of the 
 aristocratic party to which he had attached himself. Cicero styled him "rex 
 judiciorum." He defended Verres against Cicero : and the triumph of 
 Cicero on that occasion threw Hortensius ever after into the second rank. He 
 acquired great wealth, and lived luxuriously. His oratory was of the florid 
 kind, and greatly aided by gesticulation ; he had a retentive memory, and a 
 sweetly sonorous voice. 
 
 [From the marble in the Villa Albani, Rome. The Bust is inscribed with his 
 name. It was found together with the bust of Isocrates (No. 15). 
 
 120. Cicebo — Marcus Thelitis. Roman Orator. 
 
 [Born at Arpinum, B.C. 106. Died at Formiae, B.C. 43. Aged 63.] 
 The acknowledged greatest name in Roman eloquence. A man diligent 
 in accomplishing himself by various study, and wonderfully gifted with 
 the power of clothing thought in copious and musical words. He is less 
 
 e2 
 
52 
 
 PORTRAIT GALLERY. 
 
 distinguished as an original thinker. He frequented the schools of the 
 philosophers, but seemed in heart more dedicated to the worldly ambition 
 of power and fame than to the studious zeal of truth. He courted popularity, 
 and lived in anticipated immortality. He was an ambiguous partisan, waiting 
 to be directed by victory to the side which he should embrace. He loved to 
 throw an air of philosophical reflexion over questions of human affairs ; 
 and his expression of these reflexions is felt even to this day as singularly 
 felicitous. We quote his words, because we can find no apter expression 
 yet for the permanent thoughts. His writings show him undisguisedly vain. 
 After the assassination of the great Julius (b.c. 44), he became the leader of 
 the republican party, and in his celebrated " Philippics" denounced Antony 
 as the foe of his country. This was his ruin. On the formation of the 
 Triumvirate of Antony, Octavius, and Lepidus, he was included in the 
 proscriptions ; his head was cut off, and fixed upon the Rostra which had so 
 frequently resounded with his eloquence. His greatest political achievement 
 was the detection and sudden overthrow of the revolutionary conspiracy 
 headed by Catiline (b.c. 63), his brilliant denunciations of whom we listen 
 to in our boyhood. Kind and pure in his life, but without true greatness of 
 character, and with many moral weaknesses. 
 
 [From the marble in the Vatican. Considered to be the most faithful portrait of 
 this renowned orator. No. 120a is from the Gallery of Philosophers of the 
 Capitoline Museum, at Rome.] 
 
 120a. Cicero — Marcus Tullius. Roman Orator. 
 121. Virgil — Publifs Yirgilius Maro. Latin Poet. 
 
 [Born at Andes, near Mantua, in Cisalpine Gaul, b.c. 70. Died at Brundusium, 
 in Italy, B.C. 19. Aged 51.] 
 
 The district in which Virgil was born not being then included in Italy, 
 he did not enjoy the native rights of a Roman citizen ; and when Augustus 
 divided the lands in Cisalpine Gaul amongst his victorious veteran soldiers, 
 Virgil was ejected from his small patrimonial farm. Upon his petitioning the 
 emperor, however, the farm was restored to him. He was the friend of 
 Horace, whom he introduced to Maecenas. Besides poetry, he cultivated medi- 
 cine and agriculture. He was tall, dark, rustic in appearance, and feeble in 
 body. He was drawn by the power of genius from the obscure shade of a 
 peasant's life, to be the favoured poet and friend of an emperor. In his 
 verse the native majesty of the language appears more perfectly tempered, 
 than in any other, with grace and sweetness. Virgil is the most pathetic of 
 the Roman poets : the heart speaks in his verse. He has the soul of the 
 beautiful, like an earlier Eaffaelle in song. His poem on Husbandry — the 
 most finished work of his muse — is written with a cleaving of soul to the native 
 theme. The purport of the poem was to recal the luxurious Romans to the 
 simple and vigorous way of life of their ancestors, who lived cultivating the 
 earth. If the rural earth and free nature could have been endeared to 
 the voluptuous masters of the world by the charm of musical words, the 
 Georgics might have done this. We ourselves feel the pouring of a purer 
 atmosphere into the corrupted city. The epic poem of Virgil, "The 
 iEneid," relating the transplantation of a Trojan colony from the flames of 
 falling Troy, to found (in Italy) future Rome, derives a high poetical cast 
 from the prophetic spirit that overshadows it. Both " The Georgics" and 
 the "iEneid " express love in the soul of the poet — love for the scenes and 
 
COURT OF ROMAN GENERALS AND POETS. 
 
 53 
 
 vocation in which he was born — love of Rome, which he will purify or will 
 glorify. 
 
 [From the marble in the Stanza dei Filosofi of the Capitol, at Rome. The por- 
 traits of Virgil have been verified by Bellori. The tomb of Virgil is a well- 
 known object of interest near Naples. It is now an ivy-grown, but 
 venerated ruin, although so late as 1326 it was nearly perfect.] 
 
 122. Seneca — Lucius Anmsus. Philosopher. 
 
 [Born at Corduba (Cordova), in Spain, about a.d. 2. Died at Rome, a.d. 68. Aged 66 
 The tutor of young Doniitius, afterwards the Emperor Nero, by whom he 
 was condemned and sentenced to self-destruction — probably that Nero might 
 secure his great possessions. Seneca underwent his punishment with great 
 firmness and philosophic calm. He was a writer of many works, and Quin- 
 tilian says that he corrupted the taste of his age by an affected though 
 elegant style. Many of his epistles and moral and physical treatises are 
 extant. His philosophy was Stoical, with modifications ; his manner of 
 writing is antithetical, and apparently laboured. He rejected the super- 
 stitions of his country, and was a monotheist. 
 
 [From the marble in the Berlin Museum. In the Florence collection there 
 are three Busts of him. The portrait of Seneca was identified as early as the 
 sixteenth century by a medallion engraved with his name, possessed by 
 Cardinal Mattei. A Bust in bronze was found at Herculaneum.j 
 
 122*. Livy — Titus Livius. Roman Historian. 
 
 [Born at Petavium (Padua), B.C. 59. Died a.d. 17. Aged 76.] 
 Little is known of the life of this famous historian, save that he enjoyed 
 the patronage and friendship of Augustus, and established a wide and instan- 
 taneous fame in his own time. The great and only extant work of Livy is 
 his History of Rome. It originally consisted of 142 books : 35 only have 
 come down to us — of the remainder we have merely short summaries. Livy 
 is an admirable weaver together, without sifting criticism, of received records 
 and traditions. His reader glides on the stream of his flowing narration. 
 His style is lucid, animated, picturesque. But in the annals of the warlike 
 republic — that setter up and putter down of kings — that mistress of the 
 nations — we look for and desire, more stern and majestic strength ; — a pro- 
 founder disclosure of the heroic political wisdom, which steadily advanced in 
 building up the most memorable empire in the world. 
 [Bust yet to come.] 
 
 {Leaving the Court of Roman Generals, we proceed to the Nave. Hie numbers 
 of the Portrait Gallery continue into the Nave from left to right. 
 
 123. Hadkian. Roman Emperor. 
 
 For life, see No. 46. 
 224. Liyia Deusilla. Roman Empress. 
 
 For life, see No. 93. 
 
 [A fine statue of Livia will be seen in the vestibule adjoining the Court of th 
 Generals, No. 237.] 
 
 125. Julius (Lesab. Roman Dictator. 
 
 For life, see No. 111. 
 
54 
 
 FORTE AIT GrALLEEY. 
 
 126. Scipio Afhicanus. Roman General. 
 
 For life, see No. 109. 
 
 127. Scipio Afbica^tjs. Roman General. 
 
 For life, see No. 109. 
 
 128. DEcrvrus Ccelitjs Balbintjs. Roman Statesman and Emperor. 
 
 a.d. 238. 
 
 [Date, and place of birth unknown.] 
 A man of Consular dignity, who had governed in nearly all the peaceful 
 provinces of the Empire, and was esteemed and beloved by all ranks ; when, 
 upon the death of the Grordiani in Africa, he was selected as one of the 
 Emperors to oppose the ferocious Maximums — Fupienus being the other. 
 Soon after the death of Maximums, both Balbinus and Pupienus were 
 murdered by the Praetorians, who remembered to their disadvantage the 
 prodigal liberality of their lately- slain tyrant. They reigned only four months. 
 Balbinus was celebrated for his oratory and poetry. 
 [From the marble in the Capitoline Museum, at Kome.j 
 
 THE ITALIAN POETEAITS. 
 
 <> 
 
 INTRODUCTION. 
 
 Gun Italian collection is formed, chiefly, from the busts of the 
 Capitoline Museum, at Rome, where Pius VII., in 1820, founded 
 a portrait gallery of celebrated Italians, to which lie gave the 
 name of the Protomoteca. This gallery contains about 70 busts, 
 and though dedicated especially to the honour of Italians, still 
 finds room for some of the distinguished foreigners who derived 
 much of their eminence from studying at Pome. These are 
 Nicolas Poussin of France, Paffaelle Mengs the Bohemian, 
 Winckelmann the German antiquary, Angelica Kauffman, the 
 most accomplished painter of her sex, and Giuseppe Suee, a 
 French painter. The busts of living men are not admitted, and the 
 honour of joining the famous company is awarded by the Academy 
 of Pome, assisted by men learned or skilled in any special science 
 or art. 
 
 The series is a very complete one, and begins as early as the 
 Xlllth century. It is to be regretted that so few of these busts 
 have been done from the life ; although it must be understood that 
 none is the work of mere imagination, some authenticated portrait 
 having in every case furnished a model. Most of these busts 
 are the work of sculptors of the time of Canova, and many of them 
 
ITALIAN PORTRAITS. 
 
 55 
 
 were executed at his expense, and presented to the collection. In 
 general, it will be remarked that a certain grandeur prevails in the 
 treatment of the heads, an element that seems to belong, natur- 
 ally, to the works of the best Italian artists, whether in painting 
 or sculpture. Even where existing casts from the face prove 
 to us that in these busts there has been a certain departure from 
 the real features, we see it has been done only to afford a more 
 exalted idea of the person, and to give the stamp of that nobleness 
 and dignity which characterize the finest efforts of portraiture. 
 A comparison of the busts of Galileo, Nos. 185 and 185a, and of 
 Michael Angelo, Nos. 143 and 143a, will illustrate this point. 
 
 There is also in the Capitoline Museum, a large collection of 
 antique portrait busts, embracing many of the ancient philosophers, 
 poets, and Roman Emperors, a selection from which, as we have 
 already stated, is found in the Greek and Roman Courts. 
 
 In the Vatican (the palace of the Pope, at Rome), a splendid 
 edifice, which has, from time to time, been constructed and en- 
 larged by various eminent architects, and decorated by the greatest 
 painters of the world, are preserved many chefs d'oeuvre of art that 
 are to be seen in no other place. The collection of the Vati- 
 can includes many portraits of every kind ; but one portion of the 
 vast structure is exclusively devoted to portrait-statues and 
 busts. This is a spacious and magnificent apartment called the 
 Rotonda, paved with antique mosaics, and surrounded with 
 antique statues and busts on pedestals of the rarest marbles. 
 Adjoining this saloon is another noble gallery, built by Pius 
 TIL which contains many statues of the Greek sages, and of other 
 illustrious men. 
 
 In the Florence gallery there is a most interesting series of 
 portraits of painters by their own hands — a unique and unrivalled 
 collection, begun by the Cardinal Leopold, the brother of 
 Ferdinand II., and increased by the addition of the portraits from 
 the collection of the Abbe Pazzi, purchased by the Grand Duke 
 Leopold in 1765. Besides these paintings, there is a collection of 
 more than 4,000 engraved gems and cameos, amongst which are 
 many antique portraits. There are also about 100 antique portrait 
 busts, of which the rarest and best preserved are Cicero, Marc 
 Antony, Julius Csesar, Augustus, Caligula, Galba, and Otho. As 
 the visitor will observe, several of these are in our portrait gallery. 
 
 The Naples collection, besides many fine works of antiquity of every 
 kind, has contributed in the most important manner to the subject of 
 antique portraiture. It contains the invaluable relics found at 
 
56 
 
 PORTRAIT GALLERY. 
 
 Herculaneum and Pompeii : and amongst these have, from time 
 to time, appeared portrait busts, statues, and even pictures with 
 names upon them, by which busts elsewhere have been recognised. 
 There are in this Museum,, about 200 portraits in marble and 
 bronze, from which our collection has been enriched. 
 
 (The portraits of Italians begin immediately behind the Statue of 
 Rubens, in the great Transept, on the east side of the Nave. ) 
 
 ARTISTS AND MUSICIANS. 
 
 129. Niccola PlSA^o. Sculptor and Architect. 
 
 [Born at Pisa, in Italy, 1205-7. Died at Sienna, in Italy, about 1290.] 
 The early reviver of Sculpture in Italy ; memorable for being the first 
 Italian artist who quitted the dry, stiff, traditional forms which had long- 
 prevailed, and founded a school based upon Truth and Nature. His finest 
 productions preceded those of Cimabue ; and it was said of him that 
 "he was the first to see the light and to follow it." His great work is the 
 marble pulpit, with bas-reliefs from Scripture, in the Baptistery at Pisa. 
 
 [By Alessandro d'Este. Vasari mentions a Bust of him by his son Giovanni, 
 from which this may have been taken.] 
 
 130. Akdkea di Cio^e, better known by his surname Oecag^a or 
 
 Ougag^A. Painter, Sculptor, Architect. 
 
 [14th century.] 
 
 Precise time of his birth unknown ; it appears that he died about 1370. 
 Executed several works in his three vocations. The dignified grandeur and 
 admirable grouping of the figures in his paintings were at a later period 
 copied or adopted, even by Michael Angelo and Raffaelle. Orcagna was a 
 good as well as a great man. His chief works still exist, though in a half- 
 ruined state, in the Campo Santo at Pisa, and in the Strozzi Chapel, 
 and the Or-San-Michele at Florence. 
 
 [This Bust is by the Cav. Massimiliano Laboureur. There is, however, a mezzo- 
 relievo, by his own hand, behind the altar in Or-San-Michele, at Florence, 
 which contains his portrait. He is there represented as an Apostle, shaven, 
 and wearing a hood.] 
 
 131. Filippo Brukelleschi. Sculptor and Architect. 
 
 [Born at Florence, 1377. Died there, 1446. Aged 69.] 
 The self-taught constructor of the Cupola of Santa Maria del Fiore, at 
 Florence, which, though smaller than that of St. Peter's at Rome, surpasses it 
 in elegance and lightness. A builder of churches, palaces, and fortifications. 
 Michael Angelo declared that it was difficult to imitate and impossible to 
 excel him. Small and insignificant in person, but of commanding genius. 
 With many competitors, his goodness and prudence preserved him from 
 enmity. 
 
 [His tomb is next to that of Giotto, in the Cathedral at Florence, and bears an 
 epitaph by Aretino. This bust was done by Alessandro d'Este. It is no 
 doubt taken from that in the Church of Sta. Maria del Fiore, at Florence, 
 which was done from the life, in marble, by his pupil, II Buggiano. In 1830, 
 statues of him and Arnolfo, his fellow architect, were placed in the new 
 chapter-house : they are by Luigi Pompaloni, a Florentine.] 
 
ITALIAN ARTISTS AND MUSICIANS. 
 
 57 
 
 132. Lorenzo Ghiberti, or Lorenzo bi Cione. Sculptor. 
 
 [Born at Florence, 1378. Died, 1455. Aged 77.] 
 One of the most memorable of the great Italian artists of the fifteenth 
 century. At the age of 23, he competed with Brunelleschi and Donatello 
 for the execution of the side doors of San Giovanni at Florence. His two 
 rivals confessed themselves vanquished and retired in his favour. These 
 gates were twenty- one years in course of completion, and are divided into 20 
 panels, each containing a bas-relief cast in bronze, from a subject in the 
 New Testament. Another twenty years were spent in producing the 
 central doors of the same Baptistery, representing in ten compartments 
 the principal events of the Old Testament. Of these, Michael Angelo 
 said they were beautiful enough to stand at the entrance of Paradise. A 
 reproduction of these gates occupies the centre of the south end of the 
 Renaissance Court. Ghiberti modelled and cast statues, worked in gold, 
 painted on glass, and wrote a MS. history of Ancient and Modern Artists. 
 
 [Buried in Sta. Croce, Florence ; his tomb is now lost. This Bust is by Carlo 
 Finelli. There is an interesting portrait of him by his own hand, 
 amongst the heads on his celebrated gates in the Renaissance Court. 
 The two heads in the centre, between the upper corners of the second panels 
 from the ground, are portraits of Ghiberti and Bartoluccio, the caster ; the 
 right-hand one, with the bald head, being Ghiberti. In the original gates 
 his name is inscribed near the head, with the words, — 
 
 " Laurentii Cionis de Ghibertis mira arte fabricatum."] 
 
 133. Donato bi Niccolo bi Betto Barbi; called by his contem- 
 
 poraries Donatello. Sculptor. 
 
 [Born at Florence, 1386. Died there, 1468. Aged 83.] 
 He was the generous competitor and friend of Lorenzo Ghiberti. Employed 
 and patronized by Cosmo de' Medici. Was one of the first Italian sculptors 
 who gave to their figures freedom of movement and force of expression. 
 A very fine work of this artist is the equestrian statue of Gattamelata, in 
 the city of Padua. A cast from it will be found in the Gothic and Renaissance 
 Sculpture Court. The character of Donatello was remarkable for simplicity and 
 generosity ; he took no thought for himself, and was devoted wholly to his art. 
 [This Bust is by Giovanni Ceccarini. ] 
 
 134. Era Angelico ba Fiesole ; called also Fba Gtoyanni ba 
 
 Fiesole, and II Beato. Painter. 
 
 [Born at Vicchio, in Tuscany,. 1387. Died at Rome, 1455. Aged 67. J 
 This charming painter of the early Florentine school became, when a 
 youth, a friar of the Dominican order. Began by illuminating missals ; 
 afterwards enlarged his style, and executed frescos. The finest of these 
 are in the church of San. Marco, and in the chapel of Nicholas V. at Rome. 
 His works are distinguished by simple grace, tenderness of colour, and the 
 most profound religious feeling. He excelled particularly in painting 
 angels. 
 
 [This Bust is by Leandro Biglioschi ; but there is a life-size bust of him upon his 
 tomb, in Minerva di Roma.] 
 
 135. Tommaso Gtjibi, also called Massaccio. Painter. 
 
 [Born at San-Giovanni, in the Val d' Arno, 1402. Died at Florence, 1443. Aged 41. J 
 Massaccio-Tomasaccio (big or heavy Tom) was a nickname given to 
 him when a boy, A devoted student of the works of Brunelleschi and 
 
^3 
 
 PORTRAIT GALLERY. 
 
 Donatello. He lived for tlie most part in Rome and Florence, and died in 
 the last-named city. Time has destroyed the greater number of his works. 
 His frescos, which still remain in the Brancacci chapel of the Carmelite 
 chnrch in Florence, representing the history of St. Peter, are remarkable for 
 their freedom, and for the absence of the conventionalities of the early 
 mediaeval painters. Some of his noble figures became models for the later 
 Florentines, and were imitated by Raffaelle himself. He excelled his 
 contemporaries in the nnde form, and gave to his draperies a style unknown 
 before, adapting them naturally and gracefully to the human shape. 
 [By Carlo Finelli.] 
 
 136. Andeea MantegjS'A. Painter and Engraver, 
 
 [Born at Padua, in Italy, 1430. Died at Mantua, in Italy, 150C. Aged 76.] 
 This painter is celebrated among the early artists of Italy, and belongs 
 to the Paduan school of art. His chef-cV oeuvre, the Madonna delta 
 Vittoria, in the Louvre, is grandly treated, and remarkable for its admirable 
 finish. His cartoons of the triumphs of Caesar are at Hampton Court ; 
 the composition is grand and spirited, and knowledge of the antique is 
 blended with a feeling for nature. To Mantegna is attributed the art of 
 engraving with the burin, and also the invention of the art of foreshortening 
 figures, especially on ceilings. Distinguished for his good and amiable 
 qualities. 
 
 [He was buried in the Church of S. Agnese, in Mantua. His tomb is in one of 
 the chapels, and bears his statue, in bronze. This bust is by Rainaldo 
 Rinaldi. J 
 
 137. Luca Sigxokelli. Painter. 
 
 [Born at Cortona, in Tuscany, 1440. Died 1521. Aged 81.] 
 An ancestor of Yasari, the author of " Lives of the Painters," and a dis- 
 tinguished painter of the early Tuscan school. Assisted in the works of the 
 Sistine Chapel at Rome ; and his pictures there, according to V asari, are 
 superior to those of his contemporaries. His great frescos in the Cathedral 
 of Orvieto, representing the Day of Judgment and the History of Antichrist, 
 are his principal works. His productions show too great anxiety to mark the 
 form with anatomical correctness. In this he was the precursor of Michael 
 Angelo ; and Fuseli has frequently imitated him. As a man he was upright, sin- 
 cere, and kind-hearted. He lived and decorated himself with great splendour. 
 [By Pietro Pierantoni.] 
 
 138. Feancesco Lazzaex Beamante. Architect, Painter, Poet 
 
 [Born at Cast el Durante, m Italy, 1444. Died at Rome, 1514. Aged 70.] 
 Memorable as the architect employed by Julius II. and Leo X. to rebuild 
 the church of St. Peter's, at Rome, and to construct the famous Loggie of the 
 Vatican, afterwards completed and adorned by Raffaelle. Bramante was a 
 bold and original genius, but vain, impetuous, and impatient. As a 
 consequence of his recklessness, most of his works have speedily decayed. 
 
 [By Alessandro d'Este. Bramante was buried in the crypt of S. Peter's, at 
 Rome, called the " Grotte Vaticane."] 
 
 139. Pieteo Peeugino, or Pieteo Yanucci della Pieye. Painter. 
 
 [Born at Pieve, in Italy, 1446. Died there or at Perugia, 1524. Aged 78.] 
 Immortal as the instructor of Raffaelle, and himself a celebrated painter 
 of the Umbrian school. He was opposed to the more modern style of which 
 
ITALIAN AETISTS AND MUSICIANS. 
 
 59 
 
 Michael Angelo, Leonardo da Vinci, and his own great pupil Raffaelle, are the 
 renowned masters. His pictures are religious, earnest, and graceful, but 
 wanting in variety of character. In his best pictures, his colouring is excellent, 
 and the expression of his heads very beautiful, but his numerous works are 
 of very unequal value and merit. Vasari has branded this painter as avari- 
 cious, eccentric, sordid, and irreligious. Modern writers have attempted to 
 rescue him from the harsh verdict pronounced by his early biographer. 
 [By Raimondo Trentanove. ] 
 
 140. Domenico Ghiklandaio. Painter. 
 
 [Born at Florence., 1449 — 51. Died sometime between 1490 and 1498.] 
 The son of a goldsmith who adopted the name Grhirlandaio (the garland- 
 maker) on account of his skill in making the gold and silver ornaments worn 
 by Florentine girls. The first work of Doinenico was a portrait of Amerigo 
 Vespucci who had the honour of giving his name to America. Devoted to 
 his art, preferring honour and glory to riches. Painted in fresco, in tempera, 
 and in mosaic, but excelled in the first. In his sacred historical pictures, he 
 introduced portraits of remarkable persons as spectators, which gives them a 
 peculiar value. He was the early instructor of Michael Angelo, and his finest 
 works are in the churches of Florence. 
 
 [By Massimiliano Laboureur. His portrait, by his own hand, is in one of the 
 pictures of the Choir of S. Maria Novella, at Florence. ] 
 
 141. Leonabdo da Yixci. Painter. 
 
 [Born at Vinci, in Tuscany, 1452. Died at Amboise, in France, 1519. Aged 67.] 
 
 One of the greatest names of the fifteenth century. His genius was all 
 but universal, and his faculty of acquiring knowledge of all kinds, prodigious. 
 He is most generally known and appreciated as a painter ; but he was also 
 a distinguished writer, a man of general science, an architect, an engineer, 
 an accomplished musician, and a discoverer in Natural Philosophy. As 
 painter he was the pupil of Andrea Verrochio, and the founder of the 
 Milan school. It was at Milan that he painted his great and universally 
 known picture, of the "Last Supper." From 1504 to 1515, he travelled 
 through Italy as architect and engineer to Csesar Borgia, Duke of Valentino. 
 He is the undoubted head of the highest development of art, in which the 
 most elevated subjects were represented in the noblest Form. Every branch 
 and attribute of Fine Art was intimately known to him. In the expression 
 of the passions, his eye and mind were quick and eager ; and he investigated 
 every phase of life to its minutest modifications. He was familiar with the 
 spirit of the humblest ranks, and could stamp divine subjects with a beauty 
 and sentiment which only the very highest genius is competent to attain. 
 There was great rivalry between Leonardo and Michael Angelo. — A Titanic 
 emulation ! The faculties of both were mighty and analogous ; their grasp 
 similarly broad and powerful. Leonardo passed his last years in France, 
 protected by Francis L, who showered favours upon this gifted man. A story 
 is current that the painter died in the arms of the monarch, but there appears 
 no good foundation for the statement. 
 
 [From the marble, by Filippo Albaccini. The bust resembles the painted 
 portraits, of which there are several of undoubted accuracy and truth, 
 painted by himself, at Florence, Venice, Paris, and Milan. The works of 
 Leonardo on Anatomy and Painting are still invaluable to students in art. 
 His treatise on Painting* was first printed at Paris in 1651. The MS. was 
 in a curious hand-writing, and written backwards with the left hand. ] 
 
€0 
 
 PORTRAIT GALLERY. 
 
 142. Fra Bartolomeo, or Baccio della Porta. Painter, 
 
 [Born at Savignano, in Italy, 1469. Died 1517. Aged 49.] 
 At an early age lie carefully studied the works of Leonardo da Vinci, and 
 the effect of the study is visible in his own productions. Whilst his fame 
 was growing, he became deeply influenced by the preaching of Savonarola, 
 at whose instigation he publicly burnt some of his finest studies of the 
 undraped figure. In 1500, Bartolomeo assumed the habit of a Dominican 
 friar, and forsook painting. But after the lapse of four years he resumed 
 his art, made the acquaintance of Raffaelle at Florence, and the influence of 
 these two eminent painters on each other was mutually advantageous. Among 
 the finest works of Fra Bartolomeo are, the large picture of St. Mark, 
 esteemed in painting equal to the ' 'Moses" of Michael Angelo in sculpture, 
 and the 4 'Madonna della Misericordia." He was the inventor of the lay 
 figure, which he was the first to employ. His style is characterized by calm 
 seriousness, unaffected dignity, and grace. The religious expression of his 
 holy figures reveals conscious elevation, not mere sentimentality ; and in his 
 Madonnas holiness is always exquisitely blended with beauty. But Barto- 
 lomeo lacked inward power. Sometimes he is cold and formal ; at others, 
 impetuous and wanting in repose. The colouring of flesh is peculiarly soft 
 in his pictures, and his draperies are excellent. 
 
 [By Domenico Manera. In the last work of Bartolomeo, which, is now in tha 
 
 Uffizzi, at Florence, representing the patron saints of Florence, and others, he 
 
 has introduced his own portrait.] 
 
 143. Michael Angelo Buonarotti. Sculptor, Painter, Architect. 
 
 [Born at Caprese, in Tuscany, 1474. Died at Rome, 1563. Aged 89.] 
 A demigod in art. All learning and all knowledge came to Michael Angelo, 
 perhaps even more than to Leonardo da Vinci, his mighty contemporary, as a 
 rightful inheritance, to be magnificently accepted and sumptuously enjoyed. 
 Poet, musician, sculptor, architect, engineer, painter, anatomist, man of science 
 — his titles to renown are inexhaustible. His genius was universal, his grasp 
 boundless. All his works, of whatever kind, bear the broad, deep stamp 
 of his haughty, masculine spirit, and constitute the immortal expression of 
 strength, energy, and sublimest passion. The feeling of Michael Angelo 
 was strong, intense, grand, penetrating ; his thought as clear as it was 
 profound. His life is a series of conquests in the world of intellect. Domenico 
 Ghirlandaio has the honour of claiming Buonarotti for his pupil. By 
 Ghirlandaio the stripling was introduced to Lorenzo de' Medici, who, as well 
 as his successor, became the steady friend of the great artist. Upon the 
 expulsion of the Medici, he went to Bologna, thence to Florence, and thence 
 again, upon the invitation of the Pope, to Rome. In 1503, commissioned 
 to paint one end of the great Hall of Council, Leonardo da Yinci being 
 intrusted with the other. Never before had two such spirits met to con- 
 tend for glory. His statue of Moses, and the ceiling of the Sistine Chapel, 
 were produced under Pope Julius II. Under Leo X., and Adrian, works 
 of equal power issued from his inspired brain. In 1546, he was com- 
 manded by the Pope to undertake the direction of the works at St. 
 Peter's* He consented only upon condition that he received no salary, 
 and laboured i 'for the love of God alone." For seventeen years he pro- 
 secuted the pious service, and raised the sacred edifice as far as the base 
 of the cupola. The undying memorials of his chisel and pencil speak the 
 intellectual supremacy of the man beyond all words of praise. They will com- 
 
ITALIAN ARTISTS AND MUSICIANS. 
 
 61 
 
 mand wonder, delight, admiration, respect, and awe, whilst the world 
 lasts. There is nothing factitious, no studied allurement, no imposture in his 
 work. It is all true, simple, sublime. Michael Angelo, in 1530, directed 
 in person the defence of Florence, and erected its fortifications — which yet 
 exist — when that city was besieged, and, after a year of heroic defence, 
 taken by the army of Charles V. The fall of Florence, at this time, witnessed 
 the last breath of Italian independence. Look on his face ! You see many fur- 
 rowed lines there, and a potent brow. The features and expression betray iras- 
 cibility of temper, jealous self-consciousness, towering sense of power. 
 Michael Angelo had all these. He was a lion aware of his strength. 
 What if he used it as a lion, at times vehemently, and regardless 
 of the pain inflicted upon others ! He was also a staunch friend, disinter- 
 ested, liberal, temperate, upright, conscientious. The ancients had their 
 Titans. Michael Angelo too is the son of Heaven and Earth. 
 
 [This Bust is from the marble by Alessandro d'Este, and one of those contri- 
 buted to the Capitoline Museum, at the expense of Canova, when he was 
 President of the Academy of Saint Luke, at Rome. It conveys an idea of 
 coarseness which would hardly seem to belong to Michael Angelo's natural 
 expression, marked as it is with power and energy. It will be remembered 
 how his nose was broken by a blow from his fellow-student, Torrigiano. 
 He was buried in Sta. Croce, at Florence, his noble monument there being 
 designed and executed under the superintendence of Vasari, the historian of 
 the painters. It consists of a sarcophagus, supported by three figures, 
 representing Painting, Sculpture, and Architecture, and surmounted by his 
 bust (of which No. 143a is a cast) and three crowns, with the motto 
 ' ' tergeminis tollit honoribus. " This tomb and the bust were executed by 
 three sculptors, Domenico Lorenzi, a pupil of Bandinelli, Valerio Cioli, and 
 Giovanni dell' Opera. There is, in the Capitoline Museum a bust of Michael 
 Angelo, said to be by his own hand ; the head is of bronze, and the rest of 
 marble ; and in the same place a painted portrait of him, by Andrea del 
 Sarto. Vasari mentions an alto-relievo of him in bronze, by Danielo 
 Bicciarelli, and a medal (" a very close resemblance") by Cav. Lioni, which 
 was abundantly copied and distributed in his honour.] 
 
 143a. Michael Angelo Buonakotti. Sculptor, Painter, Architect, 
 144. Titian, or, Tiziano Yecellio. Painter. 
 
 [Born at Pieve di Cadore, in Lombardy, 1477. Died at Venice, 1576. Aged 99. 
 
 In the works of Titian, Venetian art reached its culminating point. 
 He was the pupil of Bellini ; but the disciple soon surpassed his 
 master. Titian first instituted the custom of painting full-length 
 portraits, and his pictures of this kind, of which he painted many, 
 have never been surpassed. In the representation of undraped female forms 
 he also displayed the hand of a master. In softness, transparency, and 
 delicacy of colouring, he stands alone. All his figures seem to express a 
 high consciousness and enjoyment of existence. He was followed, throughout 
 his career, with great honours. Charles V., whose portrait he painted, made 
 him Count Palatine, and he received invitations from other crowned heads. 
 He died of the plague in Venice, and was buried with great ceremony, at a 
 time when raging pestilence had suspended the ordinary rites of burial. 
 Towards the close of his life his subjects were chiefly religious. 
 
 [He was buried at the Chiesa delle Frazi, at Venice. This Bust is by Alessandro 
 d'Este. There is in the Church of St. John and St. Paul, at Venice, a hue 
 bust of Titian, which stands by the side of that of Palma Vecchio ; it was 
 placed there forty-five years after his death, by Palma il Giovine. There is 
 little doubt that this and its companion of Palma were the work of Jacops 
 Albarelli, the intimate friend of Palma Giovine, whose bust he also executed. 
 
62 
 
 PORTRAIT GALLERY. 
 
 Ridolfi mentions a Bust of the great painter, by his friendJacopo Sansovino. 
 There is, in the Vienna Gallery, a superb portrait of him, by his own 
 hand. ] 
 
 14o. Be^ventjto Tisio, commonly called Gaeofalo, Painter. 
 
 [Born at Garofalo, 1481. Died at Ferrara, in Italy, 1559. Aged 78.] 
 A distinguished painter of the Ferrarese school. The sight of Raffaelle' s 
 works, in the Sistine Chapel, determined him to follow art, and he became 
 a friend of the great artist himself, though in style most unlike him — bril- 
 liant but mannered. On festival days it was his custom to work without 
 payment at a convent in Ferrara, "for the love of God." Blind for the last 
 few years of his life — cheerful in disposition, and resigned under affliction. 
 [By Massimiliano Laboureur. In the Louvre are two portraits said to be of 
 Garofalo, but they are of doubtful authenticity. Shis bust is probably done 
 from a picture.] 
 
 148. Eaffaelle Saistzio, commonly called Eaffaelle. Painter. 
 
 [Born at Urbino, in Italy, 1483. Died at Rome, 1520. Aged 37.] 
 The founder of the Roman school of painting. He was the son of a 
 painter, and the pupil of Perugino, whom his first style resembles, and whom 
 he quickly surpassed. He was already eminent in his art at the age of 
 seventeen. In 1506, he first saw Michael Angelo's great and celebrated 
 " Cartoon of Pisa," and a closer study of anatomy and form is manifest in 
 his works after this time. In 1508, in the pontificate of Julius II., he was 
 invited to Rome, where he continued until his death, painting his exquisite 
 frescos in the Vatican. Whilst executing these works, Michael Angelo was 
 completing the Sistine chapel, and a rivalry arose between these two con- 
 summate artists, which was never extinguished. Raffaelle was a sculptor 
 and architect as well as painter. In 1514, he directed the works at St. 
 Peter's, and was subsequently very zealous in superintending the exhumation 
 of the remains of antique art, and in designing a restoration of ancient Rome. 
 In the midst of his fine labours, he contracted a fever and died. In his 
 works, beauty of Form is the expression of the utmost elevation of mind and 
 perfect purity of soul. Some of Raffaelle' s cartoons on scriptural subjects 
 are at Hampton Court Palace. Several of his pictures are in France, 
 obtained by Francis I., who tried in vain to allure Raffaelle to his capital. 
 His 4 4 Transfiguration," in the Vatican, left unfinished at his death, and 
 carried in his own funeral procession, is considered by some the finest 
 picture in the world. It was finished by his pupil, Giulio Romano. Little 
 or nothing is known of his private life, save that his nature was sweet and 
 gracious, and that all men loved him. He was of a slender frame, and five 
 feet seven inches high. His skull was beautifully formed. 
 
 [Raffaelle was buried in the Pantheon at Rome, now called Sta. Maria Ritonda. 
 His tomb was ordered by himself, and executed by Lorenzo Lotti, who, it is 
 said, restored one of the ancient tabernacles there at Raffaeile's request, 
 and added an altar, with a figure of the Virgin. Upon this monu- 
 ment there is a bust of him by Paolo Naldini, a sculptor who lived in 
 the early part of the 17th century. The tomb was opened in 1833, and the 
 remains were found entire, so that the skull long exhibited in the Academy * 
 of S. Luke as that of Raffaelle was proved to be a fabulous relic. Portraits 
 of Raffaelle are to be found in several celebrated pictures ; in the Duomo and 
 Sacristy of Siena, in the Borghese Gallery at Rome, and one by his own hand 
 in the picture of St. Luke ; but the most authentic one, and that which 
 alone possesses the beautiful expression of his remarkable countenance, is 
 the picture by himself in the Gallery of Portraits of Painters by their own 
 hands at Florence. This bust is from one probably by Carlo Maratta, a great 
 
ITALIAN ARTISTS AND MUSICIANS. 
 
 63 
 
 admirer and copier of Raffaelle's works, and who presented it to the Capi- 
 toline Museum. There was in 1791, in the Spada Palace at Rome, a portrait 
 of Raffaelle when 12 years old, by himself. (See " Martyn's Tour in Italy," 
 p. 242.) 
 
 147. Michele Sanmicheli. Architect. 
 
 [Rorn at Verona, in Italy, 1484. Died there, 1559. Aged 75.] 
 His works were chiefly fortifications. At the age of seventeen, he went to 
 Rome to study the remains of its ancient architecture, and there gained the 
 friendship of Buonarotti, Bramante, Sansovino, and Sangallo. For Pope 
 Clement VII. he fortified, with Sangallo, the cities of Parma and Piacentia. 
 In 1527, entered the service of the Venetians, and for them, at Verona, 
 first employed angular bastions, which he invented. The principle "being 
 generally adopted, Sanmicheli was employed to fortify many of the 
 Italian cities, as well as the islands of Candia and Corfu. He then 
 strengthened his native city with fortifications, and adorned it with palaces 
 and other works. One of these, the Capella di Gfuareschi, is a masterpiece 
 of architecture. 
 
 [Bust by Domenico Manera.] 
 
 148. Fra Sebastiano del Piombo, sometimes called Sebastian o 
 Yexeziaxo. Painter. 
 
 [Born at Venice, 1485. Died at Rome, 1547. Aged 62.] 
 The pupil of Bellini and Giorgione. At Rome he competed with Raffaelle, 
 and gained the friendship and approval of Michael Angelo, some of whose 
 designs he executed, — amongst others that of the ''Raising of Lazarus" — a 
 picture now in our National Gallery. Besides painting in oils and fresco, 
 he invented a method of painting on stone, which was much admired. His 
 portraits are celebrated, and he excelled in beauty of colouring. It is said 
 that he was slow of execution, and not a lover of his art, which he deserted 
 for other pleasures when he attained competency. His principal works are 
 in Venice and Rome. He was called Fra del Piombo (Monk of the Signet), 
 from the office of sealer of briefs, which he held in the Pope's Chancery. 
 [By Massimiliano Laboureur.] 
 
 149. Gioyanni DA Udixe, or Gioyanxi bi Kot. Painter. 
 
 [Born at Udine, in Italy, 1487. Died at Rome, 1564. Aged 77. J 
 A pupil of Raffaelle, whose style he so thoroughly imitated that it is 
 difficult to distinguish his work from that of his master, whenever he acted 
 as his assistant. In this capacity he was the chief painter of the Loggie of 
 the Vatican. Some ancient grottos having been discovered near Rome, he 
 detected the composition of their stucco ornaments; and so successfully 
 imitated the material, that he may be called the inventor of modern stucco 
 work. Excelled in painting birds, fruits, and animals. 
 [By Massimiliano Laboureur.] 
 
 150. Axdrea bel Sarto, or Axbsea Vakttcjchi. Painter. 
 
 [Born at Florence, 1488. Died there, 1530. Aged 42.] 
 Called Del Sarto, from the trade of his father, who was a tailor. Long 
 trouble followed his early and unfortunate marriage. Visited France, where 
 he painted pictures for Francis L, who loaded him with gifts, and com- 
 missioned him to buy works of art in Florence. Spent the money entrusted 
 to him, and bought neither pictures nor statues for his illustrious patron. 
 
64 
 
 PORTRAIT GALLERY. 
 
 Disgraced, neglected, and poor, he died deserted by his wife. This painter 
 — whose works are admirable in design and colonr, and remarkable for the 
 elegance and majesty of the figures, is deficient in elevation and refinement of 
 expression. His own character was morally weak and degraded. 
 
 [By Antonio D'Este. A monument was erected to him by Raffaelle da Monfi 
 Lupo at the expense of Domenico Conti, the heir of Andrea, in the Church 
 of the Servites. It was removed by the authorities, but in 1606 a Prior had 
 another tomb erected in the cloister, between the Madonna del Sacco and 
 another of his frescos. A life-size bust in marble, by Giovanni Caccini, 
 surmounts this tomb. ] 
 
 151. Mabcantonio Raimokdi. Engraver, 
 
 [Born at Bologna, in Italy, about 1489. Died there, about 1537.] 
 The most celebrated of all the early engravers. The first impression from 
 any engraved metal plate is dated 1454. Within sixty years, Marcantonio 
 had carried the art to perfection. At Rome he was patronized for some 
 years by Raffaelle, who employed him to engrave some of his most exquisite 
 designs. The finest works of Marcantonio now bear a very high value for 
 their beauty and rarity. Unhappily he was a bad man. He began his 
 career as an artist by using his skill to pirate some of the works of Albert 
 Durer. After Raffaelle' s death, he was banished from Rome by Clement VIL 
 for gross immorality, fled to Bologna, fell into poverty, and is supposed to 
 have died assassinated. 
 
 [By Massimiliano Laboureur. The best specimens of Marcantonio's engraving are 
 in the Imperial collection at Vienna.] 
 
 152. Correggio, or Antonio Allegri. Painter. 
 
 [Born at Correggio, in Italy, 1493 or 1494. Died there, 1534. Aged 40 or 41.] 
 Of his private life and character little is known, but his works are jnstly 
 admired throughout the civilized world, while his frescos in the cupola of 
 the Cathedral at Parma have earned for him undying fame. He painted in 
 oil and fresco. In our National Gallery we have several of his admirable 
 productions. As an artist, remarkable for exquisite sensibility. ' ? In 
 his compositions," says Kugler, "all is life and motion. All his pictures 
 express the overflowing consciousness of life ; the impulse of love and 
 pleasure." Delicate in perception, with great quickness, subtlety, and 
 depth of feeling. His forms not always beautiful, but his treatment of light 
 and shade masterly, and almost unique. 
 
 [There is no bust of Correggio from the life ; this is by Philippo Albacini, and 
 no doubt from some authentic painted portrait.] 
 
 153. Polidoko Caldare da Carayaggio. Painter. 
 
 [Born at Caravaggio, in Lombardy, 1495. Died at Messina, 1543. Aged 48.] 
 Was employed by Raffaelle to assist him in the Vatican, having been 
 originally a mason. Afterwards became distinguished as an ornamental 
 painter. He was assassinated by his servant for the sake of his money. 
 
 [He was buried in the Cathedral at Messina. The Bust is by Massimiliano 
 Laboureur.] 
 
 154. Giulio Romano, or Gtulio Pippi de' GtIAStnuzzi. Architect 
 
 and Painter. 
 
 [Born at Rome, 1499. Died at Mantua, 1546. Aged 47.] 
 A pupil of Raffaelle, by whom he was employed on works at the Vatican. 
 Invited by the Marquis of Mantua to the city of that name, where he was 
 
ITALIAN ARTISTS AND MUSICIANS. 
 
 65 
 
 raised to the rank of nobility, provided with a house, a salary of 500 gold 
 ducats, board for himself and his pupils, a horse, and some yards of silk 
 velvet and cloth for clothing. Built many palaces in Mantua, and painted 
 much in fresco. His later works are wanting in grace and purity, and 
 display wildness and even coarseness. Yet he has a memorable name as one 
 of the Roman school of art. 
 
 [This bust is by Alessandro d'Este.] 
 
 155. Ak"DEEA Palladio. Architect. 
 
 [Born at Vicenza, in Italy, 1518. Died there, 1580. Aged 62.] 
 He largely and accurately studied and described the Roman style of archi- 
 tecture, and adapted it to modern purposes with admirable success. Inigo J ones 
 may be called his disciple ; and the Banquet ting House at Whitehall is a good 
 example of the style called Pallaclian. He was small in stature, and agreeable in 
 countenance. His most celebrated buildings are at Venice, Verona, and Vicenza. 
 [This bust is by Leandro Biglioschi.] 
 
 156. Paolo Cagliaei, called Yeeonese. Painter, 
 
 [Born at Verona, 1528. Died at Venice, 1588. Aged 60.] 
 One of the great masters of the Venetian school of painting, whose prin- 
 ciple was the study and imitation of nature, but whose peculiar excellence 
 was colour, which the leaders of the school carried to the highest point of 
 perfection. The works of Veronese are remarkable for splendour of colour, 
 for the clear and transparent treatment of shadows, and for comprehensive 
 keeping and harmony. He represented festivals and banquets suggested by 
 Sacred History. The ( ' Marriage at Cana," now in the Louvre at Paris, is a 
 magnificent example of his style. He was a man of courteous manners and 
 generous disposition, and left a family of sons and brothers, who pursued the 
 same calling. 
 
 [By Domenico Manera.] 
 
 157. Giovanni Pieeluigi, snrnamed Di Palesteina. Musical 
 
 Composer. 
 
 [Born 1524. Died 1594. Aged 70.] 
 Palestrina is justly described in his epitaph as u Musicae Princeps." He 
 was the greatest musician of his time, and the creator of Church music. 
 Before his day the music of profane, and even immoral songs, had been allied 
 with church masses. He reformed the custom by the production of a sacred 
 composition that ravished every hearer. In 1555, he was Musical Director 
 to the Church of St. John Lateran. Ten years afterwards, he was named 
 Composer to the Pontifical Chapel. But he was in straitened circumstances 
 throughout his career. His music continues a model at this hour. He had 
 a singular capacity for apprehending the poetic character of his subject. 
 
 158. Aknibale Caeeacci. Painter. 
 
 [Born at Bologna, 1560. Died at Rome, 1609. Aged 49.] 
 One of the three Carracci who founded a new school of painting (the Bolognese 
 school), the fundamental principles of which were the study of nature, and a 
 close imitation of the great masters. At Rome, painted the gallery of the 
 Farnese palace with mythological frescos, which display masterly drawing, 
 excellent arrangement of draperies, and an agreeable, clear colouring. Produced 
 landscapes as well as historical works. His facility in drawing marvellous. 
 
 p 
 
PORTRAIT GALLERY. 
 
 Amongst the pupils of the Carracci school were Doinenichino, Gruercino, and 
 Gfuido Reni. 
 
 [The author of this bust is not known. It was executed at the expense of Carlo 
 Marat ta.] 
 
 159. Domexichexo, also called Domekeco Zampiehi. Painter. 
 
 [Born at Bologna, 1581. Died at Naples, 1641. Aged 60.] 
 A famous painter of the Bolognese school. A pupil of the Carracci. At 
 Rome, painted some frescos, and other pictures, but was poorly paid. His 
 life one series of misfortunes. His fame and skill excited the jealousy of the 
 Roman and Neapolitan artists, who destroyed his paintings, mixed deleterious 
 compounds with his colours, and — it is believed — at last poisoned him. His 
 works occasionally reveal artlessness, and a clear conception of nature, but he 
 never escapes from the trammels of the imitative school of the Carracci. His 
 great work, the ' ' Communion of St. Jerome," pronounced by Poussin only 
 inferior to the Transfiguration of Raffaelle. Yet for this picture, Domenichino 
 received fifty scudi — about ten guineas. In person, stout and short — hence 
 his name, Domenichino (little Dominic). Passionately fond of music, and 
 devoted to study and tranquillity. Whilst he painted, he would have his 
 house as quiet and as noiseless as a monastery. 
 
 [By Alessandro d'Este. There is another bust of him in the Louvre by Mile. 
 Charpentier.] 
 
 160. Pieteo di Cokto]S t a, or Fieteo Berettent. Painter. 
 
 [Born at Cortona, 1596 or 1609. Died at Kome, probably about 1669.] 
 A painter of the modern and degenerate school of art, who lived and 
 worked at Florence and Rome. So stupid in his youth, that he was called 
 " Ass's Head." Was employed to paint a ceiling in the Barberini palace — 
 perhaps the largest picture ever undertaken by a single artist. At Florence 
 he executed the ceilings of the Pitti palace. 
 [This bust is by Pietro Pierantoni.] 
 
 161. Abcaxgelo Coeellx. Violinist and Composer. 
 
 [Born at Fusignano, near Bologna, 1653. Died at Rome, 1713. Aged 60.] 
 Corelli's playing was distinguished by the most perfect sweetness and 
 smoothness. Of execution, as now understood, he had none. But he 
 possessed grace, finish, and an exquisite power of expression. His works 
 still keep their ground as an indispensable study for all who would 
 acquire a broad and artist-like style of playing. He was a modest and 
 unaffected man, and enjoyed an equable temper, which not even the rough 
 outbursts of Handel could disconcert. He had also humour. He would lay 
 down his violin if folks talked whilst he was playing, and apologize for 
 interrupting the conversation. 
 
 [Corelli was buried in the Pantheon at Rome. The author of this bust is not 
 mentioned; it was executed at the cost of Cardinal Ottoboni, Corelli's 
 constant friend and patron.] 
 
 162. Ltjdovico Antonio Mueatobi. Antiquary. 
 
 [Born at Vignola, in Italy, 1672. Died at Modena, in Italy, 1750. Aged 78.] 
 Contributed much valuable material towards the History of Italy in the 
 Middle Ages. Librarian to the Duke of Modena for the space of fifty years. 
 [By Adamo Tadolino.] 
 
ITALIAN ARTISTS AND MUSICIANS. 
 
 67 
 
 163. Benedetto Marcello. Writer and Musician. 
 
 [Born at Venice, 1686. Died at Brescia, in Italy, 1739. Aged 53.] 
 A lawyer and public officer; he was also a distinguished poet, and a 
 musical composer of a high order. His most celebrated work is a Para- 
 phrase of the first fifty Psalms, arranged for one, two, three, or four voices ; 
 it is remarkable for great tenderness, united with the religious feeling, and 
 vehemence of style, which have obtained for the author from his fond 
 countrymen the appellation of the Pindar and Michael Angelo of musicians. 
 He also composed sonnets, madrigals, and dramatic pieces. 
 [By Domenico Manera.] 
 
 164. Gtambatista Piranesi. Engraver. 
 
 [Born at Rome, 1707. Died there, 1778. Aged 71.] 
 An excellent and laborious artist. Has produced a great work in sixteen 
 volumes upon the antiquities and curiosities of Rome. Has never been sur- 
 passed for his skill in representing architectural ruins and restorations. He 
 also displays singular powers of invention, and his fancy subjects show 
 consummate execution. He acquired great and widely extended fame during 
 his life. 
 
 [By Antonio d'Este.] 
 
 165. GIioyanni Paisiello. Musical Composer. 
 
 [Born at Tarento, in Italy, 1741. Died at Naples, 1816. Aged 75.] 
 A dramatic composer of extraordinary fertility. His works remarkable 
 for their number, rather than for their eminence. He was the son of 
 a veterinary surgeon. In 1777, he came to St. Petersburgh, upon the 
 invitation of Queen Catharine, and remained there, in great honour, during 
 eight years. In 1802, he answered Napoleon's summons to Paris, and com- 
 posed the mass and other music for the coronation, in 1804. Shortly after 
 this event, he retired to Naples, where, in consequence of his many political 
 tergiversations, he fell into disgrace, and closed a brilliant career in neglect 
 and chagrin. His character as a man is not pleasing. He was jealous ? 
 unscrupulous, mean, and cringing. 
 [By Pietro Pierantoni.] 
 
 166. Piccolo Zingarelli. Musician. 
 
 [Born at Naples, 1752. Died 1837. Aged 85.J 
 The author of several operas no longer performed. One, his most celebrated 
 work, ' ' Romeo and Juliet, " still represented in France and Gfermany, and 
 rendered popular in England by Pasta' s personation of Romeo. The last of 
 the Italian composers for the church. His oratorio of ' ' The Destruction of 
 Jerusalem," a noble composition, written in the classical style of the old 
 ecclesiastical school. During his later years he led the life of a recluse. 
 
 167. Domenico Cimarosa. Musical Composer. 
 
 [Born at Aversa, near Naples, 1755. Died at Venice, 1801. Aged 47.] 
 A cobbler's son and a baker's apprentice. It was the duty of the lad to 
 fetch daily a batch of dough from the house of Aprili, the great singing 
 master of his time : and the musical sounds always ringing through the 
 house touched his spirit and elicited his genius. Aprili caught him listening 
 
 F 2 
 
OS 
 
 PORTRAIT GALLERY. 
 
 at the keyholes, and considerately sent him to a free musical school in Naples, 
 At the age of 19, Cimarosa quitted the Conservatorio, and immediately after- 
 wards wrote his first work — the music to a farce called " Baroness Stramba." 
 From this time forward his compositions for the theatre were incessant, and 
 invariably successful. In 1787, Catharine of Russia invited him to St. 
 Petersburgh, whither he went; but his health failing, he betook him, in 1792 ? 
 to Vienna, and there entered the service of the Emperor Leopold. In his 
 38th year, after he had written 70 operas and dramatic works, he composed 
 his masterpiece, "II Matrimonio Segreto." The Emperor of Austria was so 
 delighted with the performance, that after supping the composer and the 
 singers, he took the whole of them back to the theatre, and made them sing 
 the opera through again. The operas of Mozart, then dying a few miles ofiv 
 had fallen at the same theatre upon cold and unfeeling ears. Few compo- 
 sitions of Cimarosa are known at the present day, though his innumerable 
 productions were highly popular whilst he lived. His music exhibits some 
 originality and a prodigal flow and variety of ideas. His scoring is peculiarly 
 brilliant, and his comic powers were great. 
 [By Canova. ] 
 
 168. Antonio Canova. Sculptor. 
 
 [Born at Passagno, in Upper Italy, 1757. Died at Venice, 1822. Aged 65. J 
 One of the most celebrated of modern sculptors. When five years old r 
 evinced a taste for his art, and at fourteen was a pupil of Tonetto, a sculptor 
 at Venice. From Venice went to Rome, where he executed many works. 
 A favourite of Buonaparte, whose portrait, for the colossal statue of the 
 Emperor (in the possession of the Duke of Wellington) he modelled at 
 Paris, and from which was taken the bust No. . He had no 
 pupils ; for he used to say that ' ' the master's compositions were the best 
 instructors." His works are very numerous ; casts from some of the most 
 celebrated are to be found in the court of modern Italian Sculpture. His 
 imaginative pieces more successful than his portraits, although many of 
 these are master-pieces of art. In execution he was unrivalled ; but his 
 taste is not always pure. In person Canova was below the middle height, 
 his eyes full of expression, and the general character of his face indicative 
 of good-nature. He was much beloved at Rome as the generous friend of 
 his brother artists. 
 
 [From the colossal marble bust by his own hand, in the Protomoteca of the 
 Capitol at Rome.] 
 
 169. Gaspaeo Spontini. Musician. 
 
 [Born at Majolatti, in the Roman States, 1778. Died there, 1851. Aged 73.] 
 Educated at Naples, and at the early age of seventeen commenced his, 
 musical career as the composer of an opera, which was rapidly fol- 
 lowed by sixteen more. In 1803, he went to Paris, and continued 
 composing operas. In 1807, appointed musical Director to the Empress 
 Josephine ; and in 1808, produced with great success his best work, 
 " La Vestale." From 1810 to 1820, Director of the Italian Opera in Paris. 
 Then invited to Berlin, where he wrote some more operas, and remained 
 until the death of the late king in 1840. The greater part of the music 
 composed by Spontini is forgotten. He was eclipsed by the genius of Rossini, 
 but he had remarkable ability as a dramatic composer. His instrumenta- 
 tion was original, and his music abounds in melody. 
 
 [By Ranch, 1827. From the marble on the Monument to Spontini, at Tesi, 
 in Italy.] 
 
ITALIAN ABTISTS AND MUSICIANS. 
 
 09 
 
 170. INiccolo Pagani^i. Violinist. 
 
 [Born at Genoa, 1784. Died at Nice, 1840. Aged 56.] 
 The greatest of modern fiddlers, who performed in the principal cities of 
 Europe, and acquired more fame and money by playing on one string, than 
 any of the brotherhood ever gained on all four. He looked like a magician, 
 and his playing justified his looks. 
 [By Dantan, 1837.] 
 
 171. Maeia Felicitas Malibeais". Actress. 
 
 [Born in Paris, 1808. Died at Manchester, 1836. Aged 28.] 
 A wonderfully gifted dramatic genius, too soon cut off by death. In 
 Prance, England, Germany and Italy, she created enthusiastic admiration, 
 as much by her histrionic powers, as by her efforts as a songstress. She was 
 a child of nature, and as benevolent as she was richly endowed with intel- 
 lectual gifts. She made the noblest uses of the earnings of her industry, and 
 was beloved by her fellow artists for the unaffected goodness of her heart. 
 No actress of her time equalled her for truth and passion. Whatever 
 art was in her, lay concealed. It never came to view. Her acting assailed 
 the feelings of men, and took them prisoner. Escape was its own punishment. 
 [By Flosi.] 
 
 171a. Maeia Felicitas Malibeats t . Actress. 
 
 [For account of this statue, see Handbook to Modern Sculpture, No. 108.] 
 
 172. Giulia Geisi. Italian Singer. 
 
 [Born in 1816. Still living.] 
 Made her first appearance in London during the season of 1834, being 
 then 18 years old. From that time until her retirement from the English 
 stage in 1854, not absent for a single season. Her voice a soprano of great 
 power and of exquisite purity. Her histrionic talents, of the highest order, 
 displayed equally in the artless peasant girl, and in the passionate and 
 revengeful Semiramis. During twenty years she reigned supreme as queen 
 of the lyric drama, finding many rivals, but no equal. 
 [By Flosi.] 
 
 POETS AND DRAMATISTS- 
 173. Dante Alighieei. Poet. 
 
 [Born at Florence, 1265. Died at Ravenna, 1321. Aged 56.] 
 The eldest and greatest poet of modern Italy. He was of a noble Floren- 
 tine family. He came into stormy times, and his life was tempestuous. His 
 native city was then split between the fierce hostile factions of the Guelphs 
 and Grhibellines, the two great parties that distracted Germany and Italy 
 in the middle ages. An urban faction in Florence was that of the Blacks 
 and Whites. Dante was a Ghibelline, and a White : a keen partisan, and 
 a distinguished citizen, he shared the passions and the vicissitudes of his 
 party. Two battles are mentioned in which he gained honour as a soldier. 
 At thirty-five, he was in the supreme magistrature of the city. When Charles 
 *of Anjou, in passing through Florence, took the part of the Blacks, Dante 
 was amongst the sufferers. He was condemned to exile, and confiscation of 
 his property : but, on a revision of the ssntence, to be burned alive. He 
 
70 
 
 PORTRAIT GALLERY. 
 
 wandered long, in France and in Italy, and rested at last, under the shelter of 
 Guido Noyelli, at Ravenna. He died there. He was once married, but not 
 happily. A boyish love for Beatrice Portinari lives, as a sort of ethereal idea, 
 throughout his poetry and life. He wandered and sang. His marvellous 
 poem, "The Divine Comedy," was composed during his long exile. It at once 
 raised the modern Italian to the rank of a classical tongue, and the poetry 
 of modern Italy to a height to which it has never again soared. The poet 
 relates his journey, as a living man, through the three invisible worlds, which 
 receive, as his church teaches, the souls of other men when released from 
 the body : Hell, Purgatory, Heaven. Through Hell and Purgatory he is led 
 by the shade of the poet Virgil — indeed his beloved leader in their common art. 
 Through Paradise, his Beatrice herself, in whom he impersonates Theology, 
 guides him. The ghosts he sees, those under punishment especially, 
 are chiefly his deceased contemporaries, and Italians : so that the other 
 shadowy world is with him almost a reflexion of his own world here. From 
 the first step of his pilgrimage to the last, he sees sights of his own imagining, 
 transcending all experience, almost all conception, yet delineated with such 
 vivid precision, in language so simply real, that a feeling only short of 
 belief accompanies the reader, and remains with him. Italian peasants 
 meeting the poet, pointed out, as they looked with awe on ' ' his pale and 
 visionary brow," the man who had been down to Hell. Prominent 
 characteristics of his poetry are strength, daring, intensity, grace, absolute 
 self-reliance, and boundless invention : above all, the continual self-presence 
 of the poet as the centre to his own thoughts, and to the worlds which he 
 traverses and describes. He began to write his poem in Latin verse ; but 
 Dante was too essentially a poet to write out of his mother-tongue ; — a 
 poet expresses himself in his verse, and only the mother-tongue is near 
 enough to him for that. 
 
 [This Bust is by Alessandro d'Este, and was placed in the Protomoteca at the 
 expense of Canova. It corresponds in the chief characteristics of the face 
 with the portraits taken from the life, of which there are several. In Florence 
 Cathedral, near the tomb of Giotto, is an authentic portrait. The one lately 
 discovered on a wall in the palace of the Podesta at Florence, is extremely 
 interesting, as being a youthful likeness by the hand of his friend Giotto. 
 The monument to IJante in S. Croce is the work of Stefano Ricci. It was 
 erected in 1829, at the public expense.] 
 
 174. Francesco Petbakca. Poet. 
 
 [Bom in Tuscany, 1304. Died at Argua, near Padua, 1374. Aged 70.] 
 The crown around the brow of Petrarch has many gems. He is poet, diplo- 
 matist, scholar, and restorer of ancient letters. To the world, he is the great 
 Italian sonnetteer. This extremely artificial metrical scheme, which seems, 
 however, singularly congenial to his native speech, afforded him the tempta- 
 tion, in the means, to write incessant eff usions on one love, really or ideally en- 
 tertained. He was an ecclesiastic under a law of celibacy. Thus separated from 
 the object of his presumed affections, he allied his soul to hers in verse. His 
 love-strains are studies, without number, of the passion, in its endlessly varying 
 moods and moments — half of them wreaths laid at the feet of the living 
 Laura — half, strewings on her untimely tomb. The flowers, disclosed by the 
 rapidly advancing Spring of the language, breathe the freshness, sweetness, 
 and innocent grace of the season. Ever since, every son of song in Italy 
 strikes this lute of a few chords, but Petrarch remains its Apollo. 
 [By Carlo Finclii ] 
 
ITALIAN POETS AND DRAMATISTS. 
 
 71 
 
 175. Giacomo Sanazzaro. Poet. 
 
 [Bom at Naples, 1458. Died there, 1530. Aged 72.] 
 A devoted adherent of the House of Arragon, whom he followed in their 
 disastrous campaign in defence of the Church. During his travels he pub- 
 lished his poem of "Arcadia," which gave a new phase to Italian poetry. 
 A great admirer of Virgil and Propertius. 
 
 [From his tomb in Santa Maria del Parto at Naples, by Girolamo Santa Croce, 
 a Neapolitan sculptor of the 15th century. His tomb is one of the most 
 beautiful monuments of the time ; designed by Santa Croce, and sculptured 
 by Montorsoli. Two weeping angels lean over the bust which bears the name 
 Acttus Sincerus, under which he published many of his works. At 
 the sides of the tomb are statues of Apollo and Minerva, said to be antique, 
 but now called David and Judith.] 
 
 176. Luigi Ariosto. Poet. 
 
 [Born at Reggio, in Italy, 1474. Died at Ferrara, 1533. Aged 59.] 
 A poet from the cradle : constrained by bis father to bestow five years on 
 the study of the law : then released to literature. He was Gentleman of the 
 Court to two princes : from both he received scanty pay : from the one 
 75 crowns (or about £15 a year), from the other 84 crowns. He lived and 
 died poor, having enjoyed great independence of spirit, and the barren 
 respect of Italian princes. His talents for business were remarkable. His 
 great poem the "Orlando Furioso " is of a species which then deluged 
 Italian literature. It is a web of adventures of knight errantry. These 
 turn round the person of Charlemagne, and the invasion of France by the 
 Moors — poetically misdated to bis reign. The copious flow and untiring 
 spirit of the narrative is without comparison. The skill with which 
 Ariosto carries on a labyrinth of separate adventures, and brings them to 
 meet, is peculiar to himself. The variety in the invention of the characters, 
 and the flexibility of the pure and musical style to the humorous or the 
 pathetic, the warlike or the tender, the natural and the marvellous, 
 are singularly characteristic of the power of this poet ; who grasps his 
 subject meanwhile like a man of business and of the world, and whose tone 
 is, on the whole, rather that of intellectual superiority to his subject than 
 of passionate absorption by it. A vein even of irony breaks through ; and 
 the enthusiastic lover of romance suffers a pang of scepticism from the 
 suggested incredulity of his priest. They tell, how, when governor of a 
 wild A ppenine province, he fell, on a solitary walk, into the hands of ban- 
 ditti. The captain, on recognising the poet of the Orlando Furioso, apolo- 
 gized for the rudeness of his men, and set his captive at liberty. 
 
 [By Carlo Finelli. There is a life-size bust upon his monument in the Benedic- 
 tine Monastery at Ferrara, where he is buried.] 
 
 177. Torquato Tasso. Poet. 
 
 [Born at Sorrento, near Naples, 1544. Died at Rome, 1595. Aged 51.] 
 One of the small cluster of spirits whose uttered thoughts have fastened 
 upon the world's ear for all time. One of the still smaller group whose 
 personal history, growing out of the poetical temperament, weighs in intere st 
 against their consummate work. We discover too little of the life of Sha k- 
 speare. We know too much of the story of Torquato Tasso. The Swan of Av on 
 sings, and not a milk-white feather is ruffled in the song. Personal anguish 
 quivers through the high heroic strain of him who, in Italian, with 
 unequalled art, told the inspiriting story of the recovered Holy City. How sh all 
 Torquato' s touching and saddening tale be concentrated in a sentence ? He was 
 
72 
 
 PORTRAIT GALLERY. 
 
 already a scholar when a child — delicately organized in the flesh — wondrously 
 endowed in soul. At eighteen he had given forth a poem — worthy sign of 
 his coming strength. He was at the Court of Alphonso II., Duke of 
 Ferrara, when he commenced his great epic, and dared — he was a poet's son 
 — to fix his strong affection upon the Princess Leonora, sister of the Duke. 
 In 1575, the " Jerusalem Delivered" was completed. Its beauty was too 
 evident, for it raised a pitiless storm of envy, enmity, and persecution. His 
 passion for the princess was detected, and he was imprisoned as a madman. 
 Breaking loose, he wandered footsore from place to place, but found his way 
 too speedily back to Ferrara. Caught again, he was again confined, suffering 
 new imprisonment for seven long years. He came forth at last, a melancholy 
 man. It availed him little that at Rome, in 1595, he was solemnly crowned 
 with laurel by the pope, and every honour showered upon his illustrious 
 head. He died, worn out with troubles of heart and mind, only a few days 
 after his sublime coronation. The " Jerusalem Delivered" is built upon the 
 essential basis of epic poetry — the profound and associated sympathy of innu- 
 merable hearers. In the poem, as out of it, the universal heart of Christendom 
 is arrayed against the misbelieving world. Tasso wrote in an age when the 
 religious passion, which was the soul of the Crusades, survived sufficiently 
 for a hope in the poet that his strain would reanimate the Red-cross war- 
 fare. As man, and as poet, enthusiasm was predominant in him. The salient 
 characters of the poem are well-defined, each complete in itself, and all 
 standing well apart from, and relieving one another, although hardly, 
 perhaps, flung forth in desirable plenitude of dramatic life and effect. 
 The subject, as we all know, was the successful first Crusade — which 
 took Jerusalem — under the pious, magnanimous, and truly heroic God- 
 frey of Bouillon. The structure of the plot is well balanced : the art of 
 the writing exquisite : possibly too much so. It is generally self-conscious 
 and elaborate, rather than inspired and impetuous. 
 
 [By Alessandro d'Este, and presented to the Capitoline Museum by Canova. 
 
 Tasso's tomb in St. Onuphrius was not erected until some time after his 
 
 death. There is a portrait in mosaic over it.] 
 
 178. PlETRO Bo^AVENTITEA METASTASIS. Poet. 
 
 [Born at Rome, 1698. Died at Vienna, 1782. Aged 84.] 
 Born of poor parents. When ten years old, improvised in the streets of 
 Rome ; then adopted and educated by Grravina, a rich juris -con suit, who left 
 the poet all his fortune. Forty editions of Metastasio's works were published 
 before his death. He wrote many tragic operas, besides numerous smaller 
 compositions. Invited by Charles VI. of Austria, he settled in Vienna, and 
 received the title of Imperial Poet. His style is singularly chaste, harmo- 
 nious, and elegant. Attracted to, and attracting by, the delineation of 
 characters, morally pure and elevated. Pathetic, but his passion lacks 
 individuality. When we have read a few of his works, we have read all. 
 In person tall and commanding. 
 
 [By Ceracchi. There is a fine bust of him by Vinnazar of Vienna. Metastasio 
 was buried in St. Michael's Church, at Vienna, but the place is not 
 known.] 
 
 179. Caelo Goldoni. Poet. 
 
 [Born at Venice, 1707. Died at Paris, 1793. Aged 86.] 
 The most celebrated Italian comic poet of the eighteenth century, an 
 the renovator of the comic stage in his country. When eight years old, 
 
ITALIAN POETS AND DRAMATISTS. 
 
 73 
 
 sketched out a play. After some reverses of fortune, settled in Paris, where 
 he wrote his last work, " Materials for a History of his Life and Theatre." 
 He wrote 150 pieces for the stage, introducing all classes of men, whom he 
 described with surprising truth. He reformed the Italian drama by extin- 
 guishing the fashion of playing in masks, and by doing away with certain 
 conventional characters before introduced into every play. His works are not 
 without the defects of an over-abundant and extraordinarily rapid composition ; 
 but he has the great merit of faithfully portraying men in their affections, 
 their habits, follies, and vices. 
 [By Leandro Biglioschi.] 
 
 180. Yittoeio Alfiebi. Poet. 
 
 [Born at Asti, in Piedmont, 1749. Died at Florence, 1803. Aged 54.] 
 He was of noble origin, and acceded, at the age of 14, to large hereditary- 
 estates . His passions were strong, ardent, and irregular : his education 
 was neglected. He travelled much, — rapidly and impatiently, like a man 
 •fleeing from himself, or seeking, without finding, objects to satisfy the 
 capacity of a mind, large but unstored. He was first drawn with passion to 
 literature by Plutarch's Lives ; and his first tragedy, ' ' Cleopatra, " w as acted 
 at Turin in 1775, when he was 26 years old. Thenceforward he was devoted 
 to the study of his art. The subjects of his tragedies, which follow the 
 simplicity of the Greek model, are chiefly from ancient mythology, or history. 
 They are distinguished by intense absorption of the poet in his dramatic 
 action and persons, by the austere exclusion from the plot of everything 
 accidental or inoperative to the main purpose and catastrophe, and by the 
 rejection of all accessory ornament from his sedulously laboured style. In 
 his hands the flowing and languishing Italian speech becomes abrupt, con- 
 centrated, darted, fiery ; harsh, often, until it is dilated into harmony by the 
 swelling and emphatic intonations of the actual theatre. He raised at once 
 the prostrate Italian tragedy to the rank of an art, and to a competition 
 with the nations. He was a passionate lover of horses, licentious in his 
 attachments, and an ardent partisan of liberty. 
 
 [Alfieri was buried in Santa Croce. Canova, commissioned by the Countess of 
 Albany, sculptured his tomb and the medallion of him which is upon it. 
 This bust is by Domenica Manera, and no doubt is a good likeness, having 
 been executed under Canova's eye.] 
 
 181. Alessakdeo Gayazzi. 3fo?iJc and Orator. 
 
 [Born at Bologna, in Italy, 1809. Still living.] 
 At the age of 16, entered the religious order of St. Barnabas. Subsequently 
 appointed Professor of Rhetoric at Naples. Upon the accession of Pope 
 Pius IX. to the pontifical chair, Gfavazzi warmly upheld the liberal policy then 
 announced by the head of the Catholic Church. He was the * ' Peter the 
 Hermit" of the crusade in Lombardy against Austria in 1848 : and shared 
 the dangers of the troops, whom he animated by his eloquence. Upon the 
 entry of the French under Oudinot into Home, Gavazzi quitted Italy with 
 the patriots. He has since lived in London, where his extraordinary political 
 discourses have created a marked impression upon his listeners. His oratory 
 is adapted to large masses, his memory is extraordinary, and his manner 
 exceedingly picturesque and striking. He is not a scholar, and his patriot- 
 ism is not of the kind that suffers by defeat. Gavazzi makes a good income 
 as a popular preacher. Mazzini lives upon a crust. 
 [This bust is by Piericcini.] 
 
74 
 
 PORTRAIT GALLERY. 
 
 SCIENTIFIC MEN AND WRITERS. 
 
 182. Christopher Columbus. The Discoverer of the New World, 
 
 [Born at Genoa, 1436. Died at Valladolid, in Spain, 1506. Aged 70.] 
 Lord Bacon says, that he, who unites the faculties of speculation and of 
 action, is like one "born, according to the faith of the astrologers, under Saturn 
 and Jupiter in conjunction, and may command the world. Columbus — 
 profound in thought, intense in action — did even more. To one world he gave 
 another. He was essentially an intellectual hero ; for he dared to believe, 
 on grounds sufficing to reason, that which the world disbelieves, and 
 scoffs, and scorns. He was essentially a practical hero : witness his perse- 
 vering urgency of kings and states to undertake the first visiting of a world 
 which his instructed spirit already discerned in the far off seas. "Witness 
 also his conduct of his fleet, wearied with vain expectation on the silent main, 
 and rising to mutiny on the apparently confirmed disappointment of its 
 hopes. His services to man no human gratitude could repay, yet he died 
 overwhelmed with affliction, great vexation and bodily infirmity. In 1492, 
 he discovered San Salvador, Cuba, and St. Domingo. In 1493, his eager 
 foot first trod the Antilles. In 1498, America opened to his importunate 
 gaze. His fourth voyage of discovery was delayed by an event that merits 
 record in every history of the world's progress. He was thrown into prison. 
 Obtaining liberty, his eager and mysteriously informed spirit was brooding 
 again on the wide ocean. He reached the Gulf of Darien. We witness 
 to-day, in the prosperity, might, and civilization of the American people, 
 the latest glorious results of the restless intrepidity and bright intelligence 
 of Christopher Columbus. Before the dazzling spectacle we may yet learn 
 humility, if we will only remember the sorrow of those upon whom the 
 unveiling of America instantly let in the sword and the fire. Columbus was 
 the first observer of the variation and the dip of the needle. 
 [By Raimondo Trcntanove.] 
 
 183. Piccolo Machiayelli. Political Writer and Historian, 
 
 [Born at Florence, 1469. Died there, 1527. Aged 58.] 
 
 For fourteen years, Machiavelli, born of a noble family, acted as Secretary 
 of the Florentine Republic, and was charged with several important missions. 
 Upon the return of the Medici to Florence in 1512, he was implicated in a 
 conspiracy formed against them, was imprisoned and put to the torture. 
 Subsequently released by Pope Leo X., he was reinstated in his office.- It 
 was after his liberation that he wrote his Discourses upon Livy, his books on 
 the Art of War, and his celebrated essay, called " The Prince. " Machia- 
 velli, to our imagination, embodies in his individual person the Idea of 
 Italian political subtlety. His chief work, already mentioned, " The Prince," 
 expounds the art of Reigning : i, e. of acquiring and preserving Power ; 
 — of which art perfidy and murder are, in this exposition, two 
 accepted instruments. The prevalent assumption has been that Machia- 
 velli recommends the practice of the art, such as he expounds it. 
 Later vindicators have said that he describes, without approving, the 
 Art of Reigning as exercised by the Italian princes of his day, and 
 that his book is to be regarded as containing a satire, and not a doctrine. 
 
ITALIAN SCIENTIFIC MEN. 
 
 75 
 
 The bust "before the visitor may furnish materials for the study of this 
 curious question. 
 
 [From the bust in the Florence Gallery. A most interesting work of the time, 
 bearing the date 1495. An undoubted likeness of this celebrated man. Full of 
 character, with every indication of having been done from the life, although 
 the author is now unknown. Machiavelli's tomb is in St a . Croce at 
 Florence. Two centuries after his death, Lord Cowper, in 1787, placed over 
 it a bas-relief portrait which was paid for by public subscription set on 
 foot by Lord Cowper, and was executed by Innocenzo Spinazzi.] 
 
 184. A^KIBALE Caeo. Writer. 
 
 [Born at Citta-Nuova, in Illyria, 1507. Died, 1566. Aged 59.] 
 His chief work was a free translation of the iEneid in blank verse : the 
 style is pure, and the sense faithful. Also wrote humorous pieces in the 
 purest Tuscan. 
 
 [The work of Antonio d'Este, at the expense of Elizabeth, Duchess of Devonshire, 
 the second wife of the late Duke, a lady to whom we are indebted for origi- 
 nating the excavations in the Forum at Rome.] 
 
 185. Galileo Galilei. Philosopher. 
 
 [Born at Pisa, 1564. Died 1642. Aged 7S.] 
 One of the self-dedicated inquiring spirits, to whom to behold Truth is — to 
 live : — a hierophant of Nature ! Whilst Bacon in England was laying down, 
 in form, and theoretically, the laws of experimental philosophy, Galileo in 
 Italy, led by instinct or intuition, was putting them in force. If Bacon 
 stands out as the legislator of our great modern students in physical 
 science, Gfalileo is assuredly their most illustrious and animating exemplar. 
 We think of the stern and strenuous observer as we do of the prophets, 
 who stand up in the might of invincible truth, solitary against a world. In 
 the very first sentence of the " Novum Organum " it is written that, 
 * ' Man, the servant and interpreter of Nature, knoweth, and can, so much as, 
 in the fact or in thought, he may have observed, of the order of Nature." Of 
 all men Galileo was essentially the one who allowed Nature to speak for 
 herself, — and waited patiently, piously, and thoughtfully for her utterances, 
 never imposing upon her his own wilful and imperfect conceptions. His 
 spirit was self-sustaining. Hundreds, or thousands, have in the later time 
 risen, who from the cradle to the grave have watched Nature. But they 
 are the officers of an organized army. He walked like Hercules, with 
 his club and lion's skin cloak, alone. Because his worship was pure, his 
 punishment was great. Suffering for truth's sake, he was imprisoned for 
 years ; yet his only crime had been, that he had faithfully recorded the 
 revelations that came down to him directly from the skies. To Gfalileo we 
 owe, amongst other obligations, the discovery of the laws of gravity, the 
 invention of the pendulum, of the hydrostatic balance, of the thermometer. 
 He constructed a telescope, and with it discovered the satellites and rings of 
 J upiter, the phases of Venus, and the spots on the sun. Noting down what 
 he saw, he changed the whole system of astronomy, and led. men on the 
 right track of observation for all ages to come. Italy, with her many titles 
 to our admiration, gratitude and respect, has no prouder claim than this : — 
 She gave us Galileo. The face before us does not belie the soul. Upon it 
 are stamped the rigid signs of robust and intrepid intellect. 
 
 [From the marble, by Domenico Manera, which was placed in the Capitoline 
 Museum at the cost of Canova. About a century after Galileo's death, in the 
 year 1737, leave was at last granted to erect a monument to his memory in 
 
76 
 
 PORTRAIT GALLERY. 
 
 Santa Croce, at Florence ; it was placed opposite to that of Michelangelo, and 
 the bones of the great philosopher were removed into it. In the Museum of 
 the Florence Gallery is preserved the small telescope which he used. The 
 bust, No. 1S5a, is a cast from that on his tomb.] 
 
 185a. Galileo Galilei. Philosopher. 
 
 SOLDIERS AND STATESMEN. 
 
 187. Cosmo de' Medici. Merchant and Statesman. 
 
 [Born 13S9. Died, 1464. Aged 75.] 
 
 The grandfather of Lorenzo de' Medici, surnamed the Magnificent : himself 
 illustrious for the services which he rendered to the Florentine Republic, of 
 which he was a member, and for his munificent encouragement of art, 
 science, and literature. Upon his death, the grateful Florentine people 
 inscribed on his tomb the title of "Father of his Country." A member of 
 the Signory, which legislated for the Florentine Republic, he strove to curb 
 the oligarchy in the State. Accordingly, many of the chief families com- 
 bined against him, and it was only by the most admirable judgment and 
 consummate prudence that he was enabled to elude their toils, and to 
 advance the popular cause. Possessed of immense wealth, he parted freely 
 with his riches for the glory of his country, and for the promotion of 
 all those arts that add dignity to human nature and beautify the world. 
 
 [From the bust in the Florence Gallery, a most characteristic head.] 
 
 188. Baetolo^ieo Coleo:nt. Soldier of Fortune. 
 
 [Born at Bergamo, in Italy, 1400. Died at Venice, 1475. Aged 75.] 
 Remarkable for his unstable loyalty. Served at first under Sforza and 
 De Montone in the army of Queen Joan of Naples. Then passed into the 
 service of Venice. Fighting against and nearly destroying the army of the 
 ambitious Duke of Milan, he went over to the enemy with 500 soldiers. 
 He now fought against the Venetians ; but in 1446, was thrown into prison 
 on a charge of treason. Released by the Milanese, he deserted to the 
 Venetians, whom he again led on against his latest employers. Instead of 
 fighting Sforza, the Milanese general, he deserted to his side, and assisted 
 him to gain the sovereignty of Milan. Immediately afterwards he returned 
 to the Venetians, and, strange to say, continued their generalissimo for 
 twenty-one years. The Senate, upon his death, employed the celebrated 
 Andrea Verrocchio to raise an equestrian statue in bronze to his memory, of 
 which the one before the visitor is a cast. Shortly before his death, Coleoni, 
 not without reason, warned the Venetian Senate not to trust another man 
 with such power as they had confided to him. 
 
 [For account of this fine equestrian statue, see Handbook to the Renaissance 
 Court.] 
 
 1 89. Stefano Gattamelata. Warrior. 
 
 [Born at Narni, in Italy. Died at Venice, 1443. ] 
 First served in the army of the Church : but in 1434 passed over to the 
 Venetians, and was made Captain- General of their army. A zealous servant 
 of the State. He was raised to the rank of Venetian noble in 1438 ; rich 
 pensions were conferred upon him, and a palace was given him in the city. 
 
ITALIAN SOLDIERS AND STATESMEN. 
 
 77 
 
 The equestrian statue of which the one in the Crystal Palace is a cast, is 
 "by Donatello, and is at Padua. 
 
 [For account of this equestrian statue, see Handbook to the Renaissance 
 Court.] 
 
 190. Giovanni Medici, surnamed Bandineei. Italian Soldier. 
 
 [Born 1498. Died near Borgo-Forte, in Italy, 1526. Aged 28.] 
 A descendant of Cosmo, "the father of his country," and the son of the 
 celebrated Catharine Sforza. Passionately fond of arms, he was employed, 
 in 1521, by the Florentines against the Duke of Urbino. In 1524, he entered 
 the service of France, and a year or two afterwards died of a wound. He 
 was ferocious, and mercilessly cruel. After his death his soldiers, who 
 had profited by his instruction and example, styled themselves " The Black 
 Bands" — " Bandineri." The chief of the butchers is distinguished in 
 history by the unenviable title. 
 
 [A very finely-formed head, from the figure in the Piazza San Lorenzo, Florence.] 
 
 191. Feakcesco Pico della Mikandola. 
 
 TDied, 1321.] 
 
 A gentleman of Modena, at the head of the Ghibelline faction, in 
 fighting whose battles with the Gruelphs he passed his life. In 1312, he 
 filled the office of Podesta of Modena, but was expelled from the city the 
 very same year by the Gruelph party. Returning, he sold his authority 
 for 50, 000 florins to Bonacossi, Lord of Mantua, and retired to his estates at 
 Mirandola, whither Bonacossi followed him, assassinated him and his two 
 sons, and made off with the purchase money. 
 
 [From a terracotta in the Berlin Museum. A youthful portrait.] 
 
 192. FnA^gois Eugene of Savoy, called Peixce Eugene. Military 
 
 Commander. 
 
 [Born in Paris, 1663. Died at Vienna, 1736. Aged 73.] 
 One of the world's great and successful generals. The great-grandson of 
 Emanuel, Duke of Savoy, his mother being niece of Cardinal Mazarin. 
 Refused a regiment by Louis XIV., he offered his services to the flag of 
 Austria, and fought as a volunteer for the Emperor against the Turks. The 
 deeds of the young soldier caused Louis XIV. to repent of his former 
 refusal, but the most tempting offers came in vain to Eugene. He took 
 part with Marlborough in all his great victories in the Low Countries, expelled 
 the French from Italy, and overthrew the Turks, from whom he took the 
 city of Belgrade. His renown at the peace of 1718, when he retired from 
 active service, stood as high as any soldier's of the age. In retirement Prince 
 Eugene cultivated literature and the arts. His services had extended 
 through the reigns of three Emperors, and he fought with almost unvarying 
 success. He was ambitious of glory, and of nothing else. He was never 
 married. He invented no system of military tactics, and he followed 
 none. He had the faculty of discerning the right thing to do at the right 
 time, and of arranging his plans quickly and ably in conformity with the 
 circumstances by which he was surrounded. His mind once made up, his 
 intrepidity was boundless. He was rigid in disposition ; his figure was 
 well made, though not tall ; his eye was black and piercing, and his com- 
 plexion dark. 
 
 [A fine portrait statue by Canigia, a Piedmontese sculptor lately dead.] 
 
7S 
 
 PORTRAIT GALLERY. 
 
 PRELATES AND THEOLOGIANS. 
 
 193. Francisco Ximekez de Cisnekos. Cardinal and Regent of 
 
 Spain, 
 
 [Born in Castile, 1437. Died, 1517. Aged SO.] 
 A learned priest who Lad withdrawn to a convent, and was in Lis 
 fifty-sixth year, when Queen Isabella of Spain brought him from his 
 retirement, and appointed him Archbishop of Toledo, and her own Con- 
 fessor. His power over the queen was used, according to the ideas of his 
 time, in the interests of his country, for the benefit of the Spanish people, 
 and for the advancement of learning and religion. After the death of 
 Isabella, in 1504, he was made Governor of Spain, in the absence of the 
 King, and he managed to steer his political course with consummate skill 
 and prudence. In 1516, he became Governor of Castille for the young 
 Emperor, Charles V. He possessed in an eminent degree the genius of 
 government, and his rule paved the way for the greatness of Charles V.'s 
 reign. He was unbending in authority, and organized with a rigid sense 
 of justice, that amounted to cruelty. As Inquisitor- General, he had suffered, 
 during eleven years of office, 50,000 condemnations to be passed, and 2500 
 human beings to be consigned to the flames. Shortly before his own death 
 he fell into disgrace, and he closed his eyes in grief. He was a fanatic 
 without passion. Pious with sword in hand ; austere in his way of life, 
 sagacious, imperious, and a profound politician. 
 
 194. Caelo Bezzostico, afterwards Pope Clement XIII. Pope, 
 
 [Born at Venice, 1693. Died at Rome, 1769. Aged 76.] 
 Commenced his pontifical reign by an endeavour to improve the morals of 
 his clergy and his people ; but, later, he created displeasure in Europe by 
 protecting the Jesuits, who had been expelled from France and Portugal. He 
 consented at last to the suppression of the Order, and expired almost as soon 
 as the consent was given. It is rather surprising that he did not die shortly 
 before. A man of sincere piety, pure intentions, and great charity. 
 
 [From the celebrated monument by Canova. Although the bust is of colossal 
 proportions, the features preserve their natural, harmonious expression.] 
 
 194*. Padre Yenttjra. Italian Priest, 
 
 [Still living.] 
 
 Born at Palermo, towards the close of the last century. At an early age, 
 entered the order of the Teatini : subsequently appointed Professor of the 
 University of Rome. When, in 1821, Naples, Piedmont, and Spain rose for 
 the recovery of freedom, and the hopes of the liberal party were raised to the 
 highest pitch in Italy, Ventura sympathized with the popular voice. He was 
 instantly dismissed from his office, and his writings were denounced. When, 
 in 1831, the Italian liberals were crushed by Austria, the Padre took counsel 
 of his judgment, craved to be reconciled with the clerical party, and was made 
 supreme head of his Order. Deceived by the early policy and promises of 
 Pius IX., Ventura, in 1846, again gave rein to his liberal ideas, and 
 returned to his original sympathies. His oration on the death of O'Connell, 
 delivered at Rome, was bold and pathetic, and so far won for him the 
 
ITALIAN PRIESTS. 
 
 79 
 
 regard of his ancient allies, that on the success of the Sicilians, who threw 
 off the Neapolitan yoke, he was named their representative at the court 
 of Rome. Another change came over the spirit of Ventura's life. The 
 Pope — his friend — was chased from Eome ; and he himself prudently 
 awaited, in Civita Vecchia, the result of the French invasion undertaken 
 on the Pope's behalf. Upon the fall of Rome he repaired to France, and 
 there speedily wrote a formal recantation of all his " errors." At this 
 hour he preaches in Paris in favour of Ultra -montane doctrines, and is sur- 
 rounded by admirers. He is learned, polished, courtier -like, and very 
 eloquent : not a popular preacher like Gfavazzi, but with a style and 
 manner adapted to a cultivated audience. 
 [By Rinaldo Rinaldi, of Rome.] 
 
 KINGS AND QUEENS. 
 
 195. Ciiaiiles Albert. King of Sardinia. 
 
 [Born 1798. Died at Oporto, 1849. Aged 51.] 
 A man of unstable principles. Inclined to liberal views, but unequal to 
 the effort of steadily maintaining them. At the time of his birth, seven 
 male heirs stood between him and the Sardinian throne, but in his thirty- 
 third year he found himself king. Received his education in Paris. In 
 1821, headed a conspiracy in order to force more liberal measures upon his 
 sovereign ; but betrayed the design before it was ripe for execution. In 
 1823, entered the French service under the Due d'Angouleme, and attached 
 himself to the cause of despotism in France. From the date of his ascend- 
 ing the throne, 1831, until his death, he continually vacillated between the 
 extremes of absolutism, and downright radicalism. In 1848 — the year of revolu- 
 tion — he gave his subjects a constitution, and the eyes of Italy were turned 
 anxiously towards him as to a deliverer and friend. Discontent rose against 
 Austria, and he became the champion of Italy against the foreign intruder. 
 Success at first crowned his arms ; but weakness and indecision again 
 visited him at the crisis of his career, and he suffered defeat at Novara, at 
 the hands of the Austrian general, Radetzky. Abdicating in favour of his 
 eldest son, Charles Albert quitted Italy, crossed Spain, and reached Oporto, 
 where he soon died, a disappointed, vexed, and broken-hearted man. 
 [By Canigia, a Piedmontese sculptor of the time.] 
 
so 
 
 PORTRAIT GALLERY. 
 
 THE FEENCH POETEAITS. 
 
 INTRODUCTION. 
 
 France surpasses all modern nations in awarding monumentai 
 honours to her illustrious sons. The feeling which prompts the 
 grateful act is more akin to noble patriotism than to the littleness 
 of personal display. The magnificent illustration of the national 
 disposition at "Versailles commands our respect by the important 
 historical interest which it creates, and by the instruction and 
 benefit which it confers upon the world. 
 
 The buildings of all the great institutions of France are adorned 
 with portrait statues and busts of the men who have earned, 
 distinction in connexion with them. " The Institute," which 
 corresponds to our Eoyal Society, has its statues of philosophers 
 and scientific men. The Mazarin Library possesses a collection of 
 those most distinguished in literature, generally. The Theatre 
 Francais has an exceedingly interesting gallery of dramatists and 
 theatrical celebrities, which is only feebly reflected in the collection 
 — valuable in some respects — of theatrical portraits at the Garrick 
 Club in London, which we owe chiefly to the late Mr. Charles 
 Mathews, the comedian. 
 
 The collection of the Theatre Francais is composed of statues 
 and busts representing the greatest dramatic writers and the most 
 celebrated comedians of the French stage, of pictures of actors or 
 of paintings having reference to the dramatic art. The library is 
 rich in autograph manuscripts, and in the letters of nearly all the 
 authors who have illustrated the French stage. It contains also 
 the registers and account books of the several theatrical 
 administrations, without a single interruption, from the 24th of 
 October, 1658 — the date of Moliere's first representation in Paris — 
 down to the present time. 
 
 The collection of statues and busts dates from only the 
 last century, when the sculptor Caffieri laid its foundation. 
 He proposed to the actors, in 1773, to present to their green-room 
 the bust of his friend Alexis Piron, the poet (see No. 231 in 
 our collection) — who had died a few months before — on the 
 condition that he should be allowed free entrance to the theatre 
 for the rest of his life. It appears, from the letter of Caffieri, 
 preserved in the library of the theatre, that the usual price of his 
 marble busts was £120, and that the right of entrance to the 
 
THE FRENCH PORTRAITS. 
 
 SI 
 
 theatre for life was fixed by the comedians at the same sum. The 
 proposition was accepted, and Cafheri continued for some time to 
 present busts to the theatre upon the same terms — that is to say, 
 for every bust the right of an entre'e for one of his relatives or 
 friends. Other sculptors followed the example of Cameri. The 
 practice still continues, and the collection is yearly augmented, not 
 only by this means, but also by the frequent gifts of the Minister 
 of the Interior, and by the still larger donations of private 
 individuals. 
 
 The collection of paintings dates as far back as the 
 death of the tragedian Lekain. His comrades, to honour his 
 memory, decided that his likeness should be hung in their green- 
 room. Later came the portrait of Baron, and afterwards that of 
 Mademoiselle Duclos by Largilliere, a celebrated portrait painter of 
 the time of Louis XIV. This portrait of Mdlle. Duclos is a 
 masterpiece. At the present moment, in consequence of the frequent 
 additions to this triple collection, there is not space enough in the 
 interior of the theatre properly to display it ; and it is proposed to 
 transport it to a more commodious receptacle, and to give to the 
 reunion of all these treasures of the drama the name of the Moliere 
 Museum. The busts, which we are enabled to exhibit in the 
 Crystal Palace, form only a small selection from the gallery of the 
 Theatre Francais. 
 
 The Louvre, which in Paris corresponds to our British Museum, 
 National Gallery, and Hampton Court combined, has long been one 
 of the world's great treasuries of history and art. Pesting upon 
 ancient walls, founded certainly as far back as the 9th century — 
 when it was a strong fortress in the midst of a forest — the Louvre 
 has been gradually changing its form and appearance since the time 
 of Philippe August e. In 1527, Francis I., with the aid of the 
 architect Pierre Lescot, entirely remodelled it, and gave to it the 
 character of splendour and vastness which has ever since attached 
 to this great national structure. All succeeding kings — Charles, 
 Henri, Louis, whatever the name — have done something to uphold 
 its magnificence. In addition to the other numberless works of 
 art contained in the Louvre there are some 300 antique portrait 
 busts and statues, and an immense collection of rare cameos and 
 medals, amongst which are many valuable portraits of antiquity, 
 and about 200 statues and busts of great men of modern time, 
 half of these being representations of military men, with some 
 admirals, and about 50 portraits of sculptors and painters. 
 
 The Palace of Versailles is entirely devoted to the illustration of 
 • Q 
 
S2 
 
 PORTRAIT GALLERY. 
 
 the glory of France. Here, in addition to many pictures, repre- 
 senting the great military achievements of the French, there are 
 saloons filled with statues and busts of the kings, princes, marshals, 
 and admirals, and portraits of nearly every great man of the 
 country from the time of Clovis the First and Clotilde, a king and 
 queen of the 5th century, down to Louis Philippe of our own time. 
 There are more than 600 statues, busts and medallions, many of 
 them fine works of art, and all possessing the very highest interest. 
 A considerable portion being duplicates of works at the Louvre or 
 Tuileries. In such an extensive series there are, as may be 
 supposed, many arbitrary portraits executed to complete a series, 
 but though not taken from the life, they have for the most part 
 been derived from trustworthy authority. There are also upwards 
 of 600 memorial tablets in bronze, placed in the Gallery of 
 Battles, inscribed with the names of all officers killed or wounded 
 in the service of the country, beginning with Prince Pobert le 
 Fort, Comte d' Outre-Maine, killed at the combat of Brissarthe, in 
 866, and ending with the heroes of Waterloo. 
 
 The Historical Gallery at Versailles contains portrait busts and 
 statues by 146 different sculptors of France, commencing with 
 Germain Pilon and Jean Goujon, who flourished in the middle of 
 the 16th century. 
 
 From all these great collections our Portrait Gallery has been 
 enriched, as the Catalogue will show. 
 
 As works of art the French portraits cannot be placed in the 
 highest rank. The style, as in French works of ideal sculpture, is 
 rather picturesque, than antique and severe ; and few of the 
 portraits are free from a certain affectation of attitude or assumed 
 expression of countenance, for which it may readily be conceived, 
 the artist, rather than the subject, is to blame. It is rare to find 
 a French bust treated with the seriousness and intensity of the 
 antique, or with the unaffected naturalness of the best busts of the 
 English school : too many indeed verge upon the common and 
 fatal error of portraiture — caricature. 
 
 W e must, however, take these portraits as the characteristic works 
 of the country to which they belong ; all of them bear the stamp 
 of truthfulness, if some should be found tainted with exaggeration. 
 Many are models in the art of marble portraiture. Those of 
 Madame Dubarry (No. 2?>5), and Marie Antoinette (No. 310), are 
 especially beautiful ; that of Gaston de Foix (No. 258) is also a 
 very noble portrait ; and the bust of Thomas Corneille (No. 222), 
 is one of the finest productions of the school. The heads are 
 
FRENCH ARTISTS AND MUSICIANS. 
 
 S3 
 
 generally rather larger than life : and the visitor cannot fail to 
 remark the exceeding care bestowed upon the wigs and elaborate 
 embroidery of the time. 
 
 [The French Portraits commence immediately behind the Statue of 
 Admiral Duquesne, in the Great Transept.) 
 
 ARTISTS AND MUSICIANS. 
 
 196. Jean Goitjw. Sculptor. 
 
 [Born in Paris. Died there, 1572.] 
 Many of his works were destroyed in the French Revolution, but the Tribune 
 of the " Salle des Cent Suisses," in the Louvre, the " Diana of Poictiers," and 
 the " Fountain of the Innocents, " in Paris, are left to attest the artist's 
 superiority. At Malmaison, in France, is another statue by him of Diana, 
 remarkable for the beauty of the pose, the suppleness of the limbs, and the 
 extraordinary lightness of the drapery. The two caryatides in the Renais- 
 sance Court are examples of his style. Killed by a shot from an arque- 
 buse during the massacre of Saint Bartholomew, and whilst he was at 
 work on the decoration of the Louvre. 
 
 [This is considered to be a bust of the time, and perhaps by his own hand.] 
 
 197. Sraiotf Yotjet. Painter. 
 
 [Born in Paris, 1582. Died there, 1641. Aged 59.] 
 Is generally regarded as the founder of the French school of painting. He 
 received his first instruction from his father, who was also an artist. When 
 a mere youth, he acquired great fame as a portrait painter. He visited 
 Constantinople, where he painted Achmet I. At Rome he worked for Pope 
 Urban VIII. at St. Peter's. Recalled to France by Louis XIII. in 1637, he 
 was appointed chief painter to the king. His colouring is fine, and he 
 possesses great boldness of touch ; but his drawing is marked by mannerism, 
 and he is not happy in perspective, or in his effects of light and shade. He 
 accomplished, however, for French, painting, what Corneille effected for the 
 drama. He created and raised the national taste. 
 [Prom a marble in the Louvre.] 
 
 198. Nicolas Poussnr. Painter. 
 
 [Born at Andelys, in France, 1594. Died in Rome, 1665. Aged 71.] 
 The greatest master of the French school of painting. His taste for art 
 was revealed at a very early period. As a child, he drew upon his lesson 
 books and the walls of the school-room. At eighteen, he went to Paris, 
 where he frequented schools from which he learned but little. Grenius and 
 self- tuition did more for him. At thirty he painted the ' £ Death of the 
 Virgin " for a chapel at Notre-Dame, and so well, that the poet Marino 
 took the painter to Rome, and recommended him to Cardinal Barberini with 
 the energetic words, ' ' You will see a youth who has the spirit of one 
 possessed."'" The Italian syllables are yet stronger. In Rome he fell into 
 poverty, and sold his pictures for a mere trifle. He worked against the 
 spirit and taste of the age in both France and Italy : throwing himself, with 
 his faithful comrade in art, the sculptor Fiamingo, entirely into the study of 
 
 G 2 
 
PORTRAIT GALLERY. 
 
 the ancient Greek sculpture. He was recalled to his own country by 
 Richelieu, in 1640, and was created Court Painter. In 1643, he returned to 
 Rome, whence no solicitations could again draw him. He lived twenty-five 
 years in great calm and happiness, married to the sister of Caspar Poussin, 
 without children, without a pupil, without a man-servant— esteeming quiet 
 in the house above everything. He was devoted to his art, a great student 
 in it, and of all science bearing upon it. His genius was altogether antique. 
 He transported himself into an elder world, and lived there. Thus in 
 religious subjects he seems to lean towards the Old Testament ; and he 
 revels in the wealth of Greek mythology. His classical spirit ennobled 
 landscape both in its own forms and by the poetical significance and treatment 
 of the figures. |His art, like poetry, seemed to open to him an escape from 
 the world about him. A style of severe simplicity, truth, high beauty, 
 harmony. 
 
 * Vederete un giovane che ha la furia del diavolo. 
 [From the marble in the Louvre, by Blaise.] 
 
 199. Pierre Mignard. Painter. 
 
 [Born at Troyes, in France, 1610. Died in Paris, 1695. Aged 85.] 
 Called 4 'The Roman Mignard," in contradistinction to his brother Nicolas, 
 also a painter, and styled "Mignard of Avignon." The works of Pierre are 
 not remarkable for originality of invention or peculiar facility of execution ; 
 but they exhibit correct design, beauty of form, and excellence of colouring. 
 The French regard him as the best colourist of the age of Louis XIV. The 
 ' ' Grand Monarque " sat ten times to this painter, who also painted the 
 portraits of the Popes Urban VIII. and Alexander VII. Mignard was first 
 intended for the profession of medicine, but his taste for drawing led him to 
 the arts. He passed twenty-two years in Italy, where he acquired fame. 
 He was recalled to France by his own sovereign, and by him also appointed 
 chief painter to the court. 
 
 [From a marble in the Louvre, by Antoine Coysevox.] 
 
 200. Andre le Notre. Architect and Gardener. 
 
 [Born in Paris, 1613. Died there, 1700. Aged 87.] 
 The designer of the magnificent gardens at Versailles ; the projector of its 
 grand fountains, grottos, porticos, and bowers. He also laid out the 
 gardens of St. Cloud, the Tuileries, Meudon, and several others. Louis 
 XIV. heaped favours upon this great gardener, but Le Notre could not be 
 spoiled by royal indulgence. He travelled into Italy and was received by 
 Pope Innocent XI. "I care not how soon I die now," said Le Notre to the 
 Pope, i 1 since I have seen the two greatest potentates in the world — your 
 Holiness and the King, my master." Le Notre was simple, honest, and 
 disinterested : possessed a fertile genius and lively imagination ; in many 
 respects the prototype of our own Paxton. 
 
 [From the marble in the Louvre, by Gourdel, which was taken from the one in 
 the Church of St. Roch.] 
 
 201. Eustache le Sueur. Painter. 
 
 [Born in Paris, 1617. Died 1655. Aged 38.J 
 One of the greatest French painters. First taught by his father, a 
 sculptor ; then a pupil in the studio of Vouet. His fame established by the 
 pictures, twenty-two in number, which he painted for the Chartreuse in 
 
FRENCH ARTISTS AND MUSICIANS. 
 
 85 
 
 Paris, and which represent the chief events in the life of St. Bruno, the 
 founder of the Order. He took delight in sacred subjects, and in simple reli- 
 gious affection he left Lebrun and Poussin far behind him. He scarcely ever 
 quitted Paris, never France ; and his sole studies were the few exemplars 
 from the antique which he could find in his native city. Raffaelle he could 
 worship only through the engravings of Marcantonio. Put the love of 
 his art was boundless, his study intense, his industry inexhaustible. He 
 excelled in purity of form, and his pictures reveal a tenderness of feeling 
 and a spiritual grace, wholly wanting in the productions of the majority of 
 his contemporaries. He was himself a man of mild and blameless nature. 
 He died very early, worn out by his labours and by the active jealousy of his 
 brother artists. 
 
 [The costume is that of the time of Louis XIII. From a marble by P. L. Lau- 
 rent, done in 180G. Laurent was a pupil of Pajou, and died in 1816.] 
 
 202. Chaeles Lebktt^. Painter. 
 
 [Born in Paris, 1619. Died 1690. Aged 71.] 
 One of the most celebrated painters of the French school. The Chancellor, 
 Seguier, struck by his talent when a boy, placed him in the studio of Vouet, 
 and subsequently sent him to Pome, where he maintained him during six 
 years. In 1648, Lebrun was recalled to France, and admitted into the 
 Academy. Mazarin, charmed by his works, presented him to the king, by 
 whom he was favourably received and largely patronized. It is said that 
 Louis XIV. would spend two hours at a time in Lebrun' s studio, whilst the 
 artist was painting his " Patties of Alexander," Alexander being Louis by 
 allusion. For fourteen years, engaged in painting the great gallery of 
 Versailles. Received many distinguished appointments in connexion 
 with the Fine Arts, and at his instigation Louis XIV. instituted the 
 French Academy at Pome. For many years Lebrun was as absolute in 
 the republic of Art, as his master in the kingdom over which he ruled. He 
 was styled " Dictator," and his influence is perceptible in the works of his 
 time. He was one of the vainest of men, and the most pompous, artificial, 
 and theatrical of painters ; his works, though they might swell the pride 
 of a Court, would hardly natter the pride of a country. His best picture 
 is " The Stoning of Stephen," in the Louvre. 
 
 [From the marble in the Louvre, by A. Coysevox. Ex-tremely interesting, both 
 on account of its being taken from the life, and having once surmounted the 
 tomb of the great painter which was erected by order of his widow in the 
 Church of St. Nicholas, in Paris, the tomb being also the work of Coysevox. 
 The monument was removed at the time of the Revolution. The bust at 
 Versailles, by Bosio (1837), takes its' authority from this.] 
 
 203. Andee F^libie^, Sieue, des Ayatjx et de Jayercy. Writer 
 
 on Art. 
 
 [Born at Chartres, in France, 1619. Died in Paris, 1695. Aged 76.] 
 Held various appointments in connexion with art. Amongst others, those of 
 Historiographer to the King, and Secretary to the Academy of Architecture. 
 His best known work is 4 'Lives of Ancient and Modern Painters," 
 which is translated into English. Grave and serious in character, but, right- 
 minded and good-hearted, he preferred virtue to the favours of fortune. 
 
 204. Jea^ Mabilloist. Antiquary. 
 
 ("Born at Pierre-Mont, in France, 1632. Died in Paris, 1707. Aged 75.] 
 A Benedictine monk, who employed his life in collecting materials and 
 
86 
 
 PORTRAIT GALLERY 
 
 writing on monastic history and antiquities. Entitled to high rank for his 
 extensive learning and great virtues ; his style clear, masculine, and 
 methodical ; his mind free from bigotry. 
 
 205. Jeats t Baptiste de Lully. Violinist and Musical Composer. 
 
 [Born near Florence, 1633. Died 1687. Aged 54.] 
 A musical genius ; who began life as a scullery-boy, and, in soul, continued 
 a scullery-boy to the last. It was whilst playing the fiddle in the kitchen of 
 Mademoiselle de Montpensier that his musical faculty was detected and 
 rescued. Subsequently playing some airs of his own composition to 
 Louis XIV. he was made, at the age of 19, "Inspecteur General des 
 Violons." In 1672, letters-patent were granted him to establish a Royal 
 Academy of Music : that academy was the Opera. He performed marvels at 
 his theatre. He was at once composer, director, ballet-master, leader of the 
 band, and even machinist. Nothing came amiss to him ; and his activity, 
 his popularity, his success were enormous. In less than fifteen years he 
 had composed nineteen operas, which continued in high favour until put out 
 of fashion by Gluck a century afterwards. To appreciate the merits of 
 Lully as a composer, we must look at him from the point of view of his own 
 time. So regarded, he is an artist of great spirit and dramatic power. He 
 found France without any dramatic music whatever. He left works which 
 formed the style of later masters, and became the foundation of a national 
 opera. He had wit, energy, versatility, and was a great favourite with the 
 Court. His moral character was detestable. To the great he was grovelling ; 
 to his earliest benefactress he was ungrateful ; towards his dependants he 
 was overbearing, insolent and brutal. 
 
 [From the bust in the Church of Petits Peres.] 
 
 206. Antolne Coyseyox. Sculptdr. 
 
 [Born at Lyons, in France, 1640. Died in Paris, 1720. Aged 80. J 
 Of Spanish origin. Employed for four years on the decoration of 
 Cardinal de Furstenburg's palace, at Saverne, in Alsace. Executed also for 
 Paris, a statue of Louis XIV., and the bronze winged horse placed in the 
 Tuileries gardens. The Revolution destroyed most of his works ; but 
 amongst those left is one of the finest — the monument of Colbert. A per- 
 severing and painstaking artist. 
 
 [From a marble in the Louvre, by himself. The original bears the following 
 inscription : — "Ch : Ant : Coysevox Sculpteurdu Roi, Chancelier de l'Acade- 
 mie ; par lui-meme. Donne a l'Academie par Ch. Pierre Couston architecte 
 du Roi, son petit neveu." ] 
 
 207. Jules Hardouln" Mansart. Architect. 
 
 [Born in Paris, 1645. Died at Marly, in France, 1708. Aged 63.] 
 The builder of the Palace of Versailles, and of the Hotel des Invalides 
 in Paris : indebted for his celebrity more to the good-will of his 
 sovereign, Louis XIV., than to his own genius. His works noble and 
 striking, but his style not chaste, and apt to fall into extravagance. A 
 vain man, proud of the favours of the king and jealous of retaining 
 them. 
 
 [From a marble in the Louvre, by T. L. Lemoyne, a pupil of Coysevox, who died 
 in 1755 ; and doubtless from the life. He wears a damask dress with the 
 cordon of St. Michel.] 
 
FRENCH ARTISTS AND MUSICIANS. 
 
 87 
 
 207*. Claude Joseph Veenet. Painter. 
 
 [Born at Avignon in France, 1714. Died 1789. Aged 75.] 
 He received his first instruction from his father, who was an historical 
 painter. He set out for Italy in his eighteenth year, and continued there 
 for many years, studying and painting for small remuneration. He 
 returned to France in 1753, on the invitation of Louis XV., was elected a 
 member of the French Academy, and commissioned by the government to 
 paint the principal ports of France. He excelled in marine subjects. It is 
 related of him that during a terrible storm at sea, when all on board his 
 ship were trembling for their lives, he caused himself to be lashed to the 
 mast of the vessel, that he might watch the boiling ocean. The Louvre 
 contains several of his pictures, which display a consummate management of 
 light and shade. He had no rival in France whilst he lived, and he died 
 pencil in hand. He was a modest man, and never so happy as when at work. 
 [ Bust to come.] 
 
 208. Jacques G-eemai^ Soutflot. Architect 
 
 [Born at Irancy, in France, 1714. Died in Paris, 1781. Aged 67.] 
 When the Carthusians rebuilt their church at Lyons, Soufnot's design for 
 the dome was accepted, and he achieved celebrity in consequence. Then 
 settling in Lyons, built several edifices there, including the theatre (one of 
 the finest in France), and the Hotel- Dieu (the hospital). Invited to Paris, 
 he became architect to the king. His designs for the Church of Sainte 
 Genevieve were adopted ; but the cupola exciting much adverse criticism, the 
 architect fell into despondency, languished and died. Blunt in his manners, 
 but of a generous and noble mind. He was called the ' 6 benevolent cross- 
 patch." 
 
 [From the marble in the Louvre, by Prevot.] 
 
 208*. Maeie-Anke-Botol Dakgeyille. French Comic Actress. 
 
 [Born 1714. Died 1796. Aged 82.] 
 Actress at the Theatre Frangais, and perhaps one of the most perfect 
 mistresses of her division of the art that have trodden the French stage. 
 The original of this bust, in the Theatre Francais, has not the name of the 
 sculptor, but is a work of singular delicacy of expression, and evidently 
 from the hand of a master. 
 [Bust to come.] 
 
 208**. Mademoiselle Claieo^. French Tragic Actress. 
 
 [Born 1723. Died 1803. Aged 80.] 
 The most accomplished French tragic actress of her time. Born of poor 
 and illiterate parents. Made her first appearance on the stage in 
 her thirteenth year. At first unsuccessful, she proved eventually a sub- 
 lime tragedian, and during twenty-two years held possession of the public. 
 Disraeli the elder has a curious story from her life. He relates that as 
 a child she was cruelly treated by a violent mother, and driven all day to 
 manual labour. One clay when locked in a room for punishment, she 
 climbed upon a chair to look about her. In the house opposite she saw a 
 celebrated actress amidst her family ; one daughter performing her dancing 
 lesson. Clairon noticed with excitement every motion : not one was lost 
 
ss 
 
 PORTRAIT GALLERY. 
 
 upon her. The lesson over, the rest of the children applauded, and the. 
 mother embraced her clever dancer. The scene melted the heart of Clairon, 
 reflecting on her own bitter lot, and she burst into tears. She ascended the 
 chair again, but the vision had vanished. Henceforth she was a new child, 
 and never so happy as when locked in that room : from her chair she 
 watched again and again the happy dancer — imitated her gestures — reflected 
 her grace. She worshipped a divinity. She had never been to a theatre ; 
 yet, without knowing what an actress meant, she had herself become an 
 actress. Her ardent studies were soon manifest. Her first victory was 
 over her barbarous mother, whom she softened. Her later conquest was the 
 subjection of all Paris, and in Paris, of all polite France and Europe. The 
 anecdote lives, how Voltaire, when his tragedy of "Oreste" was to be 
 brought out, insisted that his Electra, compelled in the palace of her fathers 
 to the discharge of menial offices, should appear habited as a slave. Made- 
 moiselle Clairon, to whom the character fell, resisted. She shrank from 
 flying in the face of the artificial French taste, and of the traditional stage 
 decorum — both expecting a princess arrayed in proper theatrical splendour. 
 The poet persisted. The piece over, she came to him and said, " Ah ! M~ 
 de Voltaire, you have ruined me. All my gorgeous wardrobe is no longer 
 worth a sou." She had been released for once to act up to the truth, nature, 
 and simple reality of her part ; and had astonished audience, actors, herself 
 — all save the poet — by her self-excelling success. 
 
 [This bust, which is to come, is from a marble by Lemoyne, dated 1761. 
 
 209. Jacques Louis Dayid. Fainter. 
 
 [Born in Paris, 1748. Died at Brussels, 1825. Aged 77.] 
 The founder of the modern or classical school of French painters. Pup\l 
 of Vien, with whom he passed several years in Italy. Returning to France 
 in 1780, opened a school, which attracted many pupils. In 1784, paid 
 a second visit to Italy, and on his return was hailed with the title o£ 
 Regenerator of Art. Was now admitted into the Academy and lodged in the 
 Louvre, with the appointment of " Painter to the King." His pictures 
 proved eminently successful. His drawing was perfect, and the correctness 
 of his design revealed the pure antique fount from which he had quaffed his 
 inspiration. For a time David forsook the easel, to take part in the fury of 
 Revolutionary politics. He forgot his apartments in the Louvre, joined hands 
 with Robespierre, to whom he was personally attached, and became one of 
 the loudest clamourers for the blood of Louis XVI. The painter was 
 present at the mock trial of the monarch, whom he grossly insulted as the 
 wretched king passed in front of him. After the fall of Robespierre, David:' 
 owed the preservation of his own neck solely to his great reputation as an 
 artist. He ceased to be a politician to become a dictator in art. During 
 the Consulate his influence was supreme. He not only immortalized some 
 of its heroic passages, but he designed its official costumes. Buonaparte 
 heaped favours upon his artistic panegyrist, and the painter added grace 
 and dignity to the deeds of the First Consul. The last work of David in 
 Paris was "Leonidas," painted in 1814. In that year, it is written that 
 Wellington, accompanied by some English officers, visited the artist's studio, 
 and expressed a wish to be painted. The story adds, that David replied 
 coldly that " he did not paint Englishmen," and turned his back upon his, 
 visitor. Upon the return of Napoleon from Elba, David was made Com- 
 
FRENCH ARTISTS AND MUSICIANS. 
 
 89 
 
 mander of the Legion of Honour. The next year he was banished as a 
 regicide, and took up his residence in Brussels. 6 ' Napoleon crossing 
 St. Bernard" and 4 4 The Coronation of Napoleon" are amongst his, 
 offerings to the triumphs of the Emperor. Classical and correct in design, 
 David fails in colour, and in picturesque expression. His figures, too, have 
 a hard and marble-like appearance. A large swelling at the side of his face 
 was caused by a blow he received, when young. It has been justly said 
 that opinions of David will vary, accordingly as they are expressed by 
 Frenchmen or by foreigners. 
 
 [From the marble in the Louvre, by Rude, 1831.] 
 
 210. Charles Peeciee. Architect. 
 
 [Born in Paris, 1764. Died, 183S. Aged 74. | 
 Known by his works in conjunction with Fontaine. The influence of the 
 labours of both is matter of history in art. To them is due the completion of 
 the Louvre and the erection of the arch in the Place du Carrousel at Paris. 
 Percier wrote several works on art. In his youth sent to Rome to study, 
 where he gained the friendship of Flaxman and Canova. Modest and 
 retiring ; and in the pursuit of his art most persevering. 
 [From a marble in the Louvre, by Pradier.] 
 
 211. Gieodet-Teioso^. Painter. 
 
 [Born at Montargis, in France, 1767. Died in Paris, 1824. Aged 57.] 
 The real name of this artist was Anne-Louis Girodet de Coussy ; but he 
 took the name of Trioson from his adopted father and benefactor, a phy- 
 sician, to whom he was indebted for his education. He was the son of the 
 Duke of Orleans' steward, and intended for the army, but evincing a great 
 taste for painting, was placed in the studio of David. Afterwards proceed- 
 ing to Rome, he received the first prize for a work of art in that city. At 
 the end of five years returned to Paris, where an apartment was assigned 
 him in the Louvre. In 1806, he gained a prize by his picture of "The 
 Deluge," competing with his old master, David. Girodet did not produce 
 many works, habitual ill-health disabling his pencil ; but he left enough 
 behind him to maintain his reputation. His chief pictures are "Endymion," 
 "Hippocrates," " The Revolt in Cairo," and "Napoleon Receiving the 
 Keys of Vienna." The colouring of Girodet is cold and earthy ; and his 
 figures, whilst revealing the classic form and correct drawing that charac- 
 terize the labours of all David's pupils, lose the expression of inward life. 
 In spite of obvious deficiencies in truthful representation, his paintings 
 produce a deep, and occasionally a powerful impression. 
 
 [From a marble in the Louvre — the author unknown. One by M. Roman was- 
 in the French Exhibition of 1827.] 
 
 212. FEANgois G^eaed. Painter. 
 
 [Born at Rome, 1770. Died in Paris, 1837. Aged 67. ] 
 Studied under Pajou the sculptor, then with Brenet, and finally with 
 David, whom he assisted in several works, until 1794, when he exhibited 
 his own picture of " The Tenth of August " (the day of the storming of the 
 Tuileries in 1792). Under the influence of David, Gerard became one of 
 the jury of the Revolutionary Tribunal — an office from which he subse- 
 quently shrunk. He received great honour and distinction at the hands of 
 Napoleon ;~and the Emperor Alexander, and the Duke of Wellington, became 
 
90 
 
 PORTRAIT GALLERY. 
 
 his friends. A man of extensive knowledge, and, as a painter, to be recom- 
 mended for taste and refinement, rather than for invention or sublimity. 
 His colouring, though harmonious, is not always true. His subjects were 
 chiefly historical, and in these the arrangement of the figures and the 
 selection of costume are always pleasing. He was also successful as a 
 portrait painter. 
 
 [From a marble in the Louvre, by Pradier, 1838.] 
 
 213. Axtoi^e Jea^ Gteos. Painter, 
 
 [Born in Paris, 1771. Died there, 1835. Aged 64.] 
 One of the most distinguished of David's pupils. Appalled by the 
 horrors of the first Revolution, he quitted France, and withdrew to Geneva ; 
 thence to Milan, where he became known to Buonaparte, by whom he was 
 countenanced and employed. He followed the army for six years, and 
 returned to France in 1801. Then painted several pictures commemorative 
 of Napoleon's military achievements. He enjoyed ample patronage under 
 both the Emperor, and the Restoration ; but in his later years he fell 
 into melancholy ; and one morning his body was found in the Seine. His 
 compositions are remarkable for boldness and facility of invention ; but his 
 colouring is frequently exaggerated. His subjects, too, though invariably 
 treated with power, degenerate occasionally into vulgarity and theatrical 
 display. His best picture is " The Plague at Jaffa." He was a man of 
 cultivated mind, and passionately fond of music. 
 
 [From the marble in the Louvre, by Debay Sen., 1827.] 
 
 214. Pieree ISTaecisse GuEErtf. Painter, 
 
 [Born in Paris, 1774. Died at Rome, 1833. Aged 59. J 
 The son of an humble shopkeeper, and in early years self-instructed. 
 As a painter he was the pupil of Regnault, under whom he soon became 
 distinguished for facility of execution and refined composition. He subse- 
 quently studied several years in Rome. In 1822, appointed Director of the 
 French Academy. He w as not distinguished either for design or colour ; but 
 his figures are full of expression. His subjects chiefly mythological and 
 classical. 
 
 [ From the marble in the Louvre, by Auguste Dumont, 1831, author of the 
 statue of Louis Philippe, at Versailles, and lately deceased.] 
 
 215. Comte D'Oesay. 
 
 [Born in Paris, 1798. Died there, 1852. Aged 54.] 
 
 A man of fashion, endowed with exquisite taste and with great talent 
 for the cultivation of art. He resided many years in England, where he 
 influenced the taste of a portion of society, and practised sculpture and 
 painting as an amateur. Towards the close of his life he withdrew to Paris, 
 and there received an appointment in connexion with the fine arts, from his 
 former friend the Emperor of France. He had engaging manners, a kind 
 heart, and an open hand. Possessed of great personal beauty, he was not 
 wanting in manly attributes, being athletic, and skilled in arms and horse- 
 manship. 
 
 [This excellent work and admirable likeness is by W. Bchnes.] 
 
FRENCH ARTISTS AND POETS. 
 
 91 
 
 216. Mademoiselle Felix Kachel. Tragic Actress. 
 
 [Born at Munf, in Switzerland, 1821. Still living.) 
 The daughter of poor Hebrew parents. In 1831, this famous actress 
 made her debut at the Theatre Moliere, in Paris, as Hermione in 
 " Andromaque ; " but without giving indication of the genius she has 
 subsequently displayed. In 1841, she first appeared in England, and from 
 that time has won unbounded admiration, and maintained an undivided 
 Supremacy both here and in France. French dramatic poetry, which ordi- 
 narily finds no welcome in English ears, is reconciled to our taste as it falls 
 from her lips. Her excellence consists in the emphatic expression of deep 
 feeling and passion, in the thrilling effects which she is able to produce, 
 even by a whisper, and in her independent superiority over the traditions 
 and conventionalities of the stage. She is the least unnatural of French 
 tragedians ; yet is not so natural as to be able altogether to conceal her 
 art. The spectator never forgets that an actress is before him ; is never 
 carried away by an irresistible impulse. Rachel, great as she is, is always 
 the same, even to the motion of a garment, and the raising of her hand. 
 Hence, the impression made by a first representation is far more potent 
 than any that may follow. She lacks ideality and refinement. Her tem- 
 perament stands between her and her ability to inspire the spectator with 
 a perfect belief in her earnestness, and in her love of the beautiful and good. 
 
 [Bust by Ludwig Wiehmann. Plaster. 1844. The original in possession of 
 ■ the artist.] 
 
 217. Diane de Poitiers. 
 
 [Born 1499. Died at Arret, in France, 1566. Aged 67. J 
 At 13, married Louis de Breze, Grand Senechal of Normandy, who died 
 in 1531. At the age of 48 she became the favourite mistress of Henry II. 
 of France. Her influence was used, except where she was herself biassed by 
 religious prejudices, invariably for good and commendable objects. Her 
 talents were commanding, and her beauty continued unimpaired by age. She 
 was created Duchess of Yalentinois, and her power was well appreciated 
 abroad. One of her daughters by De Breze married the son of the Due de 
 Guise, afterwards Due d'Aumale. 
 [A portrait of the time. ] 
 
 POETS AND DRAMATISTS. 
 
 218. Pierre Cori^eille. Dramatist. 
 
 [Born at Rouen, in France, 1606. Died in Paris, 1684. Aged 79.] 
 The father of French tragedy. Educated by the Jesuits. During the early 
 part of his career, monastic exhibitions were the only dramatic performances 
 in vogue in France. When the French began to draw their dramatic inspirations 
 from Spain, Corneille was the first to take real advantage of the movement. 
 He dramatized the first youthful achievement of the Cid with extraordinary 
 success. It soon became the custom to say of anything deserving applause, 
 that ' ' it was as good as the Cid. " Then followed his drama of ' ' Les Horaces, " 
 considered a masterpiece of French tragedy, a species of composition which is 
 
92 
 
 PORTRAIT GALLERY. 
 
 not to be criticized by the rules that we apply to the great productions of 
 our own stage. ' ' Cinna ' ' and ' ' Polyeucte ' ' followed, both efforts of undoubted 
 genius. In 1642, elected member of the French Academy. The claims of 
 Corneille upon our regard not to be over estimated. The French drama was 
 yet in the block when he took up his artist tools. Grandeur of thought, 
 elevation of sentiment, and heroism of character are wrought out in all his 
 productions, which have exercised a momentous influence upon succeeding 
 times in France. Corneille was simple and almost rustic in his manners 
 and appearance. Very proud, but very shy. Ambitious of glory, yet 
 disdaining the society of the great, even up to the greatest. He had a 
 commanding person, and expressive features. When he died he was poor, 
 almost to want. Napoleon had a lofty idea of Corneille' s knowledge of 
 government. " Had he lived in my time," said the Emperor, " I should 
 have taken him into my council." 
 
 [This is from the original marble, by Caffieri, in the Come'die Fran9aise. There 
 is a statue of him at Versailles done in 1836, by M. Lai tie. Both are taken 
 from painted portraits.] 
 
 219. Jean de Eoteou. Dramatist. 
 
 [Born at Dreux, in France, 1609. Died there, 1650. Aged 41.] 
 One of the creators of French tragedy. To him Corneille is indebted for 
 the idea of founding a tragedy upon the subject of the Cid — for it was at his 
 instigation that the great master first looked to the Spanish stage for 
 inspiration and guidance. Rotrou gloried in the success of Corneille, and 
 generously maintained his superiority over all dramatic writers in France — 
 including himself. He left thirty-seven dramatic pieces, and many of them 
 exhibit power and great felicity of language. He enjoyed a civil office in 
 his native town, where he was much respected. He was cut off by an 
 epidemic. 
 
 [The original is in marble, by Caffieri. The costume is of the time of Louis XIII. i 
 but the bust must have been done from some painted portrait, as it bears the 
 date of 1783, and Caffieri was not born until 1723.] 
 
 220. Jea^ de la Fontaine. Poet. 
 
 [Born at Chateau Thierry, in France, 1621. Died in Paris, 1695. Aged 74.] 
 A great French poet ! His fables in verse, published when he was forty 
 years of age, placed him at once amongst the first writers in verse that 
 France had produced, and created an epoch in French literature. As a writer 
 of fables he is probably not surpassed by any writer of any country. His life 
 was full of vicissitudes. He succeeded his father, as Keeper of the Royal 
 Domains at Chateau Thierry, but deserting both his wife and his occupa- 
 pation, he went to Paris, where he formed a lasting friendship with Moliere, 
 Racine, and Boileau. A pension saved him from starvation; and losing 
 this with the fall of the Minister, Fouquet, who gave it, he was again 
 rescued by the charity of Henrietta of England, daughter of Charles I., and 
 wife to the Duke of Orleans. Upon the death of this princess, he was again 
 fortunately provided for by Madame de Sabliere, in whose house the poet 
 lived for twenty years. In society, La Fontaine was dull, silent, and 
 subject to absence of mind. In his youth he was remarkable for his 
 aversion to poetry. He lies buried by the side of Moliere, who ever regarded 
 him with affection, and who discovered his genius years before it was 
 
FRENCH POETS AND DRAMATISTS. 
 
 93 
 
 acknowledged by the world. His style is easy, sprightly, graceful, witty, 
 pointed, and inimitably naive. 
 
 [This is from the bust in terra cotta in the Theatre Frangais, by Caffieri. It has 
 served as the authority fortbat by Dessine, at Versailles, and the statue in 
 the Vestibule of the Admirals, by M. Seurre, done in 1837. Unfortunately, 
 none of these could have been modelled from the life.] 
 
 220a. Jean de la Fontaine. Poet 
 
 [By Auguste Dumont.] 
 
 221. Molieee. Dramatist. 
 
 [Born in Paris, 1G22. Died there, 1G73. Aged 51.] 
 The real name of Moliere was Jean Baptiste Poquelin. That which is 
 associated with his renown was assumed when he became an actor, and 
 4 'disgraced" his family, who cut Jean Baptiste away from the genealogical 
 tree, — the father of Moliere being valet de cJiambre to Louis XIII. Like 
 our own Shakspeare, Moliere was an actor as well as a writer of plays. He 
 forsook the study of the law for the stage, and at the age of 24 was making 
 his way in the provinces, where he produced comedies, in which he himself 
 acted. In 1658, he returned to Paris, and by the favour of Louis XIV. 
 opened the theatre of the Palais Royal. His new comedies produced there 
 attracted crowds. His latest work was " The Imaginary Invalid," brought 
 out in 1673. He played the principal part himself, and during the fourth 
 representation, was carried a dying man from the stage. The rites of 
 Christian sepulture, denied, as a matter of course, to the player, were not 
 conceded to the author who had satirized hypocrisy in his well-known 
 comedy of "The Hypocrite." Moliere was beloved by his contemporaries : 
 he was generous and warm-hearted — the friend of Conde, Boileau, and 
 Bacine. He is by far the first writer of Comedy in modern times. His 
 place is close to the side of Shakspeare, for, like the English writer, he 
 successfully addresses all countries and all ages, appealing to no limited, 
 local, and accidental condition of the human mind, but striking home to 
 the universal and unchangeable heart of man, as it everywhere throbs. 
 Beyond the humorous faculty, he possessed earnestness of feeling, and a deep 
 tone of passion. He was a man of tender heart ; and of all French writers, 
 he is the least French. 
 [From the marble in the Louvre.] 
 
 222. Thomas Coeneille. Dramatist. 
 
 [Born at Rouen, 1625. Died at Andelys, 1709. Aged 84. ] 
 Younger brother of the great Corneille, with whom he lived until his death 
 in brotherly affection. Inspired by his brother's success, he early devoted 
 himself to dramatic composition, and, like his illustrious brother borrowed 
 from Spain the materials for his earliest attempts. The labours of Thomas 
 Corneille found even more approbation with contemporary audiences than 
 those of Pierre ; but the majority of the younger brother's many comedies 
 are now forgotten. The services rendered by Thomas to philology are 
 perhaps more useful and lasting than his contributions to the drama. He 
 published a supplementary Dictionary to that of the French Academy, and 
 wrote other works. In his old age he lost his sight. He died honoured 
 and beloved. 
 
 [By J. J. Caffieri, 1735. There is a copy of it at Versailles, in marble, by M. 
 
94 
 
 PORTRAIT GALLERY. 
 
 Chenillion, dated 183(5. The original was taken from an authentic picture 
 by Jouvenet, which belonged to the Countess of Bouville, daughter of Cor- 
 neille, a copy of which picture was given to the Come'die Frangaise by 
 Caffieri.] 
 
 223. Philippe Qxtinault. Poet. 
 
 [Bom at Felletin, in France, 1635. Died in Paris, 1688. Aged 53. 
 
 A lyrical poet of great reputation, and the most famous writer of French 
 operas. His earliest works were tragedies and comedies, "but in 1670, after 
 his election to the Royal Academy, he allied his verse to music, and did 
 not sever the union until he altogether eschewed dramatic composition. He 
 furnished to Lully, the musician, the words for his first opera, and continued 
 to aid that composer until Lully' s death. Towards the close of his days, 
 Quinault, influenced by religious scruples, ceased to write for the stage. 
 His lyrical productions have great tenderness, and melodious sweetness, 
 and are happily and eminently adapted to their alliance with the sister art. 
 
 [From a bust in terra cotta, by Caffieri, which was the model for that in marble 
 placed in the public room of the Opera, at Paris, and for another in the 
 Bibliotheque Genevieve, at Paris. ] 
 
 224. Nicolas Boileau. Poet and Satirist. 
 
 [Born at Crosne, in France, 1636. Died at Paris, 1711. Aged 75.] 
 One of the illustrious writers of his time. His labours went far to fix the 
 character and purity of the French language, and his sharp criticisms have 
 exercised ever since his day a salutary influence upon the literature of his 
 country. He ridiculed with singular acuteness the false taste of his genera- 
 tion, and endeavoured to point out the true principles of composition. His 
 4 'Art Poetique" is considered by many, as rivalling the " Ars Poetica" 
 of Horace. His humorous and heroic poem of "Le Lutrin," written to 
 illustrate his theory that an epic ought to have a slender groundwork, 
 abounds in fanciful and sportive wit. He was the friend of Moliere, Racine, 
 and Lafontaine, and the great Conde was his patron. A generous and 
 charitable man, an upholder of religion, but a sworn hater of hypocrisy. 
 Constant in his friendships, and always ready to forgive injuries. 
 
 [From a marble, by Francois Girardon, in the Louvre, a sculptor born at Troyes ? 
 in Champagne, 1630, and died 1715.] 
 
 225. Jea]ST Racine. Dramatist. 
 
 [Born at La Ferte" Milon, in France, 1639. Died there, 1699. Aged 60.] 
 Racine was the Euripides of France, as Corneille was her iEschylus. The 
 first excelled in impassioned tenderness, the last in power and sublimity. 
 Corneille borrowed from the Spanish stage ; Racine took his inspiration from 
 the ancients, whom he studied with ardour nd effect. He published 
 "Phedre," one of his best tragedies, when was thirty-eight years old, 
 but, disgusted with the envy which he raised, he resolved to renounce the 
 theatre ever afterwards. He did not keep his wo d ; for some years later, 
 at the request of Madame de Maintenon, he rote his beautiful drama of 
 "Athalie," which, it would seem, was not ay pre iated at the time. His 
 versification is sweet, expressive, and harmonious ; and his plays are re- 
 markable for grace and feeling. He was himself beloved for his simplicity, 
 modesty, and genuine character. He was too sensitive to adverse criticism. 
 
FRENCH POETS AND DRAMATISTS. 
 
 95 
 
 226. Jean Francois Regard. Dramatist. 
 
 [Born in Paris, 1655. Died at Dourdan, in France, 1709. Aged 54.] 
 A celebrated comic writer of France, and a man of many adventures. 
 Returning from an Italian journey, he was taken by pirates, and sold to 
 slavery in Algiers. Whilst there he was sentenced to become a Mussul- 
 man, or to be burnt alive. Ransomed by the French Consul in 1681, he 
 resumed his travels northwards. In 1683, he took up his abode in Paris, 
 and wrote comedies, which became very popular, — the most successful being 
 "The Gramester," produced in 1696. Regnard had an inexhaustible fund of 
 humour. Voltaire has said that ' ' he who is not pleased with Regnard, 
 is not entitled to admire Moliere." 
 
 [ In marble, by J. J. Foucon, signed and dated 1779. There is a copy of this bust 
 at Versailles.] 
 
 227. Charles Riviere Dttfresny. Dramatist. 
 
 [Born in Paris, 1648. Died 1724. Aged 76.] 
 A versatile genius ! A musician, a poet, a draughtsman, a gardener, and an 
 architect. And most improvident withal ! Was in the service of Louis XIV. 
 first as valet- de-chambre, then as Inspector of the Royal Gfardens. In the 
 latter capacity, he was the first to introduce the English style of gardening 
 into France. He enjoyed a pension ; but for an inconsiderable sum he sold 
 both place and pension, and soon became penniless. Then took to writing 
 for the theatre as a last resource for bread. Few of his plays met with, or 
 deserved, success ; but one or two have recognised merit. He received fresh 
 favours from the King, and the Duke of Orleans conferred upon him a 
 handsome gift of money. But nothing could save Dufresny from himself. 
 He fell in his age into deep poverty, and so died. 
 
 [From the marble by Augustin Pajou, signed and dated 1781. A sculptor and 
 professor in the Academy of Paris, and one of the best of his time. He 
 died in 1809.] 
 
 228. Prosper Jolyot de Cr^billon. Dramatic Author. 
 
 [Born at Dijon, in France, 1674. Died in Paris, 1762. Aged 88.] 
 Styled the JSschylus of France. Educated by the J esuits, and intended for 
 the law, he produced, in 1705, his first play, 1 ' Idomeneus." A subsequent 
 effort, the tragedy of " Rhadamistus," placed him at once in advance of all 
 the tragic poets who lingered on the stage after Corneille and Racine had 
 quitted it. Disgusted, at a later period, with Court neglect, and the decline 
 of popularity, he withdrew from the world, and passed a life of abstinence 
 amidst a large number of cats and dogs, whose attachment, he said, 
 consoled him for man's ingratitude. In 1731, elected a member of the 
 French Academy. Towards the close of his days the sun once more smiled 
 upon his fortunes. He received a pension through Madame Pompadour of 
 2, 400 French livres ; and the King of France caused his works to be printed 
 at the Louvre press. As a tragic author he takes high rank. Too fond of 
 dealing in horrors, but all his works have warmth, energy, and varied 
 action. He was proud, independent, and alive to his own defects. 
 
 [ The marble bust from which this was taken was executed after a model from 
 the life, by the celebrated sculptor, J. B. Lemoyne, in 1760. The marble was 
 carved by J. B. Huez, in 1778, as the inscription tells us. The only notice 
 of Huez, who has often been considered the author of the bust, is in "Les 
 Salons " of Diderot, where he is mentioned amongst the contributors to the 
 exhibitions of the day, and not in complimentary terms. Lemoyne was a 
 Parisian, and died in 1778. He did many busts.] 
 
PORTRAIT GALLERY. 
 
 229. Philippe Xehicatjlt Destotjches. Dramatist, 
 
 [Born at Tours, in France, 16S0. Died 1754. Aged 74. 
 In his youth served as a volunteer in the French army. Then adjoined 
 to the embassy in Switzerland, where his leisure enabled him to follow the 
 bent of his fancy, and to writs for the stage. His plays were as popular as 
 his diplomatic skill proved useful. He found favour with the Duke of 
 Orleans, who attached him to the mission of Dubois, when that minister, in 
 1717, went to London. His diplomacy still pleased the Regent, who, unfor- 
 tunately, died too soon for Destouches. But the dramatist had been prudent ; 
 and upon the death of his patron, he retired with a sufficient fortune to his 
 estate, and sought consolation in the pursuits of agriculture and philosophy. 
 His plays won applause rather by the interesting situations of which they 
 were full, than by subtle development of character. 
 
 [From the only bust of him, by P. F. Berruer, done in 1781 and signed. Berruer 
 was a member of the Paris Academy, and died in 1797.] 
 
 230. Alaix IJe^e* Le Sage. Novelist. 
 
 [Born at Sarzeau, in France, 16S3. Died at Boulogne-sur-Mer, 1741. Aged 58.] 
 
 The author of " Gil Bias" and the 4 'Devil on Two Sticks." A poor man, 
 notwithstanding the success of his novels. Becoming deaf, he used a 
 speaking-trumpet in the presence of intelligent visitors ; when other visitors 
 came to him he gravely put the instrument into his pocket. An inimitable 
 painter of human nature, ranking with the few immortals whose creations 
 appeal to all times. Proud and independent, though amiable of disposition. 
 Devoted to the pursuits and joys of a literary life, 
 
 231. Alexis Pieo^. Poet. 
 
 [Born at Dijon, 1689. Died 1773. Aged 84.] 
 A wild and dissolute spirit. The author of one admirable comedy, 
 61 La Metromanie," which may take rank with the dramatic productions of the 
 best period in France, and of seven volumes of compositions which have long 
 ceased to float on the broad river of fame. Piron was the son of an 
 apothecary at Dijon, and after almost breaking his father's heart by his 
 follies, he was obliged to flee his native town in consequence of the publi- 
 cation of an indecorous effusion written amidst the fumes of an orgie. He 
 went to Paris, and there for nine years lived in great indigence, supporting 
 himself as a copyist. Then he took to writing for the minor theatres, 
 §|«with more or less success, until 1738, w r hen he produced his masterpiece, 
 already mentioned. It secured him a place at once amongst the best 
 -dramatists of his country. In 1753, he applied for a vacant seat in the 
 Academy, and was refused. He revenged himself by composing a satire 
 I and the following epitaph : — 
 
 i ' Ci-git Piron, qui ne fut rien, 
 
 Pas meme Academicien." 
 ' 1 Here lies Piron — a nullity — 
 Not even an Academician." 
 [This is an admirable bust, by Caffieri, dated 1775. Copied at Versailles by 'M. 
 Pigalle. J 
 
 232. Pieeue Claude Niyelle de la Cpiatjss^e. Dramatist. 
 
 [Born in Paris, 1692. Died there, 1754. Aged 62.] 
 He is regarded as the inventor of sentimental comedy in France (Comedie 
 
FRENCH POETS AND DRAMATISTS, 
 
 97 
 
 larmoyantc.) Hugh. Kelly's " False Delicacy " made the invention known 
 in England, and Foote's "Piety in Pattens" ridiculed it. Pierre de la 
 Chaussee was a French Academician. His writings gained for him consider- 
 able fame during his life, and La Harpe ranks him amongst the authors who 
 have conferred honour upon the French theatre. 
 [In marble, by Cameri. 1785.] 
 
 233. Feanqois Maeie Aeouet de Yoltaiee. Historian, Poet, 
 and Wit. 
 
 [Bom at Chatenay, in France, 1694. Died in Paris, 1778. Aged 84.] 
 This extraordinary Intellect was not, as is generally supposed, an atheist. 
 "Voltaire was not destitute of the sense of moral responsibility ; and he hardly 
 believed in the immortality of the soul ; but it was from his pen that fell 
 the startling confession that, ' ' if Grod did not exist, it would be necessary 
 to invent his being." Yoltaire was richly endowed. He wrote the best epic 
 poem in the French language ; his tragedies, full of strength and passion, 
 take high rank ; his satire is cutting and inimitable, and his historical writ- 
 ings are full of life and movement. Wrapt up, however, in the philosophical 
 spirit of the eighteenth century, he was ever incapable of judging justly of the 
 greatness of minds who had received the prejudices of less enlightened 
 times. For forty years, he led a life of incessant literary action : part of 
 that time he was forced, in consequence of his satirical writings, to live in 
 England, where he became the intimate of Bolingbroke, Toland, and 
 other deists. In 1749, he visited Berlin, on the invitation of Frederic the 
 Great. Always a persevering and acrimonious enemy of Christianity, he 
 laughed at Revelation ; and, a sneerer at hereditary orders, he helped largely 
 to the overthrow of the monarchy in France. He did not live to witness the 
 devolution ; but it is said that he lived long enough to be horrified at his 
 infidelity. It must be noted to his honour, that whilst he ridiculed all 
 things in which he had no faith, he was sincere in his maintenance of the 
 rights of humanity, and in his denunciations of injustice. He was the idol 
 of all who read and talked in France in his time. 
 
 [ From the marble, by Houdon, done in 1778, and signed by him in the Theatre 
 Franeais. There is a fine seated statue of Voltaire in the Theatre Franeais by 
 Houdon considered to be his chef-d'ceuvre as a portrait statue, and remark- 
 able for the noble style* in which the subject is treated. Copies of the same 
 bust and statue exist at Versailles.] 
 
 233a. FEA^gois Maeie Aeotjet de Yoltaiee. Historian, Poet, 
 and Wit. 
 [By Pajou.] 
 
 534. Michel Jean Sedaine. Dramatist. 
 
 [Born in Paris, 1719. Died there, 1797. Aged 78.] 
 The son of an architect. At the age of 1 3 relinquished, through poverty, 
 the study of architecture and became a journeyman mason. Later in life he 
 set up as master mason, but he forsook his calling for literature and the 
 drama.^ His plays are well written for stage effect, but are not remarkable 
 for their poetic character, or correctness of style. The success of his play, 
 " Richard Cceur de Lion," procured him admission into the French Academy. 
 [From a marble, by Jaques Edouard Gatteaux, signed and dated 1843. M. 
 Gatteaux is an engraver of medals as well as sculptor, and member of the 
 Institute. Born 1788.] 
 
 H 
 
98 
 
 PORTRAIT GALLERY. 
 
 234*. Charles Palissot de Mootenoy. Dramatist. 
 
 [Born at Nancy, in France, 1730. Died, 1814. Aged 84.] 
 Celebrated chiefly for his comedy of the " Cercle," in which, by his 
 ridicule of Rousseau, he gave offence to the philosophical literati of France, 
 with whom he waged continual literary war. In 1760, he produced his 
 comedy of " Les Philosophes ;" in 1764, the " Dunciade." His works are not 
 distinguished by richness of invention or copiousness of ideas ; but his style 
 is natural, easy and correct. 
 [Bust to come.] 
 
 235. Marie Jeastne Yaubeeniee, Comtesse du Baeey. 
 
 [Bom at Vaucouleurs, in France, 1746. Guillotined, 1793. Aged 47.] 
 Of humble parentage. Quitting a convent in Paris into which she had 
 entered at an early age, she worked as a milliner when fifteen years old. Shortly 
 afterwards she became the mistress of the Count du Barry, a dissolute man of 
 fashion, and by him was introduced to Louis XV. , who captivated by her 
 beauty and unrestrained manners, induced the brother of the Count to 
 make Mademoiselle Vaubernier his lawful wife. La Comtesse du Barry, 
 received at Versailles, soon acquired an ascendancy over the licentious 
 monarch and his court. She exercised supreme sway, and held in her 
 hands the power of life and death — promotion and disgrace. Her extra- 
 vagance was boundless. At the death of Louis in 1774, she was shut up in 
 a convent, where she became religious. Released from her imprisonment by 
 Louis XVI., she conducted herself with decorum, but too late for any 
 earthly happiness she might derive from repentance. In 1793, the revolu- 
 tionists took her life because she had devoted it to the service of the Royal 
 family, for whom, it would appear, she had sold her diamonds. She was 
 much pitied at the scaffold, where she betrayed great want of courage. 
 
 [From the marble in the Louvre, by Pajou. A very beautiful work delicately 
 chiselled, and full of life and softness. It is signed and dated 1772. The bust 
 at Versailles is a repetition, dated 1773.] 
 
 SCIENTIFIC MEN AND WRITERS. 
 236. Michel le Moxtaigxe. Essaijist. 
 
 [Born at the Castle of Montaigne, in Perigord, France, 1533. Died at Perigord, 
 1592. Aged 59. J 
 
 An original and most engaging writer. His essays consist chiefly either of 
 personal narrative, or of disquisitions upon his individual nature. His reason- 
 ing acute and philosophical, his manner, if one may so call it, grotesque, and 
 naive. His descriptions of persons, events, and places full of life and exquisite 
 drawing. A favourite author with all lovers of sterling thought, lucid style, and 
 quaint reflection. He lived during a time of religious conflict, but walked 
 quietly and unscathed through the" fire, blessed with philosophic calm. 
 He travelled in 1580, visited Switzerland and Venice " which he had a 
 hunger to see," and settled for a time in Rome. He said "he could not go 
 out of his way, for he had no way to go." On his return, elected Mayor of 
 Bordeaux, though he told the electors he had i i neither party-spirit, memory, 
 diligence, nor experience." Elected for a second time to the office, never- 
 theless. A man of great moral courage, and warm in his friendships. 
 
FRENCH SCIENTIFIC MEN. 
 
 99 
 
 237. Jacotes Atjguste de Thou. Minister of State and Historian. 
 
 [ Born in Paris 1553. Died 1617. Aged 64.] 
 Under Henry III. of France, De Thou discharged the duties of several 
 offices with eminent ability and credit ; and in 1581, was appointed one of 
 the commissioners, sent to quiet the disturbances in Gruyenne. In 1588, he 
 was nominated Councillor of State, and in the following years proceeded to 
 Germany and Italy on a diplomatic mission. On the death of Henry III. 
 he received the confidence of Henry IV., and was employed, with others, to 
 digest the articles set forth in the celebrated Edict of Nantes in 1598. In 
 1591, he commenced his great history of his own times ; and, in 1604, 
 published the first eighteen books. After the death of Henry IV., he served 
 for a time as one of the Directors of Finance in Sully's place, but soon 
 retired, disappointed and vexed ; and closed his days in the completion of 
 his magnificent historical labours, and in the practice of piety. De Thou 
 was deeply read in men, and learned in human dealings ; grave and severely 
 simple. His mighty work was written in 138 books, in the purest Latin, 
 and is one of the world's monuments of industry, intelligence, and know- 
 ledge. He also wrote Latin verses. 
 
 [From the marble in the Louvre, by Barthelemi Prieur. The head is in white 
 marble, and the body in porphyry to imitate his robe.] 
 
 238. Re^e" Descartes. Mathematician and Metaphysician. 
 
 [Bon i at Touraine, in France, 1596. Died at Stockholm, in Sweden, 1650. Aged 54.] 
 Shares with Bacon the title of Father of Modern Philosophy. All the meta- 
 physical writers follow him, as the men of the physical sciences follow Bacon. 
 He was only three and twenty when, whilst with his regiment on the Danube, 
 he determined to reform philosophy. To do so, he resolved to efface from his 
 mind all that he had learnt, and to admit nothing that could not be demon- 
 strated by reason and experience. With him, consciousness was the sole basis, 
 mathematics the sole method, of certainty. He substituted the philo- 
 sophy of reason for that of authority. His genius for the great sciences, and 
 his superiority over the majority of his contemporaries in scientific ac- 
 quirements, were remarkable. He first applied algebra to geometry; 
 he likewise made observations on the decline of the magnetic needle, put 
 forward the true theory of the rainbow, and brought the science of optics 
 within the domain of mathematics. His influence over his age was great, 
 though his writings involved him in controversies. But he was timid 
 as a man. He wrote a book on astronomy, but destroyed it on learning 
 the fate of Galileo. He was the first great master of French prose. It is 
 said of him, that /he began by doubting everything, and ended by believ- 
 ing that he had left nothing unexplained. 
 
 239. Antoine Arnatjld. Theologian and Controversialist. 
 
 [Born in Paris, 1612. Died at Brussels, 1694. Aged 82.] 
 A learned and fierce polemic, whose consistency was as perfect as his 
 spirit was bitter, and whose defiance of conflict and danger was as insolent as 
 his private life was blameless. His happiness consisted in spiritual warfare. 
 He established himself spokesman of the Jansenists. When he was ten years 
 old he was heard to say to Cardinal Perron, ' ' With this pen I, like you, will 
 write against the Huguenots." He commenced the labours of his life by an 
 attack upon the Jesuits. Taking active part in all the angry discussion 
 
 Ji 2 
 
100 
 
 PORTRAIT GALLERY. 
 
 respecting grace, lie published two " Apologies" in favour of Jansenius, which 
 drew upon him the censure of the Sorbonne, and compelled hkn to retire to Port 
 Royal, where he remained for the space of twelve years. Returning to Paris 
 in 1668, he plunged immediately into the seething waters of controversy, and 
 was again forced into exile. Fifteen years afterwards, we find him, as 
 furious as ever, attacking the doctrine of Malebranche respecting the grace 
 and vision of Gfod. At his own request, his much-agitated heart, after it 
 had ceased to beat, was sent to be deposited in the Port Royal. Forty-eight 
 volumes remain to attest the intensity of his religious prejudices, the depth 
 and extent of his learning, his violent love of wrangling, and his 
 restless and unwearied industry. "We sigh over the waste of power and 
 the misuse of fine material. 
 
 240. Seeastte^ le Peestee de Yatteax. Engineer. 
 
 [Born at St.-Leger de Foucheret, in Burgundy, 1633. Died 1707. Aged 74.] 
 Of poor parents, but well descended. At the age of seventeen, entered the 
 army of Concle, in Spain, then fighting against France. Taken prisoner in 
 1653, he went over to the French army, and received his commission as 
 lieutenant of engineers. His rise was as rapid as his services were great. 
 At the age of twenty-five, he conducted the sieges of Gravelines, Ypres, and 
 Oudenarde. He gave the most valuable help in all the campaigns of 
 Holland and Flanders, from 1667 to 1703 ; and in 1703 was created Marshal 
 of France. His contributions to the science of fortification have celebrated 
 his name. He was not only a great builder, but a shrewd observer, and 
 knew better than any of his contemporaries how to avail himself, whether in 
 defence, or in attack, of the circumstances by which he was surrounded, and 
 of the opportunities and conditions of his time. To him we owe the system 
 of parallel lines, which he introduced before the city of Maestricht. At the 
 siege of Philisbourg, he invented the "tir a ricochet," in which the ball, 
 making a series of bounds, strikes several times along works against which 
 it is directed. He also invented the musket, in which the match served 
 in lieu of the cover to the pan. He afterwards armed the musket with the 
 bayonet. He vastly improved the system of inundations, that most useful 
 element of self-defence. His engineering appliances during his long and 
 indefatigable service were inexhaustible. It is affirmed on authority, that 
 he repaired three hundred old fortresses, constructed thirty-three new 
 works, conducted fifty-three sieges, and was present at a hundred and 
 forty severe engagements. He also left behind him twelve folio volumes on 
 Strategetics, entitled ' * Idle Hours." Yauban was beloved by the soldiery, 
 for whose safety he was always careful. His humanity is otherwise known 
 by his endeavour to procure from the king, his master, the restoration of 
 the Edict of Nantes. To that king he was deeply attached ; although to 
 him, as well as to every other man, he was blunt in the expression of what 
 he believed to be truth, — straightforward and manly. He has been called 
 the prince of engineers, and the best of subjects. 
 
 241. Joseph Pittok ee Totje^efoet. Botanist. 
 
 [Born at Aix, in Provence, 1656. Died 1708. Aged 52.] 
 Educated by the Jesuits, and intended originally for the Church ; but 
 upon the death of his father he made several botanical excursions, and 
 finally devoted his days to the prosecution of his darling pursuit. He 
 visited England, Spain, and Holland. Tournefort did much towards the 
 
FRENCH SCIENTIFIC MEN. 
 
 101 
 
 foundation of a scientific botany. His special service was in distinguishing 
 plants from one another, and in preparing them by classification for the 
 handling of the more philosophic student. Like the other botanists of 
 his time, he had his own system of classification. He was one of the first 
 thinkers upon the geographical distribution of plants. In 1700, he pursued 
 his inquiries in the Levant, whence he brought home, after protracted and 
 perilous wandering, no fewer than 1356 new plants. He published his 
 " Travels in the Levant" upon his return to France. 
 
 242. Charles Rolling Historian. 
 
 [Born in Paris, 1661. Died 1741. Aged 80.] 
 The son of a cutler, and himself intended for that trade ; but rescued 
 to learning and literature by a Benedictine monk who placed him at the 
 College of Plessis. His studies were eminently successful. After holding 
 many high scholastic appointments in France, he was obliged to resign, in 
 1720, the Rectorship of the College of Plessis, where he had been brought up, 
 in consequence of the religions troubles of the time, he being suspected of 
 favouring the Jansenists. From 1720 until his death, occupied in literary 
 labours. His "Ancient History" appeared at intervals, from 1730 to 1738. 
 Its simple style and moral tendency are more to be admired than the exactness 
 of its narrative and the discernment of its author. The other writings of Rollin 
 improved the taste of his age, and certainly strengthened its moral tone. 
 As Rector of the University he revived the study of Greek, and gave pro- 
 minence to the cultivation of French. He corresponded with Frederic 
 the Great, Rousseau, and Voltaire, without deriving injury from their 
 acquaintance : for all his contemporaries describe him as singularly virtuous 
 and pious. 
 
 243. Jean Baptiste Rousseau. Lyric Poet. 
 
 [Born in Paris, 1669. Died at Brussels, 1741. Aged 72.] 
 A lyric poet of great celebrity in France, but many of his compositions 
 defaced by scurrility and indecency. He was the son of a shoemaker, 
 but he received a good education, and at an early age, gave sign of his 
 poetic genius. In his nineteenth year, appointed page to the French ambas- 
 sador at the court of Denmark ; and subsequently attached as Secretary to 
 the Embassy in England. In 1712, he fell into disfavour, and. was banished 
 from France for writing libellous verses, which, to the last moment of his 
 life, he declared were the production of some enemy, who had designed 
 his ruin. Retiring to Vienna, he found favour with Prince Eugene. The 
 odes of Jean Baptiste Rousseau are not surpassed, if they are equalled, in 
 the French language ; his lyrics are elegant and harmonious, and his 
 epigrammatic skill is perfect. His later productions, however, exhibit a 
 lamentable falling off from the early excellence by which he won his fame. 
 [In marble, by Caffieri. No date.] 
 
 244. RfeE* Antoine Ferchault de Reaumur. Chemist and 
 
 Naturalist. 
 
 [Bom at Rochelle, in France, 1683. Died at Maine, in France, 1757. Aged 74.] 
 
 The discoverer, in his own country, of the art of making steel, till then 
 imported into France. The thermometer which he adjusted, and which is 
 named after him, is chiefly used on the continent. His life spent in the 
 
PORTRAIT GALLERY. 
 
 service of science, and in the close pursuit of truth. Entomology was, 
 however, his favourite study ; and he contributed a most interesting memoir 
 towards the history of insects. He died from the effects of a fall from 
 his horse. 
 
 245. Georges Louis Le Clerc, Comte de Buefost. Naturalist 
 
 [Born at Montbard, in France, 1707. Died in Paris, 1788. Aged 81.] 
 This great naturalist commenced his scientific career at the age of 25, and 
 his study at Montbard was called by Prince Henry of Prussia ' ' the cradle of 
 Natural History." Shortly afterwards appointed Intendant to the Jar din des 
 Plant es at Paris, where he projected his theory of the classification of animals, 
 and assisted by Daubenton and Lacepede, wrote the great work which has 
 immortalized his name. He was more or less dissimilar to Linnseus in the spirit 
 and in the detail of his undertaking. Buff on' s object is to write a natural history 
 of each animal ; that of Linnseus to express its peculiar and distinctive character 
 in the fewest possible words. Linnaeus gives classical names to the objects he 
 describes. Buffon names Ms animals in French. Buffon's style is luminous 
 and elevated, and at times approaches the character of blank verse. He 
 is one of the founders of ethnological science, and as a writer on ethnology 
 gave great prominence to the history of man as an Animal. He was sensual, 
 vain, and in religious matters hypocritical. 
 
 [ The original bust, which is in the Louvre, is inscribed — "ByPajou, sculpteur 
 du Roy, professeur de son Academie depeinture et de sculpture, 1773." Pajou 
 died in 1809.] 
 
 245a. Georges Louis Le Clerc, Comte de Buffos. Naturalist. 
 
 [By J. Debay.] 
 
 246. Charles Lxxxili, known by his Latin name Ltxxjeus. Botanist. 
 
 [Born at Rceshult, in Sweden, 1707. Died at Upsal, in Sweden, 1778. Aged 71.] 
 
 A botanist, even at school, where he neglected his books in order to collect 
 plants in the fields. His father, in despair, apprenticed him to a shoemaker. 
 With eight pounds in his pocket, he went to Upsal, to study for the 
 medical profession. Here he was appointed botanical lecturer in the 
 University. Thence he was despatched to Lapland on a botanical expedition, 
 and it is said he travelled 3, 500 miles with no more than ten pounds. Finally 
 became Professor of Medicine at Upsal, and Superintendent of the Botanical 
 Gfardens. Published, besides his great Systema Natural, many works 
 on natural history, and a book on Materia Medica and nosology. He 
 invented a new system of classification, founded upon the sexes of plants, 
 which reigned in the science till superseded by the natural system of J ussieu. 
 In person below the middle height, strong, and muscular. His head large; 
 his look ardent and piercing ; his features agreeable and animated. Vanity his 
 greatest foible ; yet few men have shown greater boldness, zeal, and activity, 
 in the pursuit of science. His love of nature seemed a religious devotion of 
 the heart. His library and herbarium were purchased for 1000£. by Sir 
 James Edward Smith, and are now in the possession of the Linnsean Society 
 of London. 
 
 247. Iiaisf Jacques Rousseau. Philosopher and Writer. 
 
 [Born at Geneva, 1712. Died at Ermenonville, in France, 1778. Aged 66.] 
 This singular and morally-distempered man, was endowed by nature with 
 
FRENCH SCIENTIFIC MEN. 
 
 103 
 
 a warm imagination, a teeming fancy, and ardent feeling ; but his whole 
 nature was unhinged by the absence of conscientiousness and directing 
 principle. He was not only self-loving and vain, but self-engrossed. His 
 early life was passed in reading romances, and in the loose indulgence of his 
 weaknesses and passions. Yet his pen was a potent one, and, even more 
 than that of Voltaire, helped to bring about the Revolution in France, and 
 all its social blasphemies. Whilst Voltaire, with his bright and sharpened 
 wit, cut away the cable that held religion to its moorings, Rousseau pene- 
 trated to the households of men, invaded their firesides, and poisoned their 
 hearts. His writings were new, fascinating, and eloquent ; abounding in 
 highly- wrought descriptions of nature, and in what seemed genuine bursts of 
 passion. His philosophy attributed all vices to civilization, to the existence 
 of property, and to the tyranny of governments. His career was as dis- 
 graceful to himself, as his works proved detrimental to the happiness of 
 others. He committed frequent thefts in his youth, and behaved with 
 infamous ingratitude towards his benefactress, Madame de Warens, who 
 saved him from threatened starvation ; yet was left by him to starve in later 
 days, when the condition in life of both had changed. With all his profound 
 sentiment, Rousseau was a cold-blooded and cruel man. He was a subtle, 
 independent, and original inquirer. 
 
 [From the bronze in the Louvre which bears the name ofHoudon, 1778. The 
 treatment is in the antique manner. The drapery is a mantle, and the head 
 is bound with a fillet. This bust has an especial interest, from its having 
 been executed from a cast taken after death by Houdon, who was sent for to 
 Ermenonville immediately after the decease of Rousseau, by M. de Girardin { 
 with whom he lived. The original cast still exists, and shows its genuine- 
 ness by the scar on the forehead, caused by Rousseau's falling from his 
 chair ; an accident which gave rise to the report that he had shot him- 
 self.] 
 
 247*. Jea^ Darcet. Chemist and Physician. - 
 
 [Born at Douazit, in France, 1725. Died in Paris, 1801. Aged 76.] 
 Disinherited by his father for preferring the study of natural philosophy 
 to that of jurisprudence ; but befriended by Montesquieu, who appointed 
 him tutor to his sons. His great discovery was the composition of porcelain. 
 He artificially formed from minerals, found in France, the earth of which 
 porcelain is made, and which exists in a natural state in Saxony, where the 
 law forbade its exportation. The first to extract gelatine from bones, and 
 soda from the sea water. Director of the Gobelins and of the Sevres 
 manufactories. 
 [Bust to come.] 
 
 248. Jeai* Pierre Dtjhamel. Man of Science. 
 
 [Born at Nicorps, in France, 1730. Died 1816. Aged 86.] 
 In 1752, Duhamel visited the mines of the Pyrenees, and of various 
 parts of Germany, in order to collect information, his object being to 
 establish a School of Mines in his own country. But he had to wait 
 twenty years for the realization of his idea. As soon as it was carried out, 
 he received the appointment of Professor of Agriculture and Metallurgy. 
 He was a true practical philosopher, and his inventions and discoveries 
 were aR of the highest use in the branch of science to the development of 
 which his life-long exertions had been directed. 
 
10* 
 
 PORTRAIT GALLERY. 
 
 249. Joseph Lottis Lagrange. Astronomer, 
 
 [Born at Turin, in Italy, 1736. Died in Paris, 1813. Aged 77. J 
 At the age of 19, was Professor of Mathematics at the College of Turin. 
 Appointed successor to Euler when the latter was removed from Berlin. 
 Subsequently settled in Paris, where he became one of the Directors of the 
 Mint, and Professor in the Polytechnic school. In 1793, when all foreigners 
 were ordered to leave France, he was permitted to remain. His important 
 labours contributed largely to the advancement of mathematics and 
 astronomy, agitating most of the problems which Laplace subsequently 
 treated with such success. Delicate in health, he led a temperate life ; and 
 in society he was reserved and contemplative. Neither great fame nor higb 
 honour impaired his modesty. One of the Encyclopedists. 
 
 250. Jeax FiiA^gois Galatjp de la P^rouse. Navigator. 
 
 [Born at Albi, in France, 1741. Died about 178S.] 
 At an early age entered the naval service of his country, and in 1782 
 commanded the successful attempt to destroy the English settlement at 
 Hudson's Bay : an attack in which he displayed great humanity towards- 
 the foe. In 1785, he quitted France with two small frigates on a voyage of 
 discovery. Pie visited the coasts of Tartary, Japan, and New Holland ; in 
 1787, he sent home one of his officers with an account of his expedition ; 
 and in 1788, he quitted Botany Bay. No further intelligence was ever received 
 of him or of any of his crew. He probably perished on one of the Vanikors 
 islands. 
 
 250*. Marie-Jean-A^toike Nicolas Car^tat, Marquis de Cost- 
 PORCET. Mathematician and Philosopher. 
 [Born in Picardy, France, 1743. Died at Clamart, in France, 1794. Aged 51.] 
 One of the original thinkers of the eighteenth century, and the biographer 
 of Voltaire. Cold and reserved in his manner, but his feelings warm and 
 enthusiastic. D'Alembert called him " a volcano covered with snow." 
 Another writer has said that goodness was so sweetly expressed in his 
 eyes, that had he proved dishonest, he would have been more to blame' 
 than any other man. He earned and still retains the name of the ' c virtuous 
 Condorcet." His scientific attainments caused him to be elected Secretary to 
 the Academy of Sciences at an early age. His works, which are in 21 
 vols. , were collected by Cabanis and Grarat. The work on which his fame 
 will rest is the Fsqidsse d'un tableau Historique des progres de V esprit 
 Humain, where, for the first time, the idea of Progress as a law of 
 Humanity was scientifically expounded. Condorcet believed in the indefinite- 
 perfectibility of man as the result of this law of progress. In 1791, inflamed 
 with the zeal which he had helped to kindle for liberty, and the overthrow 
 of inveterate abuses, he became a member of the National Assembly, but 
 not proving violent enough for his colleagues, was forced to secrete him- 
 self in the house of a friend. Death being pronounced against all who 
 should harbour proscribed persons, Condorcet voluntarily quitted his 
 sanctuary in disguise ; but was detected in the village of Clermont, and 
 thrown into prison. He swallowed poison, and was found dead on the 
 following morning. In action, Condorcet wanted moral courage. 
 [Bust to come.] 
 
FRENCH SCIENTIFIC MEN. 
 
 105 
 
 2ol. Jacques Etienke Montgolfier. Aeronaut , and Inventor of 
 Balloons, 
 
 [Born at Vidalon-les-Aunonai, in France, 1745. Died at Serrieres, in France, 1799. 
 
 Aged 54.] 
 
 The son of a paper-maker. Was led by reading the philosophical writings 
 of Priestley to conceive the idea of employing gas, lighter than the atmo- 
 sphere, as a means of ascending through the air. His first experiment was 
 made at Aunonai in 1783, and with such success that he repeated it the 
 same year in Paris, and again at Versailles before the Court. Montgolfier 
 was rewarded for his invention by admission to the Academy of Sciences, the 
 cordon of St. Michel, and a pension of 2000 livres. 
 
 251*. Gaspae, Monge. Geometrician. 
 
 [Born at Beaunee, in France, 1746. Died in Paris, 1818. Aged 72.] 
 Inventor of descriptive geometry, and one of the founders of the Poly- 
 technic School at Paris. During the Revolution elected Minister of Marine ; 
 but soon resigning, took a personally active part in the equipment of the 
 army for war. Under Napoleon, visited Egypt, where his investigations of 
 architectural remains were incessant. His whole life devoted to science ; and 
 his work on the history of Mathematics testifies to his deep spirit of research. 
 An impartial writer, but a praiser of few. 
 [ Bust to come.] 
 
 252. Dominique Denon. Egyptian Traveller. 
 
 [Born at Chalons-sur-Saone, in France, 1747. Died in Paris, 1825. Aged 78.] 
 Brought up to the law, he neglected his profession for the fine arts. 
 Found favour with Louis XV. and his successor. Fulfilled several diplomatic 
 appointments with great success. In 1787, became a member of the Academy 
 of Painters. Employed by Robespierre to design the new republican official 
 costumes. Accompanied the French expedition to Egypt; of which one 
 result was his interesting and magnificent work, published at the public 
 expense, " Travels in Upper and Lower Egypt, during the campaigns of 
 General Buonaparte." This work first brought the wonderful remains of 
 ancient Egyptian art distinctly before our eyes. Subsequently appointed, by 
 Napoleon, Director-Gfeneral of Museums, and mainly organized in Paris the 
 admirable collection which for a time constituted the richest treasury of art 
 ever known in Europe. At the Restoration, Denon lost his office, and 
 devoted his leisure to the arrangement of his own museum. He was an 
 ardent lover of the fine arts, possessed an elegant taste and liberal mind. 
 [From the marble in the Louvre, by M. Marin. 1827.] 
 
 252*. Claude Louis Beethollet. Chemist. 
 
 [Born at Talloire, in Savoy, 1748. Died at Arcueil, in France, 1822. Aged 74.] 
 After studying at Turin, went to Paris. There elected a member of the 
 Academy of Sciences, and Professor of Chemistry to the Normal and 
 Polytechnic Schools. During the first wars of the Revolution employed in- 
 making gunpowder, and converting iron into steel. With Monge, the 
 geometrician, accompanied the French army to Italy and Egypt in order to 
 direct the removal of the plundered works of art. The friendship of 
 these two philosophers, their calmness in pursuing science amidst danger, 
 their courage and kindness -to the soldiers, won for them the admiration 
 
106 
 
 PORTRAIT GALLERY. 
 
 of the whole army. Berthollet discovered the bleaching properties of 
 chlorine, and the art of fixing the colonr of dyes. Also assisted in the 
 establishment of a new chemical nomenclature. Gfenerous, disinterested, 
 heroic ; and his modesty equal to his merit. 
 [Bust to come.] 
 
 253. Axtoixe Latjpext de Jtjssief. Botanist. 
 
 [Born at Lyons, 1748. Died in Paris, 1836. Aged 88.] 
 One of a celebrated family of botanists ; his uncle Bernard, who died in 
 1777, having been one of the foremost botanists of his age. His most 
 famous work, founded upon his uncle's great labours, was "The Varieties of 
 Plants, arranged according to their Natural Order." His whole scientific 
 life was spent in an endeavour to ascertain the natural relations of plants, 
 and, by the aid of fresh discoveries, to justify and complete the system he 
 upheld. 
 
 253 *. Pieeee Simon Laplace-. Astronomer. 
 
 [Bom at Beanmont, in France, 1749. Died in Paris, 1827. Aged 78.] 
 A great geometrician and physical astronomer. To him we owe the 
 Theory of Probabilities, and the Nebular Hypothesis. He also prepared 
 the way for the Theory of Tides. He discovered the existence of an 
 invariable plane in the solar system. Invented a thermometer. His great 
 work, Mecanique celeste, introduced to the English by Mrs. Somerville in 
 her "Mechanism of the Heavens," is so complete that no alterations of 
 importance have been made by subsequent discovery. 
 [ Bnst to come.] 
 
 254. Jean Axtoike Chaptal. Chemist. 
 
 [Born at Nogaret, in France, 1756. Died in Paris, 1832. Aged 76.] 
 As a chemist eminent for making the science subservient to the uses of 
 manufacture. In 1800, elected Minister of State. In 1802, presented to 
 the State a scheme for education which embodied Napoleon's educational 
 measures. Curious to say, the scheme betrayed a distrust of general 
 education altogether, and an anxiety to train up youth in the interest of 
 the government. An able statesman, but in science a practical philosopher, 
 rather than a brilliant discoverer. 
 
 255. Bepxapd Gepmaix Etiexxe Lacepbde. Comte de la Ville 
 
 SUP Mow. Naturalist. 
 [Born at Agen, in France, 1756. Died at Epinay, in France, 1825. Aged 69.] 
 When young, in the army ; but quitted it for the study of Natural History. 
 The favorite pupil of Buffon, who obtained for him the appointment of Curator 
 to the king, and selected him to continue his Natural History. His works 
 display profound research, and are elegantly written. A courteous and 
 kind-hearted man. 
 
 255*. Axtoixe Isaac Silyestpe, Bapon de Sacy. Orientalist. 
 
 [Born in Paris, 1758. Died there, 1S38. Aged 80.]] 
 One of the greatest of modern linguists, he made himself master, not 
 only of all the classical and modern languages of Europe, but of many of the 
 languages of the East. His industry was remarkable. In 1806, he was 
 appointed Professor of Persian. In 1810, he published an Arabic grammar. 
 
FRENCH SCIENTIFIC MEN. 
 
 In 1832, he was raised to the peerage, and made keeper of the Oriental 
 MSS. in the king's library. De Sacy was the chief founder and first Presi- 
 dent of the Asiatic Society in Paris, and besides extending in his country 
 the knowledge of every branch of Oriental literature, he caused professor- 
 ships of Chinese, Sanskrit, and Hindostani to be established in Paris. He 
 left behind him a magnificent library. 
 [Bust to come.] 
 
 256. Georges Leopold Chkettek Fej£j)£ric Dagobeet Cutiee. 
 Naturalist. 
 
 [Born at Montbeliard, in France, 1769. Died in Paris, 1832. Aged 63. J 
 At an early age displayed a taste for drawing and natural history, 
 and an extraordinarily retentive memory. After the Reign of Terror, 
 invited to Paris, where he prepared his ' ' Tabular Arrangement of the 
 Natural History of Animals," which has served as the basis for all subse- 
 quent works on zoological classification. Shortly afterwards commenced the 
 formation of his celebrated collection for the study of comparative anatomy. 
 His greatest work, i ' The Animal Kingdom distributed according to its 
 Organization," has been the foundation of all zoological studies since his time. 
 Possessed of great administrative capacity. Famous for his discoveries 
 among fossil animals, and by these rendered invaluable services to geology. 
 Was made Councillor of State, by Napoleon. In 1831, raised to the peerage. 
 His writings very attractive. His mind active and enterprising, yet sound 
 and methodical. Unlike Buffon, he considered system indispensable in the 
 investigations of physiology. Solicitous for the diffusion of knowledge. A 
 good as well as great man. Unimpeachable in all the relations of social life. 
 
 256*. Jeax Le Eo^d D'Alembeet. Mathematician and Philosopher, 
 [Born in Paris, 1717. Died there, 1783. Aged 66.] 
 When an infant exposed in the church of Le Rond, from which he is 
 named. Nursed in obscurity by the wife of a glazier ; educated at the 
 College of Mazarin. Evinced astounding precocity and a decided inclina- 
 tion for mathematical studies. At the age of twenty-four gave proof of his 
 great mathematical knowledge, and gained admission into the Academy 
 of Sciences. Memorable for his connexion with the great French work 
 " L' Encyclopedic," to which he contributed many articles, and its excellent 
 preliminary discourse. In 1772, appointed Secretary to the French 
 Academy. The author of many celebrated works on his favourite science, 
 in which he was an undoubted discoverer. He was the friend of the 
 Empress Catharine of Russia, and of Frederic the Great of Prussia. In 
 the war which in his time was carried on against the church, he took his 
 place by the side of his friends Diderot, Voltaire, Gfrimm, and D'Holbach. 
 [Bust to come.] 
 
 256**. Alexandee Louis Joseph, Maequis de Laboede. Soldier, 
 Traveller, and Educator, 
 
 [Born in Paris, 1774. Died there, 1842. Aged 68.1 
 At the breaking out of the French Revolution, entered the Austrian 
 service, in which he remained nine years. After the treaty of Campo Formio, 
 revisited his native city, prosecuted the study of literature and the arts, and 
 attached himself to Napoleon and the Imperial family. Then travelled 
 
108 
 
 PORTRAIT GALLERY. 
 
 through England, Holland, and Spain ; accompanied Napoleon to the last- 
 named country, and went with the Emperor also to Austria in 1810. He 
 held many important offices during Buonaparte's life, and formed one of the 
 Embassy appointed to demand the hand of Maria Louisa. After the Restora- 
 tion the influence of Laborde ceased : his usefulness, however, continued, 
 for he took great pains to introduce into France the Lancasterian system of 
 education for poor children. In 1822, he was elected Deputy for Paris ; and 
 in 1S30, signed, with 220 other Deputies, the protest against the ordinances 
 of Charles X. He was again deputy under Louis Philippe. Laborde was a 
 traveller in the East as well as in the West : an accomplished man, and an 
 eloquent speaker. He wrote many works having reference to his travels and 
 to his educational obiects. 
 [ Bust to come.] 
 
 256***. Gat Ltjssac. French Chemist. 
 
 [Born 1778. Died 1850. Aged 72.] 
 A leading discoverer in Chemistry whilst the science was advancing with 
 the most rapid steps and surprising disclosures. Of a spirit exact and large 
 to reason out abstruse principles, subtly curious to hunt on the track of new 
 marvels, and patient and inventive to repeat, vary, and heap experiments, 
 his long life of labour might well leave a name memorable to his own science, 
 and to the arts which it enlightens and aids. In 1816, he was appointed 
 Professor of Chemistry in the Polytechnic School. He was one of those who 
 do not shrink from personal peril in enlarging the domain of science. In 
 1804, at the desire of the French government, he ascended in a balloon in 
 order to ascertain by experiment, whether the magnetic force suffers percep- 
 tible diminution at great elevations, and found no appreciable diminution up 
 to the elevation of 13,124 feet. Simple, modest, gentle, firm, open and 
 upright, an unchangeable friend, and a sound patriot : — he carried into all 
 the relations of life the ardour of truth which animated his scientific 
 researches. 
 
 256****. Charles Nodier. Writer. 
 
 [Born at Besancon, in France, 1780. Died, 1844. Aged 64. 
 One of the contributors to the "Biographie Universelle," and an able- 
 writer on many subjects. He published a dictionary of words which naturally 
 represent by their sound the action signified : and this work became at once, 
 by order of the government, a class-book in all the public schools. He also 
 wrote instructive works on flowers and insects. In 1800, there appeared 
 from his pen a poem called "Napoleone," for which he suffered imprisonment. 
 A writer for the Journal des Debats newspaper ; subsequently conducted the 
 Quotidienne. In 1834, a member of the French Academy. He had great- 
 rapidity in composition, and published many writings ; amongst them several 
 novels. As a writer his style is pure ; he was hostile to innovations in 
 language. He has been accused of political tergiversation : and of being 
 little scrupulous in the way of pushing his interests, and forcing a repu- 
 tation. 
 
 [Bust to come.] 
 
FRENCH SOLDIERS AND STATESMEN. 
 
 109 
 
 SOLDIERS AND STATESMEN. 
 
 257. Pie ere de Terrail, Seigneur de Bayard. Warrior. 
 
 [Born near Grenoble, in France, 1476. Died, 1524. Aged 48.] 
 The " Chevalier sans peur et sans reprocJie." A true knight and gen- 
 tleman. His earliest renown won at the tourney. At the age of eighteen, 
 entered active service, which he did not quit until his death in Italy, where 
 he fell, as he desired, by the weapon of the foe on the field of battle. Spotless 
 in character, intrepid, generous, self-denying, and the very soul of honour. 
 He enjoyed the respect and admiration of his country's enemies, and by his 
 own countrymen he was idolized. After the battle of Marignan, his King, 
 Francis I., one of the bravest men of his age, desired to receive the order of 
 knighthood from the hands of Bayard. The ceremony over, Bayard addressed 
 his sword, vowing to regard it thenceforward as a sacred relic, never to be 
 drawn except against Turks, Saracens, and Moors. The body of Bayard was 
 embalmed by the foe and restored to the French for honourable burial, at 
 Grenoble. 
 
 258. GrASTOK de Foix. Warrior, 
 
 [Bom 1489. Died at Ravenna, in Italy, 1512. Aged 23.] 
 The nephew of Louis XII. of France. Succeeded the Duke of Longueville 
 in the command of the army in Italy, where his prodigies of valour and 
 daring exploits gained him the name of the " Thunderbolt of Italy." He 
 raised the siege of Ravenna, and in his hot pursuit of the foe, was cut down; 
 — slaughtered in the hour of victory. 
 
 [This is one of the finest French busts. There is also a portrait of him in the 
 Gallery of Vienna, by Palma Vecchio.] 
 
 259. Michel de l'Hopital. Chancellor of France. 
 
 [Born at Aigueperse, in France, 1505. Died at Vignay, in France, 1573. Aged 68.] 
 
 One of the greatest magistrates of France. Educated by his father, a 
 surgeon, for the profession of law, at Toulouse and Padua. Entering 
 Parliament, he became distinguished for his judgment, learning, modesty, 
 and legal attainments. On the death of Francis I. nominated Ambassador 
 to the Council of Trent. Upon his return to France, appointed by 
 Marguerite de Yalois, Duchesse de Berri, Private Chancellor of her House- 
 hold ; and after the accession of Henry II., raised to the dignity of 
 Chancellor of France. Religious dissensions were now rife and bitter, and 
 L'Hopital took the side of moderation and justice. It was his hand that in 
 1562 drew up the edict called the " edict of January," which gave freedom 
 of worship to Protestants in France. Hopeless, however, of seeing an end 
 to the fierce quarrels of Roman Catholics and Calvinists, he resigned the 
 seals of office in 1567, and retired into privacy. He was still in obscurity 
 when the butchery of St. Bartholomew took place. During the massacre, 
 Catherine de Medicis sent a body-guard to protect the Ex- Chancellor. Being 
 told that he was pardoned, L'Hopital calmly replied i 'that he was not 
 aware that he had done anything demanding either death or pardon." The 
 grief and horror which he experienced at this dreadful event broke the 
 heart of the mild and conscientious man. His character looks all the 
 
110 
 
 PORTRAIT GALLERY. 
 
 brighter from the darkness by which he is surrounded. His industry was 
 equal to his great learning, and his high sense of honour and justice 
 corresponded to his humanity. When, in 1554, he was made Superintendent 
 of the Royal Finances, he restored an exhausted treasury by his stern and 
 resolute honesty. 
 
 [From the marble in the Louvre, by Gois, Sen.] 
 
 260. GrASPARD DE CoLIGNY. Marshal and Admiral. 
 
 [Born at Chatillon-sur-Loin, in France, 1517. Died in Paris, 1572. Aged 55.] 
 Greatly distinguished for his valour. The head of the Protestant party 
 in France, and the first victim of the horrible massacre of St. Bartholomew. 
 
 261. Pieeue Latjeeot Beerette ee Belloy. Dramatist * 
 
 [Bom at St. Flour, in Auvergne, 1727. Died 1775. Aged 48.] 
 A writer who acquired immense popularity in his own day, but whose 
 death, it is said, was hastened by grief at the total failure of his last 
 dramatic work. His best production is "The Siege of Calais," which, as 
 the third great success achieved by his pen, secured for him the gold 
 medal accorded by the king to authors who should have been thrice 
 successful on the stage. The style of Relloy is somewhat laboured and 
 sententious, and he indulges largely in hyperbole ; but he had a happy know- 
 ledge of stage effect. He possessed an astonishing memory ; and was the 
 first introducer of national subjects, for representation upon the French stage. 
 At an early period of his life he had himself been an actor in Russia. 
 
 [From the marble by Caffieri. On the pedestal of the bust is inscribed — " The 
 work of his friend, Caffieri. 1771."] 
 
 262. FEA^gois de Bonne, Dec ee Lesexgeieses. Constable of 
 
 France. 
 
 [Born 1543. Died 1626. Aged 83.] 
 "When nineteen years of age, a simple archer ; but, by dint of great 
 bravery, activity, and success, he shortly became chief of the Protestant 
 party in France. In 1575, appointed commander of the Protestant army in 
 the place of Montbrun ; performed great feats of arms in Dauphiny and 
 Provence, and helped, more than any other soldier of his time, to place 
 Henry IV. upon the throne. After the death of Henry, the religious 
 convictions of Lesdiguieres underwent a remarkable change. He was con- 
 verted to Romanism, — some say, by the persuasive powers of a missionary ; 
 others, by the dazzling office of Lord High Constable of France, offered on 
 condition that he abjured his faith. It is certain that he had a lust of 
 power and wealth, and was unscrupulous in the means of getting them. 
 Yet he had great qualities. He was generous and forgiving. He was 
 conqueror in every battle he fought. Our own Elizabeth was heard to say 
 that ' ' had there been two Lesdiguieres in France, she would have begged 
 one from the king." He was indeed a man after her own great heart ; for 
 he was brave, handsome, active, full of resources, and always successful. 
 
 263. Maximieiejst ee Bethene, Dec ee Sully. Minister of State. 
 
 [Born at Rosny, in France, 1560. Died at Villebon, in France, 1641. Aged 82.] 
 
 The early friend and Minister of Henry IV. of France. Educated, like 
 his royal master, in the reformed faith, he ran in his youth great risk of 
 
 * This biographical notice belongs properly to "French Poets and Dramatists," and 
 has been unavoidably misplaced. 
 
FRENCH SOLDIERS AND STATESMEN. 
 
 Ill 
 
 falling a victim to the terrible massacre of St. Bartholomew. Escaping 
 from that danger, he joined the standard of the young King of Navarre, 
 shared his dangers, and distinguished himself by the most daring courage. 
 His abilities, however, as diplomatist and financier outweighed his bravery 
 and impetuosity on the field. When Henry IV. ascended the throne of 
 France, Sully became Minister of Finance, and by dint of skilful manage- 
 ment and great labour he so far repaired the monetary credit of the nation 
 as to be able to pay off, in the course of ten years, a heavy debt, and to 
 leave a considerable surplus in the treasury. Upon the accession of 
 James II. of England, he came to this country as ambassador, and concluded 
 a treaty advantageous to the interests of both nations. After the assassina- 
 tion of Henry IV., Sully quietly retired to his estates, where he was fre- 
 quently consulted by Louis XIII. , and where he composed his interesting 
 6 4 Memoirs." He was amazingly rich, and laden with honours. He held 
 many appointments — amongst others, those of Gfovernor of Poitou, and 
 Grand Surveyor of France. Sully was parsimonious, although he had ever 
 been liberal in supplying the necessities of his royal master, when the King 
 of Navarre stood in need of help. He had many fine qualities : not the 
 least of these was his plain, blunt sincerity in all his dealings with the king. 
 He was a most diligent worker, rising invariably at four o'clock in the morning 
 to commence his daily work. He is described as violent in temper, avaricious, 
 and greedy of honour as well as money. He had largely earned both by his 
 life-long fidelity to his sovereign, and by the lasting services rendered in the 
 time of peace to the bankrupt exchequer of his country. He died as he 
 had lived — a Protestant. 
 
 [From the statue in the Institute of France, by Mouch3 T .] 
 
 264. Claude Fabei de Pexbesc. Patron of Science. 
 
 [Born at Beaugensier, in France, 1580. Died 1637. Aged 57.] 
 A benefactor of his kind, being one of the most notable promoters and patrons 
 of science and literature. For a long time resident on his native soil, then in 
 Italy, England, and Holland, in all which countries he collected with the greatest 
 avidity, and at infinite pains, rare memorials of antiquity. He encouraged 
 and assisted men of genius wherever he met them, and corresponded with 
 the learned of his time in Europe. We are indebted to him for the preser- 
 vation of several ancient manuscripts, and for our acquaintance with 
 fragments of learning, until his time unrecovered. He was himself an anti- 
 quary, a philologist, and an astronomer. 
 
 [ From a marble in the Louvre, copied by Claude Francin from a bust by Cafneri. 
 Francin died in 1773. An original work of his from the life, is the bust of 
 D'Alembert, at, Versailles. The original of our bust, some years ago, had the 
 nose broken off. It has not been very skilfully restored. ] 
 
 265. Abraham Duquesne. Vice Admiral of France. 
 
 [Born at Dieppe, in France, 1610. Died in Paris, 1688. Aged 78.] 
 One of the most famous sea-captains of France. At the age of seventeen, 
 he already gained great distinction by his deeds against the Spaniard. 
 During the minority of Louis XIV. entered the navy of Sweden, and 
 destroyed the fleet of Christian IV. of Denmark. Returning to France, per- 
 formed illustrious service against Spain and Holland combined ; opposed Ruyter 
 and Van Tromp, and gained important victories over both. Ruyter he 
 completely defeated near Messina, winning that city for the French. In 1683, 
 
112 
 
 PORTRAIT GALLERY. 
 
 bombarded Algiers, and in 1684, humbled Genoa. Duquesne, being a 
 Protestant, did not receive from bis royal master tbe highest rank in the 
 French navy, but he was created a Marquis, and upon the revocation of the 
 Edict of Nantes, his was the sole name not included in the general proscription. 
 Louis XIV. expressed to this great sailor his regret that he could not recom- 
 pense his services as they merited, because of his religious faith. When 
 Duquesne repeated this to his wife, she said, 1 ' You ought to have replied : — 
 'Sire, if I am a Protestant, my services are Catholic. Like Nelson, 
 Duquesne was in private life admired for his gentleness and sterling 
 worth. 
 
 [For an account of this statue, see Handbook of Modern Sculpture, No. 92.] 
 
 266. He^ri de la Tour d'Attyergne, Yicomte de Ttjrenke. 
 
 Marshal of France. 
 [Bom at Sedan, in France, 1611. Died at Baden, 1675. Aged 64.] 
 The most skilful commander in Europe, at a time when the art of war 
 was studied with greater assiduity than at any previous period. The 
 public and private acts of Turenne proclaim the inherent grandeur of 
 his mind. He was born a Protestant, and becoming a Roman Catholic in 
 after life, he exhibited moderation and comprehensive liberality, not always 
 characteristic of the convert. He was sagacious, truthful, and virtuous. 
 In war energetic, brave, and full of resources ; in private life pure, kind, and 
 disinterested. He entered upon military duty in Holland in his 13th 
 year. After the death of Louis XIIL, Mazarin and the Queen Mother 
 enlisted the successful soldier in their service, and conferred upon him the 
 Marshal's baton. They had no cause to repent the act. He performed 
 great deeds in Germany, took part in the wars of the Fronde, and 
 covered himself with glory in every campaign. He fell whilst leading his 
 men into action, and his marshalled troops, paralysed by the blow, 
 Tetired without hazarding a battle. Montecucculi, the opposed commander, 
 on seeing the movement, exclaimed, ' 4 Turenne is dead." Turenne was 
 unprepossessing in appearance : he had a fierce expression, was of the middle 
 height, with very broad shoulders and thick eyebrows. He was mourned, 
 by order of the King, as a prince of the blood royal, and buried with 
 kings in the Church of St. Denis. Napoleon said, at St. Helena, that he 
 had studied the life of Turenne, deeming his renown exaggerated, but 
 that he had risen from the study confirmed in his opinion of the commander's 
 greatness. "The boldness of Turenne," he added, " increased with his 
 experience ; for he was more daring at the close than at the outset of 
 his career. It was the reverse with Conde, who made so great display at 
 starting." 
 
 267. Edotjard Colbert. Minister of State. 
 
 [Died, 1693.] 
 
 Brother of the great Jean Baptiste Colbert, who was Finance Minister of 
 Louis XIV. Edouard was a lieutenant-general in the army, and a member 
 of the government. 
 
 [ From a marble in the Louvre, by Desjardins, a Dutch sculptor, born at Breda, 
 1610, who died at Paris, in 1694. Desjardins attained to eminence and be- 
 came principal of the Academic in Paris. The original is inscribed — " E. C. 
 Marquis de Colbert, Surintendant des batimens du Roy, age* de LXIIII. 
 ans."J 
 
FRENCH SOLDIERS AND STATESMEN. 
 
 113 
 
 267*. Jean Battiste Colbeet. Statesman and Financier \ 
 
 [Born at Reims, in France, 1619. Died in Paris, 1683. Aged 64. J 
 
 It has been said that Louis XIV. would never have "been so great a King 
 had not Colbert been so great a financier. And there is warrant for the 
 remark. His soul was absorbed in the work of glorifying France, and he 
 carried out his patriotic object by re-establishing order in the finances of 
 the country, from which he contended all material prosperity flows — by a 
 reconstruction of the whole commercial system — by adorning the capital with 
 great public works, and by a general encouragement of art and literature. 
 Some authors assert that Colbert was the son of a draper. His mind was 
 that of the most enlightened statesman. In early life, Mazarin had been his 
 patron, and when the Cardinal died, he bequeathed his friend to the King 
 as the best legacy he could leave him, and he appointed him his own executor. 
 France prospered under his hand, which suffered no fatigue from inordinate 
 exertion, and which ruled, • — if occasionally with a rod of iron, — with a 
 success that has left some of its effects visible even at the present day. He 
 died spent with service, having lived through intrigues and rivalries. 
 
 [ This bust, which is to come, is from a marble in the Louvre, by Michel An- 
 guier, who died in 1686. He was the artist who executed the sculptures of 
 the Triumphal Arch at Paris, called the Porte St. Denis. The costume is 
 the court dress, with a mantle over, which is the Order of the Holy Spirit, 
 and the Cordon. At Versailles there is a bust also from the life, by Coysevox, 
 who did the kneeling statue on his tomb in the church of St. Eustace, a copy 
 of which is there also.] 
 
 268. Louis II. de Bottbbo^, Peince de Co]sd:e, surnamed The 
 GrKEAT Co:nde\ Warrior, 
 [Born in Paris, 1621. Died at Fontainbleau, in France, 1686. Aged 65.] 
 
 A great soldier, daring, impetuous, valiant, brilliant in his achievements, 
 and, in the pursuit of victory, utterly regardless of human life, whether 
 in respect of himself or of others. When he first entered the army, he 
 served under the great Turenne, but in 1643, five days after the acces- 
 sion of Louis XIV., being invested with the chief command of the armies 
 of Flanders and Picardy, he won the famous battle of Rocroi, in which, 
 with a most inadequate force, he annihilated the veteran Spanish troops. 
 From 1643 to 1649, he accumulated glory and honour upon his brow. 
 In 1650, Mazarin, alarmed by the position assumed by the laurelled 
 warrior during the troubles of the i 1 Fronde," arrested him, and impri- 
 soned him in the Bastille. Released after thirteen months' confinement, 
 Conde in revenge threw himself into the arms of Spain, and marched 
 against Paris ; where, however, his bravery and hot indignation could 
 make little way against Turenne. Peace having been concluded in 1659, 
 Conde returned to France, resumed his old allegiance, and took part in 
 the triumphant victories of the time. When Turenne was killed at 
 Salzbach, in 1675, Conde assumed the place of the deceased commander, 
 but only to make his last campaign ; for ill-health soon compelled him 
 to lay down his arms for ever. He retired to his estate at Chantilly, 
 and passed the remainder of his days in the society and patronage of 
 the chief literary men of the time. He was the friend of Racine and 
 Moliere, and an enthusiastic admirer of Corneille. Conde was a hero on 
 the field of battle, but there only : — as a man, proud, fierce, eager, passionate, 
 
 I 
 
114 
 
 PORTRAIT GALLERY. 
 
 and ambitious. He had an eagle glance, and a spirit easily roused. After 
 the wont of the great world in France in those days, he became religious in 
 his decline. 
 
 269. Hexri Feaxqois d' Agttesseatj. Chancellor of France, 
 
 [Bom at Limoges, in France, 1668. Died at Fresnes, in France, 1751. Aged 83. J 
 
 A distinguished orator and judge, a fine scholar, a loyal citizen, and a 
 worthy, if in some respects, a weak man. He improved the administration 
 of justice in France, defended the monarchy against papal aggression, and 
 the people from the aggressions of the monarch. He became Chancellor in 
 1717, but resolutely opposing the dangerous system of finance known as 
 i ( Law's system," he was deprived of the seals and banished. In 1720, he 
 was recalled, to counteract the disastrous effects of Law's schemes ; but in 
 1722, making another stand against corruption, he was again dismissed, by 
 the influence of Court intrigue. Once more invited back to office, he served 
 his country until 1750, when he finally resigned the Chancellorship. He was 
 distinguished for gentleness of manner and sweetness of disposition, as much 
 as for love of honesty and truth. It was said of him, that his thoughts were 
 those of a philosopher ; his speech, that of an orator. He was conversant 
 with many ancient and modern languages, and he wrote Latin and other 
 verses. His works, chiefly legal, formed thirteen quarto volumes. 
 [From the marble in the Louvre.] 
 
 270. Matjeice, Comte de Saxe. Marshal of France. 
 
 [Born at Dresden, in Saxony, 1696. Died at Chambord, in France, 1750. Aged 54.] 
 
 One of the most illustrious warriors of the eighteenth century. The natural 
 son of Frederic Augustus II., King of Poland, and Aurora, the celebrated 
 Countess of Konigsmarck. In 1711, he followed the King of Poland to 
 Stralsund ; he also served in Hungary against the Turks, and was at the 
 siege of Belgrade. In 1720, he entered the service of France, in which, after 
 famous deeds of heroism, and many brilliant triumphs, he rose to the highest 
 rank. In 1745, he gained the battle of Fontenoy, and by the capture of 
 Maastricht in 1747, he secured the peace of Aix-la-Chapelle. Marshal Saxe 
 was large in size, and of extraordinary strength. He was a Lutheran. 
 
 [ From the marble in the Louvre, by J. B. Pigalle, a celebrated French sculptor 
 of the last century, who died at Paris in 1785. The mausoleum to the 
 memory of Saxe, in the church of St. Thomas, at Strasbourg, was built by 
 him. The Marshal wears his armour, which is sculptured with the arms of 
 his family. The statue at Versailles is the work of M. Rude, in 1836. Another 
 bust, by Cartellier, treated in the Antique style, is in the Tuileries.] 
 
 271. Fka^ois Chbjstophe Kellehmais t n. Marshal of France. 
 
 [Born at Strasbourg, in France, 1735. Died in Paris, 1820. Aged 85.] 
 One of Napoleon's generals. Commanded at the battle of Yalmy, 1792, 
 against the Duke of Brunswick, and his victory probably determined the 
 fate of Europe until 1815. Years afterwards it was his good fortune to 
 decide the issue of one of Napoleon's greatest battles by the brilliancy of his 
 charge. Napoleon said "the charge was opportune." "Opportune!" 
 replied Kellermann, "it has put the crown upon your head." The Emperor 
 never forgave the remark. Kellermann excelled in statesman-like tact and 
 
FRENCH SOLDIERS AND STATESMEN. 
 
 115 
 
 272. Charles Francois Dttmouriez. French General. 
 
 [Born at Cambrai, in France, 1739. Died, 1823. Aged 84.] 
 Played a conspicuous part in the first French Revolution, changing from 
 one party to another. His antipathy to the extreme Republicans induced him 
 at last to treat with Austria for the invasion of France, but, deserted by his 
 army, he retired to Hamburgh and thence to England. A friend of Lord 
 Castlereagh and the late Duke of Kent. Enterprising, ambitious, and 
 capable, but inconsiderate and hasty. He wrote several works. 
 
 273. Tileophile Malo de la Tons d'Auyergne-Corret. Warrior. 
 
 [Born at Cartraix, in Lower Britanny, 1743. Died at Neuburg, in Bavaria, 
 1800. Aged 57.] 
 
 Styled by Napoleon u the first grenadier of France." Entered the Spanish 
 army as a volunteer, and conducted himself with great bravery and humanity 
 at the siege of Mahon. Throughout his military life exhibited unflinch- 
 ing valour and singular judgment. After the close of his service, re-en- 
 tered the army as the substitute for the son of a friend, who had been drawn as 
 conscript. Killed at the battle of Neuburg, he was buried on the field, but 
 his heart was embalmed and confided to the care of his regiment. A hero 
 in war, and in private life. An excellent scholar, well versed in history, 
 eminent as a linguist, and known as the author of a Franco-Celtic Dictionary. 
 As a signal distinction, the name of La Tour D'Auvergne, after his death, 
 was still called, in its turn, in the muster-roll of his regiment. 
 
 [ From the marble in the Tuileries. The author not known, but supposed to be 
 Chas. Louis Corbet.] 
 
 274. Pierre Alexandre Berthzer. Marshal of France. 
 
 Born at Versailles, in France, 1753. Died at Hamburg, in Germany, 1815. Aged 62.] 
 The bosom friend of Napoleon, and his constant companion in his cam- 
 paigns. He received in person the Emperor's instructions, and forwarded 
 them to the different generals. Performed his duties with docility, readiness, 
 and perfect silence, and never betrayed his master's secrets. As a subordinate 
 unsurpassed, but had none of the qualities of a commander. He proved 
 ungrateful. On the fall of Napoleon, he went over to the Bourbons ; on 
 Napoleon's return from Elba he changed again, but to be repulsed by his 
 former chief. After Waterloo the Bourbons refused to countenance him, 
 whereupon he fell into melancholy and died by his own hand. 
 
 [From the marble in the Tuileiies.] 
 
 275. Jean Baptiste Kleber. French General. 
 
 [Born at Strasbourg, in France, 1754. Assassinated at Cairo, in Egypt, 1800. Aged 46. 
 At first in the Bavarian army. At the breaking out of the French Revolu- 
 tion, served France in the ranks. His lofty stature, martial air, and fearless 
 demeanour soon insured his promotion. With Napoleon in the Egyptian 
 expedition. Left in command of the army in Egypt, he captured Cairo, but 
 was himself assassinated in that city by a native of Aleppo. In him cool 
 judgment and romantic bravery were combined; and his humanity and 
 integrity equalled his courage and coolness. Napoleon pronounced him one 
 of the greatest of his generals. 
 
 [ From the marble in the Tuileries, by Masson. It figured in the Exhibition of 
 the 9th year of the Consulate, with the statement that it was done for the 
 Gallery of the Consuls.] 
 
 i 2 
 
116 
 
 PORTRAIT GALLERY. 
 
 276. Feaxcois Joseph Lepebyee, Due de Daxtzic. Marshal of 
 
 France. 
 
 [Bora in Alsace, 1755. Died in Paris, 1S20. Aged 65.] 
 
 One of the many who at the breaking out of the French Revolution found 
 themselves on the lowest step of the social ladder, and in time, by force of 
 ability and valour, mounted to the very highest. Lefebvre was the son of a 
 miller, and being an orphan, was brought up in charity by a relative. He 
 enlisted in the Guard, and, at the time of the Revolution, had become 
 a sergeant. Before forty, he was General of brigade. In 1804,. 
 Marshal of the Empire. In 1807, besieged and took Dantzic, and for 
 the exploit received his title. In the expedition to Russia (1812) he had the 
 command of the Imperial Guard. Upon the restoration of Louis XVIII, 
 made peer of France, but deprived of his dignity at the second restoration, 
 in consequence of his equivocal conduct during the hundred days. He died 
 in 1820, having followed twelve sons to the grave. He was not a brilliant 
 soldier, nor had he striking qualities of mind ; but he was intelligent, well- 
 informed, modest, and discreet — qualities not without their value in aB 
 officer of Napoleon's army. 
 
 [From the marble in the Tuileries.] 
 
 277. Maeie Paul Gilbeet Motiee, Maequxs de Lafayette, 
 French General. 
 
 [Born at Chavagnac, in France, 1757. Died in Paris, 1834. Aged 77.] 
 Of noble family, but a republican and an enthusiast from his earliest 
 youth. He was only twenty-three years of age when he embarked secretly 
 for America, in order to take part in the War of Independence. Raising 
 and equipping a body of men at his own expense, he fought at the battles of 
 Brandy wine and Monmouth. He was again in France in 1779, for the 
 purpose of concluding a treaty between that country and America ; returned to 
 America after accomplishing his object, and commanded Washington's 
 vanguard when Lord Cornwallis surrendered in 1782. His zeal, on behalf 
 of America and the republican cause, knew no bounds, and his restlessness, 
 was excessive. Many of his proposed schemes were wild and impossible. 
 During the French Revolution, this arch-republican was himself obliged to 
 fly from France, in order to save his head, and being taken by the Austrians, 
 was imprisoned for five years at Olmiitz. Buonaparte stipulated for his 
 deliverance, in the treaty of Campo Formio (1796), and obtained it, but 
 Lafayette i ook * no part in politics under Napoleon, and at the Restoration 
 publicly e^in^ed his dislike for the Bourbons. In 1824, he revisited 
 America, v here he was received with an affectionate welcome, and acknow- 
 ledged as one of the joint founders, with Washington and Franklin, of 
 American Freedom. The Revolution of 1830 saw Lafayette, for a day, 
 Dictator of France, but he resigned that supremacy to hand over the vacant 
 throne to Louis Philippe. Lafayette, with purity of intention, and elevation 
 of principle, was the victim of vanity, puerile simplicity, and an overweening 
 love of popularity. His heart was stronger than his head : his capacity for 
 Tjublic business not equal to the virtues which adorned his heart. Brave and 
 chivalrous to a fault, he was without solid judgment. One error ran through 
 his life : he believed that the constitution of America might be transplanted 
 to liis own soil ; and that a throne, surrounded by republican institutions, 
 would be the very perfection of human government, even in France. 
 
FRENCH SOLDIERS AND STATESMEN. 
 
 117 
 
 278, Pierre Francois Charles Augereau. Marshal of France. 
 
 [Born in Paris, 1757. Died at La Houssaye, in France, 1816. Aged 59.] 
 One of Napoleon's generals, and remarkable for his recklessness and 
 conrage. At the age of 35, in the ranks, he rose to become a General 
 of Division. On the fall of Napoleon, he took his army over to the Bourbons. 
 When Napoleon returned from Elba he shouted " Vive VEmpereur ! " After 
 Waterloo, he again joined the legitimate monarch. His avarice was un- 
 bounded : he robbed churches and private houses, and his coarse manners 
 contrasted strongly with the pomp of his dress and daily life. 
 [From the marble in the Tuileries, by Masson.] 
 
 279. Andre" Massena. Marshal of France. 
 
 [Born at Nice, in Italy, 1758. Died in Paris, 1817. Aged 59.] 
 The French General whom Napoleon styled "The Child of Victory." 
 Entered the French army as a private soldier, and in 1793 was General of 
 Division. Sharing in the brilliant campaigns of Napoleon, he was distin- 
 guished by his irresistible impetuosity, clear penetration, and military skill. 
 In comprehensiveness of view, and in the formation of those combinations on 
 which the fate of battles depends, he was superior to all his brother 
 Marshals. He opposed Wellington in Portugal, and conducted the admirable 
 retreat of the French army. Personally, he was avaricious, rapacious, 
 cruel, and mean. 
 
 [From the marble in the Tuileries.] 
 
 :279*. Pierre Claude Eranqois Dannon. Statesman and Writer. 
 
 [Born at Boulogne-sur-Mer, 1761. Died in Paris, 1840. Aged 79.] 
 Took an active part in the first French Revolution ; but not proving 
 violent enough for the Jacobins, was sentenced to death. Regaining his 
 liberty, was appointed one of the Commissioners for drawing up the new 
 Constitution. Afterwards sent with others to Italy, to organize the Roman 
 Republic. On his return opposed the ascendancy of Napoleon, but was subse- 
 quently made Archivist of the Empire. In 1830, restored to offices, which he 
 lost on the downfall of Buonaparte, and afterwards created peer of France. 
 Wrote much in the " Biographic Universeile," and in the " Histoire 
 Litteraire." Simple in manners, of unaffected modesty, disinterested and 
 benevolent. 
 
 [ Bust to come.] 
 
 379**. Pierre Paul Eoger Collard. Statesman and Philosopher. 
 
 [Born at Sourmepuis, in France, 1763. Died in Paris, 1845. Aged 82.] 
 At twenty called to the bar. Embraced the revolutionary principles, but 
 disgusted with the anarchy to which they led, withdrew to the more peaceful 
 pursuits of literature. Devoted himself to philosophy, and sought to 
 counteract the infidel tendencies of his age by a religious spiritualism. 
 Appointed by Napoleon Professor to the Normal School. At the Restoration, 
 re-entered the field of politics and made President of the Chamber of Deputies. 
 Retired again in 1830. Introduced into France a system of philosophy 
 analogous to that of Reid, the Scotch philosopher, of whose works he recom- 
 mended the study. As a politician, one of the founders of the popular 
 school known by the name of Doctrinaires, which recognised certain prin- 
 ciples as essential to all society, and desired to render the actions of men 
 
118 
 
 PORTRAIT GALLERY. 
 
 conformable to thera. A man of perfect integrity. His interests never 
 interfered with ids duty, and lie left an honoured and unspotted name. 
 
 [ Bust to come.] 
 
 280. L AZAEE Hociie. French General. 
 
 [Born at Montreuil, in France, 1768. Died at Witzlar, in Prussia, 1797. Aged 29.] 
 
 Son of an ostler in the Royal stables at Versailles. First a stable boy, 
 then a private soldier, he commanded, at the age of 25, the army of the 
 Moselle! Set sail to invade Ireland with 25,000 men, but a storm dis- 
 persed his vessels. Afterwards commanded the armies of the Sambre and 
 Meuse, and forced a passage across the Rhine. His brilliant career cut short 
 by death. In his early youth fiery and vehement ; but he soon obtained a 
 mastery over his temper, and became grave, silent, and thoughtful beyond 
 his years. 
 
 [From the marble in the Tuileries by Delaistre.] 
 
 281. Bessie-e.es, Jean Baptists. Duke of Istria. Marshal of 
 
 France. 
 
 [Born in Guienne, France, 1768, Died 1813. Aged 45.] 
 One of the bravest, worthiest, and most faithful of Napoleon's lieutenants. 
 Served in the first campaign of Italy, in the expedition to Egypt, in the 
 second campaign of Italy, and was created Marshal in 1804. In the 
 subsequent wars in Germany he displayed the highest valour, skill, and 
 judgment. According to the Emperor, "he was full of fire, but never 
 otherwise than prudent and circumspect." In 1808, achieved victory in 
 Spain ; afterwards greatly contributed to the success of the battle fought at 
 Essling ; and having visited Spain a second time in 1811, he proceeded in 
 1812 to Russia, at the head of the Imperial cavalry guard. On the morning 
 of the battle of Liitzen, in 1813, he betook himself to a narrow pass at 
 Rippach, in order to drive out the enemy there vigorously defending himself. 
 He was on foot and at the head of his men. The foe had already given way, 
 when a shot struck him in the breast and he fell dead. Napoleon received 
 the news with grief, but it was kept a secret from the army for the rest of 
 the day. The Emperor had lost a friend, the soldiers a companion in arms, 
 whose character had never belied his military deeds. He died very poor, 
 leaving to his family nothing but his good name. At St. Helena, Napoleon 
 left 100,000 francs to his son. He had not forgotten the fidelity of the 
 father. 
 
 282. Baethexe^ii Catharine Jotjbeet. French General. 
 
 [Born at Pont-de-Vaux, in France, 1709. Killed at Novi, in Italy, 1799. Aged 30.] 
 
 A brave soldier who, had he lived, would undoubtedly have proved not 
 the least eminent of the famous Marshals of the Empire. He was intended 
 for the bar : but at the breaking out of the Revolution, moved by his 
 Republican sympathies, he entered the National Guard. Subsequently 
 enlisted in the regular army as a common soldier, and rapidly distinguished 
 himself. For his admirable conduct under Kellerman, at the Rattle of Loano 
 (1795), he was made General of Brigade upon the field. Two years after- 
 wards he was General of Division. In 1798, he succeeded General Brune in 
 the command of the army in Italy. He fell at Novi, whilst impetuously 
 leading on his men. He was prompt, energetic, and fearless to a fault ; he 
 enjoyed the unbounded confidence of the soldiers, and his private life was 
 
FRENCH SOLDIERS AND STATESMEN. 
 
 119 
 
 stainless. His countenance had a melancholy cast — his manner was grave 
 and silent. When he spoke it was with blunt and soldier-like brevity. An 
 ardent Republican. One great aim of his life was said to be the dethrone- 
 ment of all the petty sovereigns of Italy, and the substitution of one great 
 Italian Republic. 
 
 [From the marble in the Tuileries by Boizot.] 
 
 283. Louis Chakles Antoike Desaix. French General. 
 
 [Born at St. Hilaire D'Argat, in France, 1768. Killed at Marengo, in Piedmont, 1800. 
 
 Aged 32.1 
 
 A celebrated General of the French Republic. Brave, discreet, prompt, 
 intelligent, and energetic. Mainly contributed to Napoleon's triumphs in 
 Egypt ; and at Marengo, where he fell, his charge against the Austrians 
 contributed largely to the fate of the day. Napoleon considered Desaix only 
 second to himself, and said of him that ' ' he thought only of glory ; and 
 luxury, and even comfort he despised." Mild yet decided in character ; and 
 so just in his conduct as to have gained in Egypt the name of 4 'the Just 
 Sultan." 
 
 [From the marble in the Tuileries by Dejoux.] 
 
 284. Jeax Laistnes, Due de Montebello. Marshal of France, 
 
 [Born in Guienne, 1769. Killed at Essling, in Austria, 1809. Aged 40.] 
 In the first rank of Napoleon's renowned Marshals. Of poor and humble 
 parents, was in early life apprenticed to a dyer. In 1792, entered the army 
 as a volunteer. By signal intelligence, activity, and matchless courage, soon 
 fought his way upward, and secured the notice of Napoleon. Distinguished 
 himself greatly in the first Italian campaign ; accompanied Buonaparte to 
 Egypt ; followed him again into Italy in 1800, and covered himself with 
 glory at Montebello in 1804, when he was created Duke. At Austerlitz, 
 Jena, Eylau, and Friedland ; and at one and all justified the fame his skill 
 and intrepidity had gained. At the battle of Essling, 1809, he had the com- 
 mand of the centre. On the 22nd, on passing through the lines to cheer on 
 his men, he was struck by a cannon shot, which took off both legs. He was 
 borne to the Emperor, who was deeply affected at the sight of his brave and 
 mutilated soldier. "When speaking of Lannes, at a later period, Napoleon 
 said that 4 ' at first his courage carried away his mind ; but by degrees his 
 mind came more and more abreast of his courage, and he was great when he 
 perished. I took him," he added, " a pigmy : I lost him a giant." 
 
 285. Michel Net. Marshal of France. 
 
 [Born at St. Louis, in France, 1769. Was judicially shot, in Paris, 1815. Aged 46.] 
 
 Known as "The Bravest of the Brave." The son of poor parents. 
 Enlisted at the age of thirteen, and speedily fought his way up to the 
 command of a division. His name intimately connected with Buonaparte's 
 military career. He secured the retreat of the small remnant of the grand 
 army after the disastrous Russian invasion, and at Waterloo he had five 
 horses shot under him. After the final overthrow of Napoleon in 1815, Ney 
 was tried and shot for his treachery to the Bourbons in joining the Emperor 
 on his return from Elba. A monument recently erected on the spot where 
 he fell has translated the act of treachery into a triumph of patriotism. Ney 
 was sincere, honest, blunt, and almost austere in his manners, yet merciful 
 to the vanquished. It is recorded to his honour that he lived and died poor. 
 
120 
 
 PORTRAIT GALLERY. 
 
 286. FEAxgois SeteEvEN" Desgeayiees Maeceatj. French General. 
 
 [Born at Chartres, in France, 1769. Killed at Hoehstembach, in Germany, 1796. 
 
 Aged 27.] 
 
 Brave, generous, and heroic, gifted for great military achievements. 
 Twice narrowly escaped the guillotine ; once for gallantly protecting a 
 beautiful woman from the brutality of the soldiers. He fell mortally 
 wounded in the forest of Hochsteinbach ; and the armies of France and 
 Austria both showed honour to his memory by firing volleys of artillery over 
 his grave. 
 
 [From the marble in the Tuileries by Ed. Durnont.] 
 
 287. Pieeee Jacqees Cambeonne. French General. 
 
 [Born at St. Sebastian, near Nantes, 1770. Died 1S42. Aged 72.] 
 A brave, humane, and faithful soldier, who rose in virtue of his own good 
 deeds from the ranks, and made for himself an honoured name in the French 
 army. He entered that army in his twentieth year, and knew no repose 
 until the peace of 1815. He made one in Hoche's unsuccessful expedition 
 against Ireland, fought in Italy, Switzerland, Spain, and was present at 
 the battles of Liitzen, Bautzen, Dresden, and Leipzig. Devoted to the 
 Emperor, he accompanied him to Elba ; returned with him in 1815 ; and at 
 Waterloo was found ready as ever at his post, commanding a division of the 
 Old Guard. At Waterloo, as befitted this brave and simple-minded soldier, 
 he performed his best service. His men were slaughtered around him, and, 
 threatened with death himself, he was called upon to surrender. His 
 answer has been treasured up in the annals of the French army : i ' The 
 Guard dies, but does not surrender." He was taken prisoner, covered with 
 wounds. In 1816, he was tried by a council of war ; but he had broken no 
 oath to the Bourbons, and was acquitted. Other generals of Napoleon have 
 a wider fame ; none can show a better title to their renown. 
 [By Debay, 1816.] 
 
 288. Louis Jsicoeas Dayotjst, Peince D'Ecxmehe. Marshal of 
 
 trance. 
 
 [Born at Annoux, in Burgundy, 1770. Died in Paris, 1823. Aged 53.] 
 One of the bravest and ablest of Buonaparte's lieutenants. Cool and 
 collected in danger, energetic and methodic in his plans. His troops were 
 always in better order than those of any other general. Served at Ulm, 
 Austerlitz, Jena, and Auerstadt, and successfully defended Hamburgh 
 against the allies. Cruel, rapacious and coarse. His extortions, oppressions, 
 and murders gained for him the title of the Hamburgh Robespierre. Upon 
 the fall of Napoleon, he retired from active life. 
 
 289. Maximixien Seeastien Eoy. French General. 
 
 [Born at Ham, in Picardy, 1775. Died in Paris, 1825. Aged 50.] 
 Began his military career at 15. Served in the Peninsular war, and at 
 Waterloo received his fifteenth wound. Entered the Chamber of Deputies 
 after the peace, became an orator, an opponent of the reactionary government, 
 and one of the most popular men of his time. He died poor, and a subscrip- 
 tion of 40, 000Z. was raised for the relief of his destitute family. Skilful and 
 courageous in the field. Left an unfinished history of the Peninsular war, 
 which is honest, candid and eloquent. 
 
FRENCH SOLDIERS AND STATESMEN. 
 
 121 
 
 290. Antoine Chaeles Louis Colllnet de Lasalle. General of 
 
 Cavalry. 
 
 [Born at Metz, in France, 1775. Killed at WagTam, in Austria, 1S09. Aged 34.] 
 
 A famous officer in the wars of Napoleon. Served with the revolutionary army 
 in 1793, on the Rhone and Moselle. Accompanied Kellermann as Aide-de-Camp 
 into Italy, and there was made prisoner. When taken before the veteran and 
 war-tried field-marshal Wurmser, and asked the age of Buonaparte, he replied, 
 *' Of the age of Scipio when he conquered Hannibal." At a later period with 
 Napoleon in Egypt. In 1801, in Italy, where at the battle of Caldierohe had 
 three horses killed under him. His later services were unremitting, and always 
 brilliant. He fell mortally wounded at the battle of Wagram, July 6, 1809. 
 On the eve of the battle he had a singular presentiment of his coming death. 
 He rose in the night for the express purpose of inditing a letter to the Emperor, 
 praying his consideration on behalf of his wife and children. The letter was 
 placed the next morning in the hands of the Emperor at the very moment 
 when news also came of the hero's death. A dauntless soldier, and of spot- 
 less fidelity to his chief. 
 
 [From the marble in the Tuileries by Delaistre.] 
 
 291. Casoiie, Peeler. Statesman. 
 
 [Born at Grenoble, in France, 1777. Died in Paris, 1S32. Aged 55. J 
 First served in the army. Then entered into business, established a 
 banking-house, and embarked in commercial speculations, which proved 
 successful. Elected a member of the Chamber of Deputies. Until 1830, 
 the fierce opponent of government, and the chief advocate of the popular 
 oause. In 1831, until his death, Prime Minister of Louis Philippe ; his 
 policy the preservation of peace, the repression of the military spirit, and 
 the encouragement of commerce. His public career courageous and free from 
 corruption. 
 
 [Medallion by Houdon.] 
 
 PRELATES AND THEOLOGIANS. 
 
 291*. Georges d'Amboise. Cardinal and Minister of State. 
 
 [Born at Chaumont sur Loire, in France, 1460. Died at Lyons, 1510. Aged 50.] 
 
 As Prime Minister of Louis XII. of France, acquired popularity by 
 reforming abuses and relieving the burdens of the subject. Acquired the 
 title of " Father of the People." Also Archbishop of P^ouen. When created 
 Cardinal, effected great reforms in some of the religious Orders. Benevolent 
 and charitable. Never in possession of more than one benefice, two -thirds of 
 which he gave to the church and to the poor. 
 
 [From the statue in the Cathedral at Rouen.] 
 
 292. Cardinal Hichelietj. Minister of France. 
 
 [Born in Paris, 15S5. Died there, 1642. Aged 57.] 
 The great Minister of Louis XIII., and the actual ruler of France during 
 that monarch's reign. He was the third son of Francois du Plessis, Seigneur 
 de BAchelieu, and at first destined for the army, but renounced this career 
 
122 
 
 PORTRAIT GALLERY. 
 
 for the Clmrcli, when his elder brother gave up his ecclesiastical 
 dignities for a monastic life. His political career commenced when he 
 was appointed Secretary of State for the War and Foreign Depart- 
 ments ; and it was sustained on the highest eminence, by the force of 
 superior intelligence, unequalled craftiness, and an utter contempt for conscien- 
 tious scruples. He was now the grateful protege of the King, now his 
 exacting master ; now he was insidiously sowing the seeds of distrust and 
 dissension amongst all the members of the Royal Family, now openly and 
 magnanimously effecting their reconciliation. But, subtle and unscrupulous 
 as were the means he employed, his views were vast, his political ideas pro- 
 found, and he laboured strenuously to give stability to the French monarchy. 
 He was a heartless man, but a faithful minister ; jealous of interference with 
 his control, but using his boundless influence for the welfare of the nation. 
 He was a right hypocrite, affecting piety, which he never felt ; he was per- 
 fidious, and even cruel ; but we look back upon his career with an enforced 
 respect for his skill, his strong will, and his undoubted successes. He 
 persecuted Protestants in France, and abated the power of the French 
 nobility. 
 
 [From the marble in the Louvre, by Coysevox. He wears the Cardinal's robe, 
 with the Order of the Holy Spirit. Modelled from some of the painted 
 portraits of the time. There are two statues of him at Versailles, one by 
 Ramey, dated 1819, the other by Buret, 1836.] 
 
 292a. Cardinal Richelieu. Minister of France, 
 
 [A mask.] 
 
 293. Cardinal Mazarin. Minister of France, 
 
 [Born at Rome, 1602. Died at Vincennes, in France, 1661. Aged 59.] 
 The pupil, protege, and successor of Cardinal BAchelieu, by whom he was 
 recommended to Louis XIII. on his death-bed, and whom he surpassed in 
 cunning, finesse, intrigue, and in the skill with which he turned all his 
 public acts to his own private advantage. His avarice was excessive, and his 
 coffers groaned with the wealth of the country which he ruled and impo- 
 verished. France was indebted to him for the treaties of Westphalia and of 
 the Pyrenees, and these constitute his best claim to the consideration and 
 gratitude of the French people. Another service must not be forgotten. 
 He beggared the French nation, but he endeavoured to make amends by 
 bequeathing to Louis XIY. the sagacious Colbert, under whose strong hand 
 the finances of France rapidly recovered. The character of Mazarin has been 
 variously described. By some he is regarded as a great Minister of State, 
 equal to Richelieu; by others as a man of indifferent abilities, with an 
 inordinate share of craftiness and diplomatic trickery. It is certain that he 
 was deeply versed in the knowledge of man. Louis XIV. was in leading- 
 strings whilst Mazarin lived, but sole and absolute monarch from the day of 
 his Minister's death until the hour of his own. Mazarin founded the first 
 public library established in France, but he kept the young monarch who 
 was entrusted to his hands, in shameful ignorance of all that it concerned the 
 youthful prince to know. 
 
 LFrom the marble in the Louvre by Coysevox.] 
 
 294. Blaise Pascal. Theologian and Philosopher. 
 
 [Born at Clermont-Ferrand, in France, 1623. Died in Paris, 1662. Aged 39.] 
 Of a genius so rare as to seem supernatural. In tender years the boy ? 
 
FRENCH THEOLOGIANS. 
 
 123 
 
 debarred from mathematical "books, with charcoal, on the wall of a garret, 
 worked out for himself problems answering to nearly the first book of Euclid 
 — without definitions or terms, — calling a circle a round, and a right line a 
 score. Whilst still young, he was a discoverer in physics. The rise of water 
 in pumps, and of quicksilver in the barometer, had, till his time, been 
 ascribed by the philosophers to the "horror of Nature for a vacuum." He 
 guessed that the cause was the pressure of the atmosphere, and verified his 
 conjecture by carrying the barometer up a mountain. He saw, agreeably to 
 his expectation, that as by the ascent the pressure gradually diminished, the 
 quicksilver as gradually fell. He had a subtle and profound metaphysical 
 intellect, with great power to express abstruse thoughts clearly and precisely. 
 His temperament was melancholy. A singular hallucination hung by him — 
 without otherwise disturbing the sound use of his faculties — that at his side 
 a visible gulph was ever yawning. The melancholy took a deeper hue as he 
 advanced towards the close of his brief life. He became religiously austere, 
 and subjected himself to personal mortification and trials, under which 
 elasticity and health gave way. Yet the pious philosopher was not without 
 the lighter qualities of the mind. His celebrated "Provincial Letters," 
 written in defence of the doctrines of the Abbey of Port Royal, against the 
 Jesuits, are bright with the keenest satire. Pascal was a great mathema- 
 tician, a true philosopher, and one of the purest of men. 
 
 295. Jacques Bexigke Bossuet. Prelate of France. 
 
 [Born at Dijon, 1627. Died in Paris, 1704. Aged 77.] 
 According to Yoltaire, the eloquence of Bossuet stands unrivalled. His 
 Universal History, published for his pupil, the son of Louis XIV., written 
 to point out the influence of Grod animating all the changes of historic events 
 — an idea expressed in the noble aphorism u Vhomme s'agite: Dieu le 
 mene ;" (man struggles and strives: but it is God who leads him). 
 His sermons, funeral orations, and controversial publications, place him in the 
 very highest rank as a writer. According to Eustace, who wrote the 
 "Classical Tour," it is the especial glory of Bossuet to have compelled the 
 French language "to become the vehicle of sublimity." In the second part of 
 the Universal History, the truths of Christianity are vindicated with a 
 lofty eloquence that is without equal in France. One of Bossuet' s contro- 
 versial works against Protestantism, converted Gibbon, in his younger years, 
 to the Roman faith. On one occasion, he was the opponent in argument of 
 the mild Fenelon. Nothing can be more striking than the contrast between 
 the styles of the fiery Bossuet and the gentler, but equally pious and learned 
 author of " Telemachus. " The illustrious Bossuet was buried in the Cathedral 
 of Meaux, of which city, his friend, Louis XIY. , had appointed him Bishop. 
 Hence he is still popularly styled " The Eagle of Meaux." 
 
 [From a marble in the Louvre, by A. Coysevox.] 
 
 296. Fhanqois de Saligistac de Lamotte Fe^lo^. Archbishop 
 
 and Writer, 
 
 [Born at Perigord, 1651. Died 1715. Aged 64.] 
 The author of "Telemachus." A meek, pious, wise, and gentle -hearted 
 man who passed through life loving all, and doing good to all. The tutor of 
 the Duke of Burgundy, the King's grandson, in whose self-willed and un- 
 governable temper, his influence and skilful management effected a moral 
 
124 
 
 PORTRAIT GALLERY. 
 
 conversion. Having engaged in a religious controversy with the celebrated 
 Bossuet, who procured his writings to be condemned at Rome, and sub- 
 sequently incurring the displeasure of Louis XIV., was banished by 
 that monarch. The resignation of the archbishop caused the king to 
 repent of his injustice, and Fenelon was recalled. Though possessed of 
 high station, great talents, and sound learning, a perfect example of humility. 
 The style of Fenelon is melodious, translucent. 
 
 [From a marble in the Louvre, by Coysevox, and taken from the life. The 
 costume is that of a bishop of the time, with the Order of the Holy Spirit 
 round the neck ; this Order was broken at the first Revolution : the form of 
 the cross is still apparent. The statue at Versailles is by Felix Lecomte.] 
 
 KINGS AND QUEENS. 
 
 296*. Chaelemagkste or Charles the Gtbeat. King of the Franks 
 and Emperor of the West, 
 
 [Born at Saltzburg, in Bavaria, a.d. 742. Died a.d. 814. Aged 72.] 
 The son of Pepin, who was the first King of France of the Carlovingian 
 dynasty. On the death of his father, in a.d. 768, crowned with his brother 
 Carloman, joint King of France. On the death of Carloman in A. d. 771, became 
 •sole ruler. In 772, commenced the subjugation of the Saxons, whom he 
 finally overthrew. Marched into Lombardy to the aid of the Pope, overran 
 the country, and caused himself to be crowned King of Lombardy in ad. 774. 
 Then passed into Spain to assail the Saracen power established there, but 
 suffered defeat at the battle of Roncesval. In a.d. 800, crowned at Rome 
 "Emperor of the West," by Pope Leo III. Engaged in ceaseless warfare 
 throughout his reign ; yet a great promoter of learning, and the founder of 
 several universities. Collecting enlightened and learned men about him, he 
 completed many national works, advanced agriculture and the arts, and 
 rendered himself immortal by the wisdom of his laws, and by the influence 
 which his magniffcent labours produced upon the destinies of mankind. He 
 was said to be the tallest and strongest man of his time. His habits were 
 of the simplest, and his frugality a pattern to the world. A steadfast 
 friend and a devoted father. He was buried with great pomp at Aix-la- 
 Chapelle, and was sincerely mourned by his subjects, who had loved him in 
 life. Few kings have so legitimately and nobly earned the title of u Great," 
 as Charles I., King of the Franks. 
 
 [ A head from the Rotonda of the Vatican. In the Louvre is a very remarkable 
 portrait of him in stucco a similar one is in the Vatican library. There is 
 also in the Vatican a large picture of the coronation of Charlemagne, which 
 contains a vast number of portraits.] 
 
 296**. Philip III. King of France. 
 
 [Born 1245. Died 1285. Aged 40.] 
 This king was surnamed " The Bold" for a reason which historians have 
 never been able to discover. He was a mere tool in the hands of his 
 Chamberlain, whom he raised to the dignity of Prime Minister, but who 
 eventually suffered as a common culprit on a gibbet. The king was wholly 
 
FRENCH MONARCHS. 
 
 125 
 
 given up to superstitious practices, and his rule was disastrous for France. 
 During this reign a plain gentleman, Rodolph, count of Hapsburg, was 
 elected Emperor of Germany, and became the founder of a line of kings in 
 Austria. We are reminded also that one of the most remarkable events 
 of this period was the momentary reunion of the Greek and Latin Churches, 
 in 1274, effected by Gregory X. at the second cecumenic council of Lyons. 
 
 297. Louis XI. King of France. 
 
 [Born at Bourges, in France, 1423. Died at Duplessis les Tours, 14S3. Aged 60. j 
 
 The son of Charles VII. and Mary of Anjou. The mother was one of the 
 most virtuous women of her age ; the son proved a bad child, a bad father, 
 a bad husband, a bad brother, a bad friend, a bad subject, and in all qualities 
 of the heart, a bad king. He was a tyrant, a cheat, a bigot ; cruel, implacable 
 in his hatred, unscrupulous in revenge, a miser, until he had an end to 
 accomplish, when he could prove a prodigal ; crafty, sanguinary, suspicious, 
 and despicably mean. He availed himself of the humbler orders to crush the 
 power of the nobility, and loved to surround himself at all times with the 
 lowest instruments for the accomplishment of his designs. Four thousand 
 persons are said to have fallen victims to his cruelty, and history records 
 that his father died of privations, self-imposed, through fear of being 
 poisoned by his son. Yet this concentration of vice was personally brave, 
 and a great promoter of letters. He introduced printing into France, and he 
 wrote a book of counsels for his son, which he called ' ' The Rose Tree of 
 Wars." He moreover left the royal authority established, and France 
 powerful. His last few years were passed in seclusion, in suspicious alarm, 
 and constant terror of death, 
 
 [A characteristic bust ; evidently a true portrait, pourtraying the well-known 
 bigotry and cruelty of the man.] 
 
 298. Louis XII. King of France. 
 
 [Born at Blois,in France, 1462. Died in Paris, 1515. Aged 53.] 
 The son of Charles, Duke of Orleans, and heir presumptive to the throne, 
 during the minority of Charles VIII. Disputing the Regency with the 
 mother of Charles VIII, he was defeated, and suffered severe imprisonment 
 for the space of three years. Liberated by King Charles in person, he con- 
 ceived a warm friendship for the young monarch, which was never broken. 
 In 1498, when Charles died without issue, Louis succeeded to the French 
 throne. His reign was fruitful of good to, his country. He forgave his 
 enemies, re-established discipline and order in his army, economized the 
 resources of the state, and made the army of France victorious abroad. He 
 appointed the judges of the land for life, in order to secure their integritj^, 
 encouraged literature and science, and liberally rewarded men of talent. He 
 was three times married, his last wife being Mary, sister of Henry VIII. of 
 England. During his reign, Gaston de Foix fell at Ravenna, and the autho- 
 rity of the Pope was suspended in France. Louis was of a frank and 
 generous nature, and was called "the Father of his People." 
 
 [From the bronze half-figure in the Louvre.] 
 
 299. Feaistcis I. King of France. 
 
 [Born at Cognac, in France, 1494. Died at Rambouillet, 1547. Aged 53.] 
 The son of Charles of Angouleme, and cousin-german of Louis XII. of 
 France, whose daughter he married, and whom he succeeded on the French 
 
126 
 
 PORTRAIT GALLERY. 
 
 throne. A libidinous king, with many knightly qualities, and with all the 
 bigotry and self-absorption that characterized too many of the despotic rulers 
 of his time. He was a great encourager and patronizer of letters and the 
 fine arts : but he had no mercy towards the heretic, and, in 1535, he forbade 
 printing in France under pain of death. Not a successful warrior ; he was 
 taken prisoner at Pavia, during a war with Spain, and detained at Madrid 
 for the space of a twelvemonth. His meeting with our own Henry VIII. on 
 the Field of the Cloth of Gold, in 1520, is known to every reader of history. A 
 lustre is shed upon the reign of this monarch in consequence of his magnificent 
 patronage of art, but his life otherwise presents as little for admiration as the 
 satyr-looking bust which no doubt faithfully records the lineaments of the man. 
 His passions were violent and gross : and though he received the dignity of 
 knighthood from the hands of a subject, yet even the sword of a Bayard 
 could not endow him with virtue enough, to protect him from wilful 
 prodigality, selfish follies, and open debaucheries. 
 
 [From tlie bronze in the Louvre by Jean Cousin, representing the king in com- 
 plete armour, interesting as a work of the time, but far less real as a portrait 
 than the head 299a, which is from the celebrated monument at St. Denis, 
 by P. Bontemps, where the king is sculptured lying dead, and perfectly naked. ] 
 
 299a. Feaxcis I. King of France, 
 
 300. Chaeles Y. Emperor of Germany and King of Spain, 
 [Born at Ghent, in Belgium, 1500. Died in Estremadura, in Spain, 1558. Aged 58.] 
 The reign of this undoubtedly great monarch is chiefly remarkable for 
 the rivalry which, during twenty-eight years, subsisted between him and 
 Francis I., of France, leading to European war, and to battles of varied 
 fortune. Charles inherited Germany from his father, Spain from his 
 mother ; but the Empire was boldly disputed by Francis I. , and thus 
 war commenced. After alternate success and defeat, Charles over- 
 came his rival at Pavia, in 1525, and took him prisoner. Gaining 
 his freedom the following year, Francis allied himself with Henry VIII. 
 of England, but Charles V. still contrived to obtain good terms 
 by the treaty of Cambrai, in 1529. The wily Emperor now 
 caused himself to be crowned Emperor of Rome, and then engaged in a 
 crusade against the Turks. War again broke out with France ; but this 
 time fortune turned against Charles, and never pronounced in his favour 
 again. Suffering reverse upon reverse, his army beaten by disease as 
 much as by the enemy — he himself forced to flee, almost alone, for safety 
 — he was thrown into a depth of calamity as profound, as his previous 
 condition had been brilliant and lofty. Resigning his crown in favour of 
 his son Philip, he retired to a monastery in Spain, where he closed his career. 
 Charles was sagacious, cool, crafty, and obstinate, with great grasp of intel- 
 lect ; cruel and hypocritical, yet not without some knightly qualities. He 
 affected great piety, especially in his later years, but there was more of 
 policy than of spiritual conviction in his religious movements. One of his 
 first acts as king, was to convene the Diet of Worms, to which he gave 
 Luther a safe conduct. He treated the Protestants with cruel harshness. 
 No two characters could have been more opposite than those of tls Royal 
 and Imperial rivals. Their points of difference are admirably described 
 by Robertson. 
 
 [From a medallion in bronze in the Louvre. Compare with Titian's portrait, often 
 
 engraved. ] 
 
FRENCH MONARCHS. 
 
 127 
 
 301. Charlotte, or Carlota d'Ayesne, Duchess of Yalentino. 
 
 [Died, 1514.] 
 
 A princess less illustrious for her great beauty and mental endowments, 
 than for her virtue and piety. First married to Charles, Prince de Chimey ; 
 afterwards forced by Louis XII., to marry the infamous Caesar Borgia, 
 whose misfortunes she shared without participating in his vices. 
 
 302. Hekry II. King of France. 
 
 [Born at St. Germain-en-Laye, in France, 1518. Died in Paris, 1559. Aged 41.] 
 
 The son of Francis I. He pursued the policy of his sire, carried war into 
 Italy, and strenuously opposed the House of Austria under Charles V. and 
 Philip II. He also took arms against England, and was bitter in his perse- 
 cution of Protestants. In his reign France recovered from England the 
 towns of Boulogne and Calais, the latter of which England had held for the 
 space of 210 years. Henry II. was an average king of the time. He was 
 the slave of his mistress, the celebrated Diana of Poitiers, upon whom, and 
 upon his favourites, he lavished his wealth. ; he cultivated libertinism at 
 Court, he robbed the people, he overstepped his legitimate rights, and he left 
 his country largely in debt. Historians thank Providence that it was no 
 worse. This monarch died of an accidental wound, in a tournament, from 
 the hand of Montgomery, the chief of his Scotch guards. 
 
 [From a marble in the Louvre, by Jean Goujon. A very interesting relic, 
 formerly part of a beautiful chimney-piece brought from the Chateau de 
 Villeroy, and now in the Louvre, the work of Germain Pilon. No 302a is 
 from the marble by Germain Pilon, the celebrated sculptor of the French 
 Renaissance. The marble is very much decayed, but the general character 
 of the head is preserved, as well as the costume. The head is crowned with 
 laurel. The mantle is ornamented with the fieur-de-lys, and the Order is 
 that of St. Michel. The magnificent tomb of this king in St. Denis is by 
 Pilon.] 
 
 302a. Heney II. King of France. 
 
 303. Chaeles IX. King of France. 
 
 [Born at St. Germain, 1550. Died there, 1574. Aged 24.] 
 The son of Henry II. and Catherine de Medici. He was brought up 
 under the tutelage of his mother ; and at an early age, gave promise of a 
 good career, exhibiting a taste for literature, princely courage, and a love of 
 glory. But under the influence of his pernicious mother, he became profli- 
 gate and cruel. His unenviable reign is notorious for the horrible Massacre 
 of St. Bartholomew, when thousands of Protestants were deliberately mur- 
 dered. Eemorse for this tremendous crime followed Charles IX. to his grave, 
 into which he was prematurely cast by diseases, the result of his debaucheries. 
 [From a marble in the Louvre, attributed to Germain Pilon. It represents the 
 king in his youth. The pedestal is inscribed, Carolus IX. 1568.] 
 
 304. Hexhy III, King of France. 
 
 [Born at Fontainebleau, 1552. Died at St. Cloud, 1589. Aged 37.] 
 The son of Henry II. and Catherine de Medici. He acquired military 
 fame as Duke of Anjou, by the victories of Jarnac and Moncontoni, gained 
 over the Huguenots. In 1573, he was elected King of Poland ; but on the 
 death of his brother, Charles IX. of France, he relinquished the sovereignty 
 of Poland for that of France. As King, his early energy and manly courage, 
 
123 
 
 PORTRAIT GALLERY. 
 
 gave place to shameless vice and debauchery. He was surrounded by the 
 most unworthy favourites, who caused his reign to be designated as "The 
 reign of the minions." He had had a hand in the Massacre of St. Bartho- 
 lomew ; but at a later period, driven out of his own capital by a faction,, he 
 formed an alliance with Henry of Navarre, the chief of the Protestants, and 
 with that prince he laid siege to Paris. He was thus employed at the camp 
 of St. Cloud, when he was assassinated by a monk, named Jacques Clement. 
 Henry III. has been described, by some historians, as a pupil of Machiavelli,, 
 concealing a profoundly devised plan beneath his gross immoralities, obsceni- 
 ties, and blasphemies. His acts were frequently those of a madman, yet 
 he was not without good qualities. He was the last king of the house of 
 Valois. It had reigned 261 years, and given 13 monarchs to France. 
 
 [From the marble in the Louvre, by Germain Pilon. Like its fellow, No. 302a > 
 very much eaten away, as though at some time exposed to the weather.] 
 
 305. Henry IY. King of France. 
 
 [Born at Pau, in France, 1553. Assassinated in Paris, 1610. Aged 57.] 
 Educated in the reformed religion by his mother, Jeanne d'Albret, he 
 became head of the Huguenot party : as such he took part in the civil wars^ 
 which arose in the reign of Henry III., and was in consequence excommu- 
 nicated by Pope Sixtus Y. Acknowledged King of France by a portion of 
 the French army after the death of Henry III., he took arms against the 
 League, vanquished its followers in several engagements, and finally entered 
 Paris, after professing his adherence to the Reman Catholic faith. In the 
 reign of Henry IV. the humane Edict of Nantes, which gave toleration to 
 Protestantism, was promulgated, and the sagacious reforms of the Minister 
 Sully, a Protestant, helped largely to the restoration of order, and to the 
 development of the public resources. The arsenals were replenished, roads 
 and canals were made, taxation was reduced, and the industry of the people 
 fostered. Whilst this salutary work was going on, and Henry IV. and his 
 Minister were negociating the most important treaties with the various 
 powers of Europe, in order to establish a general confederacy and a lasting 
 peace, the monarch fell by the knife of Kavaillac, a fanatic. Henry IV. 
 was an unfaithful husband, and unstable in his religion. He had many 
 mistresses, and he twice abjured his faith : but he was the author of the 
 edict of Nantes. 
 
 305a. Heney IY. King of France. 
 
 [A very elegant statuette of the time. The head beautifully sculptured, and 
 evidently a good portrait.] 
 
 306. Makie de' Medici. Queen of France. 
 
 [ Born at Florence, 1573. Died at Cologne, 1642. Aged 69.] 
 Daughter of Francis II., Grand Duke of Tuscany ; wife of Henry IV. of 
 France ; and mother of Henrietta-Maria, the queen of Charles I. of England. 
 She wedded Henry IV. after he had divorced his first wife, Margaret of 
 Valois, and the alliance was not a happy one. Crowned the day before 
 the assassination of her husband, at which some of her contempora- - 
 ries more than suspected that she herself connived. But no proof of her 
 guilt has been forthcoming. llegent during the minority of her son 
 Louis XIII. , she threw France into confusion by her misgovernment, 
 prodigality, intrigues and wilfulness. The confusion ended in civil war. 
 
FRENCH MONARCHS. 
 
 129 
 
 Resigning the regency when Lonis XIII. attained his majority, she took up 
 arms against her son ; but reconciliation being made through the inter- 
 vention of Richelieu, then Superintendent of her household, she introduced 
 that great and wily man into the counsels of the king. Richelieu, appointed 
 Prime-Minister, arrested his former mistress at Compeigne, and threw her 
 friends into the Bastile. The sun of Mary had finally set : she became 
 an outcast and a wanderer in Europe. Our own Charles I. found his 
 mother-in-law an asylum ; but he himself was soon in need of human 
 charity, and the abased queen must needs creep to Cologne, where she lived 
 in obscurity and died — as travellers are still shown — in a garret. A weak 
 woman, with strong passions. Ambitious, jealous, irascible. In her 
 character, as with all men and women — even the worst— there is one brighter, 
 spot for contemplation. She introduced into France an enlightened and a pure 
 taste for art. There still exist some specimens of engraving by her hand. To 
 her, Paris owes the Palace of the Luxembourg, and, for her, Rubens painted a 
 gallery still possessed by France.. 
 
 [The companion statuette to 305a.] 
 
 307. Louis XIII. King of France. 
 
 [Born at Fontainebleau, 1601. Died at St. Germain, 1643. Aged 42.] 
 
 He succeeded his father Henry IV. when nine years old. In 1614, his 
 majority was declared : in the following year he married Anne of Austria. 
 His reign is chiefly remarkable for the ascendancy acquired over the King 
 and his government, by Cardinal Richelieu, whose policy, although directed 
 by personal ambition, elevated the power of France and prepared it for the 
 glory of the succeeding reign. Louis XIII. was surnamed ' 'The Just:" 
 but the good, which he desired, he had neither firmness nor enlightenment 
 enough to secure. He was timid and diffident, though scrupulous, sincere, 
 and pious. He had a melancholy nature. Grandeur had no seductions for 
 him, and it could not be said that he enjoyed the sweets of private life. 
 His mother Richelieu caused to be banished, and Louis suffered her to die in 
 misery at Cologne ; an unfilial act to be attributed rather to weakness of 
 character, and the influence of the Cardinal, than to deliberate unkindness. 
 He was the father of Louis XIV. 
 
 [From a fine portrait statue in bronze, by Simon Guillain of Paris, who died 
 in 1658. The original is in the Louvre, and a copy of it is at Versailles : it 
 has lost a spur and the fleur-de-lys which was at the top of the sceptre. The 
 King wears the royal fleur-de-lys mantle over his armour, and the grand 
 collar of the Order of the St Esprit. He holds the sceptre in one hand, and 
 stretches out the other, as if giving a command. There is an interesting 
 bust at Versailles of the same King when a boy, and no doubt from the life. ] 
 
 307a. Louis XIII. King of France. 
 
 [From the marble statue in the Louvre, by Guillaume Couston, a pupil of 
 Coysevox, who died at Paris in 1746. The King wears the royal fleur-de-lys 
 mantle, and on his knees offers his crown and sceptre to the Virgin. The 
 15th of August, 1638, the day on which Louis XIV. was born, was ordered 
 to be celebrated by a solemn procession in Notre-Dame ; and throughout 
 France, to this day it is kept in the Cathedral, and called the ceremony of 
 the Vow of Louis XIII. The attitude chosen by the sculptor is thus 
 explained. There are several other examples of the same kind at Versailles ; 
 the statue of Louis XIV. (No. 308) is one. At Versailles there is a similar 
 statue by Coysevox, and a bust by Warin.j 
 
 K 
 
130 
 
 PORTRAIT GALLERY. 
 
 307. * Anne of Austkia. Queen of France, 
 
 [Born in Spain, 1602. Died in France, 1666; Aged 64.] 
 The daughter of Philip II. of Spain, and wife of Louis XIII. of France , 
 She was neglected by the King, her husband, and had no influence in France 
 during his lifetime. But upon his decease, the parliament annulled his will, 
 which had restricted the Queen's power, and gave her the unlimited Regency 
 of the kingdom, and sole guardianship of her son, Louis XIV. She appointed 
 Cardinal Mazarin her Prime Minister, and the alliance thus formed between a 
 Spanish princess and an Italian priest, gave rise in France to the civil wars 
 of "La Fronde." In spite of the opposition which she encountered, she 
 made over the sovereignty of France unimpaired to her son when he reached 
 his majority. Of a mild and docile temper, religious and charitable. As a. 
 mother she was devoted to her children, and sought to imbue them with 
 high moral and religious principles. 
 
 [Mask from the statue referred to in note No. 308.] 
 
 308. Louis XIV. King of France, 
 
 [Born at St. Germain, 1638. Died 1715. Aged 77.] 
 The son of Louis XIII. and Anne of Austria. He ascended the throne at 
 five years old — his mother being Regent during his minority — and reigned 
 72 years, longer than any other King of France. Until the death of 
 Mazarin in 1661, Louis XIV. suffered the adroit Cardinal to rule. From that 
 hour until his own death, no man governed but himself. This renowned 
 monarch survived nearly the whole of his family, and when he died, the 
 crown, as in his own case, came to the charge of a child — his great grandson — 
 then in his fifth year. The reign of Louis Quatorze was singularly eventful 
 within and without the realm. It embraced wars, marked now with splendid 
 successes, and now with formidable reverses. He aimed at universal 
 monarchy, and endangered his own. He sustained, in the War of the Succes- 
 sion, the defence of Spain and France against united Europe — a war in which 
 the allies hoped to dismember France, that did not lose a province. Under 
 this king, the soil of France was stained with the blood of her children in 
 religious civil conflict; the most industrious and the best, slaughtered for their 
 faith, or exiled. A magnificent Court surrounded his person — the centre to 
 the politeness of Europe, its stately decorum veiling great moral corruption. 
 Jealous of his prerogatives and of his supremacy amongst kings, Louis XIV. 
 was still more jealous to be thought the best bred gentleman of his time. 
 In this reign, the marine, the commerce, aud the manufactures of France 
 made a vast stride. Arts, letters, and science were royally encouraged. It 
 is looked back upon as the Augustan age of French literature, when the 
 writings of Corneille, Racine, Moliere, and Boileau — of Masillon, Bossuet, 
 Fenelon, seemed to have fixed the language. The age of Louis XIV. was 
 ihe age of glory to the French monarchy ; and splendidly dissolute, and, in 
 many respects, hollow, as it may have been, we still revert to its records 
 with a fascination that never palls, and an interest that becomes more acute 
 fche more it is gratified. 
 
 [This statue, representing Louis as a child, is from a bronze by Guillain, which 
 formed, with a statue of Anne of Austria, and one of Louis XIII., a group of 
 three, as a monument to commemorate the building of the Pont-au-Change, 
 begun by Louis XIII. in 1639, and finished under Louis XIV., 1647, while 
 Anne was Regent. The monument was destroyed in 1787 ; but the statues 
 are in the Louvre, as well as the great bas-relief. The bust of Anne of 
 Austria (No. 307*; is taken from the statue.] 
 
FRENCH KINGS AND QUEENS. 
 
 131 
 
 308a. Louis XIV. King of France, 
 
 [From the marble, by Ch. Ant. Coysevox, in the Louvre and at Versailles. 
 The King, kneeling on a cushion where his crown is placed, is dressed in 
 the Royal mantle, with the Orders of the Holy Spirit and St. Michel. There 
 are numbered no fewer than twenty -two busts, statues, and medallions of this 
 favourite King at Versailles. Four are equestrian statues in bronze ; one by 
 Martin Bogaert, called Desjardins, and two by Louis Petitot, done in 
 1834. The statue in bronze by Desjardins, which once stood in the Place des 
 Victoires, was destroyed in 1793. The four slaves which stood chained at the 
 angles of this statue were alone preserved, and are now at the Hotel des 
 Invalides, at Paris.] 
 
 309. Louis XV. King of France. 
 
 [Born at Versailles, 1710. Died there, 1771. Aged 64. J 
 He succeeded his grea t grandfather, Louis XI V. , in the fifth year of his 
 age. He was styled "the well beloved." In his 34th year, on the field of 
 Fontenoy, he gave proof of courage. Up to the prime of manhood, he gave 
 equally satisfactory evidence of many good qualities of heart and head. But 
 indolence and vicious habits, subsequently contracted, rendered the latter 
 half of Louis's reign one of the most disgraceful and profligate that France 
 had witnessed. The shameless proceedings which had stained the career of 
 his guardian, the Regent Orleans, were re-enacted in his own vicious 
 Court. The disasters of France abroad during this degraded time, the 
 destruction of her navy, the financial crisis that followed that catastrophe, 
 the corruptions that were eating into the very heart of the State, and the 
 immorality that characterized the higher classes, were the natural forerunners 
 of the frightful storm that burst over France in the following reign. Louis 
 XY., once "the well beloved," died execrated by his subjects, who insulted 
 his wretched remains, as they were passing to their last home. 
 
 309a. Louis XV. King of France. 
 
 [From the marble, in the Louvre, by Guillaume Couston the son, who died at 
 Paris, 1777. The costume, in accordance with the fancy of the day, is that 
 of a Roman general, as we see in the statue of King James II., of England, 
 (No 491). The King holds in his right hand a sceptre reversed, and with his 
 left presents a baton of a Marshal of France At Versailles, are several 
 authentic busts of the time of this monarch, besides a copy of this statue, 
 and an equestrian statue in bronze, by Bouchardon. The date of this work 
 is about 1728.] 
 
 310. Marie Antoinette Josephine Jeanne. Queen of France. 
 
 [Born at Vienna, 1755. Guillotined 1793. Aged 38.] 
 The unfortunate daughter of Francis L, Emperor of Germany, and the 
 illustrious Maria Theresa of Austria. In 1770, before she was sixteen, 
 married to Louis the Dauphin, who in 1774 became King of France, under 
 the title of Louis XYI. At the breaking out of the French Revolution, 
 every public disaster was laid to her charge by the maddened people, and 
 after the execution of her husband, she was herself condemned to death. On 
 her way to the scaffold, she was for two hours reviled by a ferocious mob ; 
 but resignation and sweetness of demeanour only could be traced on her 
 countenance. Her hair had been turned silvery white by her many troubles, 
 and a settled melancholy was stamped on her beautiful features. After her 
 execution, her body was immediately consumed with quick lime. The 
 murder of this unhappy lady was the most crimson spot in all the bloody time 
 of the French Revolution. She was of a playful, happy, cheerful disposition, 
 devoted to her family, benevolent to all. Her purity is beyond question, her 
 
 K 2 
 
132 
 
 PORTRAIT GALLERY. 
 
 heroism perfect. In mixing in public concerns, which she did not under- 
 stand, she betrayed imprudence. In despising etiquette she laid herself 
 open to the worst criticisms of her ungenerous foes ; but her character shines 
 unsullied after cruel persecution, horrible imprisonment, and ignominious death. 
 [From the marble in the Louvre by Lecomte.] 
 
 311, Napoleon Buonaparte. Emperor of France. 
 
 [Born at Ajaccio, in Corsica, 1768. Died at St. Helena, 1821. Aged 53.] 
 A soldier of fortune at the outset of his career. Lieutenant of Artillery, 
 1785. First Consul of France, 1799. Emperor of France in 1804, when he 
 was but 36 years of age. Discrowned exile, and prisoner, 1815. The 
 military prodigy of his age. His story reads like a romance of eastern 
 enchantment ; for he made and unmade kings at his will, and confounding 
 all the established conceptions and expectations of men, asserted and won his 
 right to fix for a time the destinies of nations. His extreme hour of greatness 
 was in 1813, after the fearful retreat from Russia, when in a few months he 
 summoned a new army to his side from the fields of exhausted France, and 
 alone defied, and almost overcame, the united strength of the rest of civilized 
 Europe. The most ignoble period of his life is found on the barren rock of 
 St. Helena, when, treacherous to his former grandeur, he was afflicted and 
 absorbed by the worthless and passing annoyances of the moment. His 
 career was that of a dazzling meteor, astonishing all men in its fiery passage, 
 but creating little else than amazement, and admiration mingled with fear. 
 Not naturally cruel, he enacted cruelties. Brave in the field, he lacked the 
 true heroic element. He used all men for his own advancement, and 
 counted human life valueless, when its sacrifice might add to his imagined 
 glory. Superstitious, but not religious. Framed for intensest exertion, 
 indefatigable, impatient, irritable, untruthful, theatrical, petty. Yet a 
 grand lawgiver ; cognisant of the wants of men, and capable of meeting them, 
 had his lust of ambition suffered him to provide for the interests of his people 
 as sedulously as for his own. His character, a singular conflict of great virtues 
 with small vices, and of great vices with small virtues. The most splendid 
 soldier since the days of Julius Caesar, and the idol of his army. The uncle 
 of Napoleon III., the present Emperor of France. 
 [From the marble in the Louvre by Houdon.] 
 
 311 a. Napoleon Buonaparte. Emperor of France. 
 
 [The colossal bust by Canova.] 
 
 311b. Napoleon Buonaparte. Emperor of France. 
 
 [An ideal bust by Thorwaldsen, supported on the French eagle with palm 
 branches.] 
 
 311c. Napoleon Buonaparte. Emperor of France. 
 
 312. Louis Philippe. King of the French. 
 
 [Born in Paris, 1773. Died at Claremont, in England, 1850. Aged 77.] 
 A monarch who ascended the throne of France on the neck of one Revolu- 
 tion, and was hurled from it by the heel of another. A king who had borne 
 adversity bravely in his youth, yet was unequal to sustain prosperity in his 
 age. The most remarkable example of the proverb that "a Bourbon learns 
 nothing, and forgets nothing." If any Bourbon could prove an exception to 
 the rule, Louis Philippe must have been the man. He had great sagacity ; 
 
FRENCH MONARCHS. 
 
 133 
 
 lie had mixed for many years with all ranks and conditions of men. He had 
 acutely felt the want of the means of living. He had been forced to earn his 
 own bread by humble day labour. He had travelled in America, resided in 
 England, had read much, observed more. Yet in 1848, after a reign of 18 
 years, he conducted himself towards the French nation with a blind obsti- 
 nacy and wilful disregard of consequences, worthy of a sovereign who had 
 been suckled in the lap of despotism, and fed for ever afterwards upon 
 obsequious flattery, and all the other dainty diet of a Court. Louis Philippe 
 had many good qualities of heart. He was beloved by his wife and children, 
 and was a true hero at the domestic hearth. He had also a shrewd, active, 
 well-informed mind. Nor did he act without a principle in his dealing with 
 his subjects. But unfortunately his love for his family led him into foolish 
 schemes for their advancement, his shrewdness overreached itself, and his 
 principle of action was based upon a fallacy. He imagined that he could 
 satisfy his people with the very husk and rind of constitutional government, 
 and flatter them with the conviction that they were chewing and enjoying the 
 kernel. Corruption was hardly greater in the days of the Regency, than 
 towards the untimely close of the reign of Louis Philippe, but the rottenness 
 under the later Orleans was veiled beneath forms demanded by the spirit of 
 the age, and conceded by the King in a spirit of mock complaisance and quiet 
 irony. Few men have had greater opportunity than the King of the 
 Barricades. None have so desperately disappointed hope and baffled expecta- 
 tion. The history of the House of Orleans is full of instruction for all who 
 bear the name : but no chapter is so fraught with momentous interest to the 
 living chief of the House as that which tells the extraordinary and calamitous 
 history of Louis Philippe. 
 
 [From the Marble, by J. E. Jones, 1845.] 
 
 12*. Louis Napoleox. Emperor of France. 
 
 [Born 1808. Still living.] 
 The third Emperor of the name, and not the least remarkable of his 
 extraordinary race. The opinions formed of the present Emperor of France 
 from his earlier history, have all been belied by his subsequent career. He has 
 been an exile, a prisoner, a wanderer, an outcast. When he has ceased to 
 be an object of suspicion, it was only to become a subject for ridicule. 
 Of all pretenders to thrones in Europe, he has been held the least likely to 
 obtain, by any change of circumstances or overthrow of dynasties, supreme 
 dominion. When kings, in their fear, have reckoned over the names of those 
 from whom danger might be expected, and have exhausted the entire 
 list by including all possible representatives of peril, Louis Napoleon 
 has not been in the number. He lived for years in London, and 
 on the 10th of April, 1848, when special constables were enrolled for 
 the preservation of menaced order, he sallied forth with his neighbours, and 
 performed street duty with the humblest. He was so poor in England, that 
 his gocds were sold to pay his debts. Yet at this hour the diadem binds his 
 brow, and his foot is firmly planted upon the summit of power in tranquil- 
 lized France, and we all pray Heaven in the interests of humanity, 
 civilization, and peace, to maintain it there. Since the accession of 
 Napoleon III., all his exertions have been directed to the development of 
 the material resources of his country, and to the upholding of that good 
 understanding amongst nations which is essential to the continuance of social 
 
134 
 
 PORTRAIT GALLERY. 
 
 prosperity. Europe lies under great obligations to his sagacity, and England 
 has cause to rejoice in his friendship. When he married, he called himself a 
 " parvenu."' His wisdom, moderation, and good faith have attached him 
 to the heart of public opinion more closely than though, upon an insincere 
 brow, he had brought to his imperial throne the stamp of a hundred kings. 
 [From the marble by Barre, 1853.] 
 
 312a. Louis Napoleox. Emperor of France. 
 
 [From the marble by J. E. Jones.] 
 
 312**. Eugenie Marie Guzman. Empress of France. 
 
 [Born 1826. Still living.] 
 The wife of Napoleon III., before her marriage with whom she was 
 Countess Montijo of Teba. 
 
 THE GKEKMAN POETEAITS. 
 
 ■ * 
 
 INTRODUCTION. 
 
 Ludwig, King of Bavaria, first conceived the idea of raising a 
 monument to the national glory of Germany. In the year 1807, 
 he planned the Walhalla, a grand hall for'' the reception of the 
 statues and portrait- busts of celebrated Germans, borrowing the 
 title of the structure from the old Norse language, the name being 
 that of the palace into which Odin, the Scandinavian Jupiter, 
 received the souls of the slain heroes. The idea, however, 
 remained undeveloped until the important part played by 
 the soldiers of Germany in the final overthrow of Napoleon 
 gave a new impulse to the great scheme of the king. In 1821, 
 he entrusted his architect, Leo von Klenze, with the execution 
 of his plan. But it was not until 1830 that the design was 
 sufficiently matured for building ; and, after the laying of the 
 first stone, twelve years were occupied in consummating the work. 
 The Walhalla was inaugurated October 18th, 1842. 
 
 The Walhalla stands in a commanding position on the banks of 
 the Danube, close to the little town of Donaustauf, and not far 
 from Kegensburg. It is a noble building of the Doric order, 
 resembling the Parthenon of ancient Greece, 230 feet long, 108 
 feet broad, and 64- feet high, having a colonnade on every side. 
 It is based upon a massive structure of Cyclopean stone work formed 
 into three terraces, and is approached by a grand flight of steps. 
 
 The pediments at each end are filled with marble statues by 
 
THE GERMAN PORTRAITS. 
 
 135 
 
 Ludwig Schwanthaler. The south pediment, looking over the river, 
 contains an allegorical subject designed by Ranch, and sculptured 
 by Scliwanthaler. Germany is here as a female figure surrounded 
 by young warriors, who represent the different States of Germany, 
 presenting to her the chief fortresses under the form of young 
 women. The north pediment is entirely by Schwanthaler. It 
 represents the battle between Hermann and Varus. 
 
 The interior forms a noble highly-decorated hall in the Ionic 
 style, with polished marble walls and painted mouldings, the floor 
 being also richly inlaid with marbles. The hall is 168 feet long, 
 48 feet broad, and 53 feet high. The entablature is supported by 
 14 Caryatides, treated as Walkyren, the Chusers of Slaughter in the 
 old Germanic mythology, each being 10 feet 9 inches high. They are 
 modelled bySchwanthaler, and executed in marble by his pupils ; the 
 figures being painted in the manner supposed to have been practised 
 by the Greeks : the hair is brown, the flesh ivory colour, the tunics 
 are of violet colour, the upper drapery white with red and gilt 
 edges, and the bearskins gilt. A frieze runs round the hall, on 
 which is sculptured the history of the Germans, from their origin 
 in the mountains of the Caucasus to their baptism by Bonifazio. 
 This frieze is the work of Martin Wagner, a Bavarian sculptor, 
 living at Rome, assisted by Schopf and Pettrich. It is in marble, 
 and measures 3 feet 4 inches in height, by 292 feet long. 
 
 Six statues of Victory, larger than life, and sculptured by Ranch, 
 are arrayed round the hall. Between these are placed the busts 
 of the great men of Germany, in six groups, numbering, in all, 96. 
 They begin, chronologically, with Arminius, who repelled the Romans, 
 and King Harry I. (a.d. 876 — 936), and come down to Blucher 
 and Schwarzenberg. The Poets are represented from the medieval 
 Minne and Meister-singers, down to Goethe and Schiller. All these 
 busts are however modem works of art 5 the earliest dating from 
 1794. 
 
 The " Ruhineshalle" (or " Hall of Fame"), at Munich, contains 
 another collection of portrait-busts of celebrated Germans. This, 
 like the Walhalla, was established by Ludwig, King of Bavaria, 
 and built by the architect Klenze. It was commenced in 1843, and 
 completed in 1853. It is well situated upon a hill which rises from 
 a flat of some extent near Munich, called after the Queen of Louis, 
 66 die Theresen- Wiese. " It is in the Doric style of Greek architec- 
 tre, 230 feet long, by 150 feet broad, and 60 feet high, and is 
 surrounded by 4.8 columns, 24 feet in height. Within the 92 
 metopes are 44 figures of Victory, and 48 representations of the 
 
136 
 
 PORTRAIT GALLERY. 
 
 principal events in the progress of Bavaria, designed and executed 
 by Schwanthaler. The pediments also are ornamented with statues 
 in marble by the same artist, personifying the provinces of the 
 present kingdom of Bavaria. The statue of Bavaria, a cast from the 
 head of which is in the Crystal Palace ( See No. 205 of the Hand- 
 book of Modern Sculpture), stands in front of the building. 
 
 Some of the German portraits enumerated in the following pages 
 are copies from portraits in both collections above referred to. 
 There are also some portrait-busts of which the originals exist in 
 the " Royal Museum," and in the 66 Lager-Haus," at Berlin. 
 
 (The German Portraits begin immediately behind the Statue of Sir 
 Robert Peel at the south-west angle of the Great Transept and 
 Nave.) 
 
 ARTISTS AND MUSICIANS. 
 
 313. Peter Paxil Rubens. Painter. 
 
 [Bom at Cologne, in Germany, 1577. Died at Antwerp, in Flanders, 1640. Aged 63.] 
 One of the most prolific and famous painters; not of the Flemish school 
 only, hut of the world. His life as untroubled as his genius was grand. 
 Crowned heads courted him, wealth followed him, and until immediately 
 before his death he knew not the sorrow of sickness. He passed happily 
 through life, multiplying with astonishing rapidity those marvellous pictures 
 which have associated his name for ever with the idea of glorious colour. He 
 left paintings in France and in Spain, and both countries vied with each other 
 in loading the great artist with well merited honours. He came to England in 
 the reign of Charles I. as Envoy from the Spanish court, and in England fresh 
 dignities awaited him. As a painter, he is memorable for the harmony, beauty, 
 and mellow richness of his colouring, which flings a surpassing charm over 
 every one of his productions. His men are always powerfully drawn and 
 characterized with wonderful variety ; but for the graceful and ideal repre- 
 sentation of the more delicate sex, we have only the coarse type of his 
 countrywomen. His portraits are fresh, vigorous, and carefully executed. 
 His most celebrated work, The Descent from the Cross, at Antwerp, is a 
 wonderful creation, both for expression and feeling. In landscapes, Rubens 
 was also most happy. In all his works there is a luxuriance of life and 
 vigour and passionate expression. In person he was tall, majestic, and 
 extremely handsome ; in temperament energetic and enthusiastic ; in his 
 manner of living plain and moderate ; in his dealings with his brother 
 artists, gentle and munificent as a prince. Amongst his pupils he reckoned 
 Vandyke, Teniers the younger, Jordaens, and Sneyders. 
 
 [For a description of this noble statue, see No. 107, Handbook of Modern 
 Sculpture. 1 
 
 314. Georg Friedricii Handel. Musical Composer. 
 
 [Born at Halle, in Saxony, 1684. Died 1759. Aged 75.] 
 This magnificent musician, the dominant characteristics of whose genius 
 
GERMAN ARTISTS AND MUSICIANS. 
 
 137 
 
 are grandeur, spirituality, and solemnity, was the son of a surgeon. Having 
 in his youth displayed a passionate love for music, and having travelled 
 much with the view of gaining instruction in Germany and Italy, he went 
 to London, at the age of twenty-six, and there composed, by order of Queen 
 Anne, the "Te Deum"and "Jubilate," which, in 1714, were performed 
 at St. Paul's. Subsequently became Director of the Opera, in the Haymarket, 
 for the production of his own works : a large subscription, headed by George I., 
 enabling him to open the theatre. The scheme falling to the ground, in 
 consequence of the quarrels of the singers, Handel abandoned the stage, and 
 devoted his powers to the production of those sublime oratorios that have 
 immortalized his name. In 1740, he composed "Saul;" in 1741, "The 
 Messiah ;" the last a three weeks' work. Other great oratorios followed. In 
 1750, he lost his sight, and from that time until his death he gradually 
 declined. He was buried with great pomp in Westminster Abbey. This 
 mighty musician was infirm of temper, and imperfectly educated. When 
 roused, he was violent and ungovernable. A singer once refused to sing one 
 of his airs. Handel, seizing the man in his arms, and pale with rage, 
 threatened to throw him out of the window if he persisted in the refusal. 
 His countenance wore a rough expression, though he was good-natured 
 when not agitated. He stands at the head of the greatest masters of music ; 
 and, as a performer on the organ, he was without a rival. 
 
 [In the Musical Collection of the Royal Library at Berlin. The artist is not known, 
 but it bears many evidences of being a truthful portrait, and is altogether a more 
 characteristic head than the conventional portrait by Roubiliac No. 314a.] 
 
 314a. Georg Feiedbich Haxdel. Musical Composer. 
 
 [From the marble by Roubiliac] 
 
 315. Johan Joachim Winckelma^n. Antiquary. 
 
 [Born at Steindal, in Germany, 1717. Died at Trieste, in Austria, 1768. Aged 51.] 
 The son of a shoemaker, and self-educated. At thirty became a Roman 
 Catholic, and journeyed to Rome, where he studied the antique, and pub- 
 lished his celebrated "History of Art." At Trieste he was murdered by a 
 felon, for the sake of the medals conferred upon him by the Courts of Austria 
 and Bavaria. His investigations into the true principles and significance of 
 high art, more especially of antique sculpture, led the way to the enlightened 
 criticism of Lessing and Groethe. 
 
 [By Doel. It was placed in the _Capitoline Museum at Rome, by Geo. F. 
 Reiffenstein.] 
 
 315*. Anthony Raphael Mengs. Painter. 
 
 [Born at Aussig, in Bohemia, 1728. Died at Rome, 1771. Aged 43.] 
 Surnamed, but without much reason, the Raffaelle of Grermany. 
 He studied assiduously at the Vatican. Upon his return to Grermany 
 he was appointed at Dresden painter to the King. Revisiting Rome 
 he fell in love with a beautiful peasant girl, and became a Roman 
 Catholic in order to marry her. In 1757, he commenced painting in 
 fresco, and his works of this kind will bear comparison with some 
 of the best of the Italian masters. In 1761, he was invited by Charles 
 III. to Spain, where he painted for the palace at Madrid, the ' ' Apotheosis 
 of Trajan." This is his chef cVoeuvre. He died leaving scarcely sufficient 
 to pay his funeral expenses, and the King of Spain provided for his seven 
 
138 
 
 PORTRAIT GALLERY. 
 
 children. The works of Mengs display correctness of drawing, vigour of 
 colouring, finished execution, and studied grace : but the loftier qualities of 
 mind, demanded by historical painting, are wanting. He was a writer on art 
 as well as an artist : and a generous, warm-hearted man. 
 [Bust to corae.] 
 
 316. Feaxz Joseph Haydn. Musical Composer, 
 
 [Born in Rolirau, on the frontiers of Austria and Hungary, 1732. Died at 
 Vienna, 1809. Aged 77. J 
 
 The son of very poor and humble parents, who cheered their poverty and 
 supported their labour by home music. The family concerts constituted 
 Haydn's initiation into Art. He was a passionate neophyte. At the age of 
 thirteen, he had composed a mass, which he was unable to write correctly. 
 Taken into the service of the great master Porpora, he submitted to menial 
 drudgery in order to have the advantage of his instruction. In 1760, he 
 entered the better service of Prince Esterhazy, with whom, as Court Musician, 
 he continued tor the space of twenty-five years. During that period, some of 
 his finest symphonies were produced. In 1791, he went, on invitation, to 
 London, and continued there for thirteen years, sending forth his inimitable 
 works, and receiving honour on every side. In 1794, he returned to 
 Germany, established himself in the suburbs of Vienna, and composed the 
 oratorio of "The Creation." He died in 1809, from agitation, it is Said, 
 induced by the advance upon Vienna of the French army. Haydn is 
 one of the greatest of modern musicians. He set free the spirit of instru- 
 mental music, and purified his art by the purity, simplicity, and beauty of 
 his works. He is remarkable for lucid melody and for his power of effective 
 painting. His labours were enormous and his compositions countless. He 
 could himself reckon up to 800 works, large and small, and there he 
 stopped. 
 
 317. Johaio- Wolfgang Mozart. Musical Composer. 
 
 [Born at Salzburg in Austria, 1756. Died at Vienna, 1791. Aged 35.] 
 The most renowned of Grerman musical composers. His father was a 
 musician, and he himself the greatest musical prodigy that ever lived. It 
 is alleged upon authority that at four years old, he could already play and 
 even compose. It is certain, that before he was eight a harvest was in 
 reaping by his family, who travelled over Germany to exhibit his astounding 
 performances. In 1764, he was in England playing before the King and 
 Court. In 1769, he produced an opera, being then 13 years of age. At 15, 
 he was in Italy, creating wonder by works which rivalled those of the 
 great Italian masters. Medals were struck in honour of young Orpheus in 
 the land of art and song. He was not 17 years old when he could count as 
 his productions four operas, an oratorio, two masses, and many other compo- 
 sitions. Mozart grew in years, and did not suffer the ordinary penalty of 
 precocity. In him "the child was father to the man." The blossom 
 became ripe fruit. In 1781, he produced his opera of " Idomeneo." Then 
 followed the "Marriage of Figaro," and in 1787, his masterpiece "Don 
 Giovanni" — a work composed in an incredibly short space of time. Now 
 came sickness — and the threatening of a complaint allied too frequently to 
 unnatural intellectual development. Symptoms of consumption gave rise to 
 melancholy — melancholy to inordinate labour — inordinate labour to speedy 
 death. Mozart had the grave already in sight when he composed his exquisite 
 
GERMAN ARTISTS AND MUSICIANS. 
 
 139 
 
 "Requiem." This illustrious man was the founder of the school in 
 which Beethoven was a faithful disciple. His fertility of creation, the rich 
 luxurious beauty of his music, his purity and melody, can hardly be excelled. 
 In all the relations of life Mozart was blameless. He had a generous soul, 
 and we are pained to think so rare and so richly endowed a genius should at 
 any period of his career have suffered anguish from poverty and distress. 
 
 318. Karl Friedrich Zelter. Musician. 
 
 [Born at Berlin, 1758. Died 1832. Aged 74. j 
 The son of a master mason, whose trade he followed. Forsaking masonry 
 for music, he became the pupil of Fasch, at whose death he was appointed 
 Director of the Royal Institute of Music, and Professor of music in the 
 Academy of Fine Arts at Berlin. Zelter's works are chiefly songs and 
 compositions for men's voices, without accompaniment. He also wrote on 
 the theory of music. He will be chiefly remembered as the friend and 
 correspondent of Goethe, and the early instructor of Mendelssohn. 
 
 [By Ranch, March, 1825. Modelled as a present from the sculptor to Goethe, 
 the friend of Zelter. The Academy of Music had it executed in marble 
 for their institution, Rauch again charging nothing for his services.] 
 
 319. JOHANX GOTTFRIED SCHADOW. Sculpt07\ 
 
 [Born at Berlin, 1761. Died there, 1850. Aged 86.] 
 The son of a poor tailor. He evinced, at an early age, a great love for the 
 fine arts, but he was one of many children, and there was small hope of 
 gratifying fine-art tastes in the needy household. Fortune brought the youngster 
 in contact with a sculptor, who taught him drawing, and from that moment 
 his destiny was fixed. Whilst receiving instruction, he ran off with a girl to 
 whom he was attached, married her at Vienna, and with the consent and at 
 the expense of his stepfather, proceeded to Rome. There for two years he 
 laboured hard as a sculptor, in the Vatican and in the Capitol. In 1788, he 
 had already advanced far enough to be appointed Court Sculptor at Berlin. 
 In 1822, he was made Director of the Academy of Fine Arts in the same city. 
 His works, numerous and of a high order, are found in Berlin and else- 
 where in Germany. He was one of the first who opposed to the insipid 
 and conventional idealism of the eighteenth century, a vigorous and 
 truthful representation of nature, heightened by noble intellectuality. This 
 is especially visible in his portrait statues. He was a worthy precursor of 
 Rauch, who is one of his most famous followers. To his eldest son, Rudolph 
 Schadow, also a distinguished sculptor, belong the specimens of modern sculp- 
 ture which appear under the name of Schadow in this collection. The second 
 son, Wilhelm Schadow, is one of the most celebrated painters in Germany, 
 and President of the Academy at Diisse]dorf. Both have a greater name 
 as artists than the father. 
 
 [By Rauch, 1811. Plaster. The original is in the studio of Rauch. J 
 
 320. Albert Barthqlomatjs Thorwalbsex. Sculptor. 
 
 [Born 1770. Died 1814. Aged 74.] 
 He was born, as he said, at Copenhagen : some say in Iceland : some at sea, 
 between. His father, an Icelander, was employed in carving heads for ships 
 in the Royal Dockyard, on which the great sculptor practised his young hand : 
 his mother was a priest's daughter. He was educated, as all the children 
 
140 
 
 PORTRAIT GALLERY. 
 
 of workmen, in the Holm, or dockyard, at the King's expense. At 
 11, Thorwaldsen was a student at the Academy of Fine Arts in Copen- 
 hagen. At 17, he first secured attention, and gained the small silver 
 medal ; at 19, the large. At 21, he won the small, at 23, the 
 large gold medal. His birthday he did not know, but he called it 
 March 8th, the day of his arriving at Rome in 1796. In the Eternal City he 
 addicted himself to the antique. He brought introductions to Zoega the 
 Dane, then living at Rome, a learned and antiquarian connoisseur. Zoega 
 dealt kindly and hardly with the young sculptor, severely criticizing his 
 labours ; and Thorwaldsen, under his critic's censure, and from his own 
 dissatisfaction, destroyed numerous attempts. His first ' ' Jason with the 
 Golden Fleece," of the natural size, made no impression, and he broke it in 
 pieces. He made it again, 8 \ feet high. It secured general admiration, and 
 this time he did not destroy his work. He had, however, made up his mind 
 to go home ; his small preparation was completed ; Jason was to be sent 
 after him; but a mistake in a passport created a day's delay. During the 
 short interval, Thomas Hope, a well-known name in England, entered the 
 artist's studio, and saw the " Jason." The price was asked. "Six 
 hundred zecchini." " I will give eight hundred," answered Thomas Hope. 
 Thorwaldsen stopped in Rome, and now began and went on, his mightier career. 
 His chief works are classical subjects — some Christian, to which he drew late 
 in life. The most popular of all his productions is the bas-relief of ' ' Priam 
 and Achilles." In 1819, he returned to Copenhagen, but not permanently 
 until 1838. In Rome he was the friend of Canova, who acknowledged his 
 merit. His health was often very weak, and he died suddenly at a theatre. 
 He was simple in his manners, and beloved. In fire and grandeur he 
 resembled Michael Angelo. The old Scandinavian energetic blood rolled in 
 his veins. The family tradition made him descended from one of those early 
 warrior-kings : a more glorious, innocent conqueror. 
 
 [By Rauch. Plaster. 1816. Done at Rome. A fme artist-like bead. The 
 original is in the studio of Rauch..] 
 
 321. Ludavict va:n t Beethoven. Musical Composer, 
 
 [Born at Bonn, in Rhenish Prussia, 1770. Died at Vienna, 1827. Aged 57.] 
 This great composer was taught music from his childhood ; but it was not 
 until his twelfth year that he at all developed his genius. Sent to Vienna, 
 he was placed there under the care of the Chapel-Master, Albrechtsberger, in 
 spite of whose cold and conventional instruction he advanced in knowledge 
 and strength, and excited general attention by his extraordinary gift cf 
 improvisation, and marvellous execution. In 1805, he composed "Fidelio ; " 
 then followed his oratorio of 4 'Christ on the Mount of Olives," the 
 "Heroic" and "Pastoral" symphonies, and his pianoforte Concertos. At 
 this time Beethoven had scarcely the means of subsistence, and to save him 
 from want, a pension of four thousand florins was settled upon him by the 
 Austrian government. He fixed his abode at the village of Baden, near 
 Vienna, and his life became one of retirement and self-nurture. He com- 
 posed his music in his solitary rambles. The wildest scenery to him was the 
 choicest, for he shrank from intercourse with men. His habits were known 
 and respected. He died unmarried. From his twenty-sixth year he had 
 been deaf ; but he was otherwise robust. He was passionately fond of 
 Scott's romances, and these works, with the "Odyssey" of Homer, were his 
 consolations during the illness of which he died. His fertility and variety 
 
GERMAN ARTISTS AND MUSICIANS. 
 
 141 
 
 of production are marvellous. The passionate soul of melody possessed him. 
 His works are rich in harmony, tinctured it may be with the delicate 
 mysticism that ruled his genius in its silent haunts. 
 
 [By Ernst HUhnel, of Dresden. Plaster. 1847. In the possession of the 
 artist, who executed the large statue of Beethoven in bronze, which stands 
 in the Place at Bonn. This was the study from the life, for the head of the 
 statue.] 
 
 321*. Ferdinando Paee. Musical Composer. 
 
 [Born at Parma, in Italy, 1771. Died 1839. Aged 68.] 
 At sixteen, Paer began to write for the stage. Before he was twenty-six 
 he had already produced twenty -two operas, all in the conventional style of 
 the old Italian operas, and after the manner of Cimarosa and Paisiello. 
 After 1797, a laudable change is remarked in his style — more force in the 
 harmonies, more variety in the modulations, with richer and more effective 
 instrumentation. In 1801, appointed by the Elector of Saxony Chapel- 
 Master in Dresden, and, favoured by the repose afforded here, Paer still 
 improved his style. In 1806, Dresden was taken by the French. The 
 musician transferred his services to Napoleon, and accompanied his new 
 master to Paris. In 1810, revisited his native city, and there composed 
 his master-piece, the opera of Agnese. His subsequent career is remark- 
 able for little more than for petty intrigues against rival composers, and — 
 after his appointment as Director of the Italian Opera in Paris in 1812 — for 
 miserable squabbles with actors and musicians. He ceased to be an artist, 
 and condescended to become a mere courtier and " homme de salon." His 
 death was accelerated by long-continued habits of intemperance. Paer was 
 gifted with great fluency, and his works have brilliancy and spirit ; but he 
 is without originality, force, and dramatic power. 
 [Bust to come.] 
 
 322. Christian Friedrich Tieck. Sculptor. 
 
 [Bom 1776. Died at Berlin, 1S50. Aged 74.] 
 Of the school of Schadow. Brother to the celebrated poet and critic, and 
 the friend of Rauch, with whom he was engaged in illustrating in sculpture 
 the glories of the late war. His productions are in various parts of 
 Germany, and are held in high estimation. He is the sculptor of the 
 statue of Frederic William at Ruppen, and of the front gate of the cathe- 
 dral at Berlin. 
 
 [By Rauch. Marble. 1825. Given by Rauch to his friend Tieck, and now in 
 the possession of his widow.] 
 
 323. Christian Rauch. Sculptor. 
 
 [Born 1777. Still living.] 
 The leading German sculptor of his day — endowed with great imaginative 
 powers, and excelling in portraits, which, under his treatment, exhibit 
 truth and nature, intimately associated with poetic elevation. In 1804, he 
 took his way from Berlin to Rome, and presently secured the friendship of 
 Thorwaldsen, whose love for the antique greatly influenced and directed his 
 taste. Whilst at Rome he executed ' 4 Mars and Venus wounded by 
 Diomedes," a colossal bust of the King of Prussia, and other celebrated 
 works. In 1811, invited by the King of Prussia to Berlin, he produced 
 many colossal statues and countless busts. His colossal ''Victories," for the 
 
142 
 
 PORTRAIT GALLERY. 
 
 Walhalla, and the equestrian monument of Frederic the Great, are well 
 known efforts of his genius. A great artist — competent to express vigorously, 
 truthfully, and naturally, historical rather than ideal conception. 
 
 [By F. Tieck. Plaster. 1825. Modelled, to be given to his friend Rauch, but 
 the marble bust not finished. From Lager-Haus.] 
 
 324. Ejlrl Feiedbich Schickel. Architect and Painter. 
 
 [Born at Neuruppin, in Germany, 1781. Died at Berlin, 1841. Aged 60.] 
 Styled by his countrymen the Luther of architecture. Employed by the 
 King of Prussia to erect those structures in his capital which have stamped a 
 new character on Berlin, and endowed it with high architectural claims. He 
 gave a new impulse to his art, both by his influence and his example, and 
 was besides a generous and amiable man. 
 
 [By F. Tieck, 1819. The marble bust is in the Berlin Museum. A copy in bronze 
 is on the staircase of the Royal Theatre, Berlin.] 
 
 325. Leo yox Klexze. Architect. 
 
 [Born at Hildesheim, in Hanover, 1784. Still living.] 
 The architect, in Munich, of ' 'The Glyptothek," and the constructor 
 of many works, Royal and otherwise, in the same city. Also the designer 
 of the plans for the u Walhalla.'' Author of some literary productions bearing 
 upon his art. In 1844, accompanied Ludwig I. to Greece to examine the 
 plans already made for the improvement of Athens, and to suggest original 
 designs. Klenze possesses great decorative skill, and a comprehensive 
 knowledge of the history of architecture ; but the true genius and high 
 faculty of composition appears on few of his productions. He does not take what 
 is universal in the various styles with which his mind is familiar, in order to 
 form a style expressive of his own spirit, and suitable to the country and 
 climate in which it is his business to exhibit it, but he borrows his 
 structures from Greece and Italy, and deposits them in Munich, loading 
 the city with specimens of foreign styles of architecture. His effects are 
 undoubtedly picturesque, and the decorations of his building? always beau- 
 itful, but fault is found with the internal arrangements of his edifices, with 
 the lowness of the apartments, and with the bases of his facades, which are 
 occasionally mean and even vulgar. 
 
 [By J. Halbig. Plaster. 1846. Executed for King Ludwig.] 
 
 326. Peter Cornelius. Painter. 
 
 [Born at Diisseldorf, in Prussia, 1787. Still living.] 
 A renowned painter of the later German school. He studied under Langer, 
 a disciple of the old sc' ool, who made enormous efforts to suppress the romantic 
 tendencies of his pupil, to check his imagination, and to restrain his boldness. 
 By a visit to Italy, however, Cornelius confirmed the bent of his genius, and 
 rendered the good intentions of Herr Langer of no avail. His indomitable 
 perseverance, hard study, and rare gifts, soon enabled him to outstrip all 
 rivalry. Whilst still young he was invited to direct at Diisseldorf the School 
 of Painting, which has proved itself one of the most careful and successful 
 nursing -mothers of Art in Germany. In 1819, engaged by the King of 
 Bavaria to decorate the Museum of Sculpture then constructing at Munich. The 
 subjects painted by Cornelius in fresco for this Museum from the heroic , 
 myths of Homer and Hesiod, are conceived with a rich imagination, and exe- 
 cuted with superior power. His cartoons illustrating the old "Nibe- 
 
GERMAN MUSICIANS. 
 
 143 
 
 lungen-Lied," and the " Faust" of Gfoethe, are equally remarkable. In 
 1825, appointed Director of the Academy of Painting at Munich. In 1841, 
 summoned to Berlin by the King of Prussia, for whom Cornelius designed 
 the ' 'Shield of Faith, 1 ' presented by his Majesty to his godson, the Prince 
 of Wales. Cornelius paints with the passionate sensibility and delicate 
 perception of a true poet. His copious imagination is never at fault, and 
 his ability to produce is as striking as his faculty of conception. Yet he 
 never oversteps the modesty of nature, or the confines of true art. He is 
 the worthy leader Of a daily increasing school in Germany, which attempts, 
 and not unsuccessfully, to unite in art earnestness of thought, activity, 
 boldness, and freedom. 
 
 [By E. Hahnel. Plaster. 1852. In the possession of the artist. This was the 
 study for the head of the large statue of Cornelius which Hahnel was 
 commissioned to execute for the new museum at Dresden, and which 
 stands on the outside, amongst the artists of Germany.] 
 
 327. Christoph Gluck. Musician. 
 
 [Born in the early part of the 18th century. Died at Vienna, 1787.] 
 
 The great merit of Grluck is that he emancipated music from the 
 trammels of conventionalism and false taste, and made it the exponent and 
 minister of poetry and the drama. Grluck, invited to London in 1745 to 
 celebrate in music the butcheries of the Duke of Cumberland, found that the 
 operas represented there were mere concerts, for which the drama was a 
 pretext. Sound was everything, meaning nothing, His own music was set 
 to words with which it had no connexion, and, torn from its original 
 context, lost all its effect. This fact led him to the discovery of the great 
 principle which is the key to the rest of his life : viz., that music is not merely 
 a pleasant arrangement of sounds intended to gratify the ear, but a subsidiary 
 language, able to exalt and strengthen the emotions, raised by the measure 
 and force of the spoken language to which it is allied. In 1761, he composed 
 his opera of ' ' Alceste," as an illustration of his idea. It was followed in 1762 
 and 1763 by " Paris and Helena" and "Orpheus." In 1779, he composed the 
 " Iphigenia in Tauride," the greatest of his works. Wieland has happily 
 expressed Grluck' s claim upon our respect in a sentence. "He preferred," 
 he says, "the Muses to the Syrens." His works are not so much operas, in the 
 ordinary sense of the term, as poems, in which music is employed for producing 
 and sustaining emotion. Oft the stage Grluck was nothing, but upon it the 
 musician was himself a poet. The manners of Gluck, like those of Beethoven 
 and Handel, were rough and blunt. He was large in person ; and his 
 habits were indolent and somewhat sensual. The bust discloses the man. 
 
 [From the Terracotta, by Houdon. In the musical collection of the Royal 
 Library at Berlin. The only bust taken from the life.] 
 
 327a. Cristoph Gluck. Musician. 
 
 [From the Terracotta by Houdon, in the Louvre.] 
 
 327b. Christoph Gluck. Musician. 
 
 [From the bust by Francin (Fils) in the Louvre.] 
 
 327c. C. Cheistoph Gluck. Musician. 
 
 [From a bust by R. Wagner of Berlin.] 
 
 \ 
 
144 
 
 PORTRAIT GALLERY. 
 
 328. Eeiedrich Gtahtneb. Architect. 
 
 [Born 1792. Died 1S47. Aged 55.] 
 The chief architect in Munich since the withdrawal of Klenze. His 
 most important work is the new Library in that city, which is remarkable 
 for the simple magnificence of its facade. He designed the Palace of King 
 Otho at Athens, and he re- opened the quarries of Pentelicus, which had 
 not been employed since the days of Hadrian. Upon the departure of 
 Cornelius from Munich, Gartner received the appointment of Director of the 
 Royal Academy of Fine Arts. 
 [By Johann Halbig.] 
 
 329. Julius Schnore. Painter. 
 
 [Born at Leipzig, in Saxony, 1794. Still living.] 
 First studied under his father, who was Director of the Academy at 
 Leipzig. In 1811, went to Vienna to get instruction there ; but found 
 little to gratify his taste, or to encourage his genius. In 1817, 
 travelled into Italy, and there made the acquaintance of Ludwig, then 
 Crown Prince of Bavaria. At Rome worked at the Villa Massimi, 
 where Cornelius was also employed, and where he produced in the 
 space of five years his eleven frescos from the Orlando Furioso of Ariosto. 
 Called to Munich in 1827, he received there the appointment of Professor of 
 Historical Painting in the Academy, and painted for the King of Bavaria 
 his admirable frescos illustrating ' 'The Nibelungen-Lied." In 1846, 
 accepted an invitation to Dresden. Schnorr is chiefly known to us by his 
 beautiful illustrations of the Bible. Amongst all the fresco painters of Munich 
 he stands unrivalled for combining individual life with ideal composition. 
 
 [From the plaster model by Ernst Rietschel, dated 1848. In the possession of 
 the sculptor.] 
 
 330. Ludoyic Schavanthaler. Sculptor. 
 
 [Born at Munich, in Bavaria, 1802. Died there, 1848. Aged 46.] 
 
 Most of his numerous and admirable works adorn his native city. His 
 masterpiece is the colossal statue of Bavaria, cast in bronze, 54 feet high. 
 The noble head of this figure forms a remarkable object in our Court of German 
 and English Sculpture. Before its inauguration the artist had died, having 
 been an invalid for the last fifteen years of his life. Many casts from the works 
 of Schwanthaler may be found in the Court of Modern Gferman Sculpture. He 
 had the advantage of being an excellent classical scholar, and was besides a 
 warm-hearted, unassuming man, simple in his manners, full of wit and 
 humour, and a true friend. As an artist he had a fine classic feeling, 
 great spirit and fire, a strong imagination, a vigorous and creative genius. 
 
 [By Xavier Schwanthaler. Marble, 1849. The original is in the "Ruhmeshalle " 
 (Hall of Fame), at Munich. It was modelled from the life in 1837.] 
 
 331. Felix Mendelssohn-Bartholdy. Musician. 
 
 [Born at Berlin 1S09. Died at Leipzig 1847. Aged 38.] 
 The grandson of the Jewish philosopher, Moses Mendelssohn, and the 
 son of an eminent banker. Like Mozart he exhibited an astonishing 
 precocity. In his twentieth year he was already a musical composer of 
 great originality. Then setting out on his travels, he visited London, 
 Paris, and various parts of Italy. In 1834, appointed Chapel-Master at 
 
GERMAN ARTISTS AND MUSICIANS. 
 
 145 
 
 Diisseldorf. In that city he produced, when 27 years old, his oratorio 
 of "St. Paul." It won the success it merited. In 1839, he composed his 
 44 Lobgesang," or " Hymn of Praise," by many regarded as his masterpiece. 
 In 1846, his marvellous oratorio of "Elijah" was produced at Birmingham. 
 From this period his mental activity was prodigious, and his production 
 ceaseless. He died, literally consumed by the fire within him. He was a 
 great man. His faculties, of the highest order, were engaged in the ad- 
 vancement of the purest art. His manner was unaffected, his heart warm 
 and affectionate. He loved England. His earliest works indicate his genius ; 
 liis latest compositions are tinged with a deeper, and more solemn hue — but 
 all he did was beautiful — like his mind. 
 
 [By E. Rietschel. Marble. 1848. In the possession of Alexander Mendelssohn, 
 the banker, of Berlin, for whom it was executed.] 
 
 332. Johann Halbig. Sculptor. 
 
 [Still living.] 
 
 An excellent German sculptor, who studied under Schwanthaler, at 
 Munich. The grand colossal figure of Franken (Franconia), in the German 
 Court of Modern Sculpture (No. 173), is by this artist. 
 
 [Modelled by himself. 1850. A commission from King Ludwig.] 
 
 333. Moeitz yon Schwixd. Painter. 
 
 [Born at Vienna, 1804. Still living.] 
 Studied under Ludwig Schnorr ; then under Cornelius. Since the year 
 1828, has been employed in decorating with frescos the Palace of the King 
 of Bavaria, at Munich, and the Palace of the Grand Duke of Baden, at 
 Carlsruhe. His compositions from the classical mythology, and from the 
 modern poets, particularly from Tieck and Goethe, are amongst the finest 
 things which have been produced in modern times. 
 [From a medallion by Ernst Rietschel.] 
 
 333*. Edward Deykient, Player. 
 
 TBorn 1801. Still living.] 
 One of a family remarkable, like that of the Kembles in England, for 
 dramatic genius. His uncle was a famous actor of his time ; his elder 
 brother is a player of repute in Hanover, and his younger brother, Emile 
 (born in 1803) is known in England, as one of the best representatives of 
 Hamlet at the present day. Edward is rather a studious and careful 
 artist, than a man of genius. He is also an author of ability, his dramatic 
 works having obtained considerable favour. 
 [From a medallion by Ernst Rietschel, dated 1852. In the possession of the sculptor.] 
 
 POETS AND DRAMATISTS. 
 
 334. Friedrich Gottlieb Klopstock. Epic and Lyric Poet, 
 
 [Born at Quedlinburg, in Prussian Saxony, 1724. Died at Hamburgh, 1803. Aged 79.] 
 Goethe said well of Klopstock, that to him German literature owed a debt 
 of gratitude, for be was in advance of his time, although he lived long 
 enough for his time to be in advance of him. He is the classical epic poet 
 
 L 
 
143 
 
 PORTRAIT GALLERY. 
 
 of Germany, as Milton of England, but with a difference. Milton was 
 nurtured on the overflowing bosom of English poesy. Klopstock had imbibed 
 no such strength at a native fount. The sublime utterance of the one still 
 reverberates through a world that is still the wiser and the better for the 
 heavenly strain. The sonorous rhapsodies of the other already weary the 
 ear of the land on which they originally fell with weight and power. Few 
 were the admirers of England's blind poet when he sang "of Mans first 
 disobedience." To-day they are countless. When Klopstock published the 
 first part of "The Messiah," Germany was enthusiastic. The learned were 
 at his feet, kings craved his companionship, and the people worshipped a 
 prophet. To-day, a young German critic has the hardihood to say — without 
 being stoned for his heresy — that Klopstock' s poems are like nothing so 
 much as translations from some unknown author, by an erudite but some- 
 what unpoetical philologist. With the early admiration for the poet, was 
 mingled awe for the sanctity with which his subject had enveloped his person. 
 He became in a nation, what Pollock, the author of "The Course of Time," 
 has been amongst a class. If he is now taken down from his undue eminence, 
 his just claims to respect must nut be disregarded. If Luther constituted an 
 epoch in the moral and intellectual emancipation of his country, Klopstock 
 marked an era in the progress of her poesy. Both names are landmarks, in 
 the history of the language, as cultivated in the service of letters. The latter was, 
 also, a pioneer and a reformer. His odes are striking and lofty ; his learn- 
 ing extensive ; his piety fervent ; and his poetic sensibility profound. The 
 thirst of communing with the soul of his native Germany — since, a widely- 
 possessing enthusiasm — announced itself as a literary virtue, first in Klop- 
 stock' s writings. It spoke in the selection of some of his themes : but was 
 chiefly operative in his profound and enamoured study of the language which 
 begins, in his verse, to discover and lavish exuberant wealth. 
 [By Dannecker.] 
 
 335. Gotthold Epiiraim Lessing. Man of Letters, 
 
 [Born atCamentz, in Saxony, 1729. Died at Brunswick, 1781. Aged 52.] 
 A philosopher and a poet, but more of an investigator than of a creator. 
 Nevertheless, a strong renovator. He is named by Germany of to-day 
 with gratitude, amongst those who loosened the old chains of imitation 
 from her literature, and summoned her to think and to write, self- 
 conscious, from her own deep and powerful spirit. Powerlessly enough, 
 her drama, till his time, was borrowed from that of a people, geographically 
 divided from her by a river — intellectually, her antipodes. Lessing showed 
 her, in place of Corneille and Racine, a foreigner, in whose kindred veins 
 her own blood ran ; and called her to Nature and to herself, in calling her 
 to Shakspeare. Lessing was a critic in plastic art ; witness his "Laocoon." 
 He was a fabulist of great invention, fancy, and humour : witness his 
 " Fables," which may take rank with those of iEsop. He was a dramatist 
 of skill, power, and pathos: witness his "Nathan the Wise," and his 
 "Emilia Galotti." Above all, he was an independent thinker ; and a style 
 clear, precise, and masterly, runs through all his writings. He is one of 
 those now elder classics through whom the language of the country has 
 risen into literary rank and service. 
 
 [By Ernst Rietschel. Bronze. 1849. Erected by subscription at Brunswick. 
 For further account of this statue, see Handbook to Modern Sculpture. 
 No. 200.1 
 
GERMAN POETS. 
 
 1-17 
 
 36. Chbistoph Wieland. Poet. 
 
 [Born in Suabia, 1733. Died 1813. Aged 80.] 
 An exquisite artist in words, herein resembling though more enchanting than, 
 Lessing, whose contemporary he was. He might seem to be a transitionist ; soft- 
 ening the passage from the imitative French school in Germany, to the pure 
 German. Or yon may suspect that the foreign element is not French, but 
 Italian, if modern, — or Attic, if ancient. For he was a student of classic 
 antiquity, and a lightness of grace, and a mobile sensibility to the beautiful, 
 which are not German, reign over his numerous writings in prose and verse. 
 Some of his works are direct imitations from the Greek — as his Dialogues 
 after Lucian. His elaborate philosophical romance, " Agathon," lays the 
 scene in old Greece. But his gift is an unrivalled ease in the now of his 
 narrative verse — lively or serious — made alluring by perpetual representation 
 to the eye ; and roving with predilection amidst romantic scenes and adven- 
 tures. His poem of "Oberon" is a masterpiece in this land. He seems 
 to have prepared for it in studying Ariosto, but engrafting upon the Italian 
 style the more picturesque of his own northern and later poetry. The 
 qualities missed in this rich, enticing, and luxurious word-painter, are 
 profound passion, intellectual might, and the more solemn contemplation 
 of the universe, natural and spiritual. Wieland was a scholar : you feel the 
 influence of his reading at every step ; but the springs in his own bosom well 
 freely. 
 
 [The original marble, by Schadow, is the property of Henry Crabbe Robinson, Esq. 
 of London. Flaxman declared it "a perfect work, never surpassed by any 
 artist, living or dead." When Mr. Robinson visited Goethe at Weimar, and 
 informed him that he possessed this bust, Goethe related the circumstances 
 under which it had been lost to Germany, and added : ' 1 You have made me 
 as happy as though I had recovered a lost child." Mr. Robinson promised 
 Goethe to bequeath the bust to the Public Library at Weimar, where Wieland 
 had lived for many years. One cast has been allowed to be taken for the 
 Crystal Palace ; and the mould has been destroyed.] 
 
 >37. JohajS^ "Wolfoaxg Tois" Goethe. Poet. 
 
 [Bom at Frankfort-on-the-Main, in Germany, 1749. Died at Weimar, in 
 Germany, 1832. Aged 83.] 
 
 For comprehensiveness and grasp of thought, for profound knowledge of 
 human life and dealings, for intellectual prowess, for intimate acquaintance 
 with various and opposing arts and sciences, Goethe stands alone in Europe 
 throughout the period which he elevated by his presence and swayed by his 
 achievements. He was a great poet, an excellent dramatist, a fine novelist, 
 a skilled naturalist ; with chemistry, botany, and anatomy he was familiar. 
 In truth, it is not easy to limit the immense domain through which his giant 
 mind ranged at its will, conquering and acquiring wherever it touched. His 
 productions are voluminous, corresponding to the wealth of his overflowing 
 brain. His " Faust" predominates far above his other works in popular im- 
 pression. It is the one in which he seems the most resolutely to have committed 
 himself to his subject. Wild, audacious, lying as this does desperately out of 
 the Real and the Possible, he throws himself into his enterprise, doing it 
 justice, with all his gathered might. We have a feeling persuasion of this 
 having been his own favorite work, to which he most confided, with love, the 
 intimacies of his genius. . The recognition of Faust, as a high work of art, 
 must, however, be restrained to the first part. In the second the poet seems 
 as though self-bewitched. Certainly, Germany never has possessed so 
 
148 
 
 PORTRAIT GALLERY. 
 
 consummate a master, in art, of her words. His lyrics are gems of music. They 
 have the felt charm of grace, rather than demonstrable worth. In the verse of 
 Schiller it is the other way. Ask of his Germany what constitutes the all-extolled 
 merit of Goethe, and you will hear for answer : — " He is the great world- 
 sage." But some of the elements of true wisdom he unquestionably lacked. 
 Admit all his strength, his knowledge, his skill, his intuition, and you 
 still miss the heart lodged by Mother Nature in the bosoms of Homer, of 
 * Shakspeare, of the compatriot and contemporary Schiller ; which, warm and 
 large, embraced with loving and devout sympathy all that is great and high in 
 the souls of men. You desire, in many of his personages, the beating 
 pulses of simple, natural, human affection ; the exuberance of genial and 
 generous passion ; — in himself, the possessing and tyrannizing enthusiasm, 
 proper to the vowed follower of the Muse. His judgments of the world 
 show distinguished capacity, but his pictures are not generic representa- 
 tions of Man, either as reality gives him in experience to every one of us, or 
 as poesy would select him. Goethe promulgated speculations on plants and 
 colours that have been received into science. He made other speculations 
 during his mighty and protracted career, which passed into the spirit of 
 more than one generation, to influence, guide, advance, fashion, and direct it, 
 [By Alexander Frippel, 1789. Modelled from the life when Goethe was in his 
 prime. It was done at Rome, by order of the Prince Waldeck, in. whose 
 castle at Aroldsen the original exists. Goethe at that time allowed his hair 
 to grow in all its natural luxuriance. "I remember him well," says a 
 distinguished friend and countryman of his ; "he was then as handsome as 
 Apollo."] 
 
 337a. Johann Wolfgang yon Goethe. Poet. 
 
 [This bust is by Rauch, from the marble, dated 1820. It was a commission from 
 the Grand Duke of Saxe Weimar, and occupies its place in his palace.] 
 
 337b. Johann Wolfgang yon Goethe. Poet. 
 
 [This bust is from the colossal statue, the work of Steinhauser, executed by 
 order ot the Grand Duchess of Saxe Weimar.] 
 
 338. Friedrich Christoph yon Schillee, Poet. 
 
 [Born at Marbach, in Germany, 1759. Died at Weimar, 1805. Aged 46.] 
 According to the Germans, Schiller stands second in the list of their 
 great poets, Goethe being the first ; but in the esteem of the rest of the 
 world, Schiller is pre-eminently the greatest of German poets. In univer- 
 sality, breadth and power, his genius yields to that of his illustrious rival ; 
 but in delicacy of perception, refinement of feeling, intense sympathy with 
 the r>assions he represents, exquisite purity of thought and diction, and in 
 the treatment of ideal beauty, he is without a competitor in his own country. 
 His manifest delight in the delineation of pure and generous characters is 
 not the least grateful of his excellences. His poetry is the bright intellectual 
 reflexion of his own chastened spirit, as the writings of Goethe constitute 
 the masculine and mighty expression of his essentially sensual nature. 
 The German stage was formed by Schiller, whose later tragedies gave to the 
 drama of his country a rank that it had never held before. At the outset 
 of his career Schiller studied law, then medicine ; and whilst his own tastes 
 would have led him to the pastoral office, he found himself, at the age 
 of 30, appointed to the Chair of History at Jena. His acknowledged greatest 
 work is the tragedy of u Walleustein." He died of consumption, and was 
 buried with public honours. He conferred dignity upon the literature of his 
 
GERMAN AUTHORS. 
 
 149 
 
 country, and helped, more than any other man of his time, to bring it 
 abreast of the poetry of other nations ; but the originality, beauty, and 
 force of his productions are not more worthy of contemplation, than the 
 aspiring grandeur and nobility of his moral character. He was the friend 
 and pupil of Groethe. The teacher was the more consummate artist, the 
 disciple was the purer man. Schiller exalts our idea of humanity, Goethe 
 lowers it. 
 
 [By Dannecker. Marble. 1805. The original was bequeathed by the artist to 
 King William of Wiirtemberg, who presented it to the Museum at 
 Stuttgart. ] 
 
 338a. Fkiedeich Chkistoph von Schiller. Poet. 
 
 [This colossal bust was executed by order of King Louis of Bavaria for the 
 Walhalla.] 
 
 339. Ludwig Tieck. Author. 
 
 [Born at Berlin, 1773. Recently deceased.] 
 A writer in literature and art, who has exercised a sensible influence 
 upon the minds of contemporary authors. His narratives reveal a powerful 
 imagination and a profound sense of the beautiful. In his "Zerbino" he 
 exhibited his ideas on general aesthetics. A visit to England in 1818 inspired 
 him with the idea of translating the plays of Shakspeare, and he undertook 
 this labour in conjunction with W. Schlegel. The translation is perhaps the 
 best that has ever been made in any language of our great poet. At the 
 early period of his literary career, Tieck delighted in the marvellous and 
 fantastic. In 1820, his genius took a new direction, and built upon an 
 historical foundation, and upon observation of actual life. The present 
 King of Prussia charged Tieck with the direction of the theatre at Berlin, 
 and conferred upon him a pension. Many of his works have been translated 
 into English — two by Bishop Thirlwail. 
 
 [By F. Tieck. Plaster. 1836. In the Lager-Haus. The original model was 
 done at Dresden.] 
 
 340. Berthold Aueebach. Poet and Novelist. 
 
 [Born 1812. Still living.] 
 
 Of Jewish parents, and originally intended for theological pursuits. 
 Completing his education in 1832, he abandoned Rabbinical lore for the 
 study of history, philosophy, and general literature. In 1841, he published 
 a life of Spinosa, to whose doctrines he was deeply attached, and a trans- 
 lation of that philosopher's complete writings. In 1843, he produced a 
 much more popular and generally interesting work, " Village Histories of 
 the Black Forest," which has been translated into English, Dutch, and 
 Swedish. Since 1845, Auerbach has resided either at Weimar or Leipzig. 
 He is zealous in the cause of popular education, and, during the commotions 
 of 1848, took part with the moderate democrats. 
 
 [By Ernst Rietschel. Medallion. 1847. In the possession of the sculptor.] 
 
 SCIENTIFIC MEN AND WRITERS. 
 
 341. Johann GutenbepGt. Inventor of Printing. 
 
 [Born at Mayence, in Germany, between 1395 and 1400. Died there, 14G8.] 
 Nothing is known of the early history of (xutenberg, save that he was 
 
150 
 
 POETRAIT GALLERY. 
 
 bom of a patrician family. In 1427, lie resided at Strasburgh. When and 
 -where his first attempt at printing was made, it is impossible to say, for he 
 never affixed his name, nor the date of printing to any of his productions. 
 About 1438 he first employed moveable types made of wood. In 1443, he 
 quitted Strasburgh, and returned to his native place. There he met with 
 one John Faust, a rich goldsmith, and engaged with him to establish a 
 printing-press. Faust finding the money for the undertaking. The press 
 was established, and then, for the first time, the Bible was printed in Latin. 
 Business went on prosperously for a time. But, four hundred years ago, 
 it fared with great discoverers and great speculations as at the present hour. 
 Faust had made large advances, and Gutenburg could not meet the claim. 
 The pair Trent to law ; and, as it falls out in these cases, the goldsmith got 
 the verdict. He retained the business. Gutenberg was thrown upon the 
 world. There he found a friend, was set upon his feet, and established 
 another press. In 1837, a splendid monument, by Thorwaldsen, was erected to 
 the memory of Gutenberg in his native town, where the members of the 
 Gutenberg Society — to which many of the writers of the Rhenish provinces 
 belong — meet to celebrate his mighty discovery, and to do honour to his name. 
 Who shall fix the merit or assess the claims, or tell the influence exercised in 
 the world by the portentous labours, of * ' The Inventor of Printing ? " 
 
 [By E. Von Launitz. Plaster. 1840. Modelled gratuitously by the artist, for 
 the celebration of the invention of printing in 1840. For an account of the 
 very fine monument erected to Gutenberg at Frankfort by E. Von Launitz, 
 see No. 175 of Handbook to Modern Sculpture.] 
 
 342. Immanl t el Kant. Metaphysician. 
 
 [Born at Konigsberg, in Prussia, 1724. Died there, 1804. Aged 80.] 
 The founder of a new philosophy in Germany. After twelve years' 
 meditation, he produced, in the space of five months, his celebrated i i Criticism 
 of Pure Reason." His main theory is, that there is only one source of 
 knowledge, viz., the union of subject and object ; that is to say, our know- 
 ledge is partly mental, partly physical, — one half of it coming from the 
 mind, or subject, the other half from the object. The mind has its 
 own forms Avhich it gives to objects. Time and space are forms of the 
 mind, not things existing out of it. By thus restoring to mind its inde- 
 pendent activity he was able to oppose Locke, proving that we have ideas 
 independently of experience, and to oppose Hume, by proving that these 
 ideas have a character of universality, necessity, and irresistibility. Hume 
 insisted that the understanding is treacherous. Kant declared it is only 
 limited. For a time, Kant's philosophy superseded every other system in 
 the Protestant Universities of Germany. A man of high intellectual endow- 
 ment; his life rigorously philosophical. He lived and died a type of the 
 German Professor. The cathedral clock of Konigsberg, which town he 
 never once quitted during his long life, was not more punctual, it was said, 
 than Immanuel Kant. 
 
 [By Fried. Hagemann. The original in marble is in the University of 
 Konigsberg. F. Hagemann was a pupil of G. Schadow ; he was born in 1773, 
 and died at Berlin in 1806. He executed this bust at Konigsberg.] 
 
 343. Keinbicii Pestalozzi. Educator. 
 
 [Born in Switzerland, 1745. Died there, 1827. Aged 82. J 
 In a year of great dearth and distress to a Swiss Canton, he found himself 
 in charge of half a hundred ragged and wretched children — in an empty 
 
GERMAN AUTHORS AND SCIENTIFIC MEN. 
 
 151 
 
 bam for a school — with hardly bread for them and him, and wholly without 
 hooks, or any other usual implements of that industry ; but with a heart 
 yearning and overflowing in love towards his little helpless ones, and with 
 an intellect singularly given to resolve the complex forms of knowledge into 
 the primitive elements fitted, by their evidence and their simplicity, for the 
 tender and opening mind to receive. So driven and so gifted ' ' he made 
 every child its own book." These emphatic words of the narrative tell the 
 secret of that genius with which he afterwards renovated instruction for the 
 schools of Europe. To draw forth power — to invite the native energies 
 into spontaneous action — to lead on the pupil, step after step, in creating 
 thought, in investigating and constructing, how slowly soever, knowledge 
 for himself — to foster intelligence under the kindliest influences, like a plant 
 that wins growth in dews and sunshine, in soft airs and showers — was the 
 new and living scholastic art which Pestalozzi opposed to the old tyranny of 
 inflexible rote, rule, and routine. But intellectual training alone, he held 
 for vain and pernicious. The roots must strike and feed in the soil of the 
 religious, rightly- governed will. 
 
 [Marble. 1809. A commission from King Louis of Bavaria. The original is in 
 the Walhalla.] 
 
 343. * Johaxx Peter Feats t k. Physician. 
 
 [Born at Rotalben, in Germany, 1745. Died at Vienna, 1821. Aged 76.] 
 One of the greatest practical physicians that Germany has produced. 
 In 1779, he published the first volume of his most famous work, the 
 " System of Medical Police," which he states to have cost him ten years 
 intense study. Was Professor of medicine at Gottingen. In 1795, invited 
 to Vienna by the Emperor with commission to reform the medical department 
 of the army. In 1804, charged by the Emperor Alexander with the forma- 
 tion of a chemical school at Wilna ; and subsequently received many tempting 
 offers from Napoleon to establish himself in France. Has written many 
 interesting works in connexion with his profession ; but his fame as a writer 
 rests upon the publication already mentioned. 
 
 [The bust, which is to come, is by Rauch, in bronze. 1841. The original 
 belongs to the monument raised to Frank by subscription, in the House ox 
 the Orphans at Halle on the Saale.] 
 
 344. Feiedeich Heijsteich Jacobi. PJdlosopher and Poet. 
 
 [Born at Diisseldorf, 1743. Died at Munich, 1819. Aged 76.] 
 The son of a merchant whose business he followed in spite of his great 
 fondness for literature, until an official appointment in his native city 
 enabled him to devote his whole time to study. In 1777, he published 
 "Friendship and Love," a philosophical poem, and in the same year was 
 invited to Munich, where he was made Privy Councillor. In 1781, he 
 had a sharp controversy with Mendelssohn, respecting the doctrines of 
 Spinosa. In IS 04, he assisted in the formation of the Academy of 
 Sciences at Munich, of which institution he became President in 1807. 
 His work published in 1811, upon " Divine Things and Revelation," in- 
 volved him in bitter discussion with Schelling. Jacobi was a philosophical 
 critic, rather than the founder of a distinct philosophical system, and his 
 polemical works did good service to philosophy by weeding false theories 
 from systems already in existence. He was an honest, diligent, and pene- 
 trating inquirer after truth, and carried a reverent mind and a sincerity 
 
152 
 
 PORTRAIT GALLERY. 
 
 of purpose into all his investigations. He affirmed that all our know- 
 ledge of the divine world comes by spiritual intuition, and that all demon- 
 strative systems tend to fatalism. 
 
 [By Tieck, 1809. In plaster. Modelled at Munich, and now in the Royal 
 Museum, Berlin.] 
 
 345. Albeecht Thaee. Physician and Agriculturist. 
 
 ^Born at Celle, in Hanover, 1752. Died at Mceglin, near Frankfort, 1828. Aged 76.] 
 Educated for the medical profession at Gottingen, where in 1774, he took 
 his doctor's degree. From his youth upwards of a serious and reflective turn, 
 engaged in philosophical studies, and in brooding over plans for the ameliora- 
 tion of his kind. He passed some time in England, at the University of 
 Oxford, and there attracted the notice of George III., to whom he was 
 appointed Physician in Ordinary. After making a pedestrian tour through 
 England, he visited Scotland, and closely investigated the system of agri- 
 culture there pursued. Henceforth he belonged to agricultural science. In 
 1794, he published his introduction to English agriculture. Retiring to 
 Celle upon the death of his father, he founded in his native place an 
 institution for the education of young agriculturists. Implements instantly 
 improved, and a rational system of cultivation spread throughout the 
 Communes bordering on that of Celle. Invited to Berlin, he quitted 
 Hanover in 1804. Obtaining a property at Mceglin on the Oder, through 
 the generosity of the King of Prussia, he began a course of oral 
 instruction in agriculture to classes of youth collected from all parts of 
 Germany. His Institution rapidly rose to the rank of an Academy, and all 
 its Professors were paid by the Prussian government. As an agricultural 
 writer, the name of Thaer is worthy of being placed beside that of our own 
 Arthur Young, and of the meritorious Frenchman, Olivier de Serres. He is 
 the reformer of husbandry in his own country, and an enlightened expounder 
 of the great principles upon which agricultural prosperity in modern times 
 rests. 
 
 [By Carl Wichmann. Marble. In the possession of Timer's family at Mceglin.] 
 
 346. Samuel Hahnemann. Physician and Founder of Homoeopathy . 
 
 [Born at Meissen, in Saxony, 1755. Died in Paris, 1843. Aged 88.1 
 He began life under good auspices. His father, a porcelain painter, an 
 upright and instructed man, in straitened circumstances, is said to have 
 been assiduous in inculcating upon him his own principles of integrity. When, 
 unable to support further the expenses of his education, he was about putting 
 him to a trade, the Meissen professors, struck by the lad's talents, resolved 
 to continue his education gratuitously, and afterwards obtained for him the 
 same favour at Leipzig. He embarked in his profession, and gained such 
 distinction, that for a whole twelvemonth, during the illness of the celebrated 
 Wagner, all the hospitals of Dresden were placed under his direction. His 
 eminence offered the fairest prospects, when he was visited by a growing 
 distrust of the science which he practised. He found in it no settled and 
 commanding principles. He saw the ablest men, groping their way between 
 experience and conjecture. One law, as he thought, dawned on him ; that 
 the cure of the disease is to be effected by the same agent which, in the 
 healthy body, would have produced it. On this basis he re -constructed 
 medicine, giving to his new system the name of " Homoeopathy," or 4 'The 
 Science of Like Affections." His disciples devoted themselves to the creation 
 
GERMAN AUTHORS AND SCIENTIFIC MEN. 
 
 153 
 
 of a suitable Materia Medica, by experimenting upon their own healthy 
 bodies ; and it is a second discovery of Hahnemann, if a discovery, that 
 infinitesimal doses may be effectual in the cure of disease. The system 
 of Hahnemann waged war to the knife, and it met with war to the knife. 
 As an historical point it is worthy of remark, that Homoeopathy has spread, 
 and is spreading, its conquests. The honesty of the founder may stand on 
 the single plain fact, that by denouncing and renouncing established doctrines, 
 he stepped down from the safe height of his profession, into hazard of the 
 poverty which he had tasted, and from which he had laboriously risen. 
 [By Rauch. The original bust is in marble, in the Library at Bremen.] 
 
 346a. Samuel Hahnemann. Physician and Founder of Homoeopathy ; 
 
 [This is a colossal bust representing the homceopathist at a more advanced age. J 
 
 347. Heinrich Wilhelm Mathias Olbeks. Astronomer. 
 
 [Born at Abergen, in Germany, 1758. Died at Bremen, in Germanv, 1840. 
 Aged 82.] 
 
 In 1779, whilst studying medicine at Gottingen, he became known as an 
 astronomer by his observations on the comet of that year. He then dis- 
 covered a new method of calculating the orbits of comets. In 1802, he 
 discovered the planet Pallas ; and in 1807, after an arduous search of 
 three years, the planet Vesta. Olbers was by profession a physician, and 
 he divided his time between the practice of medicine, and the pursuit of his 
 darling study. His observatory was the most complete known in Germany 
 at his time. He wrote but little, and his works are on abstruse subjects. 
 His valuable library was purchased at his death by the Emperor of Russia, 
 and deposited in the University of Pultowa. 
 
 [For desertion of this statue, see Handbook to Modern Sculpture.] 
 
 348. Feiedrich Augustus Wolf. Philologist. 
 
 [Born at Hainrode, in Germany, 1759. Died at Marseilles, 1824. Aged 65.] 
 
 Son of the organist of Hainrode. In 1777, he entered the University of 
 Gottingen, where he gave private lessons to his fellow-students in English 
 and Greek, and published an edition of Shakspeare's Macbeth. In 1807, he 
 went to Berlin, and took an active part in the foundation of the University 
 shortly afterwards created there. Is honourably known to literature, for 
 his erudite and admirable editions of the classical authors, and for his bold 
 elucidation of many obscure points in ancient learning. His most celebrated 
 work, the "Prolegomena ad Homerum," published in 1795, was directed 
 to overthrowing the opinion, previously universal, which saw in the " Iliad," 
 the entire creation of a single mind. He argues that it is the contexture of 
 distinct traditionary songs, the productions, probably, of many distinct 
 singers : thus dissolving at once the unity of the poem and of the poet, 
 and making out of one many Homers. An earlier suspicion had already 
 separated the authorship of the "Iliad" and the "Odyssey." Both 
 questions are still in full debate amongst the learned. He may be regarded 
 as the founder of the modern philological school of Germany ; and his 
 "Prolegomena" undoubtedly exercised a greater influence upon modern 
 scholarship than any work that has yet appeared. 
 
 [By F. Tieck. Marble. 1822. In the Royal University, Berlin.] 
 
154 
 
 PORTRAIT GALLERY. 
 
 349. Johaxx Gottlieb Fichie. Philosojrfier and Metaphysician. 
 
 Born at Rammcnau, in Germany, 1762. Died at Berlin, 1814. Aged 52.] 
 He was an humble private teacher in Leipzig when he first made acquaint- 
 ance with the writings of Kant, whose views he eagerly adopted and 
 cherished. He subsequently (1792) introduced himself to Kant by a work 
 which he wrote in eight days, "A Critique upon every possible Revelation." 
 This publication procured for its author the Chair of Philosophy at Jena, in 
 1793, which he was obliged to resign in consequence of his heterodox religious 
 principles. Finding an asylum in Prussia, he was appointed to the Philoso- 
 phical Chair first at Erlangen, then at Berlin. In 1813, he joined a corps 
 of volunteers, and took part in the memorable campaign of that year, his 
 wife accompanying him, and performing many heroic and womanly services 
 to the wounded. Husband and wife both took fever in the discharge of 
 their duties, and died.. It has been said of Fichte that he erected the 
 temple which Kant declined to build. His great aim was to construct a 
 science out of Consciousness, and to found upon it a system of morals. He 
 endeavoured to establish the identity of Being and Thought, and is there- 
 fore the great advocate of Idealism, which, however, he understood in a 
 different sense from that taught by Berkeley. According to his theory, 
 the realization of the world is the complete development of ourselves — 
 which should tend to the beautiful, the useful, and the good. His life 
 and death were both honourable to his nature. Before he died, he was 
 doomed to see his system in a great measure superseded by that of 
 Schelling. 
 
 [Bust by Ludwig Wichmann. Marble. The original is in the hali of the 
 University of Berlin. Executed for the University.] 
 
 350. Christoph Wilhelm Hueelakd. Physician. 
 
 [Born at Langensalze, in Saxony, 1762. Died, 1836. Aged 74.] 
 Professor of medicine at Jena in 1793, and physician to the King of 
 Prussia. The author of several works, the most celebrated being ' ' The Art 
 of prolonging Human Life," a book translated into many languages. His 
 fame in his own country was very great, and he is styled the Nestor of 
 Gferman practitioners. 
 
 [By Rauch. Marble. 1833. A commission from the University of Berlin, 
 where the original exists.] 
 
 351. Alexander yon Humboldt. Naturalist and Traveller* 
 
 [Born at Berlin, 1769. Still living.] 
 The mighty traveller of our own day. Filled with literature and science, 
 as if he had spent one life in the library, the laboratory, and the obser- 
 vatory, he performed the work of another in treading visited and un visited 
 plain, valley and mountain of the eastern and western hemisphere ; uniting 
 an ardour of spirit and a vigour of intellect rarely mated, and not often, singly 
 matched. An author of books that have advanced existing science, and the 
 creator of new sciences. His writings, conveying an account of his world- 
 wide journeys and scientific exploits, and treating profoundly and originally 
 of general physics, zoology, comparative anatomy, astronomy, mineralogy, 
 magnetism, and botany, are without parallel for richness of materials, and 
 in respect of their value as manuals for all enlightened explorers of the 
 marvels of nature. After a life of almost superhuman labour, and incon- 
 
GERMAN AUTHORS AND SCIENTIFIC MEN. 
 
 155 
 
 ceivable results, the grey-headed sage sums up the diligence of his 
 lengthened years, in a survey which registers, along every line of human 
 inquiry, the point of progress attained in the contemplation of the Universe, — 
 the first half of the teeming nineteenth century having elapsed. Who else 
 could have achieved — who but he could have attempted — the Atlantean 
 service ? Who but the philosopher, to whom the whole cycle of the physical 
 sciences is familiar — who walks hand in hand, a friend and fellow-labourer, 
 with their most distinguished inquirers ? Who but the scholar, before whose 
 eyes the lore of old time lies unrolled ? Who but the workman whose strength 
 toil cannot quell, and whose fire age does not quench ? — Spread his "Kosmos" 
 before a young and ardent intelligence, which has just then accomplished its 
 regular liberal nurture, and say " Read and comprehend." The comprehen- 
 • sion exacted will, when acquitted, have added an education. 
 [By Rauch. Executed in marble at Rome, 1823.] 
 
 351a. Alexander yon Humboldt. Naturalist and Traveller. 
 
 [This medallion, by F. Tieck, was modelled gratuitously for a medal struck at 
 the expense of those who had attended a course of lectures delivered by 
 Humboldt, and by them presented to him.] 
 
 352. GrOTTERiED Hermann. Philologist and Critic, 
 
 [Born at Leipzig, 1772. Still living. ■] 
 This distinguished scholar evinced, at a very early age, a taste for 
 classical literature, but was compelled by his father to study law at Jena. 
 Returning to his native city, he resolved to abandon the career of juris- 
 prudence for that of literature. In 1798, he became Professor of philosophy. 
 The foundation of his reputation was his fine work on Greek metres, 
 well known to English students. He translated "The Clouds" of Aristo- 
 phanes, and some tragedies of Euripides and Sophocles. His academic 
 dissertations are numerous, and his Latin poems are admirable specimens of 
 antique composition. Hermann has rendered invaluable service to the cause 
 of letters. Gfoethe said of him, that he was "a true Scavant, for he 
 knew how to renew the old and to revive the dead. 1 ' Dr. Parr placed him 
 at the head of the great contemporary critics. 
 
 [By Ernst Rietschel. Marble. 1846. Executed for the University of Leipzig, 
 and placed in the hall there.] 
 
 353. Friedrich Wilbzelm Joseph yon Schelling. Metaphysician. 
 
 [Born at Leonberg, in Germany, 1775. Still living.] 
 At Leipzig, where he studied medicine and philosophy, became the pupil of 
 Fichte. Afterwards filled Fichte' s vacant Chair at Jena, where he lectured with 
 great success. Continued in Bavaria until 1842, when he was invited by the King 
 of Prussia to Berlin. Is still there, occupying as lecturer the philosophical Chair 
 once held by Hegel. Is often styled the German Plato. It has been suggested 
 that he should rather be called the German Plotinus. Schelling proclaims the 
 incapacity of reason to solve the problems of philosophy, and calls in the aid 
 of a higher faculty — "intellectual intuition." He is the founder of a new 
 school of scientific thinkers, called the Nature Philosophers, of whom Oken 
 is the most illustrious example. He treats Newton's speculations upon light 
 with disdain, although they have led to many practical discoveries. Schelling' s 
 views on light and philosophy, generally, will probably lead to little more 
 than endless disputation. His works, nevertheless, indicate a vivid imagina- 
 
156 
 
 PORTRAIT GALLERY. 
 
 tion conjoined with subtle dialectics. Coleridge, in his philosophical writings, 
 has often adopted and adapted the ideas of Schelling. In many respects, 
 Schelling's head and face resemble those of Socrates. 
 
 [By J. Halbig. Marble. 1852. The original is in the Royal Palace at Munich. 
 It was executed by order of King Maximilian II.] 
 
 '354. Jan Jacob Beszelitjs. Chemist. 
 
 [Born at Ostgothland, in Sweden, 1779. Died at Stockholm, 1S4S. Aged 69.] 
 The son of a village schoolmaster, and educated for the medical profession. 
 Cultivated with ardour the science of chemistry, which then scarcely drew 
 the attention of the medical student. Appointed Professor of Chemical 
 Pharmacy in the University of Stockholm, and retained the Chair for the 
 space of forty-two years. At home and abroad he attained to great honour 
 and distinction. In Sweden he was made a noble, and he could boast of 
 connexion with eighty-eight scientific societies of Europe and America. His 
 patient investigations helped largely to lay the foundations of organic 
 chemistry ; and to him pre-eminently belongs the honour of applying the 
 great principles of inorganic chemistry. He invented the use of symbols 
 for chemical formula?, an invaluable method of representing chemical 
 changes ; and was as distinguished for his researches in analytical chemistry, 
 as for his philosophical views of the science. His personal appearance was 
 that of a strong, healthy man, and gave no indication of his intellectual 
 power. An early riser, devoting all his mornings to his scientific labours, 
 and his evenings to social relaxation. He was beloved in Stockholm. 
 [By Rauch. Marble. 1822.] 
 
 355. Sulpitz yon Boisseb^e. Architect and Archaeologist. 
 
 [Bom at Cologne, 1775. Still living.] 
 A man to whom, as to his brother, Grermany is indebted for one of 
 its most interesting and valued picture galleries. The two brothers, and a 
 friend named Bertram, in 1803, formed a resolution to collect the artistic 
 antiquities of Grermany, and for years all three pursued their object with the 
 utmost vigour, intelligence, and zeal. In 1814 ' 'The Boisseree Collection" 
 already reckoned 200 works of art, and was arranged at Cologne. It was 
 ultimately transferred to Stuttgart, on the invitation of the King of Wur- 
 temburg. Many valuable masterpieces of old masters were thus brought to 
 light. In 1827, the collection was ceded to Louis, King of Bavaria, for 120, 000 
 dollars, and in 1836 conveyed to Munich, in which city Sulpitz and his 
 brother established themselves. A writer upon the u Architectural Monu- 
 ments of the Lower Rhine," and an indefatigable, as well as a successful, 
 day labourer in the field of his early and later discoveries. 
 
 [Bust. Plaster. By L. Schwan thaler. 1S40. The original is in the Palace at 
 Munich.] 
 
 356. Peter Kaspak Wilhelm Betjtii. Member of the Council of 
 
 State in Prussia. 
 
 [Bom 1782. Died 1853. Aged 71.] 
 Director in Berlin of the Government department of trade, commerce, and 
 buildings, and head of the Grreat Industrial Society of Prussia. In his 
 l>ul>lic service he endeavoured to advance the principles of Free-trade, 
 and always acted upon the idea that the regulative intervention of 
 
GERMAN AUTHORS AND SCIENTIFIC MEN. 
 
 157 
 
 government in matters of commerce should be restricted to cases of general 
 danger. He established many useful institutions in connexion with his 
 department, and caused the issue of several works of instruction for indus- 
 trial schools and for artisans. He also introduced into Prussia valuable 
 improvements in manufactures, brought home by himself from the United 
 States, England, and France, into which countries he had travelled. An 
 active promoter of enlightened industry. 
 
 [By F. Tieck. 1847. Modelled for a large gold medal struck by the Great 
 Society for the Encouragement of Industry in Berlin, and presented to 
 Mr. Beuth.] 
 
 357. Kael Gustay Casus. Physician and Anatomist. 
 
 [Born at Leipzig, 1790. Still living.] 
 The son of a painter. Intended for a dyer, — he devoted himself to the 
 study of chemistry ; but, widening his sphere, applied himself to medicine, 
 and, subsequently, to anatomy. In 1811, appointed to the Chair of Com- 
 parative Anatomy in Leipzig ; and, in 1815, to the Directorship of Clinical 
 Midwifery, at the Medico-Surgical Academy of Dresden. Has acquired great 
 reputation by his lectures on Psychology. Also a painter of considerable 
 talent, and the author of numerous works on Medicine, and upon Art. His 
 Letters on Landscape-painting are valuable to artists ; their merit was recog- 
 nised by Groethe. No less important is his book on the ' ' Proportions of the 
 Human Body," — just published. In him severe science and beautiful art — 
 a rare union — are happily combined. 
 
 [By Ernst Rietschel. Plaster. 1846. In the possession of the sculptor.] 
 
 358. Kael Gutzkow. Journalist and Dramatist. 
 
 [Born at Berlin, 1811 . Still living. ] 
 A German author, who, after the breaking out of the Pve volution of 1830, 
 exerted himself to advance the interests of his countrymen by publishing one 
 work against Revelation, for which he received three months 1 imprisonment, 
 and another against Marriage, which was scarcely issued before he himsel f 
 entered the marriage state. The dramas of Gutzkow have fared better than 
 his polemical writings, some of his plays being very popular. He is a pro- 
 lific author, and has cleverness and wit, which he brings to the illustration 
 of every topic of the day ; - but his vanity and conceit surpass his abilities, 
 and perpetually mislead him. 
 
 [By Ernst Rietschel. Plaster. 1850. In the possession of the sculptor.] 
 
 SOLDIERS AND STATESMEN. 
 
 359. Hans Joachim yon Zlethen. Prussian General. 
 
 [Born at Kuppin, in Germany, 1699. Died at Berlin, 1786. Aged 87.] 
 One of the bravest and best of the great Frederic's generals. Served 
 with great honour in the campaign of Silesia, 1742 ; secured the victory of 
 Hennesdorf by the eminent skill displayed in the retreat from Bohemia. As 
 lieutenant-general, made the campaign in Saxony, 1756, and won further 
 distinction in 1760 at Torgau. When 80 years old still eager for action, and 
 
158 
 
 PORTRAIT GALLERY. 
 
 kept out of battle only by the kind interdict of the king. He died honoured 
 by his sovereign, beloved by his inferiors, and worshipped with enthusiastic 
 admiration by the great mass of the people. Frederic the Great was fond 
 of proposing military problems to his officers, asking them, in such or such 
 an imaginary situation, — " What would you do ? " to which the other officers 
 replied, as they best might. All that he could ever get from old Ziethen 
 was : ' ' Sire, only let me see the enemy coming, and I shall know well 
 enough what to do with him." — So he did. 
 
 360. Gebharbt Lebrecht vox Blucher, Prixce or Wahlstabt. 
 
 Prussian Field Marshal. 
 
 [Born at Rostock, in Germany, 1742. Died in Silesia, 1819. Aged 77.] 
 First entered the Swedish army. Taken prisoner by the Prussians, whom 
 he joined, but expelled from this service for duelling and dissipation. Retired 
 to the country, married, and, after fourteen years' quiet, returned to the army 
 as Major of the very regiment which he had quitted as Captain. Then com- 
 menced a glorious military career, proudly terminating with his opportune 
 appearance on the field of Waterloo. In 1814, visited England with the 
 allied sovereigns, and was enthusiastically received. A rough and fearless 
 soldier, brave, honest, free, beloved by his comrades, devoted to his country, 
 and a bitter hater of his country's foes. As a general, daring, reckless, and 
 impetuous, to the detriment of otherwise high military qualifications. In 
 temper he was vehement and irascible, and an ardent lover of pleasure. His 
 soldiers gave him the nickname of "Marshal Forwards." 
 
 [Bust, by Rauch. 1816. Marble. This is the bust presented by King Frederic 
 William III. to the Duke of Wellington, and is in the gallery at Apsley 
 House. The large intaglio (No. 360a) is from the monument at Kriblowitz, a 
 small village near the city of Kant, in Silesia, and about ten English miles from 
 Breslau. It was erected about six years ago by order of King Frederic 
 William IV. of Prussia, and is designed after the ancient Roman sepulchre of 
 Caecilia Metella, but on a smaller scale, being thirty feet high. It is 
 constructed entirely of granite, and the ceiling is formed of one large block. 
 A marble sarcophagus within contains the remains of Blucher. The monu- 
 ment at Lowenberg, on the river Bober in Silesia, was erected by King 
 Frederic William IV. to commemorate the battle of Katsbach, won by 
 Blucher over the French in 1813. It consists of a colossal bust in marble 
 upon a pedestal of grey marble, bearing an inscription. The bust, No. 360b, 
 was sculptured by Berger, a pupil of Rauch's, after the head of the colossal 
 statue in bronze by Rauch, which stands in the Place at Breslau.] 
 
 360a. Gebharbt Lebbecht von Blucher, Prince oe Wahlstabt. 
 Prussian Field Marshal. 
 
 360b. Gebharbt Lebrecht von Blucher, Prince oe Wahlstabt. 
 Prussian Field Marshal. 
 
 361. Friebri-ch Wilhelm Bulow. Prussian General. 
 
 [Born in Mccklcnburgh, 1755. Died at Konigsberg, 1816. Aged 61.] 
 A brave man and a distinguished general. He fought under Blucher in the 
 battles of Eylau, Friedland, and Tilsit. In 1813, he three times saved 
 Berlin from the advancing French army. He was in the great battle of 
 Leipzig ; and in 1815, he repulsed Vandamme and Grouchy on the heights of 
 Wavre. The marvellous rapidity with which he brought up his division to 
 the field of Waterloo won high commendation from the Duke of Wellington. 
 
GERMAN SOLDIERS AND STATESMEN. 
 
 159 
 
 He had great taste in the Fine Arts, and a cultivated mind. He composed 
 some pieces of sacred music, which have been much admired. 
 
 [By Rauch. Bronze. 1824. In the Pleasure Garden near the Palace at 
 Potsdam. 
 
 362. Karl Barot* Yon Stein. Prussian Minister of State. 
 
 [Born at Nassau, 1756. Died 1831. Aged 75.] 
 
 A great Minister of modern times. Though rough and uncouth in his 
 manners, his honour was unimpeachable, his integrity without a flaw, and 
 his devotion to the interests of Prussia patriotic and enlightened. He was 
 Prussian Minister of Finance in 1804 : but resigning in consequence of some 
 differences with the King, he retired to his patrimony in Nassau. Thence 
 recalled after the peace of Tilsit, he resumed his functions, and commenced 
 a series of great social, economical, and material reforms, which led directly 
 to the resuscitation of the Prussian monarchy, and to her present eminence. 
 Napoleon, jealous of the useful activity of this Minister, demanded and 
 obtained his exile. In 1813, the banished man proceeded to St. Petersburg, 
 where his counsels directed the Emperor Alexander through the crisis of that 
 dreadful year. Nor did Prussian interests suffer, in consequence of the 
 sagacious advice that came from time to time to Berlin from the exile's 
 retreat in Courland. 
 
 303. GrEBHARDT David Scharnhorst. General. 
 
 [Bom in Hanover, 1756. Died at Prague, 1813. Aged 57.] 
 A very distinguished general of his day. He served first in the 
 Hanoverian service, then in the army of the King of England, and finally in 
 that of Prussia. In the war with France, in 1806, he contributed greatly 
 to the brilliant retreat on Lubeck, effected by Blucher. After the peace of 
 Tilsit, he was named President of the Commission for the re -organization of 
 the Prussian army, and his* energy and wisdom enabled Prussia to bring a 
 finely appointed army of 200,000 men into the field, after Napoleon's Rus- 
 sian reverses. He was wounded at Lutzen, and died at Prague shortly 
 afterwards. In 1804, he had been appointed by the King of Prussia, con- 
 jointly with Baron Knesebeck, instructor to the Prince Royal : and at one 
 time of his life he wrote several works on military subjects, which gained 
 him great repute. 
 
 [By Rauch. Modelled in 1819, and executed in bronze by order of King Frederic 
 William III. It stands in the Pleasure Garden near the Royal Palace at 
 Potsdam. A colossal bust, taken from the same model, was done by Ranch, 
 by order of King Louis of Bavaria, for the Walhalla.] 
 
 364. Yorck, CorxT yok Wartejstbttrg. Prussian Field Marshal. 
 
 [Bom at Konigsberg, 1759. Died 1830. Aged 71.] 
 One of the ablest Prussian generals in the wars with Napoleon. 
 He fought under the British flag in the American revolution. When com- 
 manding subsequently in the Prussian service, he concluded in 1812, on his 
 own responsibility, the celebrated Convention which separated the Prussian 
 troops from the French, and proved one of the main causes of Napoleon's 
 overthrow. He gained many victories at various times, and was honoured 
 with the title of Wartenburg for the battle fought at that place. In 1821, 
 he was created Field-Marshal. A brave man, endowed with great military 
 
160 
 
 PORTRAIT GALLERY. 
 
 talent ; a shrewd observer of men, ambitions, violent, yet devoted to his 
 country. 
 
 [By Rauch. Bronze. 1818. In. the Pleasure Garden near the Palace at 
 Potsdam.] 
 
 365. Friedrich Heinrich vok Nollendorf. Prussian Field- 
 Marshal. 
 
 [Born at Berlin, 1763. Died there, 1823. Aged 60.] 
 A distinguished Prussian officer. Commanded a brigade in the Prussian 
 contingent to Napoleon's disastrous expedition to Russia, and bore an 
 honourable part in the wars subsequently undertaken against Napoleon. 
 Accompanied Frederic William of Prussia on his visit to England. He died 
 on the same day as Buonaparte. All the sovereigns of the coalition had 
 conferred honours upon him, and Napoleon himself decorated him with the 
 cross of the Legion of Honour. 
 
 [By Rauch. Bronze. 1819. In the Pleasure Garden near the Palace at 
 Potsdam.] 
 
 386. Augustus, Count Heed art de Gtneisenau. Field- Marshal. 
 
 [Born at Schilda, in Upper Saxony, 1760. Died at Posen, in Prussia, 1832. Aged 72. J 
 An eminent soldier, who served first under the Margrave of Anspach- 
 Bayreuth ; then in the English, then in the Prussian service. On the return 
 of Napoleon from Elba, he was placed at the head of Blncher's staff, and 
 was mainly instrumental in bringing up the Prussian troops at Waterloo, 
 where he ably conducted the pursuit. In 1831, took the command of the 
 Prussian army on the breaking out of the Polish insurrection, and died of 
 cholera the same year. A great master of strategy. 
 
 [By F. Tieck. Bronze. 1821. In the Pleasure Garden near the Palace at 
 Potsdam.] 
 
 367. Karl Wilhelm Barok" vox Humboldt. Statesman and 
 
 Philologist. 
 
 [Born at Potsdam, in Prussia, 1767. Died near Berlin, 1835. Aged 68.] 
 In William Yon Humboldt the highest qualities of a scholar were united to 
 the talents of a statesman and man of the world. He discharged the func- 
 tions of Ambassador at Vienna and in London, and served his country on 
 more than one grave and diplomatic mission. He was extensively learned in 
 languages dead and living ; but that is common in Germany. His originality, 
 as a philologist, lies in a delicacy of abstruse thought — a philosophical vein, as 
 fine as profound, which he brings to bear on all questions of the literary 
 field, from the rigid investigation of grammatical forms and laws, to the most 
 feeling and comprehensive criticisms of taste. A rare power of sifting 
 analysis, a strong impulse to tread, alone and self-guided, unfrequented 
 grounds, and an eye to seek out new truth on ground the most trodden, may 
 be read in his various masterly writings. He was a poet also. 
 
 [Modelled by Thorwaldsen, at Rome, in 1807. It has since been executed in 
 marble by order of King Frederic William III., and placed in the Museum 
 at Berlin. J 
 
 368. Hermann Von Boyen. Prussian Minister of War, 
 
 [Bom at Kreutzburg, in Prussia, 1771.] 
 Commenced his military career as corporal in an infantry regiment, 1784, 
 and gradually rose until, in 1799, appointed Staff-Captain. In his youth a 
 
GERMAN SOLDIERS AND STATESMEN. 
 
 161 
 
 great student of the works of Frederic the Great ; and from 1794 to 1796, 
 during the war with Poland, the adjutant and friend of the celebrated 
 General Von Glinther, whose military disciple he became, and whose memoirs 
 he subsequently composed. In his twenty-eighth year he wrote a treatise 
 upon military law, which eminently conduced to the more humane treatment 
 and greater comfort of the common soldier. Served in all the later wars 
 against Napoleon. Major-general at the Peace of Paris, when he became 
 Ivlinister of War. In that capacity, established in connexion with the service 
 a number of organic laws, which display great practical wisdom, and a 
 manly consideration for the well-being of the army. Retired from office in 
 1819, and occupied himself in literary pursuits. Reinstated by the present 
 King of Prussia in 1841, he at once pursued his former energetic course of 
 improvement on behalf of his country and of its loyal defenders, to the 
 great joy of the soldiers, and with the honour, good-will, and affection of 
 the people. 
 
 [By Hopfgarten. The original bronze is in the Palace at Potsdam.] 
 
 369. Otto-Feodoe Feeiheee yost Maxtettffel. Prussian Minister. 
 
 [Born, 1805. Still living. J 
 Educated at the University of Halle. In 1827, went to Berlin, where he 
 was employed in the Administration. In 1841, appointed Chief Counsellor 
 of State and Director of the Home Department in the government cf Kon- 
 igsberg. When, in 1847, the first united Prussian Chamber met, Manteuffel 
 powerfully defended the existing system against the liberal attempts of the 
 day ; and in April, 1848, protested and voted against universal suffrage. In 
 November, 1848, appointed chief Administrator for Brandenburg, since which 
 time his ministerial activity has become matter of Prussian history. Man- 
 teuffel took an active part in framing the constitution of December 5, 1848. 
 After the death of Count Brandenburg, he was entrusted provisionally with 
 the direction of foreign affairs ; and in 1850 was elected President of State. 
 He is in high favour with the king, but not so popular with the liberal 
 party. 
 
 [By Vollgold. Bronze. 1850. In the Pleasure Garden near the Palace at 
 Potsdam. First executed by the artist for his own gratification. Has since 
 been cast in bronze by order of King Frederic William IV. ] 
 
 370. Cou]S T T Joseph Radetzkt. Austrian General. 
 
 [Born in Bohemia, 1766. Still living.] 
 Has been a soldier, and in active service, for upwards of seventy years. 
 He took part in the great struggle against Napoleon. In 1809, distinguished 
 himself at Agram, and in the battles of 1813, 1814, and 1815, won fresh 
 laurels. In 1822, appointed Commander- General of the Lombardo- Venetian 
 kingdom. His last great service for Austria was after the Revolution of 1848, 
 when he opposed and defeated the vacillating attempts made by Charles 
 Albert of Sardinia, on behalf of Italian liberty. When it is said that 
 Radetzky is a brave soldier, an able general, a loyal subject, and, as many 
 aver, a courteous gentleman, his claims to respect are enumerated. He is 
 rigid and severe, if not cruel, as he is certainly regardless of all human 
 considerations that presume to interpose between him and the duty which 
 he owes as a soldier to his king. 
 
 [By Rauch. Considered to be a very exact likeness.] 
 
162 
 
 PORTRAIT GALLERY. 
 
 PRELATES AND THEOLOGIANS. 
 371. Martin Luthee. The Great Reformer. 
 
 [Born at Eisleben, in Saxony, 1483. Died there, 1546. Aged 63. J 
 The Liou of the Reformation. One of the men who, by coming to their 
 time, have made an epoch in the world's history. Assuredly the abuses of 
 Rome, — in her second supremacy, as the spiritual mistress of the world, — 
 must have aroused their elfectual remedy ; for partial resistances, before 
 Luther rose, showed how deeply the mind of mankind resented and resisted 
 the oppression and the spiritual malversation, and hew fast the time was 
 ripening for general revolt. Europe, since the overthrow of the Roman 
 Empire, had been gradually rising with the inward vigour of her renewed 
 life. The restored study of classical letters came as a powerful external impulse. 
 Rome had but slowly established her domination, and only then securely given 
 herself up to licence. Thus the strengthening of the evil on the one hand, and 
 of the resisting life on the other, met : and then Luther came. He was fit 
 for his Herculean labour. He had stepped from the very heart of the people, 
 and his strong nature bespoke his hardy origin. He was fearless as one who 
 could not feel fear in the midst of the most terrible danger ; he was zealous 
 as one who labours under the sense of Divine appointment, who knows that 
 to die may be to live, to live may be to suffer worse than death : and who 
 rejoices equally at every turn of fortune. He was threatened with the stake : 
 he persisted in his crusade all the more for the menace. The Pope excom- 
 municated him in the face of all the world. He denounced the Pope before as 
 large an audience. The Pope publicly burned all his writings : he publicly 
 burned the Bull of excommunication, the Canon Lav/, and the Pope's Decretals. 
 Before Luther died, — and he fell asleep tranquilly, worn out with labour, not 
 with age, — his doctrines had already taken deep root in the wide world. We 
 are all the debtors of his work ; and we may remember with gratitude the 
 generous protection of the Elector of Saxony, who again and again refused to 
 give the Lion up, when the hunters loudly demanded his blood at the gate. 
 [By G. Schadow. Marble. The original placed in the Walhalla by order of 
 King Louis. Luther was excluded from the Walhalla till 1848,, when he was 
 admitted, and inscribed as Dr. Martin Luther. In the Berlin Museum there 
 is a portrait of him from the life, by L. Cranach, as the Junker Georg, 
 with moustaches, painted when he was concealed in the Castle of 
 Wartburg.] 
 
 372. Philip Melancthon. German Divine and Reformer. 
 
 [Born at Brettcn, in the Palatinate of the Rhine, 1497. Died at Wurms, in 
 Germany, 1560. Aged 63.] 
 
 The wise and gentle sharer with Martin Luther in the glory of the 
 Reformation. Melancthon was Professor of Greek in the University of 
 Wittemberg in 1518, when Luther was there teaching Theology. They 
 united their great gifts and powers to do the perilous labour of their lives, 
 and each proceeded to his mission in the spirit created within him for the 
 accomplishment of a seemingly superhuman task. Luther raged furiously 
 against the error he encountered on his path. Melancthon strove to entice 
 it into the right road by gentle words and mild remonstrance. The one 
 exhibited the resolute bearing of a soldier fighting for the church militant ; 
 
GERMAN DIVINES. 
 
 163 
 
 upon the face of the other beamed the quiet heroism of the Christian saint. 
 Luther upbraided his companion-in-arms for his lukewarmness. Melancthon 
 met the rebuke by continuing his steadfast course of conciliation, caution, and 
 thoughtful zeal. Luther found no friend in the camp of the enemy. The 
 most intolerant of his foes respected the mild virtues of Melancthon. Both 
 were fit instruments for the hour in which they were summoned to action, 
 and for the sacred cause they arose to defend : and, as was fitting, both were 
 buried side by side in death, as they had laboured side by side, and hand to 
 hand, in life. Melancthon compiled the celebrated Augsburg Confession. He 
 was a great scholar, attached to the study of mathematics, and to scientific 
 studies generally. He had no desire for worldly honours and distinctions. 
 He was a true hero. 
 
 [From the marble by G. Schadow. Placed in the Walhalla by order of King 
 Louis.] 
 
 373. Feiedeich Eekest Daniel Schleieemachee. Theologian. 
 
 [Born at Breslau, in Prussia, 1768. Died at Berlin, 1834. Aged 66.] 
 His parents were of the Moravian brotherhood, which he quitted at the 
 age of 18, and began to study philology and divinity at the University of 
 Halle. In 1802, he taught the same subjects in the same University of 
 Halle. In 1833, he visited England, and opened the German chapel of the 
 Savoy. The author of several works distinguished for profound thought, 
 conveyed perspicuously to those he is addressing. He was an excellent 
 theologian, a distinguished philologist, a profound critic, and an admirable 
 translator. His translation of Plato, unfortunately not completed, is the 
 best extant. He had a pure and pious mind. 
 
 [By Ranch. Marble. 1822. A commission from the University of Berlin. The 
 same bust was placed over his tomb by the friends of Schleiermacher.] 
 
 KINGS AND QUEENS. 
 
 374. Feeleeic "William. Elector of Brandenburg. 
 
 [Born at Cologne, 1620. Died 1688. Aged 68.] 
 Surnamed the Great Elector, and father of the first King of Prussia. He 
 succeeded to the government in 1640, and found his dominions exhausted by 
 war and mismanagement. . He restored the public finances, and corrected 
 abuses. In 1655, he joined the Swedes in the invasion of Poland. In 1678, 
 he completed the conquest of Pomerania. He then fought against the 
 Swedes, and involved himself in war with France, because, after the 
 revocation of the Edict of Nantes, he had befriended 20,000 French 
 Protestants who sought protection at his door. In 1686, he helped the 
 Emperor against the Turks, and two years afterwards assisted William 
 of Orange in his invasion of England. He left his territory as rich, fruitful, 
 and well-governed, as he had found it poor and distracted. He has been 
 censured for his frequent change of party, but he deserves his name of 
 ' ' Great, " no less for the victories he won abroad, than for the good services 
 performed at home. He is described as a generous, kind-hearted man., 
 [By Ludwig Wichmann. Bronze. At Treptow.] 
 
 M 2 
 
164 
 
 PORTRAIT GALLERY. 
 
 375. Frederic "William I. King of Prussia. 
 
 [Born at Berlin, 1688. Died there, 1740. Aged 52.] 
 The son of Frederic I. and the father of Frederic the Great. The best 
 that can be said of him is, that he left behind him a full treasury and an 
 efficient army of 66,000 men. He was rough and rude in his manners, & 
 hater of luxury, and parsimonious in all things but his expenditure for 
 the increase of his military resources. He had a childish desire to fill' all his 
 regiments with very tall men, and was unscrupulous in his methods of 
 gratifying the whim. An amusing story is told in connexion with this passion. 
 Meeting with a fine, tall, and strong young peasant woman, who was on 
 errand to the quarters of a regiment, he gave her a letter to deliver to 
 the commanding officer, ordering him to marry the bearer to his tallest 
 grenadier. The girl, hindered on her way, and not knowing the purport 
 of her mission, entrusted it to a little old woman, and the marriage was 
 eifected accordingly. His contempt for science and literature was supreme, 
 and he made no secret of his want of all respect for their professors. He was-, 
 feared, not loved, in his country, and his death caused no regret. 
 
 [By Hopfgarten. Bronze. At Treptow. Done within the last ten years.] 
 
 376. Frederic II., Surnamed the Great. King of Prussia. 
 
 [Born at Berlin, 1712. Died 1786. Aged 74. J 
 The greatest soldier of his time, and the most famous king that Prussia has 
 given to her throne. At the commencement of his reign, in 1740, hik 
 dominions contained two and a quarter millions of inhabitants. At the end 
 of its 46 years, Prussia counted six millions of subjects. He held the field 
 singly against Russia, Saxony, Sweden, France, and Austria ; and came with 
 honour and rich booty out of the conflict. A great worker, whether in the 
 field or in the cabinet. His custom was to rise at five in the morning to read 
 "papers." These he dispatched with a word or two, written on the margin: the 
 rest of the day was marked out with exact precision, a part of it being inva- 
 riably devoted to literary pursuits, and to the cultivation of music, of which he 
 was fond. No man ever gave less of his time to frivolity or inaction. His dress 
 was plain, and never other than military ; his toilet, when he rose, occupied 
 him only a few minutes ; he always wore high jack boots, and he never 
 changed his dress during the day. An able administrator, a liberal 
 encouragerof art, science, and industry, and the personal friend of D'Alembert, 
 Condorcet, and Voltaire, with all of whom he personally corresponded. His 
 conversation was lively and brilliant, not unfrequently sarcastic : but, in 
 action, he was not cruel. A free thinker, rejoicing in his intellectual inde- 
 pendence. Besides his other acquisitions, he was one of the guilty sharers in 
 the dismemberment of Poland. Nevertheless, dying, he left an illustrious 
 name to his country, and a throne to his successor worthy the acceptance of a 
 European monarch. 
 
 [For an account of the admirable and unique monument, by Ranch, of which 
 this is the life-size model, see No. 195 in Handbook to Modern Sculpture] 
 
 377. Frederic Louis Henry. Prince of Prussia. 
 
 [Born at Berlin, 1726. Died at Rheinsberg, in Prussia, 1802. Aged 76.] 
 The son of Frederic William L, of Prussia, and brother of Frederic the 
 Great. A student in his youth, and a distinguished soldier in his manhood. 
 He held important command during the Seven Years' War. In later life, 
 when he withdrew into retirement, he erected in his garden a monument on 
 a huge mound of earth. It was raised in memory of his companions in 
 
GERMAN MONAftCHS. 
 
 165 
 
 arms, and underneath it, in a vault, he directed that his own remains should 
 be interred. 
 
 [By Emil Wolff. Marble. 1847. It was modelled at Rome. The original is in 
 the Palace at Berlin.] 
 
 378. Maximilian Joseph I. King of Bavaria. 
 
 [Born 1756. Died 1825. Aged 69.] 
 From 1799, Elector, and from 1806, King of Bavaria. The year that he 
 saw his Duchy raised to the dignity of a kingdom, Maximilian, who for 
 some years was the faithful ally of Napoleon, gave his daughter in marriage 
 to Eugene Beauharnois. In 1813, the Bavarian king, acting in the true 
 interests of his country and of humanity, joined the allies against France, 
 and helped with them to rescue Germany from the fangs of the French 
 invader. In public as well as private life, Maximilian was courteous, 
 benevolent, simple-minded, and true-hearted. 
 
 [By Stiglmayer. In marble. It is in the Palace at Munich. Stiglmayer was for a 
 long time at the head of the Royal Foundry for bronze casting.] 
 
 379. Feedekic William III. King of Prussia. 
 
 [Born 1770. Died 1840, aged 70]. 
 
 The grand nephew of Frederic the Great. He succeeded to the throne in 
 1797, and, in 1806, was involved in a war with France, which, before its 
 close, almost extinguished his kingdom. The peace of Tilsit, in 1807, left 
 him little more than a nominal sovereignty. In 1810, he founded the 
 University of Berlin ; in 1812, took part with France against Russia ; and 
 in 1813, again declared war against France. His army shared in the 
 triumphal entry into Paris in 1814 ; and in 1815, his soldiers under Blucher 
 partook of the glory of "Waterloo at the crisis of the battle. A man of 
 domestic virtues, but of small capacity. Napoleon's judgment of this King- 
 was somewhat harsh. " He is," said Buonaparte, " the greatest idiot on the 
 face of the earth — without intelligence, and incapable of sustaining a conver- 
 sation for the space of live minutes — a true Don Quixote." The present 
 Xing of Prussia is the son of Frederic William III. 
 
 [By Pvauch. Marble. 1826. In the Royal Palace at Berlin.] 
 
 380. Louis Ferdinand. Prince of Prussia. 
 
 [Born 1772. Died at Saalfeld, in Germany, 1806. Aged 34.] 
 A soldier of great distinction, and beloved by the Prussian army. In 
 the war of 1806, he commanded the advanced guard of Prince Hohenlohe, 
 and was killed in that year, whilst covering the evacuation of Saalfeld, in 
 Central Germany. He died bravely. He was of a generous and vehement 
 nature, a great advocate of the war, and frequently a violent opponent of 
 the government. He was impatient of the fact, that the accident of his 
 birth prevented the full exercise of energy and activity, which meaner men 
 were permitted. 
 
 [By L. Wichmann. Bronze. 1822. At Potsdam.] 
 
 381. Louisa Augusta Wilhelmina Amelia. Queen of Prussia. 
 
 [Born at Hanover, 1776. Died at Hohenzieritz, 1810. Aged 34.] 
 The honoured wife of Frederic William III. of Prussia. Napoleon 
 admired her for her wit, tact, and singular address, and Europe applauded 
 her for her heroic character, and true nobility of soul. On the breaking out 
 of the war with France, in 1806, she was inspired with enthusiasm, and was 
 
166 
 
 PORTRAIT GALLERY. 
 
 frequently seen in the streets of Berlin at the head of her Hussars, whose 
 uniform she wore. On the defeat of her husband at Auerstadt, she shared 
 his perilous retreat, and evinced great firmness and resignation. She was 
 also with her husband at the Conference of Tilsit, and was earnest in her 
 entreaties to Napoleon for easier conditions on behalf of her unfortunate 
 country. She was beautiful in person, calm and constant in reverses, with 
 great dignity and grace of manner. She was beloved by her people. 
 [By Rauch. Marble. 1824.] 
 
 382. Ludwig I. s Ex-King of Bavaria. 
 
 [Born 1786. Still living.] 
 The eldest son and successor of King Maximilian Joseph. As Crown Prince 
 he took little interest in public affairs, but confined himself to the zealous 
 patronage of the fine arts. Frugal in his personal expenditure, he was extra- 
 vagant in his purchases of works of art, and in the construction of his cele- 
 brated Glyptothek, a building devoted to the reception of the finest works of 
 sculpture. Ascending the throne in 1825, he commenced many economical 
 reforms, but still drew around him, by his munificent patronage, the most 
 celebrated artists of Germany, for the adornment and elevation of his capital. 
 More than one stately edifice and exquisite collection in Munich bear testi- 
 mony to his love for art and zeal in its promotion. He would have done 
 still more for his city had he been permitted. He lodged the munificent 
 sum of £30,000 in the hands of an English banker to purchase the Elgin 
 marbles, in the event of their rejection by the English government. The 
 sum actually paid for the marbles by England was £35 7 000. A grandeur is 
 reflected upon this— the finest side of Lud wig's character. On the other hand, 
 he has lived to become a bigot, to forget his early political reforms, to deal 
 with a rough hand in matters of religion and state, and to shock public opinion 
 by illicit alliances, at the very moment he is expressing a pious anxiety for the 
 restoration of monasteries. In 1848, Ludwig I. abdicated in favour of his 
 son Maximilian, the reigning king. The ex-king is a ruler fit for the middle 
 ages, when the love of art was intense and passionate, when manners were 
 rude and unformed, and the people in fetters, spiritual and bodily. 
 [By Halbig, 1848.] 
 
 382a. Ludwig I. Ex-King of Bavaria. 
 
 [Colossal bust, by Ludwig Schwanthaler. Marble. 1840. The original is in the 
 Royal Palace at Munich.] 
 
 383. Leopold I. King of the Belgians. 
 
 [Born 1790. Still living.] 
 Head of the House of Coburg. He was educated in Germany, and in 
 1816, married Charlotte, the daughter of George IV. of England. She died 
 the following year. In 1832, he married a daughter of Louis Philippe of 
 France ; and in 1850, she also died. He was called to the sovereignty 
 of Belgium in 1832. Although a foreign prince, and a Protestant 
 ruling over a Catholic country, he has succeeded in winning the respect of all 
 political parties, and the sympathies of all religious sects. He is the type of 
 a constitutional king on the continent of Europe, and his personal influence, in 
 European politics, is considered to be weightier than in proportion to the 
 size of his dominions. He is the uncle of Queen Victoria. 
 [From the marble by G. Geefs, in "Windsor Castle.] 
 
GERMAN MONARCHS. 
 
 1G7 
 
 383. * Louise Marie. Queen of the Belgians. 
 
 [Died 1850.] 
 
 She was the daughter of Louis Philippe, King of the French, and second 
 wife of King Leopold I. of Belgium. 
 
 [From the marble by G. Geefs, in Yfindsor Castle.] 
 
 384. Frederic "William IY. Reigning King of Prussia. 
 
 [Born 1795. Still living.] 
 A king whose good intentions and fair-sounding promises seem invariably 
 to overbalance his powers of performance. Anxious for popularity, yet 
 always vacillating on the path that leads to it. Manifestly ambitious, but 
 kept aloof from the great prizes of ambition by want of moral courage, 
 of earnestness, and vigorous action. He commenced his reign with many 
 advantages, and might have rendered himself the most powerful sovereign of 
 Germany, and the most popular of its rulers. He has missed the power, 
 and parted with the popularity. He promised his people a constitution : 
 they have never received it. In the Revolution of 1848 he sided with the 
 extreme liberals, but only to bound back again — further than ever — into the 
 arms of absolutism. In his conduct towards Russia and England in the 
 momentous dispute of 1854, Frederic William IV. is faithful to his 
 character and his antecedents. 
 
 [By Ranch. Marble. 1845. In the Royal Palace at Berlin.] 
 
 38o. Nicholas Paulo vifCH. Reigning Emperor of all the Russias. 
 
 [Born 1796. Still living.] 
 The third son of Paul I. and of Maria Feodorowna, and the eighth 
 sovereign of the Holstein-Gfottorp dynasty, which is of German origin. 
 Succeeded to the throne in 1825, upon the death of Alexander — his elder 
 brother Constantine renouncing the throne inJiis favour. In 1826, declared 
 war against Persia ; in 1828, the war closed in his favour. In the same 
 year found occasion for a quarrel with the Turks, crossed the Balkan moun- 
 tains, which Russian troops had never before passed, and imposed hard 
 conditions upon the Sultan— amongst others, the so-called Protectorate of 
 the Danubian Principalities. The insurrection in Poland, after the French 
 Revolution of 1830, the commencement of the war in the Caucasus, are 
 familiar events. Still more recent is the interference of Nicholas in the 
 war between Hungary and Austria — an interference that restored Hungary to 
 Austrian rule — and, later still, the invasion of the Danubian principalities, on 
 the plea of securing the rights of the Greek Church in the Turkish dominions 
 A- fanatic in his adherence to Russian customs, language, and religion, and 
 glorying in his title of Spiritual Chief of the Orthodox Church. The incarna- 
 tion of despotism, and the stern hater of all liberal ideas. His rule military 
 and absolute. Like Frederic the Great, he never shows himself but in military 
 costume. Is of great height, and said to be very proud of his size. His 
 life one of feverish activity. He gets through more work in a day than 
 other monarchs can manage in a month. He rides, walks, holds a review, 
 superintends a sham fight, goes on the water, exercises the navy, gives a 
 fete, takes his meals, and enjoys his rest, all within the twenty-four hours. 
 He is a wondrous traveller — travelling faster and getting over more ground 
 than everybody else — and has an absolute passion for military evolutions. 
 Since the days of the Empress Catharine, Constantinople — called in Russia 
 
168 
 
 PORTRAIT GALLERY. 
 
 Czarapol (city of the Czars) — lias been regarded as the future capital of the 
 Russian empire. Nicholas, after much diplomacy, cozening, double-dealing, 
 menace, and display of anger, has put forth his massive hand to seize it. 
 The world waits to see whether that greedy hand shall grasp its prize, or 
 recoil smitten and maimed for its unauthorized rapacity. 
 
 [By C. Rauch. Marble. 1820. In the Palaces at St. Petersburg and Berlin.] 
 
 386. Alexakdea. Empress of Russia. 
 
 [Born 1798. Still living.] 
 The wife of Nicholas, the reigning Emperor of Russia, and the sister of 
 Frederic William IV. , King of Prussia. 
 
 [By Rauch. From the marble. 1816. A commission from the Emperor. It is 
 in the Palace at St. Petersburg, and another copy is in the Royal Palace 
 at Berlin.] 
 
 387. Feancis Josepb:. Reigning Emperor of Austria, and King of 
 
 Hungary. 
 
 [Born 1830. Still living.] 
 Succeeded to the throne on the abdication of his uncle Ferdinand, in 1848, 
 (the epoch of revolutions), his father, Francis Charles, having refused the 
 Crown. At the time of his accession, Vienna had just been recovered from 
 the insurgents, but Hungary was in arms against Austria. In 1849, a new 
 constitution, of a more liberal character, was promulgated by the Emperor, and, 
 in the same year, Hungary was reduced to submission by the assistance of 
 Russia. In 1850, the young Emperor returned % the old system of absolute 
 government. In 1852, his life was attempted by a Hungarian whilst walking 
 on the ramparts of Vienna. Francis J oseph is personally popular. He is 
 bold and soldier-like, possessed of strong will and independent judgment. 
 His experience is beyond his years. 
 
 [By Halbig. Marble. 1850. The original is in the Imperial Palace at Vienna.] 
 
 ENGLISH PORTRAITS. 
 
 INTRODUCTION. 
 
 We have no great collection of Portrait Busts in England. The 
 British Museum contains 20 antique portrait busts ; those of Homer, 
 Pericles, Diogenes, and Julius Caesar have a good claim to authenti- 
 city. There are, also, in the Museum, some valuable antique Portrait 
 Statues. The English portraits, in Sculpture, in the Crystal Palace 
 have been collected, as time permitted, from old busts and statues, 
 and from the studios of living and deceased sculptors. Attached to 
 the lives of our English worthies given in the following pages, will 
 be found, wherever practicable, the names of the respective artists. 
 
ENGLISH AETISTS AND MUSICIANS. 
 
 169 
 
 "With the English. Contingent, the muster of our illustrious army 
 for the present closes. Five hundred busts and statues constitute 
 the vigorous germ of a collection which it is hoped eventually to 
 render by its extent worthy of the magnificent structure in which it 
 is housed, and of the subject which it is intended to vivify, viz. : — 
 The history of the great men of all nations who have, by thought 
 and deed, advanced human civilization, and stamped their impress, 
 whether for good or evil, upon the world through which they have 
 passed. 
 
 (The English Portraits commence immediately behind the Farnese 
 Hercules at the north-west angle of the Great Transept 
 and Nave,) 
 
 ARTISTS AND MUSICIANS. 
 
 388. Inigo Jones. Architect. 
 
 [Born in London, 1572. Died 1651. Aged 79. J 
 Inigo Jones served his apprenticeship to a joiner : but his talent for 
 landscape -drawing obtained for him the favour of the Earl of Pembroke, in 
 whose company he visited France, Flanders, Germany, and Italy. At 
 Venice lie was inspired with a taste for architecture, and following the 
 art with ardour and success obtained the office of first architect to the King 
 of Denmark. The king took Jones to England in 1606, and introduced 
 him to James I. His employment at the English Court as scenic deco- 
 rator is well known. The attachment of Inigo Jones, who was a Roman 
 Catholic, to the cause of Charles L, caused him great loss and suffering 
 during the civil wars, and he died, shortly after the sacrifice of his master, 
 worn out with grief and trouble. The style of architecture introduced into 
 England by this famous master, was founded on the Venetian school, and 
 more particularly on that branch of it exercised by Andrea Palladio. It is 
 distinguished by excellent proportions, and by a masculine and noble 
 character, which, whilst it does not condescend to borrow too much from 
 ornament, yet makes just use of its charm. The Banquetting House at 
 Whitehall, the only completed portion of the magnificent palace designed by 
 Jones, is his chef-d'oeuvre, and bears comparison with any work of the 
 Italian style in Europe. He practised the best and purest style of Italian 
 architecture ever known in England. 
 
 389. Sir Christopher Wrex. Architect and Mathematician. 
 
 [Bom in Wiltshire, 1632. Died at Hampton Court, 1723. Aged 91. ] 
 We think of Wren as the first of British architects ; but he was something 
 more. As a mathematician, he was in his day second only to Newton ; and 
 in general scientific knowledge, he had no superior. Educated at Westminster. 
 At thirteen, had already invented a new astronomical instrument. At 
 fourteen, entered Wadham College, Oxford ; — and, young as he was, 
 formed one of the original members of a club established for philoso- 
 
170 
 
 PORTRAIT GALLERY, 
 
 phical discussions and experiments ; a club out of which sprang the 
 Royal Society. When twenty-five, Professor of Astronomy at Gresham 
 College, London. At the Restoration, Savilian Professor of Astro- 
 nomy at Oxford ; his skill as an architect having been meanwhile 
 shown in the Sheldon Theatre at Oxford. The popular fame of Wren 
 rests on St. Paul's Cathedral, which he began to rebuild nine years 
 after the great fire, taking thirty-five years to complete his magnificent 
 labour. Before, and during this lengthened period, he built other edifices, 
 and applied his vigorous and subtle mind to the most abstruse branches of 
 science. His mechanical discoveries are numerous. He invented an in- 
 strument for ascertaining the amount of rain falling in each year ; he 
 rendered the taking of astronomical observations more easy and exact ; 
 he was the originator of the attempt to introduce fluids into the veins 
 of animals ; and there is every reason to believe that to him, and not to 
 Prince Rupert, we owe the art of mezzotint engraving. Amongst his 
 architectural buildings are Trinity College Library, Cambridge, the new part 
 of Hampton Court Palace, Chelsea Hospital, a wing of Greenwich Hospital, 
 and the palace at Winchester. St. Paul's, probably suggested by St. 
 Peter's at Rome, although not of equal dimensions with its supposed proto- 
 type, is a far nobler work of art, excelling it in plan, in composition exter- 
 nally, in variety of effect internally, and in scientific construction. Row 
 Church, Cheapside, St. Stephen' s v Walbrook, and most of the other churches, 
 in the City of London — where he chiefly worked — with their exquisite and 
 varied steeples, are the work of Wren, whose ecclesiastical edifices greatly 
 surpass in beauty all his other buildings. In his time the Greek style 
 had not been made known, and though with the Roman acquainted only 
 through books, and the Renaissance buildings of Paris, his work in it is 
 critically correct. His native genius is stamped upon his buildings, and he is 
 ever to be admired, if not always imitated. Supplanted by Court intrigue in 
 1718, he spent his old age as quietly as intrigue would let him at Hampton 
 Court, absorbed, and finding compensation, in his scientific studies, and visiting 
 London occasionally to see how the repairs at Westminster Abbey were going on, 
 
 390. Dayid Gaeeick. Player and Dramatist. 
 
 [Born at Hereford, 1716. Died at Hampton, 1779. Aged 63.] 
 The pupil of Dr. Johnson, with whom he went to London from Lichfield, in 
 search of a profession. He adopted the stage, and after playing for some time 
 at Ipswich under the assumed name of Lyddel, made his first appearance in 
 London, in 1741, in the theatre of Goodman' s-fields. He was twenty-five 
 years old — the part was Richard III. — the success triumphant. According to 
 tradition, the sole imperfect reporter to posterity of the triumphs achieved on 
 the scenic boards, Garrick was a rare master of his art ; equally impressive in 
 tragedy and comedy. Sir Joshua Reynolds painted him smiling at Comedy, 
 looking sadly at Tragedy, — and claimed by both. He raised immeasurably 
 the character of the actor's profession in this country, and purified the stage. 
 His acting was founded upon a delicate and thorough perception of Truth 
 and Nature. To him is due the great merit of restoring Shakspeare 
 to the boards, and of annihilating the false taste created by the dramatists 
 of a later period. His last appearance on the stage was in 1776. He 
 was small in stature, but well built ; his eyes were dark, and full of 
 fire. He had marvellous power of transfusing the workings of the soul into the 
 face, and all the passions were at his bidding. He was very vain, and not 
 
ENGLISH ARTISTS. 
 
 171 
 
 without other weaknesses ; "but else a generous and worthy man. His 
 private life reflected additional lustre on his genius, and as citizen and 
 artist he earned the honourable grave which he found in Westminster 
 Abbey. Gfarrick was also a writer for the stage. His comedies and farces 
 are lively and agreeable, and some of his epigrams have wit and fancy. 
 Johnson and he maintained their friendship to the last. The great lexico- 
 grapher affected contempt for the profession of his pupil ; but he hugged 
 u Davy," nevertheless, in the folds of Ms capacious heart, and was justly 
 proud of his achievements and renown. 
 
 391. Heney Fuselx or Fuessli. Painter. 
 
 [Born 1745. Died 1825. Aged 80.] 
 An artist of undoubted genius and originality, but very eccentric both as 
 painter and as man. Born at Zurich, where he cultivated learning with great 
 ardour, especially the literature of England ; at the same time took delight 
 in copying the works of Michael Angelo and Raffaelle. Came to England in 
 1763, and showed his paintings to Sir Joshua Reynolds, who praised the 
 work and recommended to the young aspirant the usual pilgrimage to Rome. 
 Obeying the command he remained for eight years in the city of Art, and 
 then came back to England where he worked his way to honour. In 1790, 
 he was Royal Academician ; in 1799, Professor of Painting ; in 1804, 
 Keeper of the Royal Academy. Fuseli was a good scholar, endowed with a 
 potent and wild imagination, and an excellent anatomist ; but he suffered his 
 imagination to lead him into extravagance, and his anatomy protruded itself 
 in his pictures. He painted, in 1798, a series of forty-seven pictures illus- 
 trative of Milton. They reveal grand conception and daring power, but 
 tremble occasionally on the verge of the grotesque. No later artist has 
 ventured to follow him in his flights, but his profound interpretations of the 
 true spirit of poetry may be contemplated by all men with advantage. 
 
 [From the marble, by E. H. Baily, R.A. Executed for Sir Thomas Lawrence, 
 1824.] 
 
 392. James Noethcote. Painter. 
 
 [Born at Plymouth, 1746. Died 1831. Aged 85.] 
 The son of a watchmaker, and intended for his father's business ; but, at 
 an early age, he transferred his affections from the parental shop to the 
 more genial region of art. In 1771, he attracted the notice of Reynolds, 
 under whose eye he studied for a time, and in 1777, set out for Italy. 
 In 1783, first exhibited at the Royal Academy. In 1787, elected Royal 
 Academician. The subjects of Northcote are chiefly historical, but he is 
 not remarkable for power, or originality of conception. Although he displayed 
 considerable skill in composition and colouring, as well as some vigour of 
 expression, his ability in art was by no means equal to his enthusiasm and 
 his application. Northcote was also a writer on art, and the author of a 
 Life of Reynolds. At the age of eighty -four he published a Life of Titian. 
 He was penurious and eccentric, and not a favourite with his brother 
 Academicians. 
 
 [By E. H. Baily, R.A., 1821.] 
 
 392 A. James Nqkthcote. Painter. 
 
 [Modelled from the life, and executed in marble, by J oseph Bonomi. Presented 
 by J. S. Scoles, Esq.] 
 
172 
 
 PORTRAIT GALLERY. 
 
 393. John Raphael Smith. Engraver, 
 
 [Born about 1750. Died in 1811.] 
 A distinguished draughtsman in crayons, and a mezzotint engraver. The 
 friend of Chantrey the sculptor, when that admired artist was serving 
 his time at Sheffield, in the shop of Mr. Ramsay, carver and gilder. It is 
 related that the sight of Mr. Smith's drawings, together with his conversa- 
 tion, first rendered Chantrey impatient of his servitude in the carver's 
 workshop, and induced him to purchase his release, which he obtained 
 two years before his indentures had expired, for the sum of fifty pounds. 
 This bust of John Raphael Smith, by Chantrey, was the first that 
 brought the young sculptor into note. It was exhibited in the Royal 
 Academy when Chantrey was 24 years old, and, during the disposition of the 
 works for exhibition, attracted the attention of Nollekens, who exclaimed, 
 L ' This is a splendid work. Let the man be known. Remove one of my busts 
 and put this in its place." 
 
 [The subject of this bust was afflicted with deafness, and the expression of the 
 infirmity is cleverly given in the face.] 
 
 394. John Flaxman. Sculptor. 
 
 [Born at York, 1755. Died 1826. Aged 71.] 
 Beyond all compare the greatest artist England has produced, and in 
 all respects one of her worthiest sons. His life constitutes one of the land- 
 marks set up in a nation for the guidance of the ambitious, and the 
 encouragement of the desponding. His father was a moulder of plaster 
 casts : in whose humble shop the boy received his earliest inspiration. 
 Feeble, and crippled, and thrown upon himself, he read such books as he 
 could obtain, and made drawings from the classic models that sur- 
 Tounded him. This was his education, for there was no money at home to 
 purchase a better. At ten, the self-taught boy could read Latin, and 
 had picked up much varied information. A shop filled with plaster casts 
 will be visited occasionally by men of taste and feeling. One such man 
 saw, and was struck by the genius of John Flaxman. His name was 
 Mathew, and by him the child, who could read Latin, was made acquainted 
 with the beauties of the Iliad and Odyssey. At fifteen, admitted a student 
 of the Royal Academy, and competed successfully for the silver medal. 
 What was to be done next ? — the father without means, and the youth old 
 enough to earn his own bread ! The young sculptor entered the service of 
 the Messrs. Wedgwood, and devoted some dozen years of his life to the 
 improvement of their porcelain manufacture. His genius stamped upon the 
 products of the potteries a character of beauty and classic elegance rivalling 
 the productions of any country. The forms were admired in his own day ; 
 they are now more highly esteemed than ever. At the age of twenty-seven 
 Flaxman married Anne Denman. His marriage, his friends declared, 
 would ruin him as an artist. Friends are apt to look upon the shadowy 
 side of one's happiness. In this case they were mistaken. Anne Denman 
 Lad the finest qualities of heart ; she possessed also exquisite taste, and a 
 cultivated mind. She appreciated the genius of her husband, and was 
 an enthusiast for his works. She accompanied him to Italy, where he 
 nourished his talents by the study of the masterpieces of antiquity. At 
 Rome he executed his illustrations of Llomer, Hesiod, iEschylus, and 
 Dante. For the first-named he received fifteen shillings for each drawing, 
 and was satisfied. He was elected member of the Academies of Florence 
 
ENGLISH ARTISTS. 
 
 173 
 
 and Carrara, and after seven years' absence came back to England. 
 His reputation had preceded him, and he soon justified his fame by 
 his noble monument of Lord Mansfield, in Westminster Abbey. The 
 works of Flaxman, whether of the pencil or the chisel, may take rank 
 with the productions of any age or country. They are distinguished by 
 simplicity, dignity, sublimity, grace, and true poetic feeling. If any 
 modern sculptor may take rank with the ancients, Flaxman' s place will be 
 second to none. His productions are scattered over the globe ; we meet 
 them in India, the two Americas, and in Italy, as well as nearer home. 
 He is better appreciated everywhere than in England. But we are begin- 
 ning to know his value. His worth as a man was equal to his greatness as 
 an artist. All who knew him speak of his modesty, his gentleness, his- 
 single-heartedness. After the death of his wife in 1820, whom he tenderly 
 loved, he lived in comparative retirement. 
 
 [By E. H. Baily, R.A. From the marble executed for Sir Thomas Lawrence, 
 1824.] 
 
 395. Thomas Stothaed. Fainter, 
 
 [Born 1755. Died 1834. Aged 79. J 
 Apprenticed at an early age to a pattern draughtsman. Subsequently, and 
 for many years, he furnished the illustrations to "The Novelist's Magazine." 
 Became the reigning prince of illustrators, and for fifty years continued to 
 adorn the pages, not only of contemporary literature, but of our poets from 
 Chaucer all down to Rogers. His most famous productions are the illustrations 
 to "The Pilgrim's Progress," to "Robinson Crusoe," to "Rogers's Italy," 
 the Procession of the Flitch of Bacon, the Pilgrimage to Canterbury, and 
 the Wellington Shield. He made many designs for sculptors ; amongst others, 
 that for Chantrey's "Sleeping Children," in Lichfield cathedral. At one 
 time or another he attempted every branch of the limner's art. He had great 
 powers of imagination, moulded and directed by unflagging industry and the 
 severest application. His genius is peculiarly English. He studied deeply 
 the works of Raffaelle and Durer, but was no slavish imitator of these, or 
 of any other men. The grace that clings to his works is essentially the ex- 
 pression of his own mind. Let us see his productions how, or when, or 
 where we may, his spirit is detected at once, and we say, * ' This is 
 Stothard." His female figures, not always strictly correct in drawing, are 
 exquisitely graceful. His life passed evenly in the performance of labour 
 in which he delighted. He was a good man, and his works are his annals. 
 
 [From the marble executed by E. H. Baily, R.A., in 1825, for Sir Thomas 
 Lawrence.] 
 
 396. Sir Thomas Lawrence. Painter. 
 
 [Born at Bristol, 1769. Died 1830. Aged 61.] 
 Of humble origin ; the father of Sir Thomas being the landlord of the 
 "Black Bear," at Devizes, in Wiltshire. At an early age evinced great 
 delight in drawing, and a talent for the recitation of poetry. Received his 
 first instruction at Bath from Mr. Hoare, the painter in crayons ; and when 
 thirteen years old, gained from the Society of Arts the great silver palette and 
 five guineas, for a copy, in crayons, of the "Transfiguration." When eighteen, 
 he exhibited seven female portraits at Somerset House. In 1791, chosen 
 Associate of the Royal Academy. In 1815, knighte d ; and in 1820, upon the 
 death of West, elected President of the Royal Academy. The first portrait 
 
174 
 
 PORTRAIT GALLERY. 
 
 painter of his time, and in other respects an accomplished man. His numerous 
 works are representations of the most notable and wealthiest people of his 
 day, by whom he was courted, honoured, and richly rewarded. His colouring 
 was clear and brilliant, and his design most graceful ; but vigour and 
 tnithfulness of character are not always remarked in his productions. 
 Lawrence had little or no education, — he was removed from school when 
 only eight years old, — but he must have picked up much on his road. One 
 of our great actors has acknowledged his large debt of gratitude to 
 Lawrence for instruction, advice, and intellectual training. 
 
 [By E. H. Baily, R.A. Taken the year after Sir Thomas Lawrence's death.] 
 
 397. Charles Kemble. Player. 
 
 [Born at Brecknock, 1775. Still living.] 
 
 The living chief of a family remarkable for dramatic genius. Since the 
 time of Grarrick, until very recently, the English stage has not been without 
 its Kemble, as one of its brightest ornaments. Mrs. Siddons and John Kemble, 
 were the sister and brother of Charles. As the representative of Falcon- 
 bridge, Mercutio, Benedick, Cassio, and similar characters, Charles Kemble 
 has been without an equal in our time. He first appeared at Sheffield, as 
 Orlando, in "As You Like it," in 1792. His first appearance in London 
 was at Drury Lane Theatre (1794), in the character of Malcolm, in 
 "Macbeth." He retired from the stage in 1836, but subsequently returned 
 to the boards for a short time, in 1840, in order to play a few of his best 
 parts before her present Majesty. He played for the last time, April 10, 
 1840, in the character of Hamlet. 
 
 [By Dantan, 1842.] 
 
 398. Francis Chantrey. Sculptor. 
 
 [Born at Norton, near Sheffield, 1781. Died in London, 1841. Aged 60.] 
 The first portrait sculptor of his day, but not equally famous for works of 
 imagination, the very few compositions of this kind that proceeded from his 
 chisel having been suggested to him by other more poetic minds. Chantrey 
 did not command astonishment, but compelled admiration by the simplicity, 
 beauty, and truth, that were stamped on all his productions. His portraits 
 are faithful, characteristic, and most artistic representations ; idealizing 
 the individual ; and in this branch of his art he undoubtedly outstripped 
 all rivals. His success was very great. He began life as a carver's appren- 
 tice, and was a journeyman carver in London, where he helped with his own 
 hand to furnish the dining-room of Mr. Rogers, the poet — a room in which 
 many times, in after life, he sat, one of the most welcome and sociable of the 
 guests there assembled. Wealth and honour came to him earned by labour and 
 perseverance ; and the fruits of his industry, amounting to £90,000, he 
 bequeathed to the Royal Academy, for the purchase of 4 i works of fine art 
 of the highest merit in painting and sculpture," such works " being 
 executed within the shores of Great Britain." The bequest was worthy of 
 a man whose mind, whose works, whose habits, all bore the strong impress 
 of the nation in which he was born, and of the people from whose heart he 
 had sprung. 
 
 [By his pupil, F. W. Smith.] 
 
 398a. Francis Chantrey. Sculptor. 
 
 [Medallion by Heffernan.l 
 
ENGLISH ARTISTS. 
 
 175 
 
 399. William Muleeady. 'Painter. 
 
 [Born at Emiis, in Ireland, 1786. Still living.] 
 An honoured name in British art, and undoubtedly the head of the 
 charming and peculiar style which he adopted, after having employed 
 his genius on larger and more striking subjects. He has risen from obscu- 
 rity by the force of genius, and given to the world works which will not 
 readily perish. When fourteen years old admitted a student at the 
 Eoyal Academy. Elected Royal Academician in 1816. His works reveal 
 great delicacy and purity of mind. He is a consummate draughtsman and 
 colourist ; and in the refined beauty and finish of his pictures, is not 
 surpassed by any of his contemporaries. Amongst his best works may be 
 reckoned those in the Vernon Gallery and in the collection of Mr. Sheepshanks. 
 [By Christopher Moore. 1830.] 
 
 400. John Gibson. Sculptor. 
 
 [Born at Conway, N. Wales, 1790. Still living.] 
 
 Like Chantrey, apprenticed to a wood-carver, and, like him also, a 
 cabinet-maker at this starting-point of his career. At the age of eighteen, 
 he exhibited a wax model of " Time," which procured him employment 
 with a sculptor in Liverpool. Making the acquaintance of Lord Castle- 
 reagh, he was furnished by that nobleman with an introduction to Canova, 
 and he accordingly set out for Rome in 1820. In Rome he still resides, 
 He has wrought with his chisel for the noble and wealthy of his own country, 
 and for the patrons of art in the land which he has chosen for his residence, 
 Ludwig of Bavaria — the eager and munificent patron of art — has been 
 amongst the serviceable friends of the gifted W elshman. For grace, beauty, 
 and finished execution, John Gibson has never been surpassed in this 
 country. Flaxman is the first of British artists ; but as a sculptor, chisel 
 in hand, Gibson is hardly second even to him. 
 
 [From the marble by Theed.] 
 
 400a. John Gibson. Sculptor. 
 
 [This bust is by Macdonald of Rome.] 
 
 401. William Chakles Macbeady. Player. 
 
 [Born 1793. Still living. ] 
 The son of William Macready, who was author, actor, and manager. 
 Educated at Rugby. Made his first appearance on the stage as Romeo, 
 at Birmingham, and his debut in London, in 1816, as Orestes, in the 
 ' 'Distressed Mother." He continued in London a leading tragic actor, 
 until he finally retired from the stage in 1851. Mr. Macready' s style 
 of acting was of the romantic, rather than of the classic order ; his 
 "Virginius" a more masterly performance than "Hamlet," his 
 u Rob Roy" far more picturesque and striking than " Richard III." 
 In the representation of Shakspeare's characters this popular actor was not, 
 generally speaking, equal to the most celebrated of his contemporaries. 
 His conceptions were not the conceptions formed by the intellectual portion 
 of his auditory in the tranquillity of the study. It was, however, impos- 
 sible to witness a more admirable execution of a wrong conception, than 
 that which Mr. Macready was able to render. In private life he has 
 
176 
 
 PORTRAIT GALLERY. 
 
 done honour to his profession ; and he has left no actor "behind him 
 superior to himself. 
 [By W. Behnes.] 
 
 402. George Cruikshane:. Caricaturist. 
 
 [Born in London, 1794. Still living.] 
 Like Tom Hood, George Cruikshank is something more than a humourist : 
 or, to speak more correctly, like all great humourists, both he and Hood 
 possess and reveal a deep perception and appreciation of the serious and the 
 pathetic in Nature and Art. The labours of Cruikshank, which commenced 
 at a very early period of his life, have been incessant and remarkable. His 
 admirable illustrations have adorned books of all kinds, from the political 
 4 'House that Jack built," to the moral " Bottle." At no period has he 
 drawn a line which — however cutting may have been the satire employed — 
 has not had for its object the benefit, as well as the amusement of his fellow- 
 men. His latest works — attacking the most degrading of our national vices, 
 — command our gratitude and respect. George is popular amongst his 
 associates. His face is an index to his mind. There is nothing anomalous 
 about him and his doings. His appearance, his illustrations, his speeches 
 are all alike, — all picturesque, artistic, full of fun, feeling, geniality, 
 and quaintness. His seriousness is grotesque, and his drollery is profound. 
 He is the prince of living caricaturists, and one of the best of men. 
 [By W. Behnes.] 
 
 403. Robert Vernon. Patron of Art. 
 
 [Born 1774. Died in London, 1849. Aged 75.] 
 A benefactor to his country, who amassed a fortune in business, and 
 expended his wealth in the formation of a gallery of pictures by British 
 artists. Whilst living, he proved himself the benefactor of struggling genius. 
 Dying, he bequeathed his works of art to the nation. His pictures are 
 now collected at Marlborough House, where they form "The Vernon 
 Gallery." 
 
 [By W. Behnes.] 
 
 404. Fanny Btjtler. Actress. 
 
 [Still living.] 
 
 The daughter of Charles Kemble : and a popular actress of her day. She 
 made her first appearance at Covent Garden Theatre, October 5, 1829, in the 
 character of Juliet ; and the sensation she then created rescued the theatre 
 from the difficulties into which it had fallen. She married Mr. Butler, an 
 American, and is the authoress of one or two well- written tragedies and 
 other works. 
 
 [By Dan tan, of Paris.] 
 
 405. Adelaide Sartoris. Vocalist. 
 
 [Still living.] 
 
 Second daughter of Charles Kemble : highly distinguished as a vocalist 
 of the Italian school ; she made her first appearance at Covent Garden 
 Theatre, in Norma, Nov. 2, 1841, and sang and acted with great success 
 at the same theatre in 1841 and 1842 ; but at the end of 1842 she retired 
 from her profession into private life. 
 [By Dan tan, of Paris.] 
 
ENGLISH PORTRAITS. 
 
 177 
 
 405*. G-eace Darling. Lighthouse-keeper' s Daughter, 1 
 
 [Born at Bamborough, Northumberland, 1815. Died 1842. Aged 27.] 
 
 " One whose very name bespeaks 
 Favour divine, exalting human love ; 
 Whom, since her birth on bleak Northumbrian coast, 
 Known unto few, but prized as far as known, 
 A single act endears to high and low, 
 Through the whole land." — Wordsworth. 
 
 Grace was the seventh child of a humble man who had charge of a 
 lighthouse on one of the Fame Islands, off the coast of Northumberland. 
 In the month of September, 1838, the "Forfarshire" steamer, of 300 
 tons, having on board sixty-three souls, during a terrible storm and dense 
 fog, struck on a rock within a mile of the light-house. It was deep 
 night. The ship snapped in half. Nearly all the creatures on board 
 were swallowed by the chafing sea ; and when morning broke, all 
 that remained of the "Forfarshire" and its people, were nine of the 
 passengers clinging to the windlass in the forepart of the vessel. It was 
 a fearful morning, the fog still prevailing — the sea hardly less boisterous. 
 Through the mist, however, the sad spectacle could be witnessed from the 
 mainland, and a reward was offered to any boat's crew that would venture 
 to the rescue. It was offered in vain. But the despairing castaways were 
 visible also from the lighthouse, where none was rich enough to offer reward 
 of any kind, for the sole inhabitants were husband, wife, and daughter. It 
 was the last watch before extinguishing the light at sunrise, and Grace was 
 keeping it. She intreated her father to go to sea, and he consenting, the girl 
 shared his boat, and the pair in dread and awe put off. Why speak of danger ? 
 Why detail the miracle ? The risk was incalculable. The chances of recovery, 
 nay, of self-preservation, were infinitesimal. But God strengthened the 
 woman's arm, as he had visited her heart, and, after painful labour, the 
 rescue was effected. The delivered nine were taken to the lighthouse, and 
 there kindly treated by the heroic girl and her aged parents. The spirit of 
 the nation was stirred by the act. Money enough to provide for her as long 
 as she should live, and gifts innumerable, were brought to her sea-girt rock ; 
 but she would not leave the light-house. Why should she ? What place so 
 fitting to hold this queen ? She held her modest Court there until her early 
 ■death. One who visited her speaks of her genuine simplicity, her quiet 
 manner, her perfect goodness. In 1841, symptoms of consumption— the 
 poisonous seed sown, it may be, on that drear morning — revealed themselves. 
 In a few months she died, quietly, happily, religiously. Shortly before her 
 death, she received a farewell visit from one of her own sex, who came in 
 humble attire, to bid her God speed on her last illimitable journey. The good 
 sister was the Duchess of Northumberland, and her coronet will shine the 
 brighter for all time, because of that affectionate and womanly leave-taking. 
 Joan of Arc has her monument. Let Grace of Northumbria have none. 
 Her deed is registered — 
 
 " in the rolls of Heaven, where it will live 
 A theme for angels when they celebrate 
 The high-souled virtues which forgetful earth 
 Has witnessed." 
 
 [Medallion by David Dunbar. Modelled from the marble bust in the possession 
 of the Bishop of Durham. The original model was taken from the life at 
 the Longstone lighthouse, soon after the incident above recorded, and three 
 years before the death of Grace.] 
 
 N 
 
173 
 
 PORTRAIT GALLERY. 
 
 405.** William Daeling. Lighthouse- Keeper. 
 
 [Born 1783. Still living.] 
 The father of Grace Darling. He succeeded his own father as keeper of 
 the Coal-light on the Brownsman, the outermost of the Fame islands, on 
 the coast of Northumberland. In 1826, he was transferred to the light- 
 house on the Longstone, another of the same group of islands. Solitary, 
 cut off for weeks from communication with the mainland, this humble man 
 has passed his days in self-improvement. He is intelligent, quiet, and 
 well-conducted. His children have received a good education for their 
 position in life, the father being the sole instructor — and one daughter at 
 least has not thrown discredit upon her bringing up. 
 [By David Dunbar.] 
 
 POETS AND DRAMATISTS. 
 
 406. Geoffeey Chattceb. The Father of English Poetry. 
 
 [Born in London, 1328. Died there, 1400. Aged 72. J 
 Notwithstanding the gulf of years, the poetical sire of Shakspeare. He to 
 whom, in an age which we call dark, the full sun of poetry shone. He whose 
 lineaments and gesture, transmitted by a contemporary pencil, are here 
 before us. He whose eye, though downcast, reads the world around him, 
 as it sounds the interior of Man : whose grave look of thought hides the 
 soul of mirth. What phase of our various life seems strange to him ? 
 To this he is at home in experience ; to that in imagination. With what 
 Homeric power has he not described the tournament where kings fight in 
 the lists at Athens ! What mediaeval romance in the loves of Palamon and 
 Arcite ! What an oriental colour and grace in the Squier's half-told tale of 
 the Tartar Cambuscan ! You read tale after tale, and wonder which 
 of the diversified strains was indeed the most native to the heart of the 
 poet. One critic will tell you — the broad coarse mirth — 'Never believe it \ 
 See with what lingering and tender fondness he brings out the sorrowful 
 story of the pure, innocent, and falsely accused Custance, abandoned to the 
 wild, drifting sea. How patiently he tells the trials of the patient Griseldis 
 — how sternly the self-doom of those two impious challengers of death. To 
 Chaucer was given an insight of which nothing eludes the scrutiny, a sympa- 
 thy of which nothing lies beyond the embrace. And in what spring-like 
 vigour and bloom of life that vanished world rises again before us ! What 
 truth ! and what spirit ! Under his quill the speech" of England first rose 
 into the full form and force of a language. Look up at him ! He seems to be 
 scanning thought and word, both. Mine host of the Tabard singling him out 
 amongst the pilgrims, for the teller of the next tale, says of him : 4 ' He 
 seemeth elvish by his countenance.' 1 — Does he ? 
 
 [For an account of this statue by Marshall, see No. 53, Handbook of Modern 
 ►Sculpture. There is an interesting contemporary portrait of Chaucer in the 
 British Museum, bearing date 1400, from which the idea of this statue is 
 borrowed.] 
 
 407. William Shakspeake. Poet. 
 
 [Born at Stratford-on-Avon, 1564. Died there, Id 6. Aged 52.] 
 William Shakspeare stands at the head of those whose intellectual domain 
 
ENGLISH POETS AND DRAMATISTS. 
 
 179 
 
 is the spirit of man. This is the master character of his mind, to which 
 poetry is in him an accidental direction. His insight into man is his title 
 to universal interest. He is the chief painter of humanity that the world 
 has seen, combining, at once, perfect intimate knowledge of human nature, 
 and perfect creative power of representation. The drama had suddenly 
 awakened in his country, and he obeyed the instinct of his time, the poetic 
 bent of which was created for him, as he for it. There were with 
 him, before him, and immediately after him, great poets, with whom the 
 dramatic elements existed in high native strength and beauty ; but in him 
 alone are those elements mastered, so as to produce entire works of art, 
 complete in power, and in consistent, though not regular, form. Sharing 
 the intuition of Aristotle, which makes the action in the play the root out of 
 which the characters and all else grow, he directs the stream of events as 
 connectedly as it flows in the human world ; and, as in the world, so in his 
 inspired writing — agents appear born for their work, as the work to do 
 seems to offer itself to the agents. All beauties of language, all flights 
 of poetry, all particular scenes and speeches, powerful and impressive 
 as they may be, are merely subordinate. No character, how exquisitely or 
 elaborately soever conceived and finished, is drawn for itself; but one and 
 all are relative to the scope of the play and to one another. He seems to 
 have undertaken a great task, and to be seriously and solely intent upon 
 advancing to its fulfilment. No form of human life is foreign to him ; the 
 most heroic and the humblest, the most illustrious and the most obscure, of 
 ail times, in all places, are in presence before him. He seizes the spirit of 
 time, place, and theme. Natural, preternatural, light, weighty, laughter, 
 tears, terror, are all alike to him — all under his mastery, and flung forth 
 with free power. Grace and gigantic strength, are spirits equally at his 
 bidding. The learned and the unlearned are both attracted by his spell. 
 The ignorant feel the fascination, the erudite have never exhausted the study. 
 His country, with her innumerable titles to renown, ranks amongst the 
 highest his great name. With school instruction of the most ordinary kind, 
 by universal and unerring observation, by profound and intense meditation 
 of men, with the creative power of the highest imagination, he gave out, 
 spontaneously, works of that kind whose study makes men learned : and 
 they are so viewed and studied by all civilized nations, every day more and 
 more, at home and abroad. In him England competes for the crown of 
 poetical glory with all other nations of old or modern fame. She has had 
 other great poets, but they all, besides their own natural offerings, have 
 brought poetry from other lands and languages, into their own. In him 
 alone she feels, that what she displays she has produced. Little is known 
 of the life of William Shakspeare. 
 
 [Prom the well-known monumental bust in the church at Stratford-on-Avon, 
 where Shakspeare lies buried. It was executed by an artist named Gerard 
 Johnson, very soon after the death of Shakspeare, and erected between 1616 
 and 1620. The original is in common limestone, and was painted to resemble 
 life. The eyes were a light hazel, the hair and bear I .-.uburn: the doublet 
 was scarlet, and the loose gown black. It was repiinted precisely in the 
 same manner in 1749. But in 1793, Malone officiously had it whitewashed, 
 as it now exists. There is a great resemblance between this face from the 
 Stratford monument and the portrait published in the first folio of 
 Shakspeare's works, by the actors, in 1623. No. 407a is from a very- 
 remarkable terracotta bust, in the possession of Professor Owen, of the 
 College of Surgeons. It was discovered in pulling down the old Duke's 
 Theatre in Lincoln's Inn Fields, where it was placed over one of the stage- 
 doors, the bust of Ben Jonson (accidentally destroyed by the workmen) 
 
180 
 
 PORTRAIT GALLERY. 
 
 occupying a corresponding place over the other door. Shakspeare having 
 been rescued by the timely interposition of Mr. Clift, Professor Owen's 
 father-in-law, the bust became that gentleman's property, and by him it was 
 given to its present owner. There are two types of the Shakspeare portrait : 
 the ■' round-faced," as seen in the monument of Stratford-on-Avon, and the 
 "oval-faced" of Cornelius Jansen. Roubilliac's bust, and that in the 
 possession of Professor Owen, are after Jansen. No. 407b is the bust by 
 Koubilliac. The statues by Roubilliac and John Bell (see Handbook of 
 Modern Sculpture, Nos. 56 and 9) are conventional, and represent the 
 two types.] 
 
 408. JoHtf Milton. Poet. 
 
 [Born in London, 1608, Died there, 1674. Aged 66.] 
 The son of a scrivener. In his earliest years he became enamoured of the 
 Muses, wrote exquisite poetry, travelled in Italy, returned hastily on the 
 outbreak of the Civil Avar, and identified himself with the Republican party. 
 Later in life, and as blindness was deepening upon him, he was appointed by 
 Cromwell Latin Secretary to the Council of State. Retiring from politics on 
 the death of the Protector, he would, under the Restoration, have suffered as 
 a regicide, had not Sir William Davenant, to his great honour, interposed his 
 own favour with the Court. So rescued, Milton withdrew into obscurity 
 and poverty, unnoticed and forgotten. In his solitude and blindness he 
 composed " Paradise Lost," which he dictated chiefly to his eldest daughter. 
 The poem was sold to a bookseller for ten pounds, and was not very popular 
 during the lifetime of the poet. At one time he took pupils. He was three 
 times married, was devoutly religious, austere in his morals, and simple in 
 his ways of life. He is the great epic poet of England, distinguished by the 
 strength and sublimity of his genius, and hardly less for sensibility to the 
 graceful and beautiful. Laboriously learned, with an admiration as 
 intelligent as devoted, of the great writings preserved from Greek and 
 Roman antiquity, he, more than any other of our poets, has modelled his 
 works on the type of his illustrious predecessors. He has, of all English 
 poets, carried art in his writings to the highest pitch, but neither art 
 nor imitation has tamed the wing of his muse, or impaired his praise of 
 originality. He knew the greatness of his powers, viewing them as a gift to 
 be used to the honour of the Giver ; and his one paramount work, the 
 "Paradise Lost," having for its "great argument," as he himself says, "to 
 justify the ways of God to men," must be regarded as his oblation, brought 
 and laid on the Altar. He founded and formed English heroic blank verse, 
 —a measure which, under his hand, rivals in richness and variety the 
 music of his classical masters ; and which alone could, by its majestic flow 
 and inexhaustible powers of expression, have sustained the weight and 
 amplitude of his subject. He loved and honoured Shakspeare. 
 
 409. Alexander Pope. Poet. 
 
 [Born in London, 1688. Died at Twickenham, 1744. Aged 56. J 
 Alexander Pope, the son of a linendraper, and a Roman Catholic, was his 
 own instructor. He was sent home from school in his twelfth year for 
 lampooning his tutor, and from that time he gave his teachers no ™™ e r 
 trouble, Already, as a boy, a happy versifier— twice happy, for an indulgent 
 
 "William Shakspeaee. Poet. 
 
ENGLISH POETS AND DRAMATISTS. 
 
 131 
 
 father smiled on his dawning skill — he was, in his maturer day, and for the re- 
 mainder of his own century, the leading star in the sky of our English poetry. 
 He received at the hands of his master, Dryden, the rhymed ten-syllable 
 couplet. This couplet was not first by Dryden used harmoniously, forcibly, 
 eloquently — for Hall in his Satires had done this — but by Dryden it was first 
 raised into the reigning measure of English song. He sustained in it a free 
 flow and bold sweep, suitable to his genius. Pope rather chained the move- 
 ment, stamping even on his verse the peculiarity of his fine intellectual 
 powers. "When we search for Pope's characteristic amongst poets, we find 
 that he had reasoning — which is the earnest, — and wit — which is the sport- 
 ing — of the logical faculty, both intimately blending themselves with the 
 poetic vein. It was, accordingly, to a bright and sharp intellectual action that 
 he fitted the couplet, apt by its nature for the service. Uniting to a lively, 
 quick and keen intellect, so much of poetic passion as, in fact, secured the 
 dedication of a life, he produced works which, by their mastery, must 
 command admiration whilst the language is read, although in them, the 
 deliberate skill predominates over the passionate expression. Viewed from 
 the highest point, he was imitative, not original. His spirit active and 
 perceptive in the study of his greater and less predecessors, not self-infused 
 into the contemplation of Man and Nature. What is most felt as a fire in 
 his verse is the ardency of writing, the zeal of an artist enamoured of his 
 task : or he accepts and translates the passion of others, which, not having 
 its home in its own bosom, does not receive justice there. Our grandfathers 
 and our grandmothers knew by heart the " Essay on Man," the "Essay 
 on Criticism," the " Moral Essays," the ' ' Characters of Women " (sparkling 
 with wit and malice, but adding nothing to the observation and true ideal 
 delineation of woman), and the "Rape of the Lock," in which the playful- 
 ness, lying in the verse, exquisitely comes out, and a graceful half-ironical 
 fancy amuses and captivates, but no steeping imagination subdues or 
 transforms to its likeness. He introduces us again to Ariel, whom we have 
 known before, but how different his Ariel and Shakspeare's. Pope brought 
 intellective precision into poetry, which should feed on the indefinite and 
 the vague, and should flower out into the softened and the flowing. Hence, 
 often when he is the most admirable, he is the most artificial. 
 
 410. Oliyee Goldsmith. Poet and Man of Letters. 
 
 [Born in Ireland, 1728. Died in London, 1774. Aged 45.] 
 
 Poor dear Oliver ! What shall we say of him, with his kindly benevo- 
 lence, his manly independence, his honest feeling, his childish vanity, his 
 naughty extravagance, his irregularities, his blunders, his idleness, his 
 industry, his zeal for the improvement and advancement of the whole world, 
 and his improvident neglect of himself. Goldsmith had fits of genius :- — 
 moments of an inspiration, or a possession, that appeared to produce in him 
 powers, not ordinarily there. In the conduct of life he seemed born to be 
 the world's victim : he lay under the world. His gifted pen in his hand, he 
 rose above it. The tender sensibility that indites his verse agrees too well 
 to his story. The playful humour, and the sharp, never rough, never malig- 
 nant, satire, take by surprise. He then had the laughers on his side — 
 too often, unfortunately, against him. His poems of " The Traveller" and 
 "The Deserted Village " are a species by themselves, or each a species. 
 The vein of reflexion, of personal feeling, and of poetical viewing, with 
 
182 
 
 PORTRAIT GALLERY. 
 
 native simplicity of expression and musical sweetness, is common to the 
 two. The dirge of the deserted hamlet sowed the seed of ' ' The Pleasures 
 of Memory ; " and the wandering poet, feeding his verse from his travels, 
 was repeated in " Childe Harold." Goldsmith's " Retaliation," written upon 
 his friends of the St. James's Coffee House, in requital of the epitaphs they 
 had provided for himself, is the most brilliant and masterly summing up 
 of characters in pointed words and streaming verse that the language 
 possesses. The " Vicar of Wakefield " is the smiled-at, honoured, and loved 
 inmate of every English home. 
 \By W. Behnes.] 
 
 410*. Robert Bub:n t s. Poet. 
 
 [Born in Alloway, Ayrshire, 1759. Died at Dumfries, 1796. Aged 37.] 
 
 The ploughman-poet of Scotland ; in whom the labour of the limbs 
 appeared to invigorate the intelligence, and the bleak air of poverty to 
 cherish the blossoms of genius. Shakspeare rose from the bosom of the 
 people to delineate kings and queens. Burns, born some steps lower, 
 dwelt, even in his verse, to the last, amongst his own order. That is his 
 dignity and his glory. The life of the Scottish peasant as it remains repre- 
 sented by his pencil, and in his person, seizes the imagination and the sym- 
 pathies of the educated world. He has drawn the heart of the high towards 
 the low. He has raised the low to their just esteem in the opinion of the 
 high. But besides this moral aspect, he has gained, as a poet, immeasur- 
 ably, by rooting his foot to the fields which he furrowed. The conflict, so 
 maintained in our thoughts between his social position and his endowments 
 and aspirations, sheds a continual illumination of wonder upon his writings. 
 But more ! His happiest subjects and strains draw life and meaning from 
 the soil of which they are the self-sown flowers. Not merely that solitary 
 agricultural Idyl, with its homely-pathetic and homely-picturesque — ' ' The 
 Cotter's Saturday Night," — but the fanciful tenderness of his lament over the 
 Daisy and the Mouse ; — but the wild and reckless daring of imagination in that 
 cordial rencounter with the dread foe Death — that blending of the humorous, 
 the super naturally grotesque and the terrific in Tarn O'Shanter — of the 
 rustic, the gracious, the solemn, even the sublime — in the Vision of Coila — 
 these most characteristic feats of poetical skill and genius — v^hich stand apart, 
 defying competition and claiming rank for the name of Burns, amongst the 
 ' illustrious on Parnassus — all are made possible by originating from and 
 by reflecting his native condition. His songs are tender, passionate, musical; 
 chaunting his own or imaginary rustic loves. The torrent of his spirit, that, 
 pouring along the channels of thought and song, became an elate and exalting 
 enthusiasm, hurried him on the paths of common life into excesses, dilapi- 
 dating the humble home and the proud householder. He first published his 
 poems — now in every peasant's cottage throughout Scotland — in his 27th 
 year, and his fame was instantaneous. Later in life, the favour and patron- 
 age of the Scottish nobility and gentry were able to confer upon him a place 
 in the Excise, of no less than £70 a-year : in the discharge of which 
 distinguished public function, and in the enjoyment of which splendid public 
 remuneration — then his only certain support — the one-laurelled modern singer 
 of the time-honoured Scottish tongue sank, from his darkening noon, into 
 the grave. 
 
 [This Bust is by David Dunbar.] 
 
ENGLISH POETS. 
 
 183 
 
 411. Samuel Rogkeks. Poet. 
 
 [Born at Newington Green, near London, 1762. Still living.] 
 A classic inheritance from the entombed past. The living poet who 
 carried his first production with a trembling hand to Dr. Johnson's house in 
 Bolt Court, Fleet Street, and could not find heart to wait for an answer to his 
 summons when he had knocked at the door ; who listened with delight and 
 instruction to the lectures of Sir Joshua Reynolds ; and who still remembers 
 and relates how, when his father took him to see Garrick act, he himself 
 punished his boyish impatience by closing his eyes for a moment, as the 
 great actor was coming on to the stage. It is nearly seventy years since 
 Samuel Rogers published his first poem, and he was then a man. He is the 
 Addison of verse. Grace, elegance, delicacy, softness, are the character- 
 istics of his poetry. He does not astonish by power, nor thrill by burning 
 passion ; but he soothes, gratifies, and charms all who are susceptible of 
 consolation and pleasure from polished and complete works of art. His taste 
 is refined and classical, and all his works have the finish which such taste will 
 require of the artist possessing it. The rhythm of his poetry partakes of the 
 character of the sentiment : all is chaste, smooth, refined, and clear. The 
 descriptions in 4 ' Italy " of Italian life and scenery are very beautiful, and his 
 reflections are at all times pure and elevating. For so long a life, Mr. Rogers has 
 written very little ; but his works are gems, and have been heightened and 
 improved by labour until scrupulous thought can do for them nothing more. 
 All poets since the century began have acknowledged Rogers for a master ; 
 and his conscientiousness, purity, and refinement, fit him for a teacher. 
 He has outlived not only his illustrious contemporaries, but the great poets 
 who were unborn when he had reached his prime. The patriarch, in his 
 long protracted nightfall, still gladdens his memory with the visions of the 
 past, looking with placid hope towards his all but present future. 
 [By W. Behnes.] 
 
 412. William Woedswoeth. Poet. 
 
 [Born at Cockermouth, 1770. Died at Rydal Mount, 1850. Aged 80.] 
 The most original of the poetical thinkers whom his day gave to his 
 country. Her verse, notwithstanding one or two better voices up- 
 lifted, had too long and too patiently worn the character of an imitative 
 literature. He undertook the championship of a conflict, which was to 
 reseat legitimate powers on the throne. Born and bred in the northern, 
 mountain region of England, his first study of men was amongst the 
 simple-minded, vigorous, independent, and intelligent peasantry of the 
 dales. The earth, which his young feet explored, lay embosoming its 
 lakes, rearing crag and steep, as though yet freshly robed in loveliness, or 
 charged with power, by the Creator's hand. His instinct already drew him, 
 even unconsciously, to gather, in that contemplation of Man and of Nature, and 
 not in books, the materials of his appointed Art. Solitary, self- communing, 
 self- sufficing, he soon stood in presence with an educated world, the prophet of 
 a new poetical revelation. He found, at the first encounter, a prophet's reward — 
 belief in the few : from the multitude, mockery and persecution. He lived 
 long enough to be understood ; to see health and strength of his infusing 
 reanimate the too languid veins of our English poesy. An extreme trust 
 in the worth inhering in every phase of humanity may have sometimes 
 descended too low, in the choice of the theme ; an excessive zeal of simplicity 
 
184 
 
 PORTRAIT GALLERY. 
 
 may occasionally have stripped the style a little too bare. But his writings' 
 remain distinguished, amongst the lays of his own just elapsed age, as the 
 most soothing and instructive to the heart of the reader ; and for the 
 generations of poets, rising and to rise, the most warning and oracular. 
 His strains have "been remarkably various in length and weight, in manner 
 and style. As a portrayer of human nature, he ranks amongst those who 
 have the most deeply and critically explored the workings of our mysterious 
 heart and intellectual being. His especial vocation amongst poets was, in 
 his own view, the disclosure of the affinities which attract, by feeling, the 
 human soul to the natural world : It supplying intellectual forms, and We, 
 passion — an intercourse, blending, if it may be so said, two lives into one. 
 He entered upon his work of reforming our poetical spirit, in two volumes 
 of Lyrical Ballads and Other Poems, in the years 1798 and 1807. His life 
 was one long day of brooding calm — his sunset, lucid and serene. 
 
 [Presented to the Crystal Palace by the sculptor, F. Thrupp, and modelled by 
 him from a cast after death by Chantrey.] 
 
 413. Sib Waltee, Scott. Poet and Novelist. 
 
 [Born in Edinburgh, 1771. Died at Abbotsford, 1832. Aged 61.] 
 The great magician of the north, under whose fascinating spell millions in 
 all lands have been entranced and strengthened. His boyish eye fed on the 
 wild scenes of his native land, and on the mouldering wrecks — here and 
 there sadly gracing those scenes — of her former sterner, yet greater day. 
 His boyish heart was cradled in the music of her old wild songs, then 
 living, and in the rough and bold traditions of her strange and romantic 
 Past. The joy and the passion which were life to the boy, became power to 
 the man. With a wondrous dominion suddenly begun, yet prolonged whilst 
 he lived, he swayed and swept back the spirits of his generation on a torrent 
 of delight and desire, into forgotten times, alien to our manner of thinking and 
 of being. But the poet finds one heart of Man under all the shapes of human 
 existence : one universal spirit of human life. Transported by the poet, we 
 find ourselves everywhere with our kind. Reanimated by him, the worn-out 
 and the antiquated rise new-born and of our time. And Scott, in verse or in 
 prose, was a poet. The electric telegraph of the press carried his writings, as 
 they left his desk, over the globe. The excellent French historian, Augustin 
 Thierry, says that the romances of Scott, by their vivid and vital representa- 
 tions of the past, have reformed the style and study of history on the 
 continent, urging and guiding the historian, instead of chronicling dry facts, 
 to throw himself with a thirsty inspiration into the bosom of the mighty 
 departed time. A Scottish traveller in Spanish California told, that a 
 Spanish monk had there shown him his copy of " Ivanhoe," and said 
 " Next after my Bible." We remember with pain that Scott, to whom the 
 world stands so largely indebted for some of its purest delights, fell into 
 trouble and difficulty, and snapped his brain in his noble and manly struggle 
 for escape. The spot of Scotland which the toil of his genius had won him, 
 for rooting his family on, when torn from both him and them by a blast of ill- 
 fortune, was redeemed to them by the reverent affection of his country — 
 made theirs by a public act which tied even every i ' book of his curious 
 learning" to its place on his shelves, in perpetuity. There his favourite 
 daughter's daughter and her children now prolong, if not his illustrious 
 name, his honoured line. 
 [By F. Chantrey.] 
 
ENGLISH POETS. 
 
 185 
 
 414. Eobeet Southey. Poet Laureate. 
 
 [Born at Bristol, 1774. Died at Keswick, in Cumberland, 1843.. Aged 69. J 
 An author who has earned imperishable renown in his own country, for 
 the dignity with which he upheld the literary character, for his virtuous 
 mind, for his patient, honest industry, and for his masculine prose writings. 
 His poetical compositions — with the exception of the minor poems — are too 
 laboured and too long, are too deliberately planned, and not sufficiently 
 impassioned to be immortal ; but they contain, nevertheless, many fine de- 
 scriptive passages, abounding in strength and beauty : the subjects are 
 chosen, and treated, with bold and free imagination. Southey read too 
 much, and reflected too little ; he was an insatiable devourer of books, and 
 almost a prisoner to his study ; hence he imbibed prejudices, and narrowed 
 his intellectual sympathies : but his heart was of the soundest, and his feel- 
 ings of the freshest. In the distribution of his hours he was most methodical. 
 He had a surprising memory, a yearning towards the romantic in his literary 
 pursuits, and an insuppressible vein of humour. He lived and died, com- 
 paratively poor, and he was always a day labourer. Yet he had ever a ready 
 ear for the tale of distress, and an open hand for all who needed its grasp in 
 the difficult journey of life. He never murmured at his own inevitable yoke, 
 and he had self-command enough to refuse a baronetcy, when, towards the 
 close of his career, he was offered the honour by the Minister of the day. It 
 is sad to think that the mind of Southey gave way in the decline of life. 
 When he could read no longer, he walked to his bookshelves with a vacant 
 soul, and opened the volumes only to look at them, without being able to 
 derive the least consolation from their pages. He died honoured, and literary 
 men in England are proud to acknowledge, in him, one of the worthiest of 
 their order. 
 
 [This is a posthumous Bust, by E. H. Baily, R.A., from the marble which forms 
 a portion of the monument erected to the poet's memory in Bristol. It was 
 carved in 1847.] 
 
 415. Thomas Campbell. Poet. 
 
 [Born at Glasgow, 1777. Died at Boulogne, 1844. Aged 67.] 
 The poetical career of Thomas Campbell began when he was twenty years 
 old, and was completed before he was thirty-three. He wrote nothing sub- 
 sequently to this age worthy of his fame. His earliest work, the ' ' Pleasures 
 of Hope," composed in youth, at once established his claim to be ranked 
 amongst the foremost poets of his time. It brimmed with promise ; and not 
 the least singular circumstance in connexion with Thomas Campbell's life 
 is, that the excessive expectation raised by his first appeal was never satisfac- 
 torily fulfilled. The poetic faculty burned in the ' ' Pleasures of Hope," which 
 was full of melody, pathos, animated description, and impassioned sentiment. 
 All needful ardour was there. There were also to be noted the faults of a 
 youthful pen — redundancy of diction and incorrectness. Ten years after the 
 " Pleasures of Hope" he published " Gfertrude of Wyoming." The impul- 
 sive quality was already subdued by elaborate art ; and although extreme 
 beauty and tenderness were here and there in the poem, correctness was still 
 wanting. Your spirit was entranced with verses, than which, in the 
 English language, you could find none better, simpler, and sweeter. Yet 
 for one such verse that was borne away from " Gfertrude of Wyoming" a 
 hundred were forgotten which were not its peers. Campbell had momentary, 
 true, intense conceptions, and fineness of fancy ; he exhibited felicities of 
 
186 
 
 POETKAIT GALLERY. 
 
 thought and expression that fastened instantly on every memory ; his, too, 
 was an ear of poetical sensibility to the music of language ; but woe to the 
 verse if his poetic utterance came not of an inspiration — by a seizing theme. 
 "Ye Mariners of England," "The Soldier's Dream," "The Battle of 
 Hohenlinden," constituted such themes, and these small poems of Campbell 
 are consequently abiding treasures in the literature of the nation. 
 [By E. H. Baily, R.A. Executed in 1827.] 
 
 416. Thomas Mooee. Poet. 
 
 [Born at Dublin, 1780. Died in Wiltshire, 1852. Aged 72.] 
 A poet of exuberant fancy, revelling in lavish ornament and gorgeous 
 painting, and giving utterance to the most ingenious creations, in language of 
 ineffable, and, occasionally, overpowering sweetness. A writer of inimitable 
 Irish ballads, which are now plaintive, now joyous, now pathetic, now fervid, 
 now tender, now fierce, now melting, now heroic ; but always matchless by the 
 graceful flow of the verse, and the prompt springing of the happiest illustration. 
 Also the author of satires, brilliant and cutting, but rather the outpourings 
 of a generous fancy, delighting in its own exquisite self-conscious faculty 
 of mischief, than the malicious and bitter expression of a vexed and disap- 
 pointed mind. Melody and joyance are careering in almost every syllable 
 that he wrote. He was a passionate lover of music, and when he sang his 
 own ballads, the effect upon his listeners was electrical. His most celebrated 
 poetical composition is "Lalla Rookh," an Eastern romance, which he wrote 
 " amidst the snows of two or three Derbyshire winters." His best prose 
 work, " The Epicurean," is a masterly performance, redolent of the perfume 
 which breathes through his verse, and elevated by a high moral aim. When 
 Thomas Moore died, the impression left of the man upon the public mind 
 was stamped there by his jocund muse — a feeling of tenderness and love was 
 associated with the pleasant memory of "Little Tommy Moore." Since his 
 death his memoirs and his diary have been published, and the impression 
 has grown dimmer and dimmer in consequence. As a man, Thomas Moore, 
 the poet, appears to have been hardly more heroic than the most prosaic of 
 his kind. 
 
 [By Christopher Moore, Executed in 1838, for the late Edward Moore, of 
 Mayfair. 
 
 417. Johisf "Wilson. Poet and Professor. 
 
 [Born at Paisley, 1785. Died in Edinburgh, 1854. Aged 09.] 
 The son of a Paisley manufacturer. Educated at Glasgow and Oxford. 
 Like the youth of ancient Greece, he delighted equally in the sports of the 
 arena, and in the wisdom of the porch. At Oxford, the first wrestler of his 
 time, and the gainer of the Newdegate prize for the best poem. His genius 
 as passionate as his frame was overflowing with the sap of animal life. 
 Endowed with a lofty and glowing imagination, and with great critical 
 powers, improved by knowledge. A lover of learning for the joy it brings, 
 and a hearty sympathizer with the glorious labours of the great makers of 
 prose and verse, whether in ancient or modern time. He himself excelled 
 as a worker in more than one of the paths of literature. His poetry is 
 remarkable for the beauty of its imagery, for its rich fancy, and for the 
 flow of the verse ; his criticisms exhibit a profound knowledge of the true 
 pirnciples of taste, are eloquent, and full of generous sentiment ; his prose 
 tales of fiction have deep pathos, and reveal intimate acquaintance with the 
 
ENGLISH POETS. 
 
 187 
 
 human heart. As an orator, John Wilson might have vied with the most 
 eloquent of his contemporaries had he chosen to compete with them in their 
 own peculiar field ; as a writer upon the manly sports which he so ardently 
 loved, he is unequalled. His very corporeal substance seems heaving with joy 
 and physical happiness, as we follow his vigorous, picturesque, and elated pen, 
 amongst the lochs of Scotland, or the lakes of Cumberland. Wilson wrote with 
 the zeal of a strong partizan in politics. He would be one, and could not. His 
 large and universal heart never entertained what are called political antipa- 
 thies. His Toryism was his strong and hearty nature bubbling up and venting 
 itself in loyalty, chivalry, and affectionate duty. To say that he was opposed 
 to Liberty and Right, is to assert a monstrous paradox. He was the very 
 incarnation of liberty, and his giant soul shrunk from wrong, by natural 
 action. In 1818, Wilson was appointed Professor of Moral Philosophy in 
 the University of Edinburgh. The bust bespeaks the man. It looks like 
 Jupiter. We cannot gaze upon a more magnificent head. 
 
 [This striking and characteristic work is by the late J ames Fillous of Glasgow, 
 a fellow townsman of Professor Wilson. It was executed in marble for the 
 Public F^eadmg Room at Paisley.] 
 
 418. George Koel Gordon, Lord Byron. Poet. 
 
 [Born in London, 1788. Died at Missolonghi, in Greece, 1824. Aged 36.] 
 Assuredly, the most popular, if not the greatest poet of our times. But, 
 the popularity by no means proof of the greatness. He was an object of 
 interest on account of his birth, his youth, his misfortunes, his constant prac- 
 tice of associating with poetry his personal and daily history, his strongly 
 imagined injuries, his feverish complaints. A vigorous painter of portraits 
 — that is to say, of two, for he took delight only in the hero of gloomy passion, 
 and in the heroine of soft voluptuous beauty — all his pictures more or 
 less reflecting his own nature, and the nature of woman as it appeared to 
 his refined sensuality. Byron has described with ineffable grandeur natural 
 scenery, and has kindled the spirits of men with enthusiasm for the ancient 
 glory ; but we find no solace in his companionship, although he takes us 
 to streams and mountains visited by the gods. His own distempered image is 
 too visibly stamped on every scene. Byron affected to be a misanthrope ; 
 yet he cherished the good opinion of men, and shrunk from their adverse 
 criticism. He pretended that he was isolated from the world ; yet his 
 name and fame were upon every lip. What will last in the poetry of Byron 
 are the verses uttered in moments of self-oblivion. Keats complained 
 that Byron made solemn things gay, and gay things solemn. This 
 was a great wrong, and is hardly repaired by the tenderness, pathos, 
 sentiment, and passion, that start from his poetry to go straight to 
 the heart. It was the misfortune of Byron to be sent into the world 
 ■without discipline or training of any kind. Had he 'been fairly dealt with 
 in his childhood and youth, his life might have been happier — its course more 
 equable. As it was, his genius was enslaved and wronged, his career was 
 violent and erratic, his whole nature warped, and his poetry, instead of being 
 a well -trimmed garden of beauty, had its choicest flowers entangled and 
 half hidden in unwholesome, gaudy weeds. 
 [By Thorwaldsen, but not from the life.] 
 
 418A. GrEORGE EOEL GrOBDON, LORD ByROIST. Poet. 
 [By E. H. Baily, R.A. Modelled from authentic portraits.] 
 
188 
 
 PORTRAIT GALLERY. 
 
 419. Douglas Jekrold. Writer. 
 
 [Born in London, 1803. Still living.] 
 
 Before lie was eleven years old, he went as midshipman to sea. Returned 
 to London after two years' service, and in his boyhood took to writing 
 dramas for minor theatres. In later life he has produced dramatic works 
 of a higher kind — his comedies being remarkable for epigrammatic wit, and 
 sparkling dialogue. His prose writings, generally, are characterized by 
 trenchant sarcasm, by a vigorous Saxon style, by earnestness of will, 
 and by an unflinching advocacy of liberal principles. Douglas Jerrold has been 
 charged with bitterness of spirit, and a malicious desire to set the poor 
 against the rich. The charge rests upon no good foundation. He revolts 
 from injustice and oppression ; he feels acutely their effects upon all who- 
 come within their operation ; and his views are invariably expressed with 
 all the intensity of his genuine convictions. His pen has been always at the 
 service of humanity ; and his heart is as sound as his language is plain, 
 direct, and unequivocal. 
 
 [Executed in marble, 1852, by E. H. Baily,K.A.] 
 
 419*. Henby Taylok. Poet. 
 
 [Still living.] 
 
 Known to literature as the author of " Philip Van Artevelde," a drama for 
 the study, not for the stage. This dramatic poem is admirably finished, and 
 contains many beautiful images, and passages of undoubted vigour. Rut the 
 polish is too evident, the labour expended too much on the surface. There is 
 nothing in the work to offend ; nothing to take by surprise ; nothing that 
 stirs the human heart to its depths. The author shall defy you to point out 
 the blemishes of genius on his pages. You may equally challenge him to 
 produce evidence of the power of genius. In 4 'Philip Van Artevelde" we 
 are ever within sight of the domain in which the great dramatists reign 
 supreme, but never in the domain itself. It is all but a great work. It 
 seems as if only fire were wanting at the poet's heart to convey us at once 
 from the region of great talent to the higher sphere of undoubted inspiration 
 But the needed warmth comes not. 
 
 [By Macdonald, of Rome.] 
 
 SCIENTIFIC MEN AND WRITERS, 
 
 420. FBANCIS Bacon. Chancellor of England, and Founder of the 
 Inductive Philosophy. 
 
 [Born in London, 1561. Died 1626. Aged 65.] 
 The son of Sir Nicholas Bacon, Lord Keeper of the Great Seal under Queen 
 Elizabeth. Francis was yet a boy when he evinced so keen and lively an 
 intellect, that Elizabeth was wont to call him her young Lord Keeper. He 
 rose to the highest distinction in the state, becoming Lord Chancellor of 
 England. He was removed from his eminence, because he had sullied it by 
 accepting bribes. He lived ostentatiously, and died leaving many debts. 
 His name is one of the greatest this country boasts. He is the father 
 of the modern Philosophy. Standing between two intellectual eras, he 
 
ENGLISH SCIENTIFIC MEN AND AUTHORS. 
 
 189 
 
 surveyed the past, and predicted the future, of human inquiry. Reverting his 
 eye, he saw that the most acute and powerful intellects had, age after age, 
 wasted their strength in investigating physical phenomena, without fruit 
 either of great ascertained truths, or of service won from their speculations to 
 human uses. Neither zeal nor ability had been wanting. He inferred that 
 the method of those elder philosophers was in fault. Impatient and 
 arrogant, they presumed, upon the first strong impressions caught from 
 the contemplation of Nature, oracularly to divine her universal laws. 
 From these laws, affirmed not established, they proceeded to solve, as 
 best they could, all further phenomena : for, within these false and hasty 
 conclusions once recognised, Reason lay thenceforward imprisoned. Lord 
 Bacon said : "Have patience. Wait upon Nature. Observe indefatigably. 
 Accumulate, without ceasing, records of the appearances. Verify experiment 
 by experiment. Set instance beside instance, without sparing, but not with- 
 out choosing. Ultimately the law will stand revealed." What has happened ? 
 Immense and ever-advancing discovery — science created upon science — 
 observers, without number, conspiring in the most disjoined parts of the 
 civilized world to solve the same philosophical problems — Nature every day 
 more and more yielding to man the service of her powers — and the wisdom 
 of her Author every day more and more discerned in His works — these are 
 the results which honour the school of Bacon. 
 [From the monument at St. Albans.] 
 
 421. Humphrey Chetham. " Dealer in Manchester Commodities" 
 
 [Born 1580. Died 1653. Aged 73.] 
 
 An early and generous benefactor to the city of Manchester. One of Fuller's 
 u Worthies of England." He made a large fortune by sending Manchester 
 ■commodities up to London ; and during his life-time he invested his gains 
 in the education of twenty -two poor boys. At his death he left money 
 enough to provide for the suitable education of forty boys ; and he also 
 bequeathed £1000 for the purchase of books for a general library, as well as 
 £100 for the erection of a building to receive them. At the present hour 
 100 boys are educated, maintained, and clothed, by the munificence of 
 Humphrey Chetham, and more than 23,000 volumes are open to all who 
 desire to improve themselves by reading. The statue of which the one in 
 the Crystal Palace is a cast, has been recently raised to the memory of this 
 pious and benevolent man, by one who, in early life, partook of Humphrey 
 Chetham' s bounty. The name of the grateful recipient is unknown ; but 
 he need not blush to make it public . The statue may be seen in Manchester 
 Cathedral — a monument of affectionate reverence and gratitude, as well as 
 of Christian well-doing. 
 
 [For an account of this statue, see Handbook to Modern Sculpture, No. 62.] 
 
 422. Johx Locke. Philosopher. 
 
 [Born in Somersetshire, 1632. Died at Oates, in Essex, 1704. Aged 72.] 
 A stern intellect with a pious and gentle heart. Of a good family. He 
 studied for medicine ; but his delicate health prevented his engaging in the 
 profession. The study was apparently turned to higher account in settling 
 his contemplation on the real and the useful. He ranks amongst English 
 philosophers as the one who first, by his writings, impressed the fact that 
 the Mind of Man lies before us, if we can attend, as much a subject fcr 
 
190 
 
 PORTRAIT GALLERY. 
 
 observation and for the investigation of laws, as the outwardly sensible world. 
 The impulse given by his teaching to the educated mind of the country 
 was strong and lasting. His successors have introduced, as might 
 be expected, more method and precision into this region of speculation. 
 They have confirmed, enriched, and extended the science, although yet 
 far from having attained that luminous certainty, and that wealth 
 of profitable results, which wonderfully reward the inquirers into the physical 
 order of Nature. Besides his " Essay on the Human Understanding" 
 — For which Locke is called the founder, in England, of modem metaphysical 
 inq uiry — he stood up in other works also, as the champion of intellectual 
 liberty, vindicating the rights of Reason in politics and in religion. In the 
 study of the Mind, "he broke the fetters of the schools," as Bacon had done 
 for physical science. Locke was the friend of Newton. 
 [By Riesback.] 
 
 423. Sir Isaac Newton. Astronomer and Philosopher. 
 
 [Born at Woolsthorpe, Lincolnshire, 1642. Died in London, 1727. Aged 85.] 
 This illustrious man was educated at Grantham, and entered Trinity 
 College, Cambridge, in the year 1660. Before he had reached his twenty- 
 third year, he had already made various important discoveries in pure 
 mathematics ; amongst others, the celebrated "Binomial Theorem," familiar 
 to every tyro, and that most refined and powerful instrument of scientific 
 investigation, the "Method of Fluxions," which, a few years later, was 
 independently discovered by the famous Leibnitz, and given to the world 
 in the form now universally known as the "Differential Calculus." New- 
 ton was still young when the fall of an apple gave birth in his mind to 
 the first germ of "the Law of Gravitation," which, some years later, he so 
 beautifully and wonderfully developed. In 1666 — his age twenty-four — he 
 began those experiments with the prism which quickly led him to "The 
 Decomposition of Light," and to other optical discoveries, unfolded in the 
 lectures delivered by him at Cambridge, as the successor of Barrow, from 
 the year 1669. In his thirtieth year, he was elected a fellow of the Royal 
 Society ; in 1703, its President ; and he was re-elected to this distinguished 
 post year after year, for twenty-five years. His great work, ' ' Philosophise 
 Naturalis Principia Mathematica, " appeared complete in 1687. It has 
 excited the astonishment and profound admiration of the greatest philo- 
 sophers in all nations, from that time to the present ; and no wonder, since, 
 in some respects, this grand production might almost seem to have resulted 
 from actual inspiration, and not from the mere day labour of an unassisted 
 human intellect. The mighty teacher was the originator of views and 
 theories, upon which the ablest philosophical minds of the last century 
 and of the present have built their most renowned achievements, yet we 
 are most admonished by his humility, his religion, and his calm. Newton was 
 member of Parliament for Cambridge. He was also master of the Mint. 
 Honour was shown to him living and dead. George I. ordered that his 
 body should, after lying in state, be buried in Westminster Abbey. What 
 luminary is without its dark spot ? Leibnitz and Newton were the two greatest 
 men of their age, yet a bitter and lasting quarrel between them is recorded, 
 for our solemn instruction. It remains to state that the year in which 
 Galileo died, Newton was born. No interval was suffered between the 
 extinction of the one essential light and the kindling of the other. 
 TBy Roifbillfec.^ 
 
ENGLISH SCIENTIFIC MEN AND AUTHORS. 191 
 
 424. Benjamin Franklin. Statesman and Philosopher. 
 
 [Bom at Boston, in America, 1706. Died at Philadelphia, in America, 1790. 
 Aged 84.] 
 
 1 'Franklin" is another word for usefulness, self-denial, frugality, perse- 
 verance, and independence. A poor printer's boy, who, by Ms own unaided 
 powers raised himself from the lowest place of society to the highest, and 
 contributed alike to the advancement of science, and to the independence of 
 one of the finest countries of the earth. His discovery of the identity of 
 lightning and electricity, and the invention of the lightning-rod ; the expla- 
 nation of the aurora borealis and thunder-gusts upon electrical principles, 
 are triumphs of the philosopher. His ardent support of the new Re- 
 public, his activity, judgment, and resources, speak for the statesman and 
 the lover of liberty. His language unadorned, but ever pure and expres- 
 sive ; his reasoning manly and cogent, and so concise that he never exceeded 
 a quarter of an hour in any public address. His correspondence a model of 
 clearness and compendious brevity. Scrupulously punctual in all his dealings. 
 An exemplar of economy, and regularity. His life, one of the most 
 instructive and encouraging studies for youth, since it exhibits the sufferings, 
 the trials, the power, and the victory of self-command, temperance and 
 industry, and the reward of genius overcoming all the difficulties of fortune. 
 
 [By Houdon.] 
 
 424a. Benjamin Franklin, Statesman and Philosopher. 
 
 [By Hiram Powers.] 
 
 425. Samuel Johnson. Writer and Moralist. 
 
 [Born at Lichfield, 1709. Died in London, 1784. Aged 75.] 
 The son of a bookseller in Lichfield. Educated at Oxford, but compelled 
 to leave the University without a degree, in consequence of the misfortunes 
 of his father. Then an usher, — and then, marrying, — the proprietor of a 
 private academy in his native city. He had only three pupils, but one of 
 them was David Gfarrick. Master and pupil went up together to London in 
 search of fortune. Both found what they sought — the pupil suddenly and 
 brilliantly; the master, after trial, privation, and suffering. In 1738, Johnson 
 published his first poem, " London." Twelve years later, he came forth as 
 an essayist in the "Rambler." In 1755, appeared his 1 ' Dictionary of the 
 English Language," a seven years' labour ; and in 1781, "The Lives of the 
 Poets." In 1762, a pension of £300 a-year was settled upon him by King 
 (xeorge III. The tradition of Johnson in society is of a literary and moral 
 dictator — a character which, as far as he was concerned, implied much 
 rather the depth of conviction with which he championed great interests, than 
 the pride of self-conscious intellect, the taste for conflict, or the thirst of rule ; 
 and which the listeners conceded yet more in reverence for the personal 
 worth of the man, than in submission to his intellectual superiority. He is 
 one of the manliest and most robust minds in our letters. From moral sense 
 and religion, from deep natural concern, his giant will was devoted to the great 
 interests of mankind. He felt in himself a vocation to sustain these interests, 
 and he was the sturdiest of combatants in the prosecution of his moral crusade. 
 His style is stately, nervous, Latin, original, singularly suited to his mind, 
 which gave a direction to contemporary minds, and largely fashioned the litera- 
 ture of his time. The prime characteristic of his writings is unquestionably 
 strong, solid sense, mixed it may be with onesidedness, but bright with acute 
 
192 
 
 PORTRAIT GALLERY. 
 
 reflection. Johnson's exterior was unwieldy, his manners were not polished, 
 but a tenderer heart never beat than his own. He could utter a withering 
 epigram. He never committed a deliberately unkind act. His house was a 
 hospital for the sick and distressed ; he could not walk the streets without 
 emptying his pockets into the hands of beggars, and his great heart melted 
 under a tale of sorrow and injustice. He had strong prejudices, and although 
 sincerely pious, was superstitious. He loved to speak in aphorisms, and we 
 still quote his sayings, as attributing to him something of the dignity and 
 weight of an oracle. His life influenced his age. After his death he still 
 exercises his influence, for he has given occasion to the most perfect and 
 amusing biography in the language. 
 
 425a. Samuel Johnson. Writer and Moralist. 
 
 [This statue, by J. Bacon, R.A., is at the South End of the Nave, on the East 
 Side ; for account of which, see Handbook to Modern Sculpture.] 
 
 426. Adam Smith. Philosopher and Political Economist. 
 
 [Born at Kirkaldy, in Scotland, 1723. Died, in Edinburgh, 1790. Aged 67.] 
 This great master in the science of political economy was the son of an 
 Officer of Customs, and studied first in Glasgow, afterwards at Oxford. 
 He had feeble health, and was of studious habits. In 1748, a lecturer, in 
 Edinburgh, upon Rhetoric and the Belles-Lettres ; and in 1751, appointed 
 Professor, first of Logic, and then of Moral Philosophy, in the University of Glas- 
 gow. At this period of his life he published his ' ' Theory of the Moral Sen- 
 timents," a work in which he regards Sympathy as the foundation of 
 all morals. In 1763, resigning his Professorship, he became tutor to 
 the young Duke of Buccleuch, with whom he travelled on the continent 
 for several years. He subsequently retired to his native village, where 
 he passed ten years of his life in close obscurity, study, and fruitful 
 meditation. In 1776, he issued from his cell to pour light for ever 
 into the busy world. In that year was published his memorable 
 "Inquiry into the Nature and Causes of the Wealth of Nations." 
 This monument of industry, observation, sagacity, learning, and acuteness, 
 continues the one great hand-book of political economists. The leading 
 points which Adam Smith laboured to urge in his "Inquiry" are — That 
 labour is the only source of the wealth of nations ; that wealth does not 
 consist in the abundance of gold and silver, but in the abundance of the 
 necessities, conveniences, and enjoyments of life ; that it is sound policy to 
 leave individuals to pursue their own interest in their own way, and that 
 every regulation intended to force industry into particular channels, is 
 impolitic and pernicious. The justice of these axioms has, after years of 
 argument, denial, and resistance, received general acknowledgment in 
 England ; and Adam Smith is the author of one revolution in the world's 
 progress, and a benefactor of his kind. His reasoning is not always sound ; 
 but the base of his fabric is unassailable, and the illustration which con- 
 stitutes its ornament, is amongst the happiest ever employed to give life and 
 light to a solid structure. Adam Smith is the great practical philosopher 
 of an age and a people, craving for his philosophy more than for any other, 
 yet wanting, most of all, the philosophy which shows the soul of a man as 
 the most precious of all his estates, and teaches him the husbandry of it. 
 He died, having won a competence, and fulfilling a government appointment. 
 
 [This plaster cast was formerly in the collection of Sir Thomas Lawrence.] 
 
ENGLISH SCIENTIFIC MEN AND AUTHORS. 
 
 103 
 
 427. John Htintek. Surgeon and Comparative Anatomist, 
 
 [Born in Scotland, 1728. Died in London, 1793. Aged 65.] 
 When John Hunter was twenty years old, he could scarcely read or write ; 
 "but he could make chairs and tables. At the time of his death, forty-five 
 years afterwards, he was the first anatomist in the country ; and he left 
 behind him a museum — the work of his own rare intelligence and industry — 
 which the government purchased for the sum of £15, 000, and conferred upon the 
 Eoyal College of Surgeons. Hunter came to London, from his carpenter's shop 
 in Scotland, in order to serve as anatomical assistant to his brother William, 
 who had already established a reputation as an anatomist, and was doing 
 well. In a few months John had made sufficient advance to be able to give 
 instruction in the dissecting-room. He then studied on his own account, went to 
 Oxford, and became a surgeon. Intense application, profound observation, 
 ceaseless experiments, and masterly skill and judgment, enabled him in time 
 considerably to enlarge the knowledge of surgery, and to make valuable 
 discoveries in connexion with his favourite science of comparative anatomy. 
 He was, for England, the first great leader in the Science of animal life. 
 He was a bold and clever operator ; he wrote several professional treatises ; 
 and, besides being Surgeon Extraordinary to the King, he held the offices of 
 Inspector- General of Hospitals, and Surgeon- General. His name is honoured 
 in the profession to which he belongs, and he is justly regarded as the great 
 and worthy guide and pioneer of all the seekers and successful discoverers, 
 who since his time have explored the same paths. 
 [By Flaxman.] 
 
 428. James Watt. Improver of the Steam-Engine. 
 
 [Born at Greenock, 1736. Died 1819. Aged 83.] 
 It has been said that the genius of AY att, as displayed in his mechanical 
 inventions, has contributed more to show the practical utility of the 
 sciences, to extend the power of man over the material world, to multiply 
 and expand the conveniences of life, than the works of any other individual 
 in modern times. His was a rare mechanical genius. It had been nurtured 
 from his infancy at home ; where he lived, as a boy, in solitary retirement, 
 cultivating observation and reflexion, and kept apart from other boys by 
 weak bodily health. It may be affirmed that his whole life was one long- 
 day's labour,, for his enlightened industry never ceased. When a mere child, 
 he would take to pieces and reconstruct every toy that came in his way. 
 At nineteen he went to London, and placed himself with a maker of mathe- 
 matical instruments there, making delicate instruments for his employer with 
 his own hands. "With those same hands," says M. Arago, a little fanci- 
 fully, since the head now took the place of the hands, "he after- 
 wards constructed those colossal machines which in Cornwall, and 
 on the ocean, perform the service of millions of horses." But the improve- 
 ment of the steam-engine, until it attained its highest point of perfection, 
 is not Watt's sole claim to the title of a discoverer. Without knowing a 
 note of music, he constructed an organ, and in a great measure solved the 
 problem of temperament. He invented the press for copying letters ; he 
 introduced the process of bleaching by the aid of chlorine ; he explained 
 the composition of water, and the art of warming by steam. The extent, variety, 
 and accuracy of Watt's knowledge were amazing. No subject seemed foreign 
 to him, and upon every subject he spoke as if that alone had all his life 
 
194 
 
 PORTRAIT GALLERY. 
 
 engaged his attention. Sir Humphrey Davy declared that Watt stood upon 
 a higher elevation than Archimedes. Great as were his powers, he was a 
 man of child -like candour, and of the greatest simplicity. 
 [By Flaxman.] 
 
 429. Snt James Mackintosh. Historian and Metaphysician. 
 
 [Born in Scotland, 1765. Died, 1832. Aged 67.] 
 A strong and shrewd intellect : determined by native impulse and aptness 
 to the metaphysical speculations, which, in the country where he was 
 born, make regularly an important part of a liberal education. He sought 
 and maintained the character of a dispassionate inquirer, reading extensively 
 and carefully weighing conflicting opinions. More a student than a man 
 of action ; yet, even in study, his energies clogged by a natural indolence. 
 Mackintosh, though descended from Jacobites, was a Whig. In 1791, he 
 wrote a defence of the French Revolution, in answer to Burke ; but, in less 
 than four years, confessed that bitter experience had overthrown his generous 
 argument. Adopting the law as a profession, he received promotion in 
 India at the hands of his political allies. After seven years' service, entered 
 Parliament. He wrote an admirable "Dissertation on the Progress of 
 Ethical Philosophy " for the " Encyclopedia Britannica," and he was 
 engaged on a 1 'History of the Revolution of 1688," when he died. A man 
 of great learning, philosophical clearness, and fine perception. Yet his works 
 lack method and elegance, and fail, from the absence of these qualities, to 
 do justice to the intellect that fashioned them. 
 
 [By Christopher Moore. Executed in 1829 for Lord Nugent.] 
 
 430. Francis Jeffrey. Critic and Essayist. 
 
 [Born at Edinburgh, 1773. Died, 1850. Aged 77.] 
 One of the founders, and for many years the editor, of the ' ' Edinburgh 
 Review," — a publication which he enriched by his essays on poetry and 
 general literature. He had an acute, ingenious, and spirited intellect, a 
 sensibility of taste, and a constant flow and vivacity of style ; but his appre- 
 hensions in literature and the arts, were rather trained and authorized than 
 free and original. He had a leaning, scarcely a special gift, to speculate 
 on the questions of the Mind — questions early and familiarly brought before 
 him, as rife in the Scottish school in which he was educated. The influence 
 of Jeffrey upon literature and public opinion, during his life-time, was very 
 great — partly from the character of the Review which he governed, partly 
 from the independence, brilliancy, and ability with which he maintained his 
 jmnciples of taste. Many of his criticisms contain the soundest views, and 
 are eloquently written : others have been signally refuted by time and the 
 public verdict ; and their style is defaced by wanton and unjustifiable 
 flippancy of language. Jeffrey studied for the law, and, being always 
 a liberal in politics, was promoted by his Whig friends to the Scottish bench. 
 "With the reputation of a brilliant and ingeniously argumentative speaker, 
 he disappointed, in the House of Commons, the general expectation. He was 
 esteemed a very kind and friendly feeling man. 
 [By Christopher Moore. Executed in 1S4C] 
 
 431. Francis Baily. Astronomer. 
 
 [Born at Newbury, 1774. Died 1844. Aged 70.] 
 Originally a stockbroker. One of the founders of the Astronomical 
 
ENGLISH SCIENTIFIC MEN AND AUTHORS. 195 
 
 Society, and for many years its President. Also Fellow and Vice-President of 
 the Royal Society. Author of many astronomical works ; amongst others, 
 of a volume detailing the repetition of the Cavendish experiment for the 
 determination of the earth's density. 
 
 [Executed in marble, by E. H. Baily, R.A. Posthumous. 1848.] 
 
 432. William Yaeeell. Naturalist. 
 
 [Born in London, 1784. Still living. ] 
 
 The author of "A History of British Birds," and of various papers on 
 subjects connected with natural history. Is treasurer to the Linnsean Society 
 of London. 
 
 [By Henry Weigall.J 
 
 433. George Stephenson. Engineer. 
 
 [Born 1781. Died 1848. Aged 67.] 
 
 A sturdy plant of English growth. A working mind bom ripe for its 
 time. An uncultivated power endowed with immeasurable capability. 
 The story of George Stephenson reads well for his country, well for himself, 
 well for the high faculties which Providence has given to man, irrespectively 
 <of birth, station, education, or any accidental condition. His parentage 
 was of the poorest. He could not have begun his race at a more distant 
 point from the goal of fortune. He did not even start with his fellows in 
 open day, under the bright sun, on the earth's surface. He was a pit-engine 
 boy, and his pay was twopence a day. It was a great rise for him when he 
 was made stoker, and he was on the high road to prosperity when he found 
 Iiimself breaksman. Promoted to the office of engineman, he declared that 
 lie was 4 'now a man for life." He first made known his mechanical genius 
 in the service of Lord Eavensworth, when he repaired and improved, as an 
 amateur, a condensing pump-engine, which had baffled the skill of some 
 professional engineers. Having been, for a time, occupied in laying dov n 
 some unimportant lines of rail, he went to Liverpool to plan a line of railway 
 between that city and Manchester. He held out gre*it inducements to enter- 
 prize, and made unheard-of prophecies of success. He even undertook that a 
 locomotive should accomplish ten miles of distance in every hour. We must 
 not be surprised that the people called him 4 'mad" for proffering the 
 assurance. Similar madmen had preceded him, — Columbus, Gfalileo, — the 
 inventor of gas, the discoverer of vaccination and others. The line, as we 
 know, was made, — the experiment tried. Stephenson was right, a locomotive 
 can travel at the rate of ten miles an hour. The rise of Stephenson was 
 now rapid as the strides of his own locomotives. He took the lead at once 
 in railway engineering ; became a great locomotive manufacturer, an exten- 
 sive railway contractor, a large owner of collieries and iron-works, and a 
 man of mark in the nation. Our railway system is the result of the multi- 
 form operations of his strong practical mind. Stephenson disputed with 
 Sir Humphry Davy the invention of the safety lamp. Other claimants are 
 in the field. We shall never know the discoverer, any more than we 
 shall learn the birth-place of Homer ; and George Stephenson may spare the 
 extra laurel from his iron crown. 
 
 [By Christopher Moore, 1831. Executed for Robert Stephenson, Esq.] 
 
 o 2 
 
196 
 
 PORTRAIT GALLERY. 
 
 434. "William Faiebairn. Millwright and Engineer. 
 
 [Born at Kelso, on the Tweed, 1789. Still living.] 
 
 This eminent engineer settled as a millwright in Manchester, in 1815, and 
 distinguished himself at once by his practical improvements in the construc- 
 tion of mills and workshops. To his early efforts, in the science of mill 
 architecture, may be traced much of the improved taste now displayed by 
 mill-owners in the manufacturing districts. His latest achievement in this 
 direction is the magnificent structure at Saltaire, near Bradford, York- 
 shire. He was an early builder of iron ships in Manchester, Hull, and 
 London. His experiments, designs, and superintendence, were available in 
 the construction of the Conway and Britannia Tubular Bridges. Mr. Fair- 
 bairn, besides his title to respect as a mechanical engineer, and a great 
 improver in the specific sciences to which he has devoted his life, is a 
 contributor of much valuable knowledge through the medium of the press. 
 He is the architect of his own fortunes, and is remarkable, in an age 
 of remarkable engineers, for his great energy, skill, taste, and discrimination. 
 
 [By J. E. Jones.] 
 
 435. Sie Joh^ Heeschell. Astronomer. 
 
 [Born 1790. Still living.] 
 The worthy son of a celebrated sire. Educated at Cambridge, where he 
 easily distanced all who competed with him for the honours of that seat of 
 learning. Like his father, Sir John has devoted himself mainly to astro- 
 nomical pursuits ; but he has penetrated with ardour into every field of 
 science, and illuminated by his genius all the ground he has trodden. He is 
 a consummate mathematician, an accomplished chemist, a profound philo- 
 sopher, a master of his native language, and of style. In 1834, he proceeded 
 to the Cape of Good Hope, for the purpose of making observations in the 
 southern celestial hemisphere, and continued there for the space of four 
 years. His "Preliminary Discourse on the Study of Natural Philosophy," 
 is amongst the most beautiful, eloquent, and useful of modern publications. 
 His treatises on Sound and Light show a profound application of the highest 
 order of mathematics to physical subjects of the most subtle, delicate and 
 ethereal character. Herschell, more than any other man of this day, has con- 
 tributed to uphold and increase England's scientific renown ; his learning 
 and accomplishments are universal, and his constant zeal in the diffusion of 
 knowledge amongst all classes, — amongst the very humblest as well as the 
 very highest, — constitutes a right to our gratitude and respect equal to that 
 established by his philosophic labours and infinite acquirements. Sir 
 John Herschell is Master of the Mint. Sir Isaac Newton held the post 
 before him. 
 
 [From the marble by E. H. Baily, K.A. 1848.] 
 
 436. Michael Faeadat. Natural Philosopher. 
 
 [Born 1794. Still living.] 
 
 This illustrious scientific man is the son of a poor blacksmith, and was in 
 early life apprenticed to a bookbinder, at which craft he worked until his 
 twenty-second year. His great delight in electrical researches brought him 
 into acquaintance with Sir Humphrey Davy, whose assistant lie became in 
 the laboratory of the Iloyal Institution, where Faraday himself in time rose 
 
ENGLISH SCIENTIFIC MEN AND AUTHORS. 197 
 
 to the dignity of Fullerian Professor. The discoveries of Faraday in several 
 'branches of science have placed him in the very highest rank amongst 
 European philosophers. The most difficult and abstruse points in con- 
 nexion with light, heat, electricity, magnetism, and the laws of matter, 
 have been simplified to an extraordinary degree by the force of his sagacity 
 .and singular acuteness. As remarkable as his genius for discovery, and for 
 the detection of the hidden operations of nature, is his admirable faculty 
 of exposition. No living man approaches Faraday in the easy power of com- 
 municating the results of the most subtle investigation to a miscellaneous 
 audience. Passing through his lucid understanding, every subject, however 
 abstruse or abstract, becomes simple, clear, and attractive. 
 [By E. H. Baily, R.A. Executed in 1823.] 
 
 436*. Mary Someryille. Mathematician and Astronomer. 
 
 [Still living.] 
 
 One of the few women who step out from the limits which seem naturally 
 assigned to their intellectual avocations, to compete with men in theirs* 
 One of the fewer who do so, deserting none of their proper tasks, forfeiting 
 nothing of their proper character. A profound mathematician and astro- 
 nomer ; a delicate inquirer into natural phenomena. Her work on ' ' The 
 Connexion of the Physical Sciences" spreads out, in a form designed for 
 the uninitiated reader, but not for the inattentive, a large variety of 
 impressive knowledge, on some of the most interesting laws of the natural 
 world. Her manner of writing is remarkably simple, descriptive, clear and 
 exact. 
 
 [By Macdonald. Executed in Rome, 1848.] 
 
 437. William "Wkewell. Philosopher. 
 
 [Born at Lancaster, 1795. Still living.] 
 
 The Master of Trinity College, Cambridge, and at this moment the greatest 
 ornament of that celebrated university . He has been tutor in the college of which 
 he is the Head, and Professor of Mineralogy . Subsequently appointed to the 
 Chair of Moral Philosophy, which he still occupies . A great promoter of the 
 study of this branch of human learning, both by his writings and his oral 
 lectures. Has contributed valuable essays on the subject of education, with 
 especial reference to the studies of his own university. Has enriched mathe- 
 matical and physical science with many original investigations ; is the author of 
 a great work on the History and Philosophy of the Inductive Sciences, and of 
 many scientific treatises exhibiting the application of the higher mathematics 
 to natural philosophy . The vigour, activity, vivacity, and quickness of his 
 intellect is extraordinary : his memory, in relation to almost every branch of 
 literature and science, is rich to overflowing, and his faculty of conversation 
 brilliant. The mind of William Whewell, by natural, impetuous action, 
 invades all territories of knowledge, and grasps at a dominion forbidden by 
 the term allotted to human life : but that mind, clearly and beyond all 
 doubt, has power to grapple and to deal effectually with all that it has time 
 to apprehend and seize . It is not to be wondered, that the temper of 
 so ardent a spirit should be hasty : that its nature is frank, generous, and 
 noble-. 
 
 [By E. H. Baily, R.A. 1850.] 
 
198 
 
 PORTRAIT GALLERY. 
 
 438. Sir Hexry Thomas de la Beche. Geologist. 
 
 [Bom in London, 1T96. Still living.] 
 Distinguished himself early by his geological researches in England,, 
 Erance, Italy, and the West Indies. In 1835, the government instituted,,, 
 at his suggestion, a Geological Survey of Great Britain, in conjunction with 
 the Ordnance Survey, and subsequently extended it to the United Kingdom,, 
 with Sir Henry as Director General. This post he now holds, in conjunction 
 with the direction of the Museum of Practical Geology, and of the Govern- 
 ment School of Mines. The author of many highly esteemed works and. 
 memoirs on geology ; and has rendered good service to the state, by directing 
 his knowledge to practical and educational purposes, and by inducing poli- 
 ticians, seldom ready to advance in a scientific direction, to found insti- 
 tutions of a high intellectual type. 
 
 [By E. H. Baily, R.A. 1845. From the bronze deposited in the Museum* of 
 Economic Geology, London.] 
 
 439. Thomas Carlyle. Writer. 
 
 [Born in Dumfriesshire, Scotland, 1796. Still living.] 
 Critic, Philosopher, Essayist, Censor : the criticism acute, penetrating^ 
 severe ; the philosophy idol- worship ; the essay- writing picturesque, striking,, 
 animated, and strongly coloured ; the censorship furious, testy, useless, if not 
 unmeaning. Saturated with German metaphysics, full of German literature, 
 and delighting in the German form of expression. If Thomas Carlyle would 
 throw off his foreign affectations, and forget himself in his labours, he would 
 be one of our most instructive, useful, convincing, and admirable writers ; for 
 his heart is large, his intellect strong, and both heart and intellect have long, 
 striven to inculcate human love amongst men, and to build, upon mutual affec- 
 tion, high deeds, and benevolent aspirations. But Thomas Carlyle, pen in, 
 hand, never did forget himself at any one instant of his life, and never will. To 
 use one of his own Germanisms, he is the very incarnation of "Ich." An 
 instructed author will hold the balance fairly between his subject and his 
 reader, dealing with each with intelligent reference to the other. Carlyle- 
 usually cares nothing either for his reader or his subject, but swallows up both- 
 Whatever he shows us, we chiefly see Thomas Carlyle. i 'The French Revo- 
 lution" is the best of his works ! His pictures, there are startling, wonderful, 
 and highly painted ; his eloquence is inspiriting, and his imagery grand. As a 
 social and moral Reformer, he beats the air, belonging to that humblest order of 
 architects who are clever enough at destroying houses, but have no power to- 
 set up others in their place. Yet the influence of Cartyle has been great, 
 both in England and America. He has forced men to think — he has appealed 
 with irresistible power to their better natures — given vigour and direction to* 
 their impulses, and torn the veil from quackery as often as the evil thing has 
 crossed his manly and indignant path. Sad thought that so serviceable an 
 arm should be clogged with fetters of its own forging — that an almost bound- 
 less capacity for good should be restricted by a tether of its own fashioning. 
 [ByH.Weigall.] 
 
 440. Frederick Carpenter Skey. Surgeon. 
 
 [Born at Upton-on-Severn, 1798. Still living.] 
 Professor of Surgery to the Royal College of Surgeons of England : Surgeon- 
 to St. Bartholomew's Hospital and other institutions. The author of a work 
 on " Operative Surgery," in which a strong and humane plea is put forward, 
 
ENGLISH SCIENTIFIC MEN AND AUTHORS. 
 
 199 
 
 against the use of the knife until the last extremity ; and of the Hunterian 
 Oration for 1850. 
 
 441. Richard Owe^. Naturalist, 
 
 [Bom at Lancaster, 1804. Still living.] 
 Owen, Faraday, and Herschell are England's living representatives of 
 science, and are so esteemed throughout Europe. Comparative anatomy, 
 founded by Cuvier, has been perfected by Owen, and to him is due the great 
 merit of raising that science in England to a position that commands the 
 gratitude and admiration of the whole scientific world. This illustrious 
 philosopher commenced life as a midshipman, but his career was quickly 
 arrested by the close of the American war in 1813. In order to re-enter the 
 profession, he adopted the medical profession, and became the pupil of 
 Mr. Baxendale, a surgeon in Lancaster. In 1824, he matriculated in 
 Edinburgh. In 1825, he came to London, and passed the Royal College of 
 Surgeons in 1826. Under the advice of his friend, Abernethy, Owen gave 
 up all thoughts of the navy, and accepted an appointment at the College of 
 Surgeons, where for ten years he laboured at completing the catalogue 
 of John Hunter's magnificent museum. The enormous labour was achieved 
 in 1840. Since that time every form of animal life, from the Sponge to the 
 Man, has been submitted to his sagacious mind, and upon every subject he 
 has thrown illumination. The mere enumeration of his contributions to the 
 literature of natural history would in itself be a task. His i ' Treatise on the 
 Homologies of the Vertebral Skeleton" has been received with great favour 
 by anatomists and physiologists. His histories of "British Fossil Mammals 
 and Birds," and of "Fossil Reptiles," the treatise "On the Nature of 
 Limbs," on "Parthenogenesis, or the successive production of procreative 
 individuals from a single ovum," have each brought fresh laurels to his 
 brow. Cuvier asked, ' ■ Why should not natural history one day have its 
 Newton ?" We answer, " It has found Richard Owen." 
 [By E. H. Baily, R.A. 1840.] 
 
 442. Benjamin Disraeli. Writer arid Politician. 
 
 [Born 1805. Still living.] 
 The author, at an early age, of "Vivian Grey," a novel. Has since 
 published many interesting works of the same kind, the most popular being 
 "Coningsby," a book in which the political views of the writer are inter- 
 woven in the tale of fiction. Mr. Disraeli has acquired greater fame as a 
 politician than as an author. By his own efforts, and by the force of his 
 great genius, he has risen to one of the highest offices of state, having for a 
 few months served his country as Chancellor of the Exchequer. Mr. 
 Disraeli is unequalled in the House of Commons for sarcasm and invective ; 
 but he has other, better, more useful, and more lasting qualities of a 
 statesman. If the moral weight of Mr. Disraeli in the country, is less than 
 his talents would seem to claim, public opinion is not so much to blame as 
 Mr. Disraeli, for the discrepancy between his acknowledged ability, and his 
 place in the world's estimation. 
 [By W. Behnes.] 
 
 443. Thomas Beassey. Railway Contractor. 
 
 [Born at Buerton, near Chester, 1805. Still living.] 
 One of the chiefs of the aristocracy that has risen in these latest times 
 
200 
 
 PORTRAIT GALLERY. 
 
 upon the foundations of commercial enterprise. A prince of the new dy- 
 nasty, whose dominion extends wherever civilization is fostered by the 
 Rail, and whose coronet is of iron. He commenced life as a surveyor at 
 Birkenhead, and his first connexion with a railway was a contract to supply 
 the stone for a viaduct of the "Manchester and Liverpool." Since that 
 time his labours have been incessant and extraordinary, both in his own 
 country and out of it. Since 1846, he has, upon his own responsibility and 
 credit, constructed upwards of 500 miles of railway, representing an aggre- 
 gate of £9,250,000 of contract money. In France and Spain, his joint con- 
 tracts with Mr. Mackenzie were for 189 English miles of road, and for 
 nearly £3,000,000 sterling. His engagements, in Scotland and England, 
 with Mr. Mackenzie and Mr. John Stephenson, from 1844 to 1851, 
 comprised 511 miles of railway, and an aggregate of £7,200,000. His 
 hands are still full, and his men are carrying out his behests in all parts 
 of the world. In more senses than one the career of Thomas Brassey may 
 be described as princely. The "Barentin" viaduct, of 27 arches, on the 
 "Rouen and Havre" line tumbled down when ail but completed; and 
 the casualty involved a loss of £30,000. Mr. Brassey the contractor was 
 neither morally nor legally responsible. He had repeatedly protested 
 against the material used in the structure, and the French lawyers main- 
 tained that his protest freed him from liability. The contractor was 
 of a different opinion. He had contracted, he said, to make and main- 
 tain the road, and no law should prevent him from being as good as his 
 word. The viaduct was rebuilt at Mr. Brassey' s cost. For the construc- 
 tion of this stupendous work (accomplished in seven months) 16,000,000 
 bricks were required, of which 14,000,000 were new, and made on the 
 spot. Thomas Brassey is beloved by his countless retainers. Riches, 
 power, influence, and dominion, have not touched his sound and feeling 
 heart. We dare to speak truth of this living worthy, for his life is in 
 all respects one of the highest examples we can offer to our generation, 
 absorbed as we are in the production of great industrial undertakings, and, 
 above all things, intent upon the pursuit of wealth. 
 
 [By J. E. Jones.l 
 
 443*. William Dakgax. Railway Contractor. 
 
 [Still living.] 
 
 Born at the beginning of the present century, of humble parents, in the 
 county of Carlow, Ireland. After leaving schoool, was placed in a surveyor's 
 office. Then served with Telford the engineer, on the Holyhead-road ; 
 afterwards engaged, on his own account, in forming the Howth Road, and 
 some canal works in other parts of Ireland. Since the introduction of rail- 
 ways he has been the chief maker of the iron paths that traverse the sister 
 kingdom. When all the works shall be completed, which owe their construc- 
 tion to his skill, ingenuity, and industry, nearly a thousand miles of 
 railway will be due to his enterprise. William Dargan is not only a railway 
 contractor, but a railway owner, a steam-packet proprietor, a flax grower, 
 and a farmer. Whilst too many of his fellow-countrymen have been 
 engaged in destroying — as far as in them lay — the elements of industry in 
 Ireland, he has laboured to develop her resources, and to rouse the physical 
 energy and the self-respect of all classes. He is a patriot, not a partizan — not 
 an Orangeman, nor a Ribbandman, nor a Repealer, nor a Protestant-ascend- 
 ancy-man, but a true-hearted Irishman, a useful citizen, a loyal subject. If 
 
ENGLISH SCIENTIFIC MEN AND AUTHORS. 
 
 201 
 
 Sir Robert Peel could have counted a dozen Dargans amongst his coadjutors 
 in Ireland, he would never have had cause to reckon the government of that 
 portion of the United Kingdom, amongst his insuperable "difficulties." The 
 greatest work of the patriotic Dargan remains to be mentioned. He placed 
 £20,000 at the disposal of the Committee formed in Dublin, for the construc- 
 tion of a Crystal Palace in that city. Before the Palace was ready to receive 
 the contributions of all nations, William Dargan had contributed a much 
 larger sum. He has his reward in the affectionate gratitude of the Irish 
 people — in the approving smiles of his sovereign — in the lasting good wrought 
 by his act in the land of his birth. 
 [This statue, by J. E. Jones, is at the south end of the nave.] 
 
 444. Samuel Waeeex. Lawyer and Writer, 
 
 [Born in Denbighshire, 1807. Still living.] 
 Is the author of "The Diary of a Physician," and " Ten Thousand a - 
 Year," in the department of fiction, and of a work on the Study of the Law. 
 Mr. Warren was originally educated for medicine. He has risen to the 
 rank of Queen's Counsel in the profession which he subsequently adopted ; 
 and his writings have acquired a wide popularity. The genius of Mr. 
 Warren lies especially in the detection and dissection of character, in which 
 he exhibits great skill and power. 
 [By Henry Weigall.] 
 
 445. Edwaed Shepheed Ceeasy. Historical Winter* 
 
 [Born in Kent, 1812. Still living.] 
 
 Educated at Eton, where he obtained the "Newcastle Scholarship." Sub- 
 sequently proceeded to King's College, Cambridge. In 1837, called to the 
 bar. Is Professor of History in University College, London, and the author 
 of some able historical works. 
 
 [By E. G. Pap worth, jun., by whom it is presented to the Crystal Palace. 
 
 446. Judge Halibueto^. Lawyer and Writer, 
 
 [Still living.] 
 
 Off the bench, better known under his assumed name of " Sam Slick." 
 He is a judge of Nova Scotia. In 1835, first appeared in a Canada paper 
 as the author of a series of letters, illustrating the Yankee character. In 
 1842, was Attache in England to the American Legation ; one result of this 
 appointment was the publication of "Sam Slick in England." Sam's pen 
 continues from time to time to enliven and amuse the world, and to set it 
 broadly grinning. He has infinite humour, a rollickiDg, racy, uncontrolled 
 style, an exuberance of animal spirits, great acuteness, much worldly 
 sagacity, and marvellous good sense under all his fun. A genial satirist, 
 and one of those who have the best succeeded in making the low, corrupted, 
 half-provincial, and half-slang language of an inferior social class servo 
 literary use. 
 
 [By J. E. Jones.] 
 
 147. Edwaed Foebes. Naturalist, 
 
 [Born at Douglas, Isle of Man, 1815. Still living.] 
 One of the most eminent of our scientific men, remarkable for his 
 originality, sagacity, lucid research, and general scientific attainments. 
 Studied at Edinburgh, and afterwards lectured there on Natural History. 
 
202 
 
 PORTRAIT GALLERY. 
 
 Joined, in 1841, the Hydro-graphical Survey of the iEgean, under Captain 
 Graves, R.N., and made important discoveries respecting the laws of 
 bathymetrical distribution of marine animals and plants. In 1842, explored 
 the antiquities, geology, and natural history of Lycia. During this expedi- 
 tion the sites of eighteen ancient cities were brought to light. In 1845, 
 appointed Naturalist to the Geological Survey of the United Kingdom, and 
 in 1851, a Professor of the Government School of Mines. President of the 
 Geological Society, one of the Royal Commissioners of the Great Exhibition, 
 and author of numerous works and memoirs on geological, zoological, audi 
 botanical subjects. In 1854, upon the decease of Professor Jameson,, 
 raised to the Chair of Natural History in the University of Edinburgh. 
 [By E. H. Baily, R.A.] 
 
 SOLDIERS AND STATESMEN. 
 
 448. William Murray, Earl of Mansfield. Lord Chief Justice. 
 
 [Born at Perth, in Scotland, 1704. Died in 1793. Aged 88.] 
 This great lawyer and upright man was the fourth son of David, Lord 
 Stormont. In 1718, being thirteen years old, he travelled to London on the 
 back of a pony, and went to Westminster school. In 1723, he proceeded to 
 Oxford. At both places of learning he was distinguished for his industry 
 and classical attainments. Afterwards entered at Lincoln's Inn, and in 1730 
 was called to the bar. He gradually made his way upward. In 1742, 
 Solicitor General; 1744, Chief Justice of the King's Bench; 1776, advanced 
 to the dignity of an Earl. Other events are worthy of record. During the 
 Gordon Riots of 1780, the Protestant mob, thinking him favourable to the 
 Catholics, burned his house to the ground, and cruelly destroyed a valuable 
 collection of books and manuscripts. He was the principal victim of the 
 merciless assaults of Junius ; and he is remembered in the law books, as the 
 chief justice who, in the celebrated case of "Rex v. Almon," arising out of 
 one of Junius' s Philippics, attempted in vain to withdraw the cognisance of 
 the question of libel from the jury, to vest it in the court. In politics Lord 
 Mansfield was a Tory ; as a judge he recognised nothing but his duty to his 
 sovereign and his country ; and he must always be regarded as one of the 
 greatest men that have adorned the judgment - seat in England. He 
 possessed an amazing clearness of apprehension, vast learning, and mar- 
 vellous perspicuity of exposition. His love of justice was the sole passion that 
 absorbed his otherwise calm nature, and his integrity was spotless. In. 
 law, as in religion, the mind of Mansfield was essentially liberal. It was a 
 saying of Burke's that Murray — superior to the technicalities of his profes- 
 sion — still made the liberality of law keep pace with the demands of justice 
 and the actual concerns of the world, conforming our jurisprudence to the 
 growth of our commerce and of our empire. He was thus the founder of 
 the commercial law of England, which before his time had no existence. 
 Brave as a lion on the bench, Mansfield exhibited unaccountable timidity as 
 a statesman. He quailed before Lord Chatham, whose schoolfellow he had 
 been, and who mercilessly opposed him from the school to the grave. The 
 illustrious rivals now lie quietly side by side in Westminster Abbey. 
 [From the statue in Westminster Abbey. Executed in 1801 by Flaxman.] 
 
ENGLISH SOLDIERS AND STATESMEN. 
 
 203 
 
 449. "William Pitt, Eael of Chatham. Statesman. 
 
 [Born 1708. Died at Hayes, in Kent, 1778. Aged 70.] 
 A grand Minister, an idol in the memory of the nation, but failing in 
 some of the elements of true greatness, for he was haughty, overbearing, 
 inconsistent, insolent, obstinate, and petty. The statesman who would 
 never be seen on business, except in a full dress coat and tie wig — 
 who never allowed the highest considerations to interfere with his con- 
 stant study of effect — who, in opposition, anathematized men for attempting 
 that which he himself, in power, was the very first to carry out — who never 
 suffered his under secretaries to sit in his presence — who never blushed at 
 the most barefaced and vehement self-contradiction, can hardly be ranked 
 with the very highest characters that adorn the pages of History. Yet he 
 was superb withal, and potent in his influence upon the age in which he 
 lived. He had tremendous earnestness ; his thoughts blazed in his mind, 
 and were communicated in burning words to his listeners. He had the 
 faculty of uttering great truths, in language that carried not only conviction 
 to every understanding, but enthusiasm to every soul. He had a noble 
 person — an eye like an eagle's — a voice of thunder. His oratory was splendid, 
 and his speeches maintained some of their power when transferred to paper. 
 He was always terrific. He began his career as a Cornet in the Blues, and 
 entering Parliament as member for Old Sarum, in 1735, he so astonished. 
 Sir Robert Walpole by the violence of his assault, that the astute Minister 
 was fain to intreat some one 4 'to muzzle that terrible Cornet of horse." 
 The great glory of Chatham, as Minister, consists in the war policy which 
 he advocated and upheld to the great advantage and pre-eminence of his 
 country. In spite of all his errors he was adored by the people. He could 
 feel and act with true nobility, and the multitude were touched by the lofty 
 sentiments by which he was himself animated. Almost his whole fortune 
 consisted of private benefactions. The Duchess of Marlborough left him 
 £10,000, and Sir William Pynsent bequeathed him £3000 a year, and 
 £30,000 in ready money. He opposed the war with America, but with his 
 latest breath denied the right of the colony to independence. Whatever he 
 did, he was still the most popular man in England. Proud and domineering 
 as he was in public, his private character, as Lord Chesterfield declared, 
 "was stained by no vices, and sullied by no meannesses." In his own 
 household, by his children and dependents, he was beloved for his gentle 
 kindness. The statue before the visitor is highly characteristic of the man. 
 "Graven by a cunning hand," says Macaulay, "it seems still with eager 
 face and outstretched arm, to bid England be of good cheer, and to hurl 
 defiance at her foes." 
 
 [The original model of the statue by J. Bacon, R.A., in Westminster Abbey. It 
 will be found at the South end of the Nave.] 
 
 450. Edmund Burke. Orator, Writer, Statesman. 
 
 [Born at Dublin, 1730. Died 1797. Aged 67.] 
 Coleridge, speaking of Edmund Burke, has said that "he referred habi- 
 tually to principles — he was a scientific statesman." He is by far the most 
 philosophic politician that ever dealt with public affairs in England. He 
 takes rank with those who have applied their genius to the transactions 
 of their own fleeting day, in order to extract from them truth, wisdom, 
 and instruction for all ages. Gifted with gorgeous eloquence, he spake 
 like a prophet. We read his words, which we are told fell as he uttered them 
 
20i 
 
 PORTRAIT GALLERY. 
 
 upon dull insensate ears, and are astounded to find how nearly, under altered 
 circumstances, they concern ourselves. Our descendants shall peruse the 
 same syllables with the same living interest, desire, and benefit. Cha- 
 teaubriand has asserted that when Fox spoke in the House of Commons, 
 he and all strangers could not keep back their tears. When Burke 
 rose, the act was a signal for general flight. We can understand 
 the difference. Burke walked sublimely in advance of his contemporaries ; 
 Fox was abreast of them, sharing in their prejudices, and, it may be, inflaming 
 their passions. Burke had great knowledge of men and books, an imagi- 
 nation rich to overflowing, and although a philosopher and a theorist, 
 business-like habits. His genius was unmatched in the House of Commons, 
 and his industry did not fall short of that of the most plodding member of that 
 assembly. He was the son of a Dublin attorney, and in early life found 
 favour with Lord Rockingham, who, bringing him into Parliament, allied 
 him to the Whig interest. The connexion was subsequently broken off, when 
 Burke, in alarm at the frightful results and portents of the French Revolution, 
 strove to preserve Liberty by holding her back from the too ardent 
 embrace of her professed friends. His i 1 Reflections on the French Revo- 
 lution " was the most memorable treatise of the time ; and it was fol- 
 lowed by others as remarkable for splendid diction, as for the profoundest 
 philosophical thought. When starting into life, Burke wrote his cele- 
 brated essay on " the Sublime and Beautiful," and set on foot the " Annual 
 Register," the historical portion of which he wrote for many years. He 
 would have been raised to the peerage but for the premature death of his 
 only son, of whom he was very fond. His character has been variously 
 estimated. There is no reason to doubt that he was as conscientious, 
 as honest, and as sincere, as he was mighty in his high mental endowments. 
 [By Christopher Moore. 1850.] 
 
 451. Geokge Washington. First President of the United States. 
 
 [Bom in Virginia, United States, 1732. Died, 1799. Aged 67.] 
 If we were asked to single out from ancient or modern story one bright 
 unsullied example of true greatness, of perfect patriotism, disinterestedness, 
 consistency, and self-devotion, it would be difficult not to select George Wash- 
 ington. England, that suffered by his acts, has reason to be proud of his 
 surpassing glory ; for he came from the common stock, and he wrought the 
 liberty of his country by the exercise of virtues dear to all Englishmen, 
 and — let us dare to say — characteristic of their race. He received the most 
 ordinary education, for he lost his father when ten years old ; and he had to 
 make his way in life by his own best efforts. At the age of eighteen he was 
 appointed surveyor, in Virginia, to Lord Fairfax. At twenty he was Major in 
 the colonial militia. In 1775, he took the command of the army in America 
 against England. How he acted from that hour until 1783, when the treaty 
 of peace was signed, — what intrepidity he exhibited,' — what wisdom, what 
 coolness, what courage, what moderation, what rare self-command under 
 defeat, for, lighting at great disadvantage, he lost more battles than he 
 gained, — is known to all. In 1789, he was elected President of the United 
 States. As chief of the government, he declined all remuneration, save the 
 bare payment of his official service : he had shown the same abstinence 
 when in command of the army. In 1796, worn out by the labours and 
 anxieties of his momentous life, he laid down his power and withdrew into 
 privacy ; but not until he flad delivered to the American people, as his last 
 
ENGLISH SOLDIERS AND STATESMEN. 
 
 205 
 
 public work, his solemn advice for their future self-government and conduct. 
 His words of weight may be read to-day with singular advantage by the 
 millions who enjoy the inappreciable blessings of freedom and prosperity, 
 which his good right hand, sound heart, and sagacious judgment, chiefly 
 secured to them. If hero-worship may be pardoned, he shall be forgiven 
 — for his offence shall induce in him only humility — who kneels before the 
 quiet, unpretending shrine of Washington. 
 [By Canova.] 
 
 451*. "Waeejen Hastings. Statesman, 
 
 [Born 1732. Died 1818. Aged 86.] 
 
 Descended of an ancient and honoured line, seated at Daylesford, in 
 "Worcestershire, but ruined by taking the King's side in the civil war. The 
 boy, motherless, from his birth, and left in the hands of his grandfather, the 
 impoverished incumbent of the parish, was sent early to the village school, 
 and taught his letters with the peasantry. At seven years old, as he basked 
 on the bank of the little stream that ran through the domain of his fathers, 
 the thought of repossessing the lost inheritance broke on his imagination. 
 The vision of the child was the single personal aim of the man's life. What 
 a life, ere the vision took reality ! At 10 he was placed at Westminster 
 school, at 17 he sailed with a writership for Bengal. His courage and 
 intelligence, when the English authorities had fled from Calcutta, with his 
 services in Clive's army, raised him rapidly to distinction, and in ten years 
 after setting foot on Indian ground, he was member of Council. At 32, he 
 returned, with a moderate fortune, to England : and — that given and spent 
 — at 36, back to India. At 40, Gfovernor of Bengal. At 41, Gfovernor- 
 Greneral. Ere the five years of his appointment had elapsed, he was 
 more ! He had overthrown his mortal foes in the Council : and was Lord 
 Paramount of British India. In his 53rd year, his reign ceased. What had 
 it been ? With a resolution which no dangers and no difficulties could 
 daunt, with a genius for resource, fertile in proportion to the demand, with 
 a sagacity that disabled opposition and commanded success, with a self- 
 possession calm in every tempest, he had taken in hand a set of provinces 
 imperilled by their disorganization and by terrible enemies : and he left a 
 constructed and fortified empire. What had been his means ? Grood and ill. 
 He had stood between the rapacious rulers and the feeble ruled, and was 
 alike beloved by both. A civilian, he held the heart and allegiance of the 
 army. But in India he had used Indian powers. He had not amassed 
 money corruptly, but he had corrupted with it. He had extorted treasure, 
 he had broken faith, he had authorized and instigated cruelty, he had violated 
 justice to shed guilty blood, he had held the ordinary moral laws suspended, 
 for the safety and the aggrandizement of the dominion committed to his sway. 
 Called to answer before the highest tribunal in the land, by all the intellect, 
 eloquence, and power of a great party in Parliament, he was acquitted after 
 a process of unheard-of duration, reaching through many years : but ruined 
 by the costs. Partially compensated by the India House he retired to the an- 
 cestral home which, according to his early resolve, he had taken care to secure. 
 Here for years he lived a tranquil, happy life in the midst of books, which 
 he loved, and of endeavours to improve English cultivation from his expe- 
 rience in India. 
 
 [By J. Bacon, R. A.] 
 
206 
 
 PORTRAIT GALLERY. 
 
 4<32. Chaeles James Fox. Statesman. 
 
 [Born 1748. Died 1806. Aged 58.] 
 
 This great orator and popular statesman, like liis rival William Pitt, was 
 trained from his youth for political life. He was the son of Henry, first Lord 
 Holland, and received his education at Westminster, Eton, and Oxford. His 
 acquaintance with ancient and modern literature was extensive, his taste 
 highly cultivated, and his literary ability great. Had he not "been a 
 politician, he might have won high distinction as a scholar ; or, had he not 
 been constitutionally indolent, have reflected lustre upon his public deeds 
 by labours in more classic fields. There was a difference of ten years in 
 the ages of Pitt and Fox ; Pitt being the younger man. Both were 
 second sons : both had been sedulously prepared for the great arena by 
 their ambitious fathers. Pitt began his work as a Reformer, but quickly 
 turned aside into the ranks of the Tories. Fox, starting into life under 
 the wing of his Tory parent, spoke and voted against Wilkes ; but quickly 
 repenting of his act, threw himself into the arms of the Whigs. And then 
 the battle between the two rare combatants was well fought out unto the 
 end — Pitt dying in harness in 1806, Fox following him the very same year. 
 Fox was a Liberal, as the name was in his time understood by the great 
 Whig families — an aristocrat with popular ideas, sympathizing with progress, 
 but holding fast to the pillar of the constitution, every stone of which he 
 jealously upheld. On every great subject he stood opposed to Pitt ; he 
 inveighed bitterly against the war with France, as he had formerly steadily 
 opposed the rupture with the American Colonies. He was a speaker of 
 extraordinary power ; his oratory being bold, argumentative, impassioned, 
 and unpremeditated. His followers were attached to his person, and in 
 private life he was beloved, for he had an affectionate and noble nature, 
 clouded by sad weaknesses. He was a desperate gamester, and a lover of 
 pleasure to excess. At St. Ann's Hill, withdrawn from the heat of conflict 
 and dissipation, to his quiet and beloved garden — to his friends and his 
 books, he was more faithful to himself, and to the good gifts of Providence 
 within him. 
 
 [By I. Nollekens, R.A.] 
 
 453. John Philpot Cueean. Lawyer. 
 
 [Bom near Cork, 1750. Died in London, 1817. Aged 67.] 
 
 Of very humble parentage. Obtaining a sizarship, he received his educa- 
 tion at Trinity College, Dublin, free of expense. He went to London, and 
 entered himself as student at one of the Inns of Court. Called to the bar 
 in 1775. His brilliant qualities soon brought him into notice. He was 
 employed to defend various persons charged with political offences, and his 
 eloquence, his wit, his withering sarcasm, and touching pathos, carried all 
 before them. In 1784, he obtained a silk gown, and took his seat in the 
 Irish House of Commons as member for Doneraile. When the Whigs came 
 into office in 1806, he was made Master of the Rolls in Ireland. This office 
 he held until 181 4, when he resigned it and secured a pension of 3000Z. a-year. 
 He then visited England, and took up his residence in London, where he 
 died. He was a popular advocate, and a most successful debater. His 
 personal appearance was as deficient in grace as his intellectual powers were 
 splendid. His country, which loved him when living, lamented him when 
 
ENGLISH STATESMEN AND HEROES. 
 
 207 
 
 dead, and perpetuated her love and her grief by the erection of a public 
 monument to his memory. 
 
 [By Christopher Moore. 1811. Executed for his monument in St. Patrick's 
 Cathedral, Dublin.] 
 
 454. Lord Eldon. High Chancellor of England. 
 
 [Born 1751. Died 1838. Aged 87.] 
 A great lawyer. His legal learning, it is said, has never been surpassed, 
 if it has been equalled. For many years of his long life he sat on the 
 judgment seat, and in the councils of his Sovereign. But the fame of 
 El don as a politician has not survived him. He was narrow-minded and 
 narrow-hearted. Lord Brougham has summed up his political faith when he 
 says, i ' he was alike the determined enemy of all who would either invade 
 the institution, or extirpate the abuse." He worshipped things as they 
 were. Whatever existed — whether a rotten borough, a sanguinary enact- 
 ment, or an unjust civil disability — to the mind of Lord Eldon it formed 
 part of the " British Constitution," and that Constitution had in his eye a 
 sanctity, like religion. No argument was admitted against this iron and 
 immovable belief. Hence, though all men respected his sincerity, all 
 enlightened men pitied his bigotry, and felt it as a public relief 
 when he departed in his ripe old age. He was the last great 
 man of the remorselessly obstructive school to which he belonged. 
 As Lord Chancellor, his decisions have obtained great respect, but he 
 was generally so long in arriving at them, and hesitation and doubt 
 formed so marked a characteristic of his judicial character, that the pecu- 
 niary losses and human misery for which he became responsible were 
 considerable. Lord Eldon was of humble origin, and his chances of pro- 
 motion seemed in early life so remote, that he was actually at the minute of 
 quitting London in despair when he received the brief that took him on to 
 fortune. 
 
 [By Chantrey.] 
 
 455. Horatio Nelson. Lord High Admiral. 
 
 [Born at Burnham-Thorpe, in Norfolk, 1758. Died at Trafalgar, 1805. Aged 47. ] 
 
 The most famous of sea-captains, and the darling of his country. He 
 fought the sea-half of the world's greatest war. England has a just 
 pride in her Wellington, whose memory she honours. Towards Nelson she 
 looks with a tenderer recollection, and her heart moves when she thinks of 
 his services and renown. As Captain in 1794, he conducted a siege at Calvi, 
 and lost an eye. In 1797, crying to his men "Westminster Abbey or 
 glorious victory," he captured the San Jose and San Nicolas, at the battle 
 of St. Vincent. In the same year he lost his right arm at Teneriffe, and 
 twelve months afterwards he received a wound in his head at the glorious 
 victory of the Nile. There was in truth very little left of the man — 
 yet all of the hero — when, in 1805, a cruel shot at the battle of Trafalgar, 
 killed him in the very hour of triumph to his fleet, of delivery to his 
 country. His death was felt in England as a personal, as well as national 
 calamity, and was mourned by the whole people as by one man. Gentle as 
 a woman ; brave as a lion ; devoted to his country ; fighting her battles with 
 a passionate ardour that consumed and obliterated all personal considera- 
 tions ; loyal ; pious ; — these are some of the qualities that combined to form 
 the character of Horatio Nelson. He was always insignificant in person j 
 
20S 
 
 PORTRAIT GALLERY. 
 
 and after his slender frame had "been battered abont by the enemy, his 
 appearance in the honoured uniform which his services had won, was most 
 singular and striking ; for he looked like a skeleton clothed in cumbrous 
 magnificence. Yet the influence of this reduced, war-beaten figure wa& 
 electrical. All who came within its atmosphere partook of its own nature.. 
 The followers of Nelson could and did achieve miracles, because they had 
 unbounded faith in the power of their chief — in his heroism., resolution, and 
 determination at all times to win. Nelson was beloved by his sailors. He 
 lies buried in St. Paul's. 
 
 456. William Pitt. Statesman. 
 
 [Born at Hayes, in Kent, 1759. Died 1806. Aged 47.] 
 It has been well said that the life of William Pitt, the second and 
 favourite son of the magnificent Earl of Chatham, had neither springtime 
 nor autumn. It knew neither the fresh delights of boyhood, nor the tranquil 
 happiness of age. His father had trained him from his very childhood, like 
 an athlete, for the feverish arena of politics. Before he was twenty-one, 
 he stood a gladiator armed ; and from that age until his comparatively 
 early death he knew no rest. He was twenty-four — a period at which our 
 English youth are quitting college, and looking around them for a profession 
 — when he became Prime Minister of England. For seventeen years, in the 
 midst of broil and battle, of discontent at home and warfare abroad, this 
 great man held the place which his eagle ambition had chosen for its eyrie 
 on the rock, defying opposition by his commanding eloquence, by the fertility 
 and grandeur of his resources, by his singular financial ability, and by his 
 unquenchable energy. In 1801, he descended from his lofty seat in order to 
 make way for a Minister of peace ; but in 1804, all hope of peace being 
 blasted, he was again summoned to direct the councils of the nation, 
 and again he exercised all his varied powers for the development and 
 .consummation of the policy, which, right or wrong, he deemed essential to 
 the safety of England, and to the tranquillity and freedom of the world. 
 Two years after his return to office, he fell a victim to his life-long labours 
 and to an hereditary gout, nourished by intemperate habits. It is somewhat 
 curious that Pitt, the cherished head of the aristocratic and Tory party, 
 had expressed himself in favour of nearly all the principles which the 
 liberals of subsequent times have struggled, not fruitlessly, to uphold. 
 He was friendly to Church Reform, to Financial Reform, to Parliamentary 
 Reform, and to the removal of disabilities on account of religious belief. 
 He died at the same age as Lord Nelson ; and as to Lord Nelson, so to 
 him, a public funeral was decreed. The sum of forty thousand pounds 
 also was voted to pay his debts. Whatever had been the faults of Pitt, 
 he was not avaricious. He had made no money by the State, for he 
 had ever been the most unostentatious of men. The character of his 
 eloquence was unlike that of his father. It was logical, dignified, equable : , 
 now rising into indignant invective, and now taking the shape of the keenest 
 and most cutting sarcasm ; but always self-possessed. It did not burst 
 in torrent from an overflowing fount of wrath and passion like the submerging 
 oratory of Chatham.. The form of Pitt was gaunt, his countenance harsh, 
 and his action ungraceful. He was, in many respects, one of the greatest 
 Ministers our country has ever seen. His rapid comprehension was well 
 described by his tutor, who said that he seemed to him to justify the doctrine 
 
ENGLISH STATESMEN AND SOLDIERS. 
 
 200 
 
 of Plato, that the act of learning is reminiscence only, and not acquisition. 
 He was the favourite of the nation : Fox of a party. 
 [By J. Nollekens, R.A.] 
 
 457. General Jackson. President of the United States, 
 
 Born in South Carolina, U.S., 1767. Died at Nashville, in Tennessee, 1845. Aged 78.] 
 The son of an Irish emigrant. He was originally destined for the Church : 
 but he quitted school to take part in the War of Independence. The war 
 over, he adopted the law as a profession, and became judge in Tennessee, as 
 well as Major-General of the Forces of the same state. In 1815, as Major- 
 General of the United States, he gained a decisive victory over the English 
 at New Orleans. In 1821, appointed Governor of Florida, and the next year 
 elected member of the Senate for the state of Tennessee. Elected President 
 of the United States in 1828 and again 1832 ; so that he was at the head of 
 the American government for the space of eight years. An ardent democratic 
 chief throughout life. His presidency was distinguished by the development 
 of democratic tendencies, of the spirit of territorial extension, and by the 
 marked encouragement of the slave-holding interest. He successfully opposed 
 Congress in the matter of the United States Bank, regarding it as a monopoly 
 in the State injurious to the general interests of the people. Jackson was 
 a man of Roman virtues, a true patriot, and of uncompromising integrity, 
 simple, and austere. Straightforward and blunt as a soldier. 
 [By Hiram Powers.] 
 
 458. Henky William Paget, Mae,ql t is of Anglesey. English 
 
 Field Marshal, 
 
 [Born 1768. Died 1854. Aged 86.] 
 A distinguished, brave, and gallant military commander. In 1793, 
 served in Flanders. Later, won honour in Spain, especially by the skill with 
 which he covered General Moore's retreat. At Waterloo, where he com- 
 manded the whole British cavalry, he lost a leg. He was member of the 
 government under Canning, and in 1828 — a memorable epoch — Lord-Lieu- 
 tenant of Ireland. Again held this appointment under Lord Grey, in 1831. 
 [By Christopher Moore. 1816. Executed for W. H. Curran, Esq.] 
 
 459. Abthtje, Duke or Wellington. Soldier and Statesman, 
 
 [Born in Ireland, 1769. Died at Walmer Castle, 1852. Aged 83.] 
 The third son of the Earl of Mornington, and of Anna, daughter of Viscount 
 Dungannon. Received his early education at Eton — then studied at the 
 military school of Angers, in France ; and in 1787, entered an infantry 
 regiment as Ensign. Later became by purchase Lieutenant -Colonel of the 
 33rd, and in that regiment took part in Holland in the campaign of 1794. 
 His first great military exploit was at the beginning of the century, 
 in India, where his brother was Governor-General, and where, fighting 
 in the war against the Mahrattas, he annihilated at Assaye an army 
 of 60,000 men, with only 12,000 troops. From this period until his defeat 
 of the French army, and the overthrow of Napoleon on the field of 
 Waterloo (1815), his career was a series of triumphs. Many comparisons 
 have been made between Napoleon and Wellington ; all are unnecessary, and 
 from the purpose. There is no resemblance whatever in the two characters. 
 If it is contended that Napoleon was the greatest military hero of his time, 
 it is sufficient for the admirers of Wellington to state, that after the English 
 
 p 
 
210 
 
 rOUTRAIT GrALLERY. 
 
 captain had beaten, one upon another, the great Marshals of Napoleon, he 
 conquered Buonaparte himself, and pnt an end for ever to his splendid 
 authority and terrible misrule. Madame de Stael has said, speaking of 
 Wellington, that "Never was so great a man made out of such small 
 materials." Another writer has remarked, that in him "common sense 
 amounted to genius." A third tells us that he accomplished everything by 
 that system of self-subjugation which made every wish, desire, aim, and 
 object of life subordinate to a paramount and an ever-present sense of duty. 
 • We may gather a notion of the true character of Wellington from such 
 criticism. There was nothing brilliant and overpowering in his genius ; but 
 he commanded respect, and won greatness by the wisdom of his combinations, 
 the steadiness of his will, the simplicity of his aim, and the pertinacity of 
 his course — his mind being once made up as to the direction to be taken. 
 Wellington had boundless influence over his men, because he had irresistible 
 power over himself. He knew better than any other great captain what 
 not to do : and having resolved upon the propriety of inaction, no considera- 
 tion, no amount of obloquy, blame, or reproach, could incite him into 
 action. When he undertook command in Portugal, it was his conviction that 
 the enemy were to be finally defeated by a passive policy on Ins part at starting. 
 For months, against general opinion, he persisted in that policy ; and after 
 it had succeeded beyond all expectation, once a-foot, he advanced resolutely 
 with his troops, scoured Portugal and Spain, drove the French before him, 
 followed them into France, and never slackened until he had caught Napoleon, 
 and chained him to the rock of St. Helena. Into the field of politics 
 Wellington brought the same policy to play. He knew when to act on the 
 defensive, how long he might defend with safety, when it was prudent to 
 retreat or capitulate upon honourable conditions. The life of Wellington, 
 from his boyhood until Ms death, is an instructive lesson for his countrymen. 
 His daily habits, as we all know, were of the simplest ; and his business- 
 like activity was the most remarkable characteristic of his old age. In 
 manners Wellington was soldierly and rough, but he was fond of children. 
 He had few intimate male friends, but he has left behind him a correspondence 
 that shows the delight he took in opening his mind freely, on the most 
 delicate questions of State policy, to more than one of the gentler sex. A 
 great contemporary poet, a friend and warm admirer of Wellington, has said 
 that this illustrious, and in many respects perfect man, had one infirmity 
 that brought him down to the level of us all — "he could be angry." 
 
 [By Henry Weigall. This was the last bust for which the Duke sat. It was 
 modelled in four sittings, the dates of which were August 6, 9, 11, and 
 November 18, 1851.] 
 
 459a. Arthur, Duke of Wellington. Soldier and Statesman. 
 
 [Colossal Bust presented by the sculptor, H. Ross.] 
 460. John Quincy Adams. President of the United States. 
 
 [Born at Boston, U.S., 17G9. Died 1848. Aged 79.] 
 Educated in Europe. At a tender age, private secretary to the 
 American Minister at St. Petersburgli. In 1794, appointed by Washington, 
 Ambassador to the Hague. In 1809, Ambassador to the Court of Russia. 
 Subsequently Ambassador in London. In 1825, President of the United 
 States. His administration worthy of his life, which was pure, disinterested, 
 and strictly honest. Upon his death in 1 848, he left a reputation for integrity, 
 
ENGLISH STATESMEN AND SOLDIERS. 
 
 211 
 
 independence, tod manly straightforwardness, second only to that of Wash- 
 ington. His habits to the last simple and unostentatious, and his industry 
 remarkable. His exterior was cold, but fire glowed within, for his nature 
 was as earnest as his oratory was fierce. He had a tenacious memory, great 
 knowledge, and the faculty of speaking forcibly, clearly, and to the purpose. 
 One of the worthies of the Great Republic. 
 [By Hiram Powers.] 
 
 481. Loed Monte agle. English Peer. 
 
 [Born 1790. Still living.] 
 Comptroller-general of the receipt and issue of Her Majesty's Exchequer. 
 Before he was raised to the peerage, Lord Monteagle, as Mr. Spring Rice, 
 sat in the House of Commons, and filled various offices of State — amongst 
 others, that of Chancellor of the Exchequer. 
 [By Macdonald, of Rome.] 
 
 462. William Huskisson. Statesman and Financier. 
 
 [Born in Worcestershire, 1770. Accidentally killed, 1830. Aged 60.] 
 A distinguished statesman, whose commercial views, early in the present 
 century, were considerably in advance of those of the political party to which 
 he was attached, and who strongly advocated the principle of the measures 
 carried at a later period by Sir Robert Peel. He served under Pitt, and 
 afterwards was President of the Board of Trade. He was accidentally killed 
 by a train, at the opening of the Manchester and Liverpool Railway. 
 
 [For account of this statue, the original of which is at Liverpool, see Handbook 
 of Modern Sculpture, No. 29.] 
 
 463. John Singleton Copley, Baeon Lyndiiitest. Ex- Chancellor 
 
 of England. 
 
 [Born in Boston, U. S., 1772. Still living.] 
 The son of a celebrated painter. After having studied at Cambridge, 
 where he took high mathematical honours, he was called to the bar, in 1804. 
 In 1826, Master of the Rolls ; in 1827, Lord Chancellor. Has held this 
 last high office at three distinct periods of his life. Lord Lyndhurst is 
 remarked for the extraordinary lucidity and quickness of his understanding. 
 His mind has the utmost facility in grasping the most intricate and involved 
 points of any case submitted to it ; and his facility of exposition is as 
 perfect as his perception is acute. Hence, though not the greatest of the 
 lawyers who have dignified the woolsack, he has always been the most agree- 
 able and popular of Lord Chancellors. He is eloquent without labour, and 
 convincing without vehemence — in many respects a master of oratory. In 
 his eighty-third year, his polished intellect has lost none of its lustre. It 
 has all the vigour, in debate, which it possessed half a century ago. Lord 
 Lyndhurst at first took side with the Liberal party in politics, but he soon 
 became a follower of Sir Robert Peel, and with that Minister he remained 
 to the last. 
 
 [By W. Behnes.] 
 
 464. Loed Ashbtjeton. English Peer. 
 
 [Born 1774. Died 1848. Aged 74.] 
 The head of the great mercantile house of Baring. As Ambassador to 
 
 p 2 
 
212 
 
 PORTRAIT GALLERY. 
 
 America during the government of Sir Robert Peel, Lord Ashburton con- 
 cluded the treaty between England and the United States which settled the 
 much-vexed "Oregon question." His marriage with an American lady~ 
 attached an interest to his person in America, and his high character gave him? 
 weight and authority at home. 
 [By Macdonald, of Rome.] 
 
 465. Daniel O'Connell. Orator and Lawyer. 
 
 [Born at Cahir, in Ireland, 1775. Died at Genoa, 1847. Aged 72.] 
 
 The great Irish agitator. A man of extraordinarily powerful talents and 
 influence. His oratory, especially adapted to sway the hearts of an Irish 
 multitude, obtained for him a rule throughout Ireland that has never been 
 equalled. Thousands upon thousands of his fellow-countrymen were content- 
 to be governed by his will for good or for evil. The unprecedented oppor- 
 tunity was used by Daniel O'Connell, less for the advantage and happiness of 
 his afflicted country, than for his own selfish ends. When the wrongs of 
 Ireland clamoured loudly for redress. O'Connell was an agitator with a 
 righteous cause sustaining his great eloquence. When those wrongs were in 
 course of remedy — were remedied— he was still an agitator, but unsustained. 
 by any cause save that of his own pecuniary necessities. It is lamentable 
 to think how much good might have been effected by the energies of 
 O'Connell, and to what deplorable straits his policy had reduced Ireland 
 before death took him from it. Had it been as much to his personal and 
 pecuniary interest to render his country contented, peaceful, prosperous, as. 
 to keep her in a ferment of discontent, discord, and semi-rebellion, O'Connell 
 would have proved one of the greatest benefactors of his kind. As it was, 
 he left behind him a name, which is not uttered with opprobrium — simp?y 
 because it is already nearly forgotten. The associations connected with his 
 memory have nothing in common with the new epoch of tranquillity, order, 
 and steady industry, upon which Ireland has entered. O'Connell was not 
 so eloquent in the House of Commons as out of it. He was born for the 
 multitude. His power of invective, his faculty of humour, his facility of 
 illustration, his familiar tones, his burly form, his winning voice, were all 
 elements that go to make up the successful demagogue. 
 [By J. E. Jones.] 
 
 466. Joseph Hume. Political Reformer* 
 
 [Born at Montrose, 1777. Still living.] 
 Has sat in the House of Commons for upwards of forty years. Was 
 educated for the medical profession, and is member of the Colleges of Surgeons 
 of Edinburgh and London. Acted in India as Persian interpreter to the 
 army, during the Mahratta war, from 1802 to 1807. Joseph Hume is a 
 consistent Reformer, and by his steadiness, earnestness, and faithful adherence 
 to the principles of his life, has secured the respect and good-will of all 
 political parties. When he entered parliament, his views were considered 
 extreme and theoretical. Many of those views have been gradually adopted 
 by the leading statesmen of the time, and there is every probability that 
 Mr. Hume will outlive all his grievances. He is a rigid economist, and a 
 thoroughly honest politician. 
 
ENGLISH STATESMEN AND LAWYERS. 
 
 213 
 
 467. Henry, Lord Brougham. Lawyer, Statesman, Educator, 
 
 [Born 1779. Still living.] 
 A name that will be identified for ever with the advances in civilisa- 
 tion made in this country, during the first half of the present century. 
 For the great reforms effected in our criminal law, for the impetus 
 which has been given to education among all classes, we are chiefly indebted 
 to the influence of Lord Brougham, and to the indomitable exertion of his 
 strong, practical, energetic, and versatile mind. He has been Lord High 
 -Chancellor of England ; but his legal attainments constitute his very smallest 
 title to respect. He is a great orator, a man of science worthy of taking rank 
 with scientific men, a metaphysician, an historian, an essayist. He has 
 addressed himself to every branch of knowledge, and is distinguished in all. 
 Before he was elevated to the peerage he was one of the foremost men in Eng- 
 land, honoured for his resolute and fiery opposition to abuses of every 
 kind, and beloved for his eager anxiety to remove the shackles from the 
 negro, and every disability from the limbs of his fellow- creatures nearer 
 home. Social elevation has not added to the popularity of Lord Brougham, 
 for the ermine has in part withdrawn the idol from the people. All his 
 magnificent qualities are depressed and dwarfed beneath his coronet. His 
 -eloquence is not so overpowering nor so thrilling, his sympathies for the 
 classes below him are apparently deadened, his respect for his " order" pro- 
 portionately increased. He has ceased to be "the first man" out of 
 doors, without becoming the first lord within. If he has not survived his 
 reputation he has manifestly damaged it. Yet for his former permanent 
 and vital services to his country, his name shall be held by Englishmen in 
 lasting, grateful, and affectionate remembrance. 
 [By Deer.] 
 
 467a. Henry, Lord Brougham. Lawyer, Statesman, Educator. 
 
 [An admirable seated portrait statue, by E. G. Pap worth, Sen., which will be 
 found at the South end of the Nave. Presented by the sculptor.] 
 
 468. Martin Tax Burein t . Ex-President of the United States. 
 
 [Born 1782. Still living.] 
 A lawyer, and an active politician in the democratic interest. From 
 1812 until 1820, a member of the United States Senate, during which time 
 •a keen supporter of the war with England, and, for a short period, 
 Attorney-General. In 1828, Governor of the State of New York — then 
 Secretary of State in the cabinet of General Jackson. Vice President in 
 1832, and during General Jackson's second term of office. In 1836, elected 
 President by a large majority. The principal measure of his administration 
 was the re-establishment of the independent treasury. In 1840, again 
 nominated for the Presidency, but defeated by General Harrison, the Whig 
 candidate. Since the close of his presidential term in 1841, Mr. Van Buren 
 has lived in retirement. His popularity was not so great at the close as at 
 the beginning of his political life. 
 [By Hiram Powers.] 
 
 469. John Caldwell Calhoun. American Statesman. 
 
 £Born at Abbeville, in South Carolina, U.S. 1782. Died at Washington, 1850. Aged 68.] 
 Of Irish descent. Educated at Yale College, and studied law at Lichfield, 
 
2M 
 
 PORTRAIT GALLERY. 
 
 In Connecticut. In ISO 7, admitted to the Bar. In 1811, elected to Congress. 
 Secretary of War in 1817 ; and from 1825 to 1832, Vice-President of the 
 United States. He asserted that the American constitution was a mere 
 federal treaty, from the conditions of which an individual State might at any 
 time withdraw itself, if the inhabitants of the State so desired. This 
 dangerous principle was combated by Webster, and — luckily for the Union 
 — with success. Calhoun had great eloquence, and rapid powers of gene- 
 ralisation. He was inflexible in integrity, firm of purpose, energetic, labo- 
 rious, and endowed with a high sense of honour ; devoted to his country, 
 with an inextinguishable love of liberty. A moderate democrat, never- 
 theless, and a free-trader. In person he was tall and lank ; his face 
 indicated great firmness of character and determination. His manner of 
 speaking and of gesticulation was remarkable. He would walk constantly 
 up and down during his discourse, his right arm moving all the while regu- 
 larly backwards and forwards, like the pendulum of a clock. 
 [By Hiram Powers.] 
 
 469. * Daktel "Webster. American Statesman and Orator. 
 
 [Born in New Hampshire, U.S., 1782. Died 1852. Aged 70.] 
 Descended from one of those pilgrim-fathers of New England, who emigrated 
 in 1636. A lawyer. In 1813, took his seat in Congress for New Hamp- 
 shire, war then raging with England. He advocated the war with fervid 
 eloquence. In politics a " Whig," a term corresponding to our " Conserva- 
 tive." An avowed opponent of the Democratic party, but a still stronger 
 friend to the true interests of his country, and, like our own Sir Robert 
 Peel, preferring these to a dogged and an injurious persistance in his own 
 preconceived political views. Hence, though no friend to slavery, Webster 
 carried on no bitter crusade against it ; and hence his conciliatory policy 
 which, in dealing with the unhappy institution, maintained, through 
 difficulty and danger, the political Union that contributes so largely to the 
 strength and greatness of the American people. The oratory of Webster was 
 of a high order : the most classical that America has yet displayed. It was 
 powerful, argumentative, and as remarkable for passion, as for logical 
 acumen. He was also a scholar, with a refined taste, and deeply attached to 
 the literature of the old country. In person he was thick-set and burly. 
 The countenance indicated force, without delicacy of taste and perception : 
 but in this respect the countenance of Daniel Webster belied his mind. Hi& 
 death, at the close of a vehement career, was serene and happy. 
 [By Hiram Powers.] 
 
 470. Sin Frederick Pollock. Chief Baron of the Exchequer. 
 
 [Born in London 1783. Still living.] 
 Educated at Cambridge, where he obtained high mathematical distinction. 
 Has been Attorney General. 
 [By W. Behnes.] 
 
 470.* Sir Henry Pottinger. Diplomatist. 
 
 [Still living.] 
 
 Went to India as Cadet in 1804, and became Major-General in the East 
 India Company's service. During his long sojourn in India he fulfilled 
 many appointments. In 1841, selected by the Government to proceed to. 
 
ENGLISH STATESMEN AND LAWYERS. 
 
 215 
 
 China as Plenipotentiary and Envoy Extraordinary for the adjustment of 
 the differences then existing between the two empires. Amongst his other 
 rewards for his success in this mission, he received from the House of 
 Commons a pension of 15001. a-year. Afterwards Governor of the Cape of 
 Good Hope : now Governor of Madras. 
 [By J. E. Jones.] 
 
 471. Heney Joitn" Temple, Viscount Palmeestox. Statesman. 
 
 [Born 1784, Still living.] 
 A Minister under many governments. Secretary-at -War from 1809 until 
 1828. Foreign Secretary, with a slight interval of repose, from 1830 until 1841. 
 Again Foreign Secretary in 1846. At the present moment, Home Secretary 
 in the administration of Lord Aberdeen. A statesman of vast knowledge 
 and acquirements ; of sterling business habits ; quick and decided in 
 action. An admirable debater, with a facile, ready, but not lofty eloquence. 
 The upholder of constitutional government wherever his name and position 
 have acquired influence in the world. Friendly to efforts made abroad for 
 the recovery of liberty, he has been, held in terror by those who would still 
 keep liberty in chains. Of all living Ministers, Lord Palmerston is the most 
 personally popular. He has served with many parties, and yet is no party 
 man. The Whigs do not love him ; the Conservatives cannot claim him ; 
 the Radicals own him not. Yet the eye of England glances involuntarily 
 towards him as one with qualities to be exercised on great occasions, in the 
 interests of his country. We cannot enumerate his followers ; but his 
 admirers are countless. He has many practical virtues that constitute a 
 bond, uniting him to Englishmen, and make him an object of interest in 
 the national mind. He is bold, outspoken, courageous, patriotic ; genial in 
 temper, and unaffected in intercourse. He has infinite "pluck." When he 
 strikes, he hits straight and effectually. In self-defence his " parry" is 
 inimitable, and always successful. 
 
 [Executed in 1846 by Christopher Moore.] 
 
 472. Sir Robert Peel. Statesman. 
 
 [Born near Bury, in Lancashire, 1788. Died in London, 1850. Aged 62.] 
 The House of Commons was to Peel — what it had been to Pitt, his 
 illustrious predecessor — his world of thought and action. Pitt was 20 when 
 he took his seat in Parliament by the influence of Sir James Lowther. 
 Sir Robert was 21 when he was returned for Cash el, by the influence of his 
 father. Both lived, and, so to speak, died on that grand stage. If Pitt is 
 to be recognised as the boldest and bravest Minister that ever conducted a 
 country through the perils and disasters of a protracted war, Peel must be 
 regarded as the most courageous statesman that ever dared to guide a busy 
 nation through the peculiar dangers that environ a period of long peace. Pitt 
 set up a principle of action as his guiding star, and steered his course by its 
 light, against the bitterest opposition and the most vehement remonstrance, 
 and died, still proclaiming the safety of his chosen path. Peel, in a later 
 age, and under different circumstances, sacrificed, year after year, his strong 
 convictions, in order to direct within safe channels the popular current which 
 in spite of all his efforts to resist it, flowed on until it threatened to destroy 
 and drown all obstacles — good or evil — that opposed its progress. Had Pitt 
 lived in the days of Peel, his sagacity would have compelled the same 
 
216 
 
 PORTRAIT GALLERY. 
 
 policy. The proof of Peel's sound wisdom was emphatically witnessed when 
 he ceased to be Minister in 1846, but continued, until his cruel and untimely 
 end, to exercise the greatest influence of all living men, over the destinies of 
 his country. More potent than even the Prime Minister who had unseated 
 him, was Sir Robert Peel, from 1846 until 1850. Many are the claims of 
 Peel upon our gratitude. He reformed our criminal code ; he advanced the 
 cause of religious freedom ; he repealed the corn laws. His attainments as 
 a scholar were great, and he was a warm encourager of literature and 
 art. His secret charities to men of genius — revealed since his death — 
 declare the goodness of his heart. It is said that he had few friends in public 
 life. It may be difficult for a politician to enjoy this luxury. In the bosom 
 of his own family he was beloved. 
 
 [This fine colossal statue, which will be found at the south-west angle of the 
 great Transept and Nave, is by Baron Marochetti. It is executed in bronze.] 
 
 473. Sm Michael O'Lochlen. Lawyer, 
 
 [Born 1789. Died 1842. Aged 53. J 
 A judge in Ireland, of high legal attainments, great practical knowledge, 
 and unwearied industry. The first Roman Catholic created law officer of the 
 Crown, and raised to the bench, since the Revolution of 1688. A member of 
 the Church of Rome, he owed his promotion to the Liberal party. Appointed 
 Attorney -General 1835, Baron of the Exchequer 1836, and Master of the 
 Rolls 1837. He was earnest in his endeavours to promote the ends of justice, 
 courteous in manners, and kind in disposition. All parties esteemed and 
 admired him for his judicial conduct, and, after his decease, Lord Lyndhurst, 
 a political opponent, paid a just and feeling tribute to his memory. 
 [By Christopher Moore, for the Incorporated Law Society of Dublin.] 
 
 474. Loed John Eussell. Statesman. 
 
 [Born 1792. Still living.] 
 The third son of the sixth Duke of Bedford. Has served many offices of 
 state, amongst others that of Prime Minister of England. The recognised 
 leader of the Whig party, and the representative of the school of Charles James 
 Fox. The author of a work on the Constitution of England, of a tragedy, 
 and of other books. The editor, also, of the Memoirs of Thomas Moore, the 
 poet. Lord John Russell is considered one of our first constitutional states- 
 men. His course is not always so distinctly marked as to be obvious and 
 intelligible to every looker-on. Now he is too liberal for Conservatives, now 
 too conservative for Liberals ; to-day he offends the lovers of religious toleration 
 by his legislation against spiritual freedom ; to-morrow he will distress 
 bigotry by his zeal for religious independence. Yet Lord J ohn is a man of 
 mark and influence : and when he suffers his soul to be kindled into warmth, 
 the sympathies of men rally involuntarily around him. The prominent 
 feature in the character of this distinguished statesman, is the supreme absence 
 of self-mistrust, be the matter in hand what it may. 
 
 475. Dayid Salomons. Alderman. 
 
 [Born in London, 1797. Still living.] 
 The first Hebrew gentleman who has held civic appointment, and sat as 
 member of parliament, though but for a day, in the House of Commons. 
 Was elected sheriff of London in 1835, and alderman of Aldgate-ward in 
 
ENGLISH STATESMEN AND LAWYERS. 
 
 217 
 
 1836 ; but could not take his seat in consequence of the existing state of the 
 law, which practically excluded Jews. In the year 1844, elected alderman 
 of the ward of Portsoken, but the election again annulled. The law having 
 'been altered by Sir Robert Peel's government in 1847, elected without oppo- 
 sition, in that year, alderman of Cordwainers' ward. In 1851, returned to 
 parliament for the borough of Greenwich. Taking his seat, he maintained 
 his right to remain there ; but he was ordered to withdraw, the law of the 
 land forbidding his presence until he could take the necessary oaths. 
 The claims of the Jews to equal rights with their fellow citizens are 
 identified with the name of David Salomons, as they have been maintained 
 chiefly by his untiring exertions. 
 
 [From the marble by Edward Davis.] 
 
 476. Sib. William Follett. Lawyer. 
 
 [Bom in Devonshire, 1798. Died in London, 1845. Aged 46.] 
 
 The most celebrated advocate of his time. Remarkable for the lucidity 
 .of his intellect, for his extensive and accurate legal knowledge, for his acute 
 discrimination, his intuitive sagacity, and for his power of rapidly trans- 
 ferring his whole attention to anything that might be brought before it. 
 His reasoning faculties were of the highest order, and his memory was 
 singularly quick and retentive. His manner calm, dignified, and graceful, 
 and his temper serene and unruffled. His labours at the bar were excessive, 
 and prosecuted in the midst of pain and sickness. He died comparatively 
 early, worn out by disease and work. He had served Her Majesty as 
 Solicitor- General, and, had he lived, would inevitably have taken the highest 
 position open to his profession. 
 [By W. Behnes.] 
 
 477. The Earl or Derby. Statesman. 
 
 [Born 1799. Still living.] 
 Has been Chief Secretary for Ireland, Secretary of State for the Colonies, 
 and Prime Minister. Has served with the Whigs under Lord Grey, and 
 with the Conservatives under Sir Robert Peel. Since the death of Sir 
 Robert, has headed the extreme Tory party. Lord Derby is one of the 
 readiest, most eloquent, clever, and fluent speakers in the House of Lords. 
 When in the House of Commons, he was styled by Mr. Disraeli ' ' The Prince 
 Rupert of Debate." As a lieutenant, he was brilliant, fierce, and irre- 
 sistible in assault. As a leader, he did not discover the comprehensive 
 grasp, the knowledge, and administrative skill of his illustrious predecessor 
 and chief, Sir Robert Peel. 
 
 [By Christopher Moore. 1839. Executed for Lord Skelmersdale.] 
 
 478. George "William Frederick Yilliees, Earl oe Clarendon. 
 
 Statesman. 
 
 [Born 1800. Still living.] 
 A Minister who has honourably and usefully served his country in many 
 capacities. Has been Envoy Extraordinary at Madrid, President of the Board 
 of Trade, and, during a stormy period of incipient rebellion, Lord Lieutenant 
 of Ireland. At present, Her Majesty's Secretary of State for Foreign Affairs. 
 .An excellent man of business, and a consistent Liberal in politics. 
 [By J. E. Jones.] 
 
21 S 
 
 PORTRAIT GALLERY. 
 
 479. Sidney Herbert. Statesman. 
 
 [Born 1810. Still living.] 
 Half brother of the Earl of Pembroke. "Was educated at Oxford. Entered 
 Parliament in 1832. Has been ever since a follower of the policy identified 
 with the name of Sir Robert Peel. From 1841 to 1845, Secretary to the 
 Admiralty. In 1845, appointed Secretary at War. Retired from office with 
 Sir Robert Peel in 1846, but became again Secretary at War, in Lord Aber- 
 deen's administration, 1853. Mr. Herbert has acquired a well deserved 
 reputation for his benevolent exertions on behalf of the unemployed indus- 
 trious classes of both sexes. 
 [By Macdonald of Rome.] 
 
 480. Loei) Casing. English Peer. 
 
 [Born 1812. Still living.] 
 The only surviving son of Gfeorge Canning, Prime Minister of England. 
 Has been Under Secretary of State for Foreign Affairs ; and for a short time, 
 in 1846, was Chief Commissioner of Woods and Forests. He was Chairman 
 of the Council of Juries in the Great Exhibition of 1851. 
 [By Macdonald.] 
 
 480.* William Hulme Hooper. Naval Officer. 
 
 [Born in London, 1826. Died there 1854. Aged 27.] 
 One of the intrepid Arctic explorers, whose spirit of enterprise has impelled 
 them to invade the ocean, in his sternest and most terrific domain, through 
 hope to solve the mystery hanging over the fate of Sir John Franklin. 
 Lieutenant Hooper commanded the second cutter in the remarkable voyage 
 of the boats of Her Majesty's ship "Plover" from Icy Cape to Cape 
 Pathurst. Lost for three days and nights in an Arctic snow storm, 
 quartered two long and lonely winters away from his ship in log-huts with 
 a few of his men, under every privation, he brought home the fastened 
 malady of the lungs which so early cut short his ardent career. 
 [This bust is by David Dunbar.] 
 
 PRELATES AND THEOLOGIANS. 
 
 481. Cardinal Wolsey. Minister of State. 
 
 [Born at Ipswich, 1471. Died at Leicester, 1530. . Aged 59.] 
 A butcher's son, with an inordinate appetence for place, power, and money, 
 A magnificent pluralist, whose insatiable desire for wealth was redeemed 
 only by the noble uses to which he applied a portion of his worldly goods. 
 His revenues almost equalled those of the crown, and many of his acts 
 were princely, as became the rival of a king. Wolsey founded several 
 lectures at Oxford, built Christ Church in that University, and erected 
 Hampton Court, which, in his splendid generosity, he presented to 
 Henry VIII. He owed his first advancement to Henry VII. , who sent 
 him on an embassy to the Emperor of Germany, and afterwards made him 
 Dean of Lincoln. His rise was, thenceforwards rapid. He became, under 
 
ENGLISH PRELATES AND DIVINES. 
 
 219 
 
 Henry VIII., Cardinal, Lord Chancellor, and Pope's Legate. His fall was, 
 headlong. Offending the king by refusing to sanction his divorce, he was 
 disgraced in an hour, and compelled to disgorge his enormous acquisitions. 
 He was arrested at York, but, falling sick on his way to London, died at 
 Leicester. Much of Wolsey's wealth was, no doubt, ill -gotten ; his ambition 
 knew no bounds ; his insolence was intolerable ; — but he had in many 
 respects a grand and royal mind, and the benefits conferred by him upon 
 learning are never to be omitted in a history of his remarkable life. 
 [Presented by Mr. John Archbutt, London.] 
 
 482. Chakles James Blomfield. Bishop of London. 
 
 [Born 1786. Still living.] 
 Educated at Trinity College, Cambridge, of which he was Fellow. Bishop 
 of Chester, 1824 — of London, 1828. Distinguished for his classical attain- 
 ments, and before his elevation to the bench, known as the accomplished 
 editor of the tragedies of JEschylus. As a churchman, Charles James 
 Blomfield has endeavoured to take a middle and conciliatory course, not- 
 withstanding his decided bent towards the high church party. It is no 
 reproach to the Bishop of London to say that he has occasionally stumbled, 
 upon a difficult and slippery path. 
 [By YV". Behnes.] 
 
 482a. Chakles James Blomfield. Bishop of London. 
 
 [By Henry WeigalL] 
 
 483. Father Theobald Mathew. Temperance Reformer. 
 
 [Born at Thomastown, in Ireland, 1790. Still living.] 
 
 A modern crusader, who has drawn his spiritual sword against one of 
 the deadliest foes to religion, civilisation, and human happiness. An 
 apostle who carries glad tidings to every hearth, irrespectively of the altar 
 raised there for divine worship. A proselytiser who converts Romanist 
 and Protestant, with equal advantage and safety to both. He was educated 
 at Maynooth ; is a Romish priest ; and his whole life has been spent in an 
 anxious and a humane endeavour to release mankind from the self-imposed 
 yoke of Drunkenness. He is the founder of the "total abstinence" prin- 
 ciple, in virtue of which self-denying ordinance 1 'pledged" men abstain 
 from any use whatever of intoxicating liquors. The success of the good 
 and courageous man has been equal to his deserts : both are inestimable. 
 Under his teaching the most hardened drunkards have become abstemious, 
 and the most reckless and improvident have been won to self-respect and 
 virtuous conduct. No preacher in the olden or the modern time has sur- 
 passed his earnestness or his labour. Hundreds of thousands have taken 
 the pledge from his hands in Ireland, in this country, and in the United 
 States. If some of the number have been unfaithful to their plighted 
 word, the weakness of humanity will explain the defection. That thou- 
 sands are the better, the wiser, the happier, and the purer for his labours, 
 is beyond all doubt. A few patriots like Father Mathew, would have 
 changed the face of nature in Ireland years ago. His work, now, is pro- 
 ductive of hourly good. The man who only checks the growth of Drunk- 
 enness is a benefactor of his kind. He who extinguishes the vice in a 
 hundred thousand beasts, is one of the mightiest of human conquerors. 
 [By Christopher Moore. 1845.] 
 
220 
 
 PORTRAIT GALLERY. 
 
 484. Cardinal Wiseman. Chief of the Romish Church in England. 
 
 [Born at Seville, in Spain, 1802. Still living.] 
 Came to England in 1808. Educated at tlie English college in Rome, 
 where he took his degree of D.D. in 1824. Consecrated Bishop of Melipo- 
 tamus in 1840, and made Yicar Apostolic of the London district in 1849. 
 Created Cardinal, 1850. Cardinal Wiseman is a man of vast learning and 
 eminent ability. His lectures on the Connexion between Science and 
 Revealed Religion constitute a noble and masterly vindication of the cause 
 which the lectures are intended to maintain, and are full of the happiest 
 illustration. The style of Cardinal Wiseman is forcible, logical, and elo- 
 quent ; and it is said that he writes with equal ease the language of nearly 
 all the European nations. He is the seventh English Cardinal since the 
 Heformation. 
 
 [By Christopher Moore. 1850.] 
 
 KINGS AND QUEENS. 
 
 485. Edwaed III. King of England. 
 
 [Born 1313. Died 1377. Aged 64.] 
 An accomplished monarch, brave, and for his time enlightened. In his 
 day, and by his act, the power of the Commons rose, and the pretensions of 
 the Barons were reduced ; several constitutional acts found their way to 
 the statute book, and greater security was given by law to property and 
 person. Glorious battles were fought in France ; the field of Cressy was 
 won, and Calais surrendered in 1346. Edward, Prince of Wales, surnamed 
 the Black Prince, was the worthy son of this redoubtable sire. Following 
 in the steps of his father, he won, in 1355, the battle of Poitiers, took the 
 French king and his son prisoners, and brought them to London. In this 
 reign, Queen's College, Oxford, and Clare Hall, Pembroke Hall, Trinity 
 Hall, and Caius, all colleges at Cambridge, were founded. Windsor Castle 
 also was built by Edward III., William of Wykeham, afterwards Bishop 
 of Winchester, and Chancellor of England, and the founder of Winchester 
 College, being ' 'Clerk of the works." Under Edward III., the first toll 
 was levied for mending the highways ; the highway concerned being the road 
 between St. Giles's and Temple Bar. Upon the whole, a grand time for 
 England. 
 
 [From the Effigy.] 
 
 486. Eleanora oe Castile. Surnamed The Faithetjl. First 
 
 Queen of Edward I. y of England. 
 
 [Born in Castile, 1243. Died at Grantham, 1290. Aged 47.] 
 A queen who has been described as "a loving mother to our nation, the 
 column and pillar of the whole realm," — godly, modest, merciful. The 
 united influence of loveliness, virtue, and sweet temper, inspired in the 
 .heart of her renowned lord an attachment as deep as it was true. She was 
 the mother of the first Prince of Wales. When, in 1269, her husband took 
 up the Cross, Eleanora resolved to share the dangers of his Syrian campaign. 
 
ENGLISH MONARCHS. 
 
 221 
 
 Her ladies of the Court endeavouring to dissuade her from the journey, she 
 replied, " Nothing ought to part those whom Ged has joined ; and the way 
 to heaven is as near, if not nearer, from Syria, as from England or my 
 native Spain." She was a patroness of literature and art, and civilisation 
 advanced under the auspices of her well-regulated Court. Taken ill at 
 Grantham, whilst her husband was in Scotland, she expired there. Edward 
 followed her body thence to Westminster in the bitterest grief, and on the 
 spot marked by the close of every stage, vowed to erect a cross in memory of 
 his chere reine. The crosses of Northampton and Waltham still remain, 
 models of architectural beauty. Charing Cross was the last resting-place 
 before the body was carried into Westminster Abbey. 
 [From the Effigy.] 
 
 487. Henry VII. King of England. 
 
 [Born 1456. Died 1509. Aged 53.] 
 A monarch whose greatest vice was avarice. He was inordinately fond of 
 money. He had 14,000£. a-year allowed liim by his first Parliament for his 
 Household expenses, and 2000£. a-year for his wardrobe ; yet he left behind 
 him a sum equivalent to 16, 000, 00 01. at the present day. With no worse 
 quality than avarice, he had no quality that can be called great. He was 
 brave, politic, attentive to business, reserved, suspicious. His chief merit 
 consisted in closing the civil wars, and securing peace and order in the country. 
 He died at Richmond, and was buried in the magnificent chapel at West- 
 minster, erected by himself. He also built "The Great Harry," the first 
 ship in the English Navy, ships before this time having been hired or pressed 
 from merchants. It cost 14, 000Z. The King seems to have had remorse 
 for his rapacity on his death-bed. He issued a general pardon for all offences, 
 released all debtors, himself paying the debts of many ; converted the Palace 
 of the Savoy into an hospital ; built several religious houses ; and ordered 
 restitution to be made to all men whom he had wronged by his extortions. 
 It is unnecessary to state that his successor being his son, Henry VIII., not 
 the slightest effect followed from the "restitution" clause. 
 
 488. Elizabeth. Queen of England. 
 
 [Born 1533. Died 1603. Aged 70.] 
 A mighty sovereign, and the last of our absolute monarchs. Her rule 
 despotic, but grand, and wholly in the interests of her country. A true 
 Englishwoman, ambitious of England's glory, and capable of inspiring her 
 servants by her example, with unbounded zeal, patriotism, and heroism. As 
 a woman, the picture less fascinating. Too selfish to be amiable, she was 
 vain, imperious, violent. She had favourites, but none whom she would raise 
 to the throne, for she hugged power with a passionate embrace, which no- 
 generous sentiment could unfasten, and no tender consideration induce her 
 to divide. She stood above law, and she knew it. A man sharing her 
 throne might have been less fortunate. Her successor proved so ; and the 
 son of that successor, trying the perilous ascent, lost his head in the 
 attempt. Wondrous was the reign of Elizabeth in its effects upon the 
 civilisation of the world. It produced Bacon in philosophy, Shakspeare 
 and Spenser in poetry, Gresham in commerce. Drake and Raleigh also 
 belong to this time. It was the era of the re -establishment of Protestantism, 
 and of the rescue, on the sea, of spiritual liberty from the threatened on- 
 slaught of Spain. Undoubtedly Elizabeth was surrounded by gre&t men, but 
 
PORTRAIT GALLERY. 
 
 her masculine spirit sat at the helm, and directed, for nearly fifty years, the 
 course of the State vessel. Her vigilance was sleepless, her ability unbounded, 
 her sagacity penetrating and quick ; yet she had a love of finery that was 
 frivolous, and to the last laboured under the impression that she was beau- 
 tiful. The spirit of maritime discovery was now alive in England, and 
 commerce flourished. When dying, Elizabeth was asked by Cecil who should 
 succeed her. She answered, ' ' No rascal. My seat has been the seat of 
 kings. Who should succeed me but a king ? " 
 [From the Effigy.] 
 
 489. Edward VI. King of England 
 
 [Born 1537. Died 1553. Aged 16.] 
 The son of Henry VIII. by Jane Seymour, who died two days after the 
 birth of her child. Edward was ten years old at the time of his accession 
 to the throne. Before his character could be permanently formed he died, 
 yet his form stands out in English history illuminated with intelligence, 
 gentleness, and wisdom. He was fond of books, diligent in business, a 
 lover of justice. He kept a diary, which still exists. Therein he noted 
 down the characters of the good men by whom he was surrounded, how they 
 lived, and what example they offered for his pious imitation. Well 
 acquainted with foreign matters, and with the history and geography of his 
 own country ; zealous for knowledge, and ambitious of governing well. In 
 this reign the first journal of the proceedings of the House of Commons was 
 kept ; the Common Prayer Book was established by Act of Parliament ; 
 Sternhold translated the psalms into English metre ; and the king gave his 
 palace at Bridewell for the lodging of poor travellers, and for the correction 
 of vagabonds. Christ's hospital, for the education of youth, and the 
 hospitals of St. Bartholomew and St. Thomas, for the reception of the sick, 
 were also founded by him. His concern, Alfred-like — and so young ! — for 
 exalting the character, by the instruction, of his people, was shown in the 
 foundation of numerous free schools throughout the kingdom, which still 
 bear and endear his name. Edward was very handsome. He died of con- 
 sumption, brought on by an attack of small-pox and measles. 
 [Presented by Mr. John Archbutt, London.] 
 
 490. Maey Stuaet. Queen of Scots. 
 
 [Born, 1542. Died, 1587. Aged 45.] 
 A queen whose calamities fill our eyes with tears, so that we can hardly 
 see the frailties of the woman. Her loveliness, her learning, her misfortunes, 
 her wit, and fascinating manners, have attached to her memory an interest 
 and affection which even the deeply-founded suspicion of her crimes cannot 
 efface. Various judgments have been pronounced upon her conduct. But 
 one repoit has come down to us of her perfect beauty of countenance, her 
 winning manners, and her elegance of form. Grave historians speak with 
 admiration of her jet black hair, her exquisite complexion, her delicate 
 white arm and hand, her stature that rose to a majestic height. Her 
 treatment of Darnley, brutal though he was, and her marriage with Bothwell 
 after Darnley's assassination, are blots that still cling to her character. 
 But even these offences would seem more than expiated by her eighteen 
 years' imprisonment, and her unwarranted execution, that foulest stain upon 
 the reign of our own Elizabeth. Mary Stuart was violent in her attach- 
 
ENGLISH MONARCHS. 
 
 223 
 
 ments, vivacious, indiscreet, fond of flattery, and conscious of the power of 
 her charms. It is said that her heart was warm and unsuspicious. It may- 
 be questioned whether she was always sincere. One of her recent biographers 
 in France has styled her the "eternal enigma of history," "the most 
 problematical of all historical personages." Disastrous as was her own 
 story, the fate of her immediate descendants was even worse. A curse was 
 upon the line. Yet her lineage nourishes now. It is found in England, 
 Prussia, Denmark, and Hanover; in Spain, Portugal, Austria, Naples, 
 Sardinia, and Modena. 
 [From the Effigy.] 
 
 490.* Charles the Fibst. King of England, 
 
 [Born 1600. Beheaded 30th January, 1649. Aged 49.] 
 Grandson of Mary Stuart, Queen of Scots, whose misfortunes and drear 
 fate he inherited, if he did not invite. A monarch whose exaggerated 
 notions of prerogative, whose obstinacy, wilfulness, untruthfulness, and 
 double-dealing, justified the resistance of a people awakened to a sense of 
 their rights, and roused to the vindication of their liberties ; yet a man 
 whose sorrows, whose dignified bearing in misfortune, whose private virtues, 
 love of literature and art, and gentle demeanour, render him an object of 
 the deepest commiseration, and the most plaintive interest. His death was 
 deliberate murder ; and there is too much reason to fear that they who 
 thought least of defending liberty, were the most thirsty of his blood. Yet 
 some palliation for the guilt is found in the circumstance that in the public 
 dealings of Charles with his Parliament his plighted word was not worth 
 the paper upon which it was given. Irresolute and double-minded, he had 
 never kept faith with his people. It was the misfortune of Charles to be 
 born at a period when the conflicting elements of Royalty and Democracy 
 were seething into tumult. Had he lived a little earlier, or a little later he 
 would not have lost his head upon the block. A little earlier, the "divinity 
 that doth hedge a king" would have shielded him in England from the 
 sacrilege. A little later, he would have been hunted from English soil, as 
 ' his son was. The catastrophe of his unhappy reign can never be 
 re-enacted. His blood purchased that security. Never had the character 
 of Englishmen, in many respects, looked so fair to the world as during the 
 civil wars of Charles the First. The true-hearted loyal gentlemen who, 
 knowing by experience the character of their master, yet clung to his cause 
 and to his person until the last extremity, counting all sacrifice as delightful 
 service, were not surpassed by the professed knights of chivalry. The 
 devoted Republicans, who for the sake of man's rights and Grod's blessing 
 seized arms for the first time in their lives, and became great Gfenerals and 
 Admirals — the glory of their country, and the terror of the world — take 
 rank in the estimation of history, side by side with her most splendid 
 heroes. We receive from them our cherished charters, and the liberty 
 which finds no harm even when Europe is in conflagration. Terrible indeed 
 must have been the state of the atmosphere in 1649, when the thunderbolt 
 fell that struck down Charles, but purified the air for ever afterwards. 
 
 [The statue of Charles the First, whieh is in the South Transept, is from the 
 bronze equestrian statue by Hubert le Soeur, which was erected at Charing 
 Cross in the year 1C74. It had been cast in 1633, near the church in Covent 
 Garden, but never placed : and during the wars it was sold by Parliament to 
 a brazier " living at the Dial, near Holborn Conduit/' with strict orders that 
 
224 
 
 PORTRAIT GALLERY. 
 
 lie should break it up. The brazier concealed the statue and horse under- 
 ground until after the Restoration. Le Sueur was a Frenchman, and pupil 
 of John of Bologna. He arrived in England about 1630, and died here. 
 The pedestal is by Grinling Gibbons, who was born about the middle of the 
 17th century.] 
 
 491. James II. King of England, 
 
 [Born in England, 1633. Died in France, 1701. Aged 6S.] 
 The second son of Charles I., whose fate he challenged by his obstinacy, 
 wilfulness, and double dealing. He was a Roman Catholic, and in the blind 
 defence and advocacy of his faith against the Constitution and laws of the 
 country he governed, lie perilled his crown which he lost, and his life which 
 he ignominiously saved. He was not without good qualities. He was per- 
 sonally brave — not unmindful of the services of friends, and he exhibited de- 
 votion in the maintenance of the religious cause which he believed it his 
 paramount duty to uphold. But he was bigotted, cruel, and wrongheaded. 
 He could not be trusted whenever he was acting in the interests of the Pope. 
 Louis XIV. in vain remonstrated with his royal cousin of England. James II. 
 was too sincere a zealot to listen to reason. Louis Quatorze was too fine a gentle- 
 man, and too practised a courtier, to be betrayed into fanaticism. When James 
 went a fugitive and an exile to France, Louis received him with a magni- 
 ficence worthy of a triumphal progress. 
 
 [From the well-known statue by Grinling Gibbons in Privy Gardens, Whitehall. 
 Represented in the costume of a Roman Emperor, according to the taste of 
 the day.] 
 
 492. George III. King of England. 
 
 [Born 1738. Died 1S20. Aged 82.] 
 The grandfather of her Majesty Queen Victoria. He reigned during sixty- 
 years, although during the last ten, he could take no part in public affairs. A 
 king with many good qualities of heart and head, but obstinate, self-willed 
 and not always sincere in his dealings with his Ministers. He is styled 
 ' * The father of his people ;" and his honest desire to secure their well-being^ 
 and happiness, according to his own ideas of government, entitled him to» 
 the enviable distinction. In private life, George III. offered an admirable- 
 example for imitation to his subjects. But his wilful persistence in the 
 maintenance of what he conceived his Royal prerogative, plunged England 
 into war with America, and caused the premature loss to the country of that 
 magnificent British colony. 
 
 [By John Bacon, R.A., when the King was 30 years old.] 
 
 493. George IV. King of England. 
 
 [Bom 1762. Died 1830. Aged 08.] 
 In 1811, during the lifetime of his father, this prince was appointed 
 llegent : and in 1820, upon the death of George III., he succeeded to the 
 throne. The reign of this monarch is rendered memorable, by the scandalous 
 proceedings instituted against Queen Caroline, and by the passing of the Act 
 in 1829, which tolerated the Roman Catholic religion in the United Kingdom, 
 George IV. was considered the first gentleman in Europe whilst he lived. 
 Since his departure, history has pronounced him heartless, sensual, self- 
 absorbed, and negligent of the true interests of his subjects, though not 
 without some kingly qualities. 
 
ENGLISH MONARCHS. 
 
 225 
 
 494. William IY. King of E7igland. 
 
 [Born 1765. Died 1837. Aged 72.] 
 The third son of Greorge III., and uncle of Queen Victoria. He succeeded 
 his brother George IV. in 1830. His reign is remarkable as that in which 
 the Reform Bill passed, changing the constitution of England by widening its 
 basis. This King was before his marriage the father of several children, 
 since ennobled, the mother being Mrs. J ordan, one of the most fascinating 
 actresses and kind-hearted women of her time. 
 
 494a. "William IY. King of England. 
 
 [Medallion by Chantrey, modelled for the coinage.] 
 
 495. The Dttke op Cambeldge. Prince of England. 
 
 [Born 1774. Died 1850. Aged 76.] 
 Youngest son of King George III., and one of the most popular princes of 
 his family. He was for many years Viceroy of Hanover, where he endeared 
 himself to the people. An amiable and innocent man. 
 
 496. Hee Majesty Queen Yictoeia. Whom God Preserve ! 
 
 [Born May 24th, 1819.] 
 
 497. His Royal Highness Peince Albeet. Consort of Queen 
 
 Victoria. 
 
 [Born August 26th, 1819.] 
 [Modelled from the life, by Emil Wolf.] 
 
 497a. His Royal Highness Peince Albeet. Consort of Queen 
 Victoria. 
 
 To whom the Crystal Palace at Sydenham, a development of the original 
 Palace in Hyde Park, is indebted for its existence. 
 [By J. E. Jones.] 
 
 Q 
 
INDEX TO THE PORTRAIT GALLERY. 
 
 No. Page 
 
 460 Adams, John Quincy, President of the United States . .210 
 
 113 Agrippa, Marcus Vipsanius, Roman General . . . . 49 
 
 96 Agrippina (the Elder) 44 
 
 97 Agrippina (the Younger) . . . . . . . 44 
 
 497 Albert, H.E.H., Prince Consort of Queen Victoria . . 225 
 
 124 Alcibiades, Athenian General . . . . 25 
 
 22 Alexander the Great, King of Macedonia . . . .24 
 
 386 Alexandra, Empress of Russia . . . . 168 
 
 180 Alfieri, Vittorio, Poet 73 
 
 152 Allegri, Antonio. (See Corregio.) 
 
 134 Angelico da Fiesole (Fra), Painter . . . . . . 57 
 
 458 Anglesey, Marquis of, English Field Marshal . . .209 
 
 307* Anne of Austria, Queen of France 130 
 
 52 Annius Verus, Roman Prince . . . . . .35 
 
 79 Antinous, Bithynian Youth . . . . . . 41 
 
 17 Antisthenes, Philosopher . . . . . . . 21 
 
 47 Antoninus Pius, Roman Emperor . . . . .34 
 
 10 Aratus, Astronomer . * . . . . 18 
 
 2 Archilochus, Greek Poet . . . . . . .14 
 
 176 Ariosto, Luigi, Poet 71 
 
 8 ? Aristides, Athenian Patriot . . . . . .17 
 
 239 Arnauld, Antoine, Theologian and Controversialist . 99 
 
 464 Ashburton, Lord, English Peer ...... 211 
 
 26 Aspasia .......... 26 
 
 340 Auerbach, Berthold, Poet and Novelist .... 149 
 
 278 Augereau, Pierre Frangois Charles, Marshal of France . . 117 
 
 35 Augustus, Roman Emperor ...... 29 
 
 51 iElius Verus, Adopted Emperor . . . . . . 35 
 
 8 iEschines, Greek Orator . . . . . ' .17 
 
 6 iEschylus, Tragic Poet 15 
 
 3 JSsop, Writer of Fables 15 
 
 420 Bacon, Francis, Chancellor of England . . . . . 188 
 
 190 Bandineri, Giovanni Medici, Italian Soldier . . .77 
 
 Q2 
 
228 
 
 INDEX. 
 
 No. Page 
 
 431 Baily, Francis, Astronomer . . . . . . . 194 
 
 128 Balbinus, Decimus Coelius, Roman Statesman and Emperor . 54 
 
 142 Bartolomeo, Fra, Painter ....... 60 
 
 257 Bayard, Pierre de Terrail Seigneur de, Warrior . 109 
 
 321 Beethoven, Lndwig Van, Musical Composer . . . 140 
 
 261 Belloy, Pierre Laurent Buirette de, Dramatist . . . . 110 
 
 160 Berettini, Pietro di Cortona, or Pietro, Painter . . .66 
 
 274 Berthier, Pierre Alexandre, Marshal of France . . . 115 
 
 252* Berthollet, Claude Louis, Chemist 105 
 
 354 Berzelius, Jan Jacob, Chemist . . . . . . 156 
 
 281 Bessieres, Jean Baptiste, Marshal of France . . . 118 
 
 356 Beuth, Peter Kaspar Wilhelm, Member of the Council of 
 
 State, in Prussia ........ 156 
 
 11 Bias, Greek Philosopher . . . . . . . 19 
 
 482 Blomfield. Charles James, Bishop of London . . .219 
 
 360 Blucher, Gfebhardt Lebrecht Yon, Prussian Field Marshal . 158 
 224 Boileau, Nicolas, Poet and Satirist ..... 94 
 
 355 Boisseree, Sulpitz Yon, Architect and Archaeologist . 156 
 295 Bossuet, Jacques Beninge, Prelate of France . . .123 
 368 Boy en, Hermann Yon, Prussian Minister at War . . . 160 
 138 Bramante, Francesco Lazzari, Architect, Painter, Poet . 58 
 443 Brassey, Thomas, Railway Contractor . .... 199 
 
 467 Brougham, Henry, Lord, Lawyer, Statesman, Educator . . 213 
 181 Brunelleschi, Sculptor and Architect . . . . .56 
 107 Brutus, Lucius Junius, Roman Consul . . . 46 
 112 Brutus, Marcus Junius, Roman General . . . .49 
 245 BufFon, Georges Louis Le Clerc, Comte de, Naturalist . . 102 
 
 361 Bulow, Friedrich Wilhelm, Prussian General . . .158 
 311 Buonaparte, Napoleon (See Napoleon) 
 
 143 Buonarotti, Michael Angelo, Sculptor, Painter, Architect . 60 
 
 468 Buren, Martin Yan, Ex-President of the United States . . 213 
 450 Burke, Edmund, Orator, Writer, Statesman . . .203 
 
 10* Burns, Robert, Poet 182 
 
 404 Butler, Fanny, Actress 176 
 
 418 Byron, George Noel Gordon, Lord, Poet . . . . 187 
 
 156 Cagliari, Paolo. (See Yeronese) 
 
 40 Caligula, Roman Emperor . . . . . . . 32 
 
 469 Calhoun, John Caldwell, American Statesman . . . 213 
 
 495 Cambridge, Duke of, Prince of England 225 
 
 287 Cambronne, Pierre Jacques, French General . . . 120 
 
 415 Campbell, Thomas, Poet ♦ . . . . . . 185 
 
 480 Canning, Lord, English Peer 218 
 
 168 Canova, Antonio, Sculptor . . . . . . . 68 
 
 60 Caracalla, Roman Emperor . . . . . .37 
 
 158 Caracci, Annibale, Painter ....... 65 
 
 155 Caravaggio, Polidoro Caldare da, Painter . . . .64 
 
 184 Caro, Annibale, Writer 75 
 
 70 Car inns, Marcus Aurelius, Roman Emperor . . .39 
 
 439 Carlyle, Thomas, Writer 198 
 
 357 Cams, Karl Gustav, Physician and Anatomist . . .157 
 
INDEX. 
 
 229 
 
 No. Page 
 
 110 Cato, Marcus Porcius, Roman Gfeneral . . . . . 47 
 
 111 Caesar, Julius, Roman Dictator . . * . . .48 
 
 398 Chantrey, Francis, Sculptor 174 
 
 254 Chaptal, Jean Antoine, Chemist . . . . 106 
 
 296* Charlemagne, King of the Franks and Emperor of the West . 124 
 
 490* Charles L, King of England 223 
 
 195 Charles Albert, King of Sardinia . . . . . . 79 
 
 300 Charles V., Emperor of Germany and King of Spain . .126 
 
 303 Charles IX., King of France 127 
 
 449 Chatham, William Pitt, Earl of, Statesman . . .203 
 406 Chaucer, Geoffrey, Father of English Poetry . . . . 178 
 232 Chaussee, Pierre Claude Nivelle de la, Dramatist . . 96 
 421 Chetham, Humphrey, " Dealer in Manchester Commodities" 189 
 120 Cicero, Marcus Tullius, Roman Orator . . . .51 
 167 Cimarosa, Domenico, Musical Composer . . . 67 
 
 208** Clairon, Mdlle., French Tragic Actress .... 87 
 
 478 Clarendon, George William Frederick, Earl of, Statesman . 217 
 38 Claudius I., Tiberius Claudius Drusus Nero Germanicus, 
 
 Roman Emperor ........ 31 
 
 194 Clement XIII., Pope. (See Rezzonico.) 
 
 117 Clodius Albinus, Decimus Clodius Ceionius Septimius, Roman 
 
 General 50 
 
 261 Colbert, Edouard, Minister of State 112 
 
 267* Colbert, Jean Baptiste, Statesman and Financier . . 113 
 
 188 Coleoni, Bartolomeo, Soldier of Fortune . . . .76 
 260 Coligny, Gaspard de, Marshal and Admiral . . . . 110 
 279**Collard, Pierre Paul Roger, Statesman and Philosopher . 117 
 182 Columbus, Christopher, the Discoverer of the New World. . 74 
 56 Commodus, Lucius Aurelius, Roman Emperor . . .36 
 
 268 Conde, Louis II. de Bourbon, Prince de, and Warrior . . 113 
 250* Condorcet, Marin-Jean-Antoine Nicolas Caretat, Marquis de, 
 
 Mathematician and Philosopher . . . . .104 
 
 73 Constantius Chlorus, Flavius Valerius, Roman Emperor . . 40 
 116 Corbulo, Cneius Domitius, Roman General . . . .50 
 
 161 Corelli, Arcangelo, Violinist and Composer . . . . 66 
 
 218 Corneille, Pierre, Dramatist ...... 91 
 
 222 Corneille, Thomas, Dramatist . . . . . . 93 
 
 326 Cornelius, Peter, Painter 142 
 
 152 Correggio, or Antonio Allegri, Painter . . . . . 64 
 160 Cortona, Pietro di, Painter. (See Berettini.) 
 
 206 Coysevox, Antoine, Sculptor . . . . . .86 
 
 445 Creasy, Edward Shepherd, Historical Writer . . . . 201 
 
 228 Crebillon, Prosper Jolyot de, Dramatist .... 95 
 
 101 Crispins., Roman Empress . . . . . . . 45 
 
 402 Cruikshank, George, Caricaturist . . . . .176 
 
 453 Curran, John Philpot, Lawyer 206 
 
 256 Cuvier, Georges Leopold Chretien Frederic Dagobert, Naturalist 107 
 
 269 D'Aguesseau, Henri Francois, Chancellor of France . .114 
 256* D'Alembert, Jean Le Rond, Mathematician and Philosopher . 107 
 291* D'Amboise, Georges, Cardinal and Minister of State . . 121 
 
230 
 
 INDEX. 
 
 No. Page 
 208* Dangeville, Marie-Anne-Botol, French Comic Actress . . 87 
 279* Dannon, Pierre Claude Francois, Statesman and Writer . 117 
 
 173 Dante Alighieri, Poet 69 
 
 247* Darcet, Jean, Chemist and Physician . . . . .103 
 443* Dargan, William, Railway Contractor . . . . . 200 
 405* Darling, Grace, Lighthouse-keeper's Daughter . . .177 
 405**Darling, William, Lighthouse-keeper . . . . . 178 
 209 David, Jacques Louis, Painter . ... 88 
 
 288 Davoust, (Prince D'Eckmuhl,) Louis Nicolas, Marshal of 
 
 France 120 
 
 63 Decius, Caius Messius Quintus Trajanus, Roman Emperor . 38 
 438 De La Beche, Sir Henry Thomas, Geologist . . .198 
 
 19 Demosthenes, Greek Orator . . . . . . . 22 
 
 252 Denon, Dominique, Egyptian Traveller . . . .105 
 
 477 Derby, Earl of, Statesman 217 
 
 283 Desaix, Louis Charles Antoine, French General . . .119 
 238 Descartes, Rene, Mathematician and Metaphysician . . 99 
 229 Destouches, Philippe Nericault, Dramatist . . . .96 
 
 333* Devrient, Edward, Player 145 
 
 217 Diane de Poitiers 91 
 
 72 Diocletian, Caius Valerius Aurelius, Roman Emperor . . 40 
 18 Diogenes, Philosopher . . . . . . .22 
 
 442 Disraeli, Benjamin, Writer and Politician .... 199 
 
 159 Domenichino, Domenico Zampieri, called, Painter . . . 66 
 44 Domitian, Titus Flavins Sabinus, Roman Emperor . . 33 
 94 Domna Julia (Pia Felix Augusta), Roman Empress . . . 43 
 133 Donatello, Donato di Niccolo, di Betto Bardi, Sculptor . • 57 
 
 215 D'Orsay, Comte 90 
 
 114 Drusus, Nero Claudius, Roman General . . . .50 
 235 Du Barry, Marie Jeanne Yaubernier, Comtesse . . 98 
 227 Dufresny, Charles Riviere, Dramatist . . . . .95 
 248 Duhamel, Jean Pierre, Man of Science . . . . . 103 
 272 Dumouriez, Charles Francois, French General . . .115 
 265 Duquesne, Abraham, Vice -Admiral of France . . . Ill 
 
 485 Edward III., King of England 220 
 
 489 Edward VI., King of England 222 
 
 65 Elagabalus. (See Heliogabalus.) 
 
 454 Eldon, Lord, High Chancellor of England . . . .207 
 
 486 Eleanora of Castile, first Queen of Edward I. of England . . 220 
 488 Elizabeth, Queen of England ...... 221 
 
 20 Epicurus, Philosopher . . . . . . . . 23 
 
 5 Epimenides, Poet and Prophet of Crete . . . .15 
 
 192 Eugene, Francois Eugene of Savoy, called Prince, Military 
 
 Commander ... ...... 77 
 
 312** Eugenie Marie Guzman, Empress of the French . . . 134 
 9 Euripides, Greek Poet . . . . . . .17 
 
 434 Fairbairn, William, Millwright and Engineer . . . . 196 
 436 Faraday, Michael, Natural Philosopher . . .196 
 105 Faustina, Junior, Annia Faustina 45 
 
INDEX. 
 
 231 
 
 No. Page 
 
 203 Felibien, Andre, Sieur des Avaux et de Javercy, Writer on Art 85 
 
 296 Fenelon, Francois de Salignac, de Lamotte, Archbishop and 
 
 Writer 123 
 
 349 Fichte, Johann Gottlieb, Philosopher and Metaphysician . 154 
 
 394 Flaxman, John, Sculptor 172 
 
 258 Foix, Gaston de, Warrior 109 
 
 476 Follett, Sir William, Lawyer 217 
 
 447 Forbes, Edward, Naturalist 201 
 
 452 Fox, Charles James, Statesman . . . . . ,206 
 
 286 Foy, Maximilien Sebastien, French General . . . . 120 
 
 299 Francis I., King of France 125 
 
 387 Francis Joseph, reigning Emperor of Austria, and King of 
 
 Hungary .......... 168 
 
 343* Frank, Johann Peter, Physician . . . . .151 
 
 424 Franklin, Benjamin, Statesman and Philosopher . . . 191 
 
 376 Frederic II., surnamed the Great, King of Prussia . . 164 
 
 377 Frederic Louis Henry, Prince of Prussia . . . . . 164 
 
 374 Frederic William, Elector of Brandenburg . . . .163 
 
 375 Frederic William I., King of Prussia 164 
 
 379 Frederic William III., King of Prussia . . . .165 
 
 384 Frederic William IV., Reigning King of Prussia . . .167 
 
 391 Fuseli, or Fuessli, Henry, Painter 171 
 
 39 Galba, Servius Sulpicius, Roman Emperor . . . .31 
 
 185 Galileo Galilei, Philosopher . . . . . . . 75 
 
 66 Gallienus, Publius Licinius Yalerianus, Roman Emperor . 39 
 145 Garofalo, Benvenuto Tisio, called, Painter . . . . 62 
 390 Garrick, David, Player and Dramatist .... 170 
 
 328 Gartner, Friedrich, Architect 144 
 
 189 Gattamelata, Stefano, Warrior . . . . . .77 
 
 181 Gavazzi, Alessandro, Monk and Orator . . . 73 
 
 256***Gay-Lussac, French Chemist 108 
 
 492 George III., King of England 224 
 
 493 George IV., King of England 224 
 
 212 Gerard, Francois, Painter . . . . . 89 
 
 115 Germanicus Caesar, Roman General . . . . .50 
 
 61 Geta, Publius Septimius, Roman Emperor . . . . 37 
 
 132 Ghiberti, Lorenzo, Sculptor . . . . . .57 
 
 140 Ghirlandaio, Domenico, Painter . . . . 59 
 
 400 Gibson, John, Sculptor . . . . . . .175 
 
 211 Girodet-Trioson, Painter 88 
 
 154 Giulio Romano, Gmlio Pippi di Giannuzzi, Architect and 
 
 Painter . . . . . . . . .64 
 
 327 Gluck, Christoph, Musician 143 
 
 366 Gneisenau, Augustus Count Herdart de, Field Marshal . 160 
 
 337 Goethe, Johann Wolfgang von, Poet 147 
 
 179 Goldoni, Carlo, Poet 72 
 
 410 Goldsmith, Oliver, Poet and Man of Letters . . .181 
 
 55 Gordianus Africanus, Marcus Antonius, Roman Emperor . 36 
 
 62 Gordianus II., Marcus Antonius, Roman Emperor . . 37 
 
 67 Gordianus III., Pius, Marcus Antonius, Roman Emperor . . 39 
 
232 
 
 INDEX. 
 
 No. Page 
 
 196 Goujon, Jean, Sculptor ....... 83 
 
 172 Grisi, Giulia, Italian Singer . . . . . 69 
 
 2L3 Gros, Antoine Jean, Painter . . . . . .89 
 
 214 Guerin, Pierre Narcisse, Painter . . . . 89 
 
 135 Guidi, Tommaso. (See Masaccio) 
 
 341 Gutenburg, Johann, Inventor of Printing . . • . .149 
 
 358 Gutkow Karl, Journalist and Dramatist . . . . . 157 
 
 46 Hadrian, Publius JElius Hadrianus, Roman Emperor . . 33 
 
 346 Hahnemann, Samuel, Physician and Founder of Homoeopathy 152 
 
 332 Halbig, Johann, Sculptor 145 
 
 446 Haliburton, Judge, Lawyer, and Writer .... 201 
 
 314 Handel, George Friedrich, Musical Composer . . . . 136 
 
 451* Hastings, Warren, Statesman 205 
 
 316 Haydn, Franz Joseph, Musical Composer . . . .138 
 
 65 Heliogabalus, Yarius Avitus Bassianus, Roman Emperor . 38 
 
 302 Henry II., King of France 127 
 
 304 Henry III., King of France . . . . . . . 127 
 
 305 Henry IV., King of France . . . . . .128 
 
 487 Henry VII., King of England 221 
 
 479 Herbert, Sidney, Statesman 218 
 
 89 Herennius, Roman Emperor . . . . . . '42 
 
 352 Hermann, Gottfried, Philologist and Critic . . .155 
 
 435 Herschell, Sir /John, Astronomer . . . . . . 196 
 
 14 Hippocrates, Physician ....... 20 
 
 280 Hoche, Lazare, French General . . . . . . 118 
 
 1 Homer, Great Epic Poet of Greece .... . 13 
 
 480* Hooper, William Hulme, Naval Officer . . . . 218 
 
 119 Hortensius, Quintus, Roman Orator . . . . .51 
 
 74 Hostilianus, Roman Emperor . . . . . . 41 
 
 350 Hufeland, Christoph Wilhelm, Physician . . . .154 
 
 351 Humboldt, Alexander Von, Naturalist and Traveller . . 154 
 367 Humboldt, Karl Wilhelm, Baron Von, Statesman and Phi- 
 lologist 160 
 
 466 Hume, Joseph, Political Reformer . . . • 212 
 
 427 Hunter, John, Surgeon and Comparative Anatomist . . 193 
 
 462 Huskisson, William, Statesman and Financier . . . 211 
 
 15 Isocrates, Rhetorician 20 
 
 457 Jackson, General, President of the United States . . . 209 
 
 344 Jacobi, Friedrich Heinrich, Philosopher and Poet . .151 
 
 491 James II., King of England 224 
 
 430 Jeffrey, Francis, Critic and Essayist . . . .194 
 
 419 Jerrold, Douglas, Writer . . . * . . . 188 
 
 425 Johnson, Samuel, Writer and Moralist . . . .191 
 
 388 Jones, Inigo, Architect I 69 
 
 282 Joubert, Barthelemi Catharine, French General . .118 
 
 95 Julia, Daughter of Augustus 43 
 
 71 Julian the Apostate— Flavius Claudius Julianus, Roman 
 
 Emperor 40 
 
INDEX. 
 
 233 
 
 No. Page 
 253 Jussieu, Antoine Laurent de, Botanist . . . . 106 
 
 342 Kant, Immanuel, Metaphysician . . . . .150 
 
 271 Kellermann, Francis Christophe, Marshal of France . . 114 
 
 397 Kemble, Charles, Player 174 
 
 275 Kleber, Jean Baptiste, French General . . . . 115 
 325 Klenze, Leo Von, Architect 142 
 
 334 Klopstock, Friedrich Gottlieb, Epic and Lyric Poet . . 145 
 256** Laborde, Alexander Louis Joseph, Marquis de, Soldier, Tra- 
 veller, and Educator . . . . . . .107 
 
 255 Lacepede, Bernard Germain fitienne, Naturalist . . .106 
 
 277 Lafayette, Marie Paul Gilbert Motier, Marquis de, French 
 
 General . . . . . . . . .116 
 
 220 La Fontaine, Jean de, Poet . . . . . . . 92 
 
 249 Lagrange, Joseph Louis, Astronomer . . . . .104 
 
 284 Lannes, Jean, Marshal of France . . . » . . . 119 
 
 253* Laplace, Pierre Simon, Astronomer . . . . .106 
 
 290 La Salle, Antoine Charles Louis Collinet de, General of Cavalry 121 
 
 273 La Tour D'Auvergne-Corret, Theophile Malode, Warrior . 115 
 
 396 Lawrence, Sir Thomas, Painter . . . . . . 173 
 
 202 Lebrun, Charles, Painter 85 
 
 276 Lefebvre, Francois Joseph, Marshal of France . . . . 116 
 
 383 Leopold I., King of the Belgians 166 
 
 230 Le Sage, Alain Rene, Novelist 96 
 
 262 Lesdiguieres, Francois de Bonne, Due de, Constable of France 110 
 
 335 Lessing, Gotthold Ephraim, Man of Letters . . .146 
 259 L'Hopital, Michel de, Chancellor of France . . . . 109 
 246 Linne, or Linnaeus, Charles, Botanist . . . . .102 
 
 93 Livia, Drusilla, Roman Empress . . . . . . 43 
 
 122* Livy — Titus Livius, Roman Historian . . . .53 
 
 422 Locke, John, Philosopher . 189 
 
 482 London, Bishop of. (See Blomfield.) 
 
 381 Louisa Augusta Wilhelmina Amelia, Queen of Prussia . . 165 
 383* Louise Marie, Queen of the Belgians ..... 167 
 
 297 Louis XI., King of France 125 
 
 298 Louis XII., King of France 125 
 
 307 Louis XIII., King of France 129 
 
 308 Louis XIV., King of France 130 
 
 309 Louis XV., King of France 131 
 
 312* Louis Napoleon. (See Napoleon.) 
 
 312 Louis Philippe, King of France 133 
 
 380 Louis Ferdinand, Prince of Prussia . . . . . 165 
 
 382 Ludwig I., ex- King of Bavaria ...... 166 
 
 205 Lully, Jean Baptiste de, Violinist and Musical Composer » . 86 
 
 371 Luther, Martin, the Great Reformer 162 
 
 30 Lycurgus, Lawgiver . . . . . . . . 28 
 
 463 Lyndhurst, John Singleton Copley, Baron, Ex-Chancellor of 
 
 England 211 
 
 204 Mabillon, Jean, Antiquary 85 
 
 183 Machiavelli, Niccolo, Political Writer and Historian . . 74 
 
234 
 
 INDEX. 
 
 No. Page 
 
 429 Mackintosh, Sir James, Historian and Metaphysician . .194 
 
 401 Macready, William Charles, Player . . . . . 175 
 
 57 Macrinus, Marcus Opilius, Roman Emperor . . .36 
 
 76 Magnus Decentius ........ 41 
 
 171 Malibran, Maria Felicitas, Actress . . . 69 
 
 102 Mamsea, Julia, Roman Empress ..... 45 
 
 207 Mansart, Jules Hardouin, Architect . . . . . 86 
 
 448 Mansfield, William Murray, Earl of, Lord Chief Justice . 202 
 
 136 Mantegna, Andrea, Painter and Engraver . . 58 
 
 369 Manteuffel, Otto-Feodor Freiherr von, Prussian Minister . 161 
 
 151 Marcantonio Raimondi, Engraver . . . 64 
 
 286 Marceau, Francois Severin Desgraviers, French General . 120 
 
 163 Marcello, Benedetto, Writer and Musician . . . . 67 
 
 108 Marcellus, Marcus Claudius, Roman General ... 47 
 
 48 Marcus Aurelius Antoninus, Roman Emperor . . 34 
 
 53 Marcus Galerius Antoninus, Roman Prince . . .35 
 
 310 Marie Antoinette, Josephine Jeanne, Queen of France . . 131 
 
 104 Mariniana ......... 45 
 
 490 Mary Stuart, Queen of Scots 222 
 
 135 Masaccio, Tommaso Guidi, Painter . . . . .57 
 
 279 Massena, Andre, Marshal of France 117 
 
 100 Matidia 45 
 
 483 Mathew, Father Theobald, Temperance Reformer . . . 219 
 
 59 Maximinus, Caius Julius Verus, Roman Emperor . . 37 
 
 378 Maximilian Joseph I., King of Bavaria . . . . 165 
 
 68 Maximus, Caius Julius Verus, Roman Prince ... 39 
 
 293 Mazarin, Cardinal, Minister of France 122 
 
 91 Maesa, Julia, Roman Empress ..... 42 
 
 187 Medici, Cosmo de, Merchant and Statesman . . . . 76 
 
 190 Medici, Giovanni. (See Bandineri) . . . . .77 
 
 306 Medici, Marie de, Queen of France 128 
 
 372 Melancthon, Philip, German Divine and Reformer . .162 
 
 32 Menander, Comic Poet 28 
 
 331 Mendelssohn-Bartholdy, Felix, Musician . . . .144 
 
 315* Mengs, Anthony Raphael, Painter . . . . . 137 
 
 178 Metastasio, Pietro Bonaventura, Poet . . . .72 
 
 20a Metrodorus, Greek Philosopher 23 
 
 143 Michael Angelo. (See Buonarotti.) 
 
 199 Mignard, Pierre, Painter . . . . . .84 
 
 25 Miltiades, Athenian General 26 
 
 408 Milton, John, Poet 180 
 
 191 Mirandola, Francesco Pico della . . . . . . 77 
 
 221 Moliere, Dramatist 93 
 
 251* Monge, Gaspar, Geometrician . . . . . 105 
 
 236 Montaigne, Michel de, Essayist 98 
 
 461 Monteagle, Lord, English Peer 211 
 
 234* Montenoy, Charles Palissot de. (See Palissot.) 
 
 251 Montgolfier, Jacques £tienne, Aeronaut and Inventor of 
 
 Balloons 105 
 
 416 Moore, Thomas, Poet 186 
 
 317 Mozart, Johann Wolfgang, Musical Composer . . .138 
 
INDEX. 235 
 
 No. Page 
 
 399 Mulready, William, Painter 175 
 
 149 Nani, Giovanni di. (See Udine.) 
 
 311 Napoleon Buonaparte, Emperor of France . . . .132 
 
 312 Napoleon, Louis, Emperor of France . . . . . 132 
 455 Nelson, Horatio, Lord High Admiral 207 
 
 36 Nero, Claudius Csesar Drusus, Roman Emperor . . . 30 
 
 42 Nerva, Marcus Cocceius, Roman Emperor .... 32 
 
 423 Newton, Sir Isaac, Astronomer and Philosopher . . . 190 
 
 285 Ney, Michel, Marshal of France 119 
 
 385 Nicholas Paulovitch, Reigning Emperor of all the Russias . 167 
 
 256****Nodier, Charles, Writer 108 
 
 365 Nollendorf, Friedrich Hinrich von, Prussian Field-Marshal . 160 
 
 392 Northcote, James, Painter ....... 171 
 
 200 Notre, Andre le, Architect and Gardener . . . . 84 
 
 34 Numa Pompilius, Second King of Rome . . . .29 
 
 465 O'Connell, Daniel, Orator and Lawyer . . . . . 212 
 
 473 O'Lochlen, Sir Michael, Lawyer . . . . . .216 
 
 347 Olbers, Heinrich Wilhelm Mathias, Astronomer . . . 153 
 
 130 Orcagna, or Orgagna, Andrea di Cione, Painter, Sculptor, 
 
 Architect ......... 56 
 
 441 Owen, Richard, Naturalist . . . . . . . 199 
 
 321* Paer, Ferdinando, Musical Composer ..... 141 
 
 170 Paganini, Niccolo, Violinist . . . . . . . 69 
 
 165 Paisiello, Giovanni, Musical Composer .... 67 
 
 157 Palestrina, Di. (See Pierluigi.) 
 
 234* Palissot de Montenoy, Charles, Dramatist . . . . 98 
 
 155 Palladio, Andrea, Architect ...... 65 
 
 471 Palmerston, Henry John Temple, Viscount, Statesman . . 215 
 294 Pascal, Blaise, Theologian and Philospher . . . .122 
 
 472 Peel, Sir Robert, Statesman 215 
 
 264 Peiresc, Claude Fabri de, Patron of Science . . . .111 
 
 210 Percier, Charles, Architect 88 
 
 29 Periander, 6 4 Tyrant" of Corinth 28 
 
 27 Pericles, Athenian Statesman . . . . 27 
 
 291 Perier, Casimir, Statesmen . . . . . .121 
 
 250 Perouse, Jean Francois Galaup de la, Navigator . . . 104 
 
 49 Pertinax, Publius Helvius, Roman Emperor . . .34 
 
 139 Perugino, Pietro, or Pietro Vanucci della Pieve, Painter . . 58 
 
 343 Pestalozzi, Heinrich, Educator 151 
 
 174 Petrarca, Francesco, Poet . . . . . . . 70 
 
 69 Philip (the Younger), Marcus Julius Philippus II., Roman 
 
 Prince 39 
 
 296* Philip III., King of France 124 
 
 23 Phocion, Athenian Statesman and General . . . .25 
 
 157 Pierluigi, Giovanni, surnamed Palestrina, Musical Composer . 65 
 
 7 ? Pindar, Greek Poet 16 
 
 164 Piranesi, Giambatista, Engraver 67 
 
 231 Piron, Alexis, Poet 96 
 
236 
 
 INDEX. 
 
 No. Page 
 
 129 Pisano, Niccola, Sculptor and Architect 56 
 
 28 Pisistratus, " Tyrant" of Athens 27 
 
 456 Pitt, William, Statesman 208 
 
 16 Plato, Greek Philosopher 21 
 
 99 Plotina, Pompeia, Roman Empress. . . . . . 44 
 
 470 Pollock, Sir Frederick, Chief Baron of the Exchequer . . 214 
 
 409 Pope, Alexander, Poet 180 
 
 106 Poppsea, Sabina, Roman Empress . . . . .46 
 
 31 Posidippus, Comic Poet . . . . . . . . 28 
 
 33 Posidonins, Greek Philosopher 29 
 
 470* Pottinger, Sir Henry, Diplomatist 214 
 
 198 Poussin, Nicolas, Painter 83 
 
 58 Pupienus — Marcus Claudius Pupienus Maximus, Roman 
 
 Emperor ......... 36 
 
 223 Quinault, Philippe, Poet 94 
 
 216 Rachel, Madlle. Felix, Tragic Actress . . . . 91 
 
 225 Racine, Jean, Dramatist . . . . . . .94 
 
 370 Radetzky, Count Joseph, Austrian General . ... 161 
 
 146 Raffaelle, Sanzio, Painter 62 
 
 323 Ranch, Christian, Sculptor . . . . 141 
 244 Reaumur, ReneAntoine Ferchaultde, Chemist and Naturalist 101 
 
 226 Regnard, Jean Francois, Dramatist . . . .95 
 194 Rezzonico, Carlo, afterwards Clement XIII. , Pope . . 78 
 292 Richelieu, Cardinal, Minister of France .... 121 
 411 Rogers, Samuel, Poet . . . . . . ..183 
 
 242 Rollin, Charles, Historian ...... 101 
 
 219 Rotrou, Jean de, Dramatist . . . . . . 92 
 
 243 Rousseau, Jean Baptiste, Lyric Poet . . . .101 
 247 Rousseau, Jean Jacques, Philosopher and Writer . . . 102 
 313 Rubens, Peter Paul, Painter 136 
 
 474 Russell, Lord John, Statesman . . . . . . 216 
 
 92 Sabina, Roman Empress ....... 43 
 
 255* Sacy, Antoine Isaac Silvestre, Baron de, Orientalist . . 106 
 
 475 Salomons, David, Alderman . . . . • .216 
 103 Salonina, Cornelia, Roman Empress . . . . . 45 
 175 Sanazzaro, Giacomo, Poet ...... 70 
 
 147 Sanmicheli, Michele, Architect . . . . . . 63 
 
 150 Sarto, Andrea del, Painter 63 
 
 405 Sartor is, Adelaide, Vocalist 176 
 
 270 Saxe, Maurice Comte de, Marshal of France . . .114 
 
 109 Scipio, Africanus Major, Publius Cornelius, Roman General 47 
 
 319 Schadow, Johann Gottfried, Sculptor 139 
 
 363 Scharnhorst, Gebhardt David, General . . . .159 
 
 353 Schelling, Friedrich Wilhelm Joseph von, Metaphysician . 155 
 
 338 Schiller, Christoph von, Poet 1*8 
 
 324 Schinkel, Karl Friedrich, Architect and Painter . . 142 
 373 Schleiermacher, Friedrich Ernest Daniel, Theologian . . 163 
 329 Schnorr, Julius, Painter 144 
 
INDEX. 
 
 237 
 
 No. Page 
 
 330 Schwanthaler, Ludovic, Sculptor . . . 144 
 
 333 Schwind, Moritz von, Painter 145 
 
 413 Scott, Sir Walter, Poet and Novelist 184 
 
 148 Sebastiano del Piombo (Fra), Painter . . . . . 63 
 234 Sedaine, Michel Jean, Dramatist . . . . .97 
 122 Seneca, Lucius Annseus, Philosopher . . . . . 53 
 
 64 Severus, Alexander Marcus Aurelius, Roman Emperor . . 38 
 
 54 Severus, Lucius Septimius, Roman Emperor . . . . 35 
 
 407 Shakspeare, William, Poet 178 
 
 137 Signorelli, Luca, Painter . . . . . . . 58 
 
 440 Skey, Frederick Carpenter, Surgeon ..... 198 
 
 426 Smith, Adam, Philosopher and Political Economist . . . 192 
 
 393 Smith, John Raphael 172 
 
 13 Socrates, Philosopher . . . . . . . . 19 
 
 436* SomerviPe, Mary, Mathematician and Astronomer . .197 
 
 7 Sophocles, Tragic Poet 16 
 
 208 Soufflot, Jacques Gfermain, Architect . . . . .87 
 
 414 Southey, Robert, Poet Laureate 185 
 
 169 Spontin?, Gasparo, Musician . . . . . .68 
 
 362 Stein, Karl, Baron Yon, Prussian Minister of State . . . 159 
 
 433 Stevenson- George, Engineer . . . . . .195 
 
 395 Stothard, Thomas, Painter 173 
 
 201 Sueur, Eustaehe le, Painter . . . . . .84 
 
 263 Sully, Maximilien de Bethune, Due de, Minister of State . . 110 
 
 177 Tasso, Torquato, Poet 71 
 
 419* Taylor, Henry, Poet 188 
 
 118 Terence— -Publius Terentius, Latin Comic Poet ... 51 
 
 345 Thaer, Albrecht, Physician and Agriculturist . . . . 152 
 
 320 Thorwaldsen, Albrecht Bartholomaus, Sculptor . . .139 
 
 237 Thou, Jacques Auguste de, Minister of State and Historian 99 
 
 12 Thucydides, Greek Historian . . . . . . 19 
 
 37 Tiberius, Claudius Nero Caesar, Roman Emperor . . .30 
 
 322 Tieck, Christian Friedrich, Sculptor 141 
 
 339 Tieck, Ludwig, Author 149 
 
 145 Tisio, Benvenuto. (See Garofalo) 
 
 144 Titian, Tiziano Vecellio, Painter . . . . .61 
 
 43 Titus, Flavius Sabinus Vespasianus, Roman Emperor . . 32 
 
 241 Tournefort, Joseph Pitton de, Botanist . . . .100 
 
 45 Trajan, Marcus TJJpius Trajanus, Roman Emperor . . 33 
 
 266 Turenne, Henri de la Tour d'Auvergne, Vicomte de, Marshal 
 
 of France 112 
 
 149 Udine, Giovanni da, Painter . . . . . . . 63 
 
 301 Valentino, Carlota d'Avesne, Duchess of . . .127 
 
 98 Valeria Messalina, Roman Empress . . . . . 44 
 
 139 Vanucci della Pievo, Pietro. (See Perugino.) 
 
 150 Vannucchi, Andrea. (See Sarto.) 
 
 240 Vauban, Sebastien le Prestre de, Engineer . . . .100 
 
 194* Ventura, Padre, Italian Priest 79 
 
238 
 
 INDEX. 
 
 No. Page 
 
 207* Vernet, Claude Joseph, Painter 87 
 
 403 Vernon, Robert, Patron of Art 176 
 
 156 Veronese, Paolo Cagliari, called, Painter .... 65 
 
 51 Verus, Mms. (See ^lius.) 35 
 
 52 Verus, Annius. (See Annius.) 35 
 
 50 Verus, Lucius Aurelius, Roman Emperor . . . . 35 
 
 39* Vespasian — Titus Flavius Sabinus Vespasianius, Roman 
 
 Emperor ......... 31 
 
 496 Victoria, Queen of England 225 
 
 141 Vinci, Leonardo da, Painter . . . . . .59 
 
 121 Virgil — Publius Virgilius Maro, Latin Poet . ... 52 
 
 41 Vitellius, Aulus, Roman Emperor ..... 32 
 
 233 Voltaire, Francois Marie Arouet de, Historian, Poet, and Wit 97 
 
 75 Volusianus, Caius Vibius, Roman Emperor . . . . 41 
 
 197 Vouet, Simon, Painter 83 
 
 444 "Warren, Samuel, Lawyer and Writer . . . . . 201 
 
 364 Wartenburg, Yorck Count von, Prussian Field-Marshal . 159 
 
 451 Washington, Gfeorge, First President of the United States . 204 
 
 428 Watt, James, Improver of the Steam Engine . . . . 193 
 
 469* Webster, Daniel, American Statesman and Orator . . 214 
 
 459 Wellington, Arthur, Duke of, Soldier and Statesman . . 209 
 
 437 Whewell, William, Philosopher 197 
 
 336 Wieland, Christoph, Poet 147 
 
 494 William IV., King of England 225 
 
 417 Wilson, John, Poet and Professor 186 
 
 315 Winckelmann, Johann Joachim, Antiquary . . . .137 
 
 484 Wiseman, Cardinal, Chief of the Romish Church in England . 220 
 
 348 Wolf, Friedrich Augustus, Philologist .... 153 
 
 481 Wolsey, Cardinal, Minister of State 218 
 
 410 Wordsworth, William, Poet . 183 
 
 389 Wren, Sir Christopher, Architect and Mathematician . . 169 
 
 193 Ximenez de Cisneros, Francisco, Cardinal and Regent of Spain 78 
 
 432 Yarrell, William, Naturalist 195 
 
 159 Zampieri, Domenico. (See Domenichino.) 
 
 318 Zelter, Karl Friedrich, Musician 139 
 
 21 Zeno, Founder of the Stoic Philosophy .... 23 
 
 359 Ziethen, Hans Joachim von, Prussian Gfeneral . . . 157 
 
 166 Zingarelli, Niccolo, Musician . . . . . .67 
 
 BRADBURY AND EVANS, PRINTERS, WHITEFRIATtS. 
 
THE 
 
 NATURAL HISTORY DEPARTMENT 
 
 OF THE 
 
 CRYSTAL PALACE DESCRIBED. 
 
 ETHNOLOGY. 
 
 By Dr. R. G. LATHAM, M.D. 
 
 ZOOLOGY AND BOTANY. 
 
 By EDWARD FORBES, E.R.S., 
 
 Professor in the University of Edinburgh. 
 
 CRYSTAL PALACE LIBRARY ; 
 
 AND 
 
 BRADBURY & EVANS, 11, BOUYERIE STREET, LONDON, 
 1854. 
 
BRADBURY AND EVANS, 
 PRINTERS TO 111E CRYSTAL l'ALACE COMPAST, 
 WHITEER1AR3, LOADUN. 
 
PREFACE. 
 
 The Natural History, which forms the subject of this Hand- 
 book, is of a somewhat more comprehensive kind than the 
 current meaning of the words would suggest. 
 
 It comprises not only Botany and Zoology proper, but also 
 Ethnology, or, the Science of Human Races. 
 
 Ethnology, from the greater novelty of the subject and its 
 comparative importance, occupies the first and larger part of 
 this little volume. The second part is, however, absolutely 
 necessary to the full illustration of the first ; and in order that 
 each may reflect due light upon the other, the reader will do 
 well, after going through the notice of each Ethnological group, 
 to refer to the corresponding description in the Botanical and 
 Zoological portion. 
 
 In the heading of each group is indicated the page for 
 reference. 
 
CONTENTS. 
 
 PART I. 
 
 Ethnology. pag 
 group i. tibetans .......... 
 
 ii. east indians 
 
 iii. sumatrans and javanese . . . . . 1. 
 
 iv. dyaks of borneo . . . . ... . . 11 
 
 v. islanders of the louisade archipelago . . . ' % 
 
 vi. danakil and negro of the eastern coast of africa . 3! 
 
 vii. negroes ......... 4' 
 
 viii. southern africa. — neighbourhood of the cape. port 
 
 natal. zulus and bushmen . . . . 5' 
 
 ix. botocudos and pampa girl 6' 
 
 x. indians of the amazons 6 
 
 xi. indians from british guiana 7i 
 
 xii. north american dancing. . . . . . .7 
 
 xiii. greenlanders 7 
 
 bibliography 7 
 
 PART II. 
 
 Zoology and Botany, 
 eastern or old world . 
 
 central asia .... 
 
 INDIA ...... 
 
 NORTH AFRICA . . . 
 
 NORTH-EASTERN AND EASTERN AFRICA 
 WESTERN AFRICA . . 
 
 SOUTH AFRICA 
 
 WESTERN OR NEW WORLD . 
 ANTARCTIC AMERICA . 
 SOUTHERNMOST REGIONS 
 TROPICAL SOUTH AMERICA 
 CENTRAL AMERICA 
 TEMPERATE NORTH AMERICA 
 BARREN GROUNDS . . 
 
 ARCTIC REGIONS . 
 
 AUSTRALIA AND INDIAN ISLANDS 
 
THE 
 
 NATURAL HISTORY COURT. 
 
 PART I. 
 ETHNOLOGY. 
 
 Ethnology is compounded of two Greek words, the latter of 
 which scarcely requires explanation, because it already forms part 
 of a numerous class of compounds with which the learned reader 
 is well acquainted. The general reader, too, is perhaps equally 
 familiar with them. We have them in such words as Geo-logy, 
 Astm-logy, Fhj&io-logy, and a long list besides. The Greek form 
 of these would be Geo-logia, Astio-logia, &c. The basis of the 
 term is the substantive logos, meaning a word. In its modified 
 form, however, and in its application as the element of a com- 
 pound word, it means the principles, or science, of the department 
 (whatever it may be) that is denoted by the root which precedes 
 it. In the word before us it means the principles of that depart- 
 ment of human knowledge which is denoted by the form Ethno. 
 
 Ethnology means the science, not exactly of the different 
 nations of the world, but of the different varieties of the human 
 species. 
 
 It is not thought necessary to enlarge upon this further, since, 
 it is hoped, that the groups to which the visitor is directed will 
 sufficiently tell their own tale. The extent to which they differ 
 from each other is manifest. Still more do they differ from such 
 groups of Englishmen, Frenchmen, Germans, and other Europeans 
 as may collect around them. 
 
 As a general rule the varieties that are especially illustrated are 
 foreign to Europe ; it being supposed that the character of most 
 
6 
 
 THE NATURAL HISTORY COURT. 
 
 European populations is sufficiently understand. Hence, the 
 Ethnology is that of Asia, Africa, and the New World. Of these, 
 the most remarkable varieties are found under the extremes of 
 heat and cold ; under the tropics, and within the arctic circle. 
 The intermediate and more temperate parts of the different con- 
 tinents, though by no means deficient in interesting and important 
 varieties, supply fewer. 
 
 Of the populations within the arctic circle, it is only those of 
 America tha,t are illustrated (viz., in the Greenland group). The 
 character, however, of the tribes thus far north, is pretty similar in 
 all three continents — in Asia and Europe for the new, in America 
 for the old, world. 
 
 The science of ethnology is, to a great extent, a new one, and 
 this has been our excuse for enlarging upon the meaning, and 
 entering into the origin of the word. Even ethnological museums 
 are rare. The plan, however, of the groups under notice, is 
 different from that of ordinary museums, and, at the same time, 
 one which is, now, for the first time attempted. The trees, plants, 
 animals, and human occupants of the different portions of the 
 earth's surface are grouped together — so that the allied sciences of 
 botany, zoology, and ethnology illustrate each other. Hence, the 
 arrangement is geographical. 
 
 The arrangement is so far geographical that, to a certain extent, 
 the visitor is enabled to place himself in respect to the objects 
 before him in the same relation as he would be to a map of the 
 world. Here, the North lies in front of him, the East to his 
 right, the West to his left. In like manner, the groups on his 
 right belong to Europe, Asia, and Africa ; those on his left to 
 America. In other words — the Old World is on one side, the 
 New on the other. The relations of North and South, however, 
 are given with less nicety. As a general rule, however, the 
 Southern parts of the two worlds (the old and new), are the 
 parts nearest the entrance — and the Northern parts lie beyond 
 them. 
 
 In the Indian Islands the plan of giving the exact botany of 
 the country under notice has been departed from — owing to the 
 difficulties of detail in the case of an inter-tropical vegetation, of 
 which but few specimens are found in European collections. 
 
ETHNOLOGY. 
 
 7 
 
 GROUP I. 
 
 tibet AjSTS. (foe, ZOOLOGY, &c. See p. 82.) 
 
 The figures here are Tibetans, The variety to which both 
 belong is usually called the Mongolian ; by which it is meant 
 that the most remarkable examples of it are to be found in 
 the Chinese province of Mongolia — to the west of the Great 
 "Wall. Here it is where the cheek-bones attain a greater 
 breadth than is the case with even the figures before us, where 
 the nose is more flattened, and where the distance between the 
 eyes is greater. Here it is where one of the great conquerors 
 of the world arose, Jinjiz-Khan, in the thirteenth century ; under 
 whom, and under whose successors, nearly half the world trembled 
 at the terrible name of Mongol. However, at present, their 
 character is a very different one. The Mongolians of the nine- 
 teenth century are quiet, peaceable men, subject to China and 
 Kussia — chiefly, however, to China. 
 
 Thus much has been said concerning the Mongolians, in order 
 to explain the meaning of the term. It has two powers. It is 
 used in a general and in a limited sense. When limited, it means 
 the inhabitant of Mongolia ; when general, it denotes any one of 
 the numerous allied populations — allied in respect to their physical 
 organisation. 
 
 Of all the Mongol populations, the Chinese are the most 
 civilised.; unless we make an exception in favour of the equally 
 Mongolian Japanese. 
 
 The Tibetans are subject to the Chinese, similar to a great 
 extent in form, similar to a great extent in creed, but dissimilar in 
 habits. 
 
 The Tibetans are a pastoral, the Chinese an eminently agri- 
 cultural population. 
 
 As the southern frontier of the Tibetan family comes in contact 
 with the northern provinces of India — as some portion of the 
 Tibetan area is absolutely under either the British or some other 
 Indian government — we may expect to find the Mongolians on 
 both sides of the Himalayan Mountains — in India, as well as in 
 Chinese Tartary. 
 
 This prepares us for — ■ 
 
s 
 
 THE NATURAL HISTORY COURT. 
 
 GROUP II. 
 east Indians. (See p. 82.) 
 
 The Tibetan (the figure on the left) we have seen before. He 
 differs from those of Group L only in belonging to the southern 
 side of the Himalayas ; — to the parts drained by the Sutlej ; to the 
 water-system of the Indus. 
 
 In India Proper the languages fall into two divisions : those 
 akin to the Tamul, spoken in the Dekhan, or Southern India, and 
 those akin to the Hindui, spoken along the northern bank of the 
 Ganges ; in Oude, &c. 
 
 There are also in India Proper two types of physical form ; in 
 one the colour is dark, or even black, the skin coarse, the face 
 flattened, the lips thick ; in the other the colour is brunette, the 
 nose aquiline, the eyebrows arched, regular, and delicate, the lips 
 of moderate thickness, the face oval, the features intelligent. 
 Each is represented in the present group, though neither in the 
 extreme form. 
 
 As a general, but by no means as an invariable, rule, the 
 darker complexions preponderate over the lighter ones as we go 
 southwards, except in the mountains, where the skin becomes 
 fairer. 
 
 It is not considered necessary to enlarge upon what is called the 
 system of caste in India. It means that the son follows the 
 business of the father, so that the descendants of (say) a black- 
 smith will be blacksmiths, and so on. It also means that between 
 individuals of different castes there are certain prejudices ; certain 
 points whereon there is a reluctance to intermix. Hence, indi- 
 viduals of a higher, refuse to intermarry with those of a lower 
 caste. They refuse also to take their meals with them. 
 
 Now, as a general, but by no means as an invariable, rule, the 
 higher the caste the greater the predominance of the second type 
 of form, i. e. , the finer the features, the clearer the complexion. 
 
 India and China, we must remember, are countries that have 
 long been civilised — civilised after their own peculiar fashion. 
 More than this, they are countries from which a civilisation has 
 been diffused over districts more or less barbarous. On the other 
 hand, the Mahometan creed has diffused, and is diffusing itself, 
 
ETHNOLOGY. 
 
 9 
 
 over India, at the expense of the original (so-called) Braminical and 
 Buddhist religions. 
 
 The extent to which Indian civilisation has (after first spreading 
 itself abroad) been modified by a subsequent diffusion of Maho- 
 metanism, will be seen when we move from India to the Islands of 
 the Indian Archipelago — -Sumatra, Java, Borneo, &c. 
 
 Here the division of the human species to which the populations 
 belong is the Malay — just as that to which the Chinese and 
 Tibetans were referred was the Mongolian. 
 
 Just, too, as the word Mongolian had a wider and a narrower 
 signification, so has the term Malay. A true and proper Malay 
 is a Mahometan, from either certain parts of Sumatra, or certain 
 parts of the Malayan Peninsula — from Sincapore, from Malacca, 
 from Penang, from Bencoolen, &c. On the other hand, a member 
 of the Malay family, in the wider sense of the word, may be a 
 Pagan in religion, an Indian in doctrine, or a native of Java or 
 Borneo, in respect to his locality. 
 
 The Malays, in the wider sense of the word, whatever may be 
 the minor differences between them, have the same general physiog- 
 nomy ; being short rather than tall, darker than the generality of 
 Mongolians, though lighter than the southern Indians, and broad- 
 faced, though less so than the more extreme Mongolians. When 
 in contact with the sea, they exhibit decided maritime habits. 
 Many other of their customs in detail deserve notice. 
 
 Bodily disfigurations under the idea of ornament. — The Malay 
 dress is becoming ; but the habit of permanently disfiguring 
 parts of the body under the idea of ornament, is of sufficient 
 prominence to take place amongst the characteristics of the 
 branch. 
 
 a. Tattooing. — This is sometimes limited, sometimes general : 
 sometimes over the whole body, sometimes confined to the arms 
 only. In Africa the patterns vary with the tribe. In certain 
 Malay districts, an approach to the distinction may be found ; 
 for instance, we hear in Borneo of some tribes that always tattoo, 
 of others that partially tattoo, of others that do not tattoo at all. 
 Nay more ; the habit of tattooing seems in some cases to go along 
 with certain other habits — by no means naturally connected with 
 it. Thus certain of the Borneo non-tattooed tribes never use the 
 Sumpitan, or blow-pipe ; whilst others are tattooed, and use it. 
 
 So at least Sir J. Brooke was informed ; although I think the 
 careful peruser of his journal will find that the coincidence is not 
 always complete. 
 
10 
 
 THE NATURAL HISTORY COURT. 
 
 b. Depilation. — Depilation is effected either by quick-lime or 
 tweezers. Generally, I believe, the parts of the body which are 
 meant to be kept smooth are rubbed with quick-lime ; and the 
 isolated hairs that afterwards appear, are plucked out carefully by 
 tweezers in detail. 
 
 c. Filing the teeth, dyeing tlie teeth. This is a Malay habit, and 
 there are not less than three varieties of this operation. 
 
 1. Sometimes the enamel, and no more, is filed off. This 
 enables the tooth to receive and retain its appropriate dye. 
 
 2. Sometimes the teeth are merely pointed. 
 
 3. Sometimes they are filed down to the gums. 
 Dyeing may follow filing, or not, as the case may be. 
 
 In Sumatra, where a jet by blackness is aimed at, the empyreu- 
 matic oil of the cocoa-nut is used. Eren, however, if no dyeing 
 follow, the teeth will become black from the simple filing, if the 
 chewing of the betel-nut be habitual. 
 
 cl. Distension of tlie ears. — Many of the tribes that file their 
 teeth, also distend their ears. Both are Malay habits. In some 
 parts of Sumatra, when the child is young, the ear is bored, and 
 rings are put in. In other parts, however, the rings are weighted, 
 so as to pull dowm the lobe ; or ornaments, gradually increased 
 in diameter, are inserted ; so that the perforation becomes 
 enlarged. 
 
 Simple perforation may extend to a mere multiplication of the 
 holes of the ear. In Borneo, the Sakarran tribes wear more ear- 
 rings than one, and are distinguished accordingly ; " when you 
 meet a man with many rings distrust him " being one of their 
 cautions. Mr. Brooke met a Sakarran with twelve rings in 
 his ear. 
 
 e. Growth of the nails. — In parts of Borneo, the right thumb- 
 nail is encouraged to grow to a great length. So it is in parts 
 of the Philippines. 
 
 Bunning-a-much. — A Malay is capable of so far working himself 
 into f ury, of so far yielding to some spontaneous impulse, or of so 
 far exciting himself by stimulants, as to become totally regardless 
 of what danger he exposes himself to. Hence, he rushes forth as 
 an infuriated animal, and attacks all who fall in his way, until 
 having expended his morbid fury he falls down ' exhausted. This 
 is called nmning-a-muclc. 
 
 Gambling. — This habit, or rather passion, is shared by the 
 Malays, the Indians, the Chinese, and the Indo-Chinese ; quail- 
 fighting and cock-fighting being the forms in which it shows itself. 
 
ETHNOLOGY. 
 
 11 
 
 A Malay will lose all his property on a favourite bird ; and, having 
 lost that, stake his family ; and after the loss of wife and children, 
 his own personal liberty : being prepared to serve as a slave in 
 case of losing. 
 
 Narcotic stimulants and masticatories. — Chewing the betel-nut is 
 almost universal in some of the Malay countries ; the use of opiates 
 and tobacco being also common. 
 
 The nut of the Areca catechu, is wrapped in the leaf of the piper 
 betel, the first being astringent, the second pungent. The addition 
 of lime completes the preparation. This stimulates the salivary 
 glands, tinges the saliva red, and discolours the teeth. 
 
 Of the chief islands occupied by the Malay family, the first 
 two under notice are 
 
 Sumatra — and 
 
 Java. — These being taken together, give us 
 GKOUP III. (p. 91.) 
 
 A. SUMATRA JSTS. B. JAVANESE (OPIUM SMOKERS). 
 
 A. The populations of Sumatra exhibit different degrees of 
 civilisation to an extent found in few areas of equal size : the 
 difference in their religious creeds being proportionately broad. 
 There are the extreme forms of rude paganism ; there are traces of 
 the Indian forms of religion ; and there is Mahometanism. The 
 least clothed of the figures before us is a Lubu, one of the wildest, 
 rudest, and weakest of all the populations. The position of the 
 Lubus in Sumatra is that of the Bushmen of South Africa, for 
 they are a fragmentary population, driven into the more inacces- 
 sible districts by tribes stronger than themselves ; without arts, 
 and without settled habitations. 
 
 The next are Battas, whose civilisation is some degrees above 
 that of the Lubus. A great part of their present area belonged to. 
 this last named population, who are, probably, Battas in the very 
 lowest stage of development. These require further notice. They 
 belong to the northern half of Sumatra, though without reaching 
 the northern extremity of the island. 
 
 At the very northern end we have the kingdom of Atshin, 
 Achin, or Acheen, where the religion is Mahometan, and where 
 the alphabet is the Arabic ; Atshin being the part of Sumatra 
 where the influence of the Arabian trade, Arabian religion, and 
 Arabian language, have been the greatest. 
 
 South of Atshin is the Batta country. Here there is only an 
 
12 
 
 THE NATURAL HISTORY COURT. 
 
 imperfect Mahometanisin, with no use of the Arabic alphabet, 
 and but little tincture of Arab cultivation. 
 
 The rivers in the Batta country, are inconsiderable, so are the 
 forests ; for the country is an elevated platform — dry, exposed, and 
 parched. The luxuriant vegetation of so many regions in this 
 part of the world, finds no place here ; and instead of it, we have 
 sand, hardened clay, bare rocks swept by strong currents of wind 
 and exposed to an equatorial sun. 
 
 The Battas are cannibals ; they are also a lettered population. 
 It is believed that this combination of rudeness and civilisation 
 occurs nowhere else, a combination which, however, is beyond 
 doubt. 
 
 In the Batta alphabet we have books, almanacks, &c. 
 
 On the Batta cannibalism, hear so competent an authority as 
 Marsden. c 'They," the Battas, "do not eat human flesh as the 
 means of satisfying the cravings of nature, for there can be no 
 want of sustenance to the inhabitants of such a country and 
 climate, who reject no animal food of any kind ; nor is it sought 
 after as a gluttonous delicacy. 
 
 " The Battas eat it as a species of ceremony, as a mode of showing 
 their detestation of certain crimes by an ignominious punishment, 
 and as a savage display of revenge and insult to their unfortunate 
 enemies. The objects of this barbarous repast are prisoners taken 
 in war, especially if badly wounded, the bodies of the slain, and 
 offenders condemned for certain capital crimes, especially for 
 adultery. Prisoners unwounded (but they are not much disposed 
 to give quarter) may be ransomed or sold as slaves, where the 
 quarrel is not too inveterate ; and the convicts, there is reason to 
 believe, rarely suffer when their friends are in circumstances to 
 redeem them by the customary equivalent of twenty bincliangs, or 
 eighty dollars. These are tried by the people of the tribe where 
 the offence was committed, but cannot be executed until their own 
 particular raja has been made acquainted with the sentence, who, 
 when he acknowledges the justice of the intended punishment, 
 sends a cloth to cover the head of the delinquent, together with a 
 large dish of salt and lemons. The unhappy victim is then delivered 
 into the hands of the injured party (if it be a private wrong, or, 
 in the case of a prisoner to the warriors) by whom he is tied to a 
 stake ; lances are thrown at him from a certain distance by this 
 person, his relatives, and friends ; and when mortally wounded, 
 they run up to him, as if in a transport of passion, cut pieces from 
 the body with their knives, dip them in the dish of salt, lemon- 
 
ETHNOLOGY. 
 
 13 
 
 juice, and red pepper, slightly broil them over a fire prepared for 
 the purpose, and swallow the morsels with a degree of savage 
 enthusiasm. Sometimes (I presume according to the degree of 
 their animosity and resentment) the whole is devoured by the 
 bystanders ; and instances have been known where, with barbarity 
 still more aggravated, they tear the flesh from the carcase with their 
 teeth. To such a depth of depravity may man be plunged, when 
 neither religion nor philosophy enlighten his steps ! All that can 
 be said in extenuation of the horror of this diabolical ceremony is, 
 that no view appears to be entertained of torturing the sufferers, 
 of increasing or lengthening out the pangs of death ; the whole 
 fury is directed against the corpse, warm, indeed, with the remains 
 of life, but past the sensation of pain. A difference of opinion has 
 existed with respect to the practice of eating the bodies of their 
 enemies actually slain in war ; but subsequent enquiry has satisfied 
 me of its being done, especially in the case of distinguished persons, 
 or those who have been accessories to the quarrel. It should be 
 observed that their campaigns (which may be aptly compared to 
 the predatory excursions of our Borderers) often terminate with 
 the loss of not more than half-a-dozen men on both sides. The 
 skulls of the victims are hung up as trophies in the open buildings 
 in front of their houses, and are occasionally ransomed by their 
 surviving relations for a sum of money." — Marsden's Sumatra, 
 pp. 391-2. 
 
 The Battas have, probably, been more civilised than they are 
 now — India being the source of their civilisation. This is shown 
 in the following imperfect sketch of their creed — which is Indian, 
 corrupted and degenerate. 
 
 " The inhabitants of this country have many fabulous stories, 
 which shall be briefly mentioned. They acknowledge three deities 
 as rulers of the world, who are respectively named, Batara-guru, 
 Sori-pada, and Mangallah-bidang. The first, say they, bears 
 rule in heaven, is the father of all mankind, and partly, under the 
 following circumstances, creator of the earth ; which from the 
 beginning of time had been supported on the head of Naga- 
 padoha ; but growing weary at length, he shook his head, which 
 occasioned the earth to sink, and nothing remained in the world 
 excepting water. They do not pretend to a knowledge of the 
 creation of this original earth and water ; but say that at the 
 period when the latter covered every thing, the chief deity, Batara- 
 guru, had a daughter named Puti-orla-bulan, who requested 
 permission to descend to these lower regions, and accordingly came 
 
11 
 
 THE NATURAL HISTORY COURT. 
 
 clown on a white owl, accompanied by a dog ; but not being able, 
 by reason of the waters, to continue there, her father let fall from 
 heaven a lofty mountain, named Bakarra, now situated in the 
 Batta country, as a dwelling for his child ; and from this mountain 
 all other land gradually proceeded. The earth was once more 
 supported on the three horns of Naga-padoha ; and that he might 
 never again suffer it to fall off, JBatara-guJiu sent his son, named, 
 Layang-layang-mandi (literally ' the dipping swallow to bind 
 him hand and foot. But to his occasionally shaking his head they 
 ascribe the effect of earthquakes. Puti-orla-bulan had afterwards, 
 dining her residence on earth, three sons and three daughters, 
 from whom sprang the whole human race. 
 
 " The second of their -deities has the rule of the air, betwixt 
 earth and heaven ; and the third that of the earth ; but these two 
 are considered as subordinate to the first. Besides these, they 
 have as many inferior deities as there are sensible objects on earth, 
 or circumstances in human society ; of which some preside over 
 the sea, others over rivers, over woods, over war, and the like. 
 They believe, likewise, in four evil spirits, dwelling in four separate 
 mountains ; and whatever ill befalls them they attribute to the 
 agency of one of these demons. On such occasions they apply to 
 one of their cunning men, who has recourse to his art ; and by 
 cutting a lemon ascertains which of these has been the author of 
 the mischief, and by what means the evil spirit may be propitiated ; 
 which always proves to be the sacrificing a buffalo, hog, goat, or 
 whatever animal the wizard happens on that day to be most inclined 
 to eat. When the address is made to any of the superior and 
 beneficent deities for assistance, and the priest diiects an offering 
 of a horse, cow, dog, hog, or fowl, care must be taken that the 
 animal to be sacrificed is entirely white. 
 
 " They have also a vague and confused idea of the immortality 
 of the human soul, and of a future state of happiness or misery. 
 They say that the soul of a dying person makes its escape through 
 the nostrils, and is borne away by the wind ; to heaven, if of a 
 person who has led a good life ; but if of an evil-doer, to a great 
 cauldron, where it shall be exposed to fire until such time as 
 Batata-guru shall judge it to have suffered punishment proportioned 
 to its sins ; and feeling compassion shall take it to himself in 
 heaven : that finally the time shall come when the chains and 
 bands of Naga-padoha shall be worn away, and he shall once more 
 allow the earth to sink ; that the sun will be then no more than a 
 cubit's distance from it, and that the souls of those who, having 
 
ETHNOLOGY. 
 
 15 
 
 lived well, shall remain alive at the last day, shall in like manner 
 go to heaven, and those of the wicked be consigned to the before- 
 mentioned cauldron, intensely heated by the near approach of the 
 sun's rays, to be there tormented by a minister of Batara-guru, 
 named Suraya-guru, until, having expiated their offences, they 
 shall be thought worthy of reception into the heavenly regions." 
 
 The remaining male figures represent two warriors from Pulo 
 Nias, a small island on the Western coast of Sumatra ; the cap and 
 coat of one being made of the fibres from the leaf-stalk of the 
 gumuti palm. 
 
 "The Mas people are remarkable for their docility and expertness 
 in handy-craft work, and become excellent house- carpenters and 
 joiners ; and, as an instance of their skill in the arts, they practise 
 that of letting blood by cupping, in a mode nearly similar to ours. 
 They are industrious and frugal, temperate and regular in 
 their habits, but, at the same time, avaricious, sullen, obstinate, 
 vindictive, and sanguinary. Although much employed as domestic 
 slaves (particularly by the Dutch) they are always esteemed 
 dangerous in that capacity ; a defect in their character which 
 philosophers will not hesitate to excuse in an independent people torn 
 by violence from their country and connexions. They frequently 
 kill themselves when disgusted with their situation, or unhappy 
 in their families, and often their wives at the same time, who 
 appeared, from the circumstances under which they were found, 
 to have been consenting to the desperate act. They were both 
 dressed in their bed apparel (the remainder being previously des- 
 troyed), and the female, in more than one instance, that came 
 under notice, had struggled so little, as not to discompose her hair, 
 or remove her head from the pillow. It is said that in their own 
 country they expose their children, by suspending them in a bag 
 from a tree, when they despair of being able to bring them up. 
 The mode seems to be adopted with the view of preserving them 
 from animals of prey, and giving them a chance of being saved 
 by persons in more easy circumstances." — Marsden's Sumatra, 
 p. 476. 
 
 B. The three opium-smokers are Javanese of the lower orders. 
 
 Java differs from Sumatra in its higher standard of civilisation, 
 and in the greater extent to which it has been acted upon by 
 Indian influences. At one time, these were generally diffused over 
 the island ; not, perhaps, to the utter and absolute extinction of 
 the original Paganism, but, still, largely and generally. At pre- 
 sent, however, the prevailing influences are Arab, i.e., Mahometan ; 
 
16 THE NATURAL HISTORY COURT. 
 
 and Mahometanisni has superseded Hinduism in all parts of the 
 island, except one interesting locality — the range of the Tenggher 
 Mountains. 
 
 " To the eastward of Surabaya, and on the range of hills con- 
 nected with Gunung Dasar, and lying partly in the district of 
 Pasuruan, and partly in that of Probolingo, known by the name of 
 the Teng'ger mountain, we find the remnant of a people still 
 following the Hindu worship, who merit attention, not only on 
 account of their being the sole depositaries of the rites and doctrines 
 of that religion existing at this day on Java, but as exhibiting an 
 interesting singularity and simplicity of character. 
 
 " These people occupy about forty villages, scattered along this 
 range of hills, in the neighbourhoo_d of what is termed the Sandy 
 Sea. The site of their villages, as well as the construction of their 
 houses, is peculiar, and differ entirely from what is elsewhere 
 observed on Java. They are not shaded by trees but built on 
 spacious open terraces, rising one above the other, each house 
 occupying a terrace, and being in length from thirty to seventy, 
 and even eighty feet. The door is invariably in one corner, at 
 the end of the building opposite to that in which the fire-place m 
 built. The building appears to be constructed with the ordinary 
 roof, having along the front an enclosed veranda or gallery, about 
 eight feet broad. The fire-place is built of brick, and is so highly 
 venerated that it is considered a sacrilege for any stranger to touch 
 it. Across the upper part of the building rafters are run, so as to 
 form a kind of attic story, in which are deposited the most 
 valuable property and implements of husbandry. 
 
 " The head of the village takes the title of Peting' gi, as in the 
 low-lands, and is generally assisted by a Kabayan, both elected by 
 the people from their own village. There are four priests who are 
 here termed Dukuns (a term elsewhere only applied to doctors and 
 midwives), having charge of the state records and the sacred books. 
 
 " These Dukuns, who are in general intelligent men, can give 
 no account of the era when they were first established on these 
 hills ; they can produce no traditional history of their origin, 
 whence they came, or who entrusted them with the sacred books, 
 to the faith contained in which they still adhere. These, they 
 concur in stating, were handed down to them by their fathers, to 
 whose hereditary office of preserving them they have succeeded. 
 The sole duty required of them is again to hand them down in 
 safety to their children, and to perform the puja (praisegiving), 
 according to the directions they contain. These records consist of 
 
ETHNOLOGY. 
 
 17 
 
 three compositions, written on the lontar-lea£ 9 detailing the origin 
 of the world, disclosing the attributes of the Deity, and prescribing 
 the forms of worship to be observed on different occasions. When 
 a woman is delivered of her first child, the Dukun takes a leaf of 
 the alang grass, and scraping the skin of the hands of the mother 
 and her infant, as well as the ground, pronounces a short 
 benediction. 
 
 " When a marriage is agreed upon, the bride and bridegroom 
 being brought before the Dukun within the house, in the first 
 place bow with respect towards the south, then to the fire-place, 
 then to the earth, and lastly, on looking up, to the upper story of 
 the house where the implements of husbandry are placed. The 
 parties then, submissively bowing to the DuJcun, he repeats a 
 prayer, while the bride washes the feet of the bridegroom. At the 
 conclusion of this ceremony, the friends and family of the parties 
 make presents to each of krises, buffaloes, implements of husbandry, 
 <fcc. ; in return for which the bride and bridegroom respectfully 
 present them with betel-leaf. 
 
 "At the marriage-feast which ensues, the Dukun repeats two 
 puja. The marriage is not, however, consummated till fche fifth 
 day after the above ceremony. This interval between the solem- 
 nities and consummation of marriage is termed by them undang 
 mdntu ; and is in some cases still observed by the J avans in other 
 parts of the island, under the name, unduh mdntu. 
 
 "At the interment of an inhabitant of T engager, the corpse is 
 lowered into the grave with the head placed towards the south 
 (contrary to the direction observed by the Mahometans), and is 
 guarded from the immediate contact of the earth by a covering 
 of bambus and planks. When the grave is closed, two posts are 
 planted over the body : one erected perpendicularly on the breast, 
 the other on the lower part of the belly ; and between them is 
 placed a hollowed bambu in an inverted position, into which, 
 during successive days, they daily pour a vessel of pure water, 
 laying beside the bambu two dishes, also daily replenished with 
 eatables. At the expiration of the seventh day, the feast of the 
 dead is announced, and the relations and friends of the deceased 
 assemble to be present at the ceremony, and to partake of enter- 
 tainments conducted in the following manner : 
 
 "A figure of about half a cubit high, representing the human 
 form, made of leaves and ornamented with variegated flowers, is 
 prepared and placed in a conspicuous situation, supported round 
 the body by the clothes of the deceased. The Dukun then places 
 
 c 
 
13 
 
 THE NATURAL HISTORY COURT. 
 
 in front of the garland an incense-pot with burning ashes, together 
 with a vessel containing water, and repeats the two puja to fire 
 and water. 
 
 "The clothes of the deceased are then divided among the 
 relatives and friends ; the garland is burned ; another pitja is 
 repeated ; while the remains of the sacred water are sprinkled over 
 the feast. The parties now sit down to the enjoyment of it, 
 invoking a blessing from the Almighty on themselves, their houses, 
 and their lands. No more solemnities are observed till the 
 expiration of a thousand days ; when, if the memory of the 
 deceased is beloved a,nd cherished, the ceremony and feast are 
 repeated ; if otherwise, no further notice is taken of him : and 
 having thus obtained what the Romans call his justa, he is allowed 
 to be forgotten. 
 
 " Being questioned regarding the tenets of their religion, they 
 replied that they believed in a Dewa, who was all-powerful ; 
 that the name by which the Deiva was designated was Bumi Truka 
 S&ng'ydng Dewdta Bdtur, and that the particulars of their worship 
 were contained in a book called Pdngldwu, which they presented 
 to me. 
 
 u On being questioned regarding the ddat against adultery, 
 theft, and other crimes, their reply was unanimous and ready — 
 that crimes of this kind were unknown to them, and that 
 consequently no punishment was fixed, either by law or custom ; 
 that if a man did wrong, the head of the village chid him for it, 
 the reproach of which was always sufficient punishment for a man 
 of Teng'ger. This account of their moral character is fully 
 confirmed by the Regents of the districts, under whose authority 
 they are placed, and also by the residents. They, in fact, seem 
 to be almost without crime, and are universally peaceable, orderly, 
 honest, industrious, and happy. They are unacquainted with the 
 vice of gambling and the use of opium. 
 
 " The aggregate population is about twelve hundred souls ; and 
 they occupy, without exception, the most beautifully rich and 
 romantic spots on Java ; a region in which the thermometer is 
 frequently as low as forty-two. The summits and slopes of the 
 hills are covered with Alpine firs, and plants common to an 
 European climate flourish in luxuriance. 
 
 " Their language does not differ much from the Javan of the 
 present day, though more gutturally pronounced. Upon a 
 comparison of about a hundred words with the J avan vernacular, 
 two only were found to differ. They do not marry or intermix 
 
ETHNOLOGY. 
 
 19 
 
 with, the people of the lowlands, priding themselves on their 
 independence and purity in this respect." — Raffles' s History of 
 Java,. 
 
 GKOUP 17. ' 
 
 DYAKS OF BORNEO, A. MALES ; "B. FEMALES. 
 
 The native, and aboriginal tribes of Borneo, have no general 
 name by which they designate themselves, neither have they a 
 general name for their island ; and this is a fact which occurs 
 pretty generally throughout the Indian Archipelago. A mere islet, 
 a piece of land visibly and palpably surrounded by water — takes 
 the name of pulo (island) ; but the larger masses like Celebes, 
 Borneo, Sumatra, and (as Mr. Craufurd writes) each and all of the 
 islands with the single exception of Borneo, are treated as continents, 
 — so narrow is the knowledge of the inhabitants and so limited 
 their powers of comprehension and generalisation. Hence, Romeo 
 is an European rather than a native term ; taken from the name 
 of a particular portion of the island and extended to the whole. 
 It was first used by Pigafetta, a companion of Magalhan, during 
 his voyage round the world in 1521. This gave it a currency in 
 Europe which it has maintained ever since. 
 
 As to the different divisions of the population, they generally 
 take their designation from the name of the stream on which they 
 reside ; so that when we hear of such tribes as the Sarebas, the 
 Lundu, the Sakarran, &c, we may safely conclude that rivers so 
 called form their several occupancies. 
 
 The natives, then, have no general name by which they desig- 
 nate themselves collectively. But we have. We — i. e. , the Europeans 
 — call them Dyaks. Dyah is a Malay word — much such a word 
 as Savage, or Rarbarian — so that expressions like Dyah, Sarebas 
 (the savages of the Sarebas), &c. , are only partially native — partially 
 native and partially Malay. 
 
 The Malay origin of the word a indicates the existence of a 
 Malay population in, or in the neighbourhood of, the island ; 
 a Malay population as well as a native. And such is the case. 
 Over and above the proper aborigines, we find in Borneo, Chinese 
 from China, Bugis from the Island of Celebes, and (as aforesaid) 
 Malays from the Malayan Peninsula and Sumatra. 
 
 It is the aborigines, however, who alone are represented in the 
 group before us — the Dyaks as opposed to the Malays. And the 
 particular Dyak division is not the one with which an Englishman 
 
 c 2 
 
20 
 
 THE NATURAL HISTORY COURT. 
 
 is the most familiar. The Sarebas Dyaks, the Lundu Dyaks, the 
 Sakarran Dyaks, etc. , are the best known to us, inasmuch as it is 
 those who come in contact with the Rajahship of Sarawak, and 
 the parts under the influence of Sir James Brooke. But the 
 Dyaks before us come from the south and the south-east, rather 
 than from the* north-west and west, and from the Dutch parts of 
 the island rather than from the English. 
 
 The aborigines of Borneo belong to the great Malay family, so 
 that they are essentially the same as the aborigines of Sumatra and 
 Java, &c. But they have this important characteristic ; they 
 have been the least touched by either Indian or Arabic influences. 
 They are the least Hindu, the least Mahometan, the most Pagan. 
 Neither have they any alphabet ; at the same time, some vestiges 
 of Indian culture undoubtedly exist. 
 
 The Dyak of Borneo is the Malay in his most unmodified and 
 primitive condition, and it is amongst the Dyaks of Borneo that 
 the characteristic customs are to be found. They are divided 
 into, probably, 100 different tribes, with, probably, 100 dialects ; 
 so far are they from the organisation of a concentrated political 
 power. As some tribes, however, are more powerful than others, 
 and as such tribes encroach and conquer, the tendency towards 
 consolidation exists. 
 
 Of such tribes, the most important are the Kayans, occupants 
 of the central part of the island, cultivators of the soil, domes- 
 ticators of animals, forgers of iron. They are a dominant and 
 encroaching population ; the Kanawit, and the other tribes more 
 immediately allied, being their tributaries. The names which 
 they give to both the other Dyaks and the Malays, are derisive 
 and insulting ; and other circumstances besides this show the 
 extent to which they are a proud, self-respecting population. 
 Their dignity of manner and deportment is favourably con- 
 trasted with the comparative servility of the Malays. As to 
 their morals, the accounts are conflicting. The utter absence 
 of female chastity, affirmed by Mr. Law, is denied by Mr. 
 Burns, whose opportunities for acquiring knowledge seem to have 
 been the better, but who writes somewhat in the spirit of an 
 advocate and admirer. The same author considers that their taste 
 for head-hunting has been exaggerated ; at any rate, the custom of 
 handing down heads from generation to generation, as honourable 
 heirlooms, wants confirmation, and besides this, has certain positive 
 facts against it. When two of their chiefs changed their residence, 
 an accumulation of 400 skulls was thrown away, instead of being 
 
ETHNOLOGY. 
 
 21 
 
 removed with care and honour. Human sacrifices, on the other 
 hand, are admitted by Mr. Burns to exist ; with the reservation 
 that the practice decreases, and that the victim is a member of 
 some other tribe. 
 
 It was from the parts about the Kayan river that they began 
 their conquests. Successful in holding their own, they suffer from 
 disease rather than war. At intervals of twelve or fifteen years, 
 the small-pox rages as an epidemic ; whilst fever, ague, dysentery, 
 and rheumatism, are endemic. To tattoo the body, to bore and 
 stretch the ears, to wear pendant ear-rings of twenty ounces, so 
 that the ears and breasts meet, are the more characteristic elements 
 of the Kayan cosmesis. In the first of these operations the 
 performer pricks the pattern with a needle, and then engrains the 
 smoke of a dammer torch ; so that the process is partially that of 
 the simple tattoo, and partially that of inustion. Mutual friend- 
 ships or brotherhoods, are ratified by the not unusual ceremony of 
 mixing blood. This Mr. Burns considers as peculiar to the Kayan 
 amongst the populations of Borneo. That of drawing omens from 
 the flight of birds is common to them and the other tribes. 
 
 After death, the body is kept in the house from four to eight 
 days. Torches are kept burning beside the coffin which contains it ; 
 and if one of them go out, bad luck is augured from its extinction. 
 For four or five days, too, after the removal of the corpse, they 
 are still kept alight. Previous, however, to the removal, a feast 
 is prepared ; some of the food being placed beside the coffin, whilst 
 the remainder regales the relatives of the deceased. The mourning 
 of the women is loud, passionate, and full of gesticulation. They 
 hug the decomposing body ; they inhale its odours, and finally, 
 they attend it to the place of its ultimate disposal, which is 
 the loft of a small wooden house, built on pillars, about twelve 
 feet high. 
 
 The burial ceremonies are more elaborate than those which 
 accompany the birth or naming of children ; those of marriage are 
 the simplest. To swim, to wrestle, to blow the sumpitan, to use 
 the sword, and to throw the spear, are the chief elements in 
 the training of the Kayan youth. # 
 
 This notice has contained some remarkable suggestions. What 
 means the allusion to the head-hunting 1 No trophy is more 
 honourable among the Dyaks of Borneo, than a human head ; the 
 head of a conquered enemy. These are preserved in the houses as 
 tokens ; so that the number of skulls is a measure of the prowess 
 
 * Burns, in "Journal of the Indian Archipelago." 
 
22 
 
 THE NATURAL HISTORY COURT. 
 
 of the possessor. In tribes, where this feeling becomes morbid, no 
 young man can marry before he has presented his future bride with 
 a human head, cut off by himself. Hence, for a marriage to take 
 place, an enemy must be either found or made. 
 
 It may easily be imagined that this engenders a chronic state of 
 warfare between tribe and tribe ; to which, we may add, as another 
 of the scourges of the Dyak population, the piracy that is practised 
 along the whole of the sea-coasts, and on the lower courses of the 
 numerous rivers. 
 
 Cannibalism in Sumatra ; head-hunting in Borneo — such are the 
 characteristics of two of the more important branches of the Malay 
 family, and they are practices which are manifestly condemnatory 
 to the moral character of the nations in which they occur. We 
 must, however, take the evidence to their existence as we find it. 
 On the other hand, it is a good rule to receive with caution all 
 accounts that violate the common feelings of human nature, and to 
 allow ourselves to believe that causes, as yet imperfectly understood, 
 modify and diminish practices so horrible. That it should be so 
 general as the theory demands is incompatible with the proportions 
 between the male and female populations, which are much the same 
 in Borneo as elsewhere. So it is, also, with the express statement 
 of Sir J. Brooke, who says, that the passion for heads has much 
 diminished amongst certain of the Sarawak tribes. In one case, 
 an offer of some was refused ; the reason alleged being that it 
 would revive fresh sorrows. The parties who thus declined, gave 
 a favourable account of some of the customs by which the horrors 
 of a Dyak war were abated : — 
 
 " If one tribe claimed a debt of another, it was always demanded, 
 and the claim discussed. If payment was refused, the claimants 
 departed, telling the others to listen to their birds, as they might 
 expect an attack. Even after this, it was often the case, that a 
 tribe friendly to each mediated between them, and endeavoured to 
 make a settlement of their contending claims. If they failed, the 
 tribes were then at war. Recently, however, more places than 
 one have been attacked without due notice, and often by treachery. 
 The old custom likewise was, that no house should be set on fire, 
 no paddy destroyed, arid that a naked woman could not be killed, 
 nor a woman with child. These laudable and praiseworthy customs 
 have fallen into disuse, yet they give a pleasing picture of Dyak 
 character, and relieve, by a touch of humanity, the otherwise 
 barbarous nature of their warfare. Then there is what is called 
 the Babukid, bubulclrid, or mode of defiance, which is appealed 
 
ETHNOLOGY. 
 
 23 
 
 to as a final judgment in disputes about property, and usually 
 occurs in families when the right to land and fruit-trees comes to 
 be discussed. Each party then sallies forth in search of a head ; 
 if only one succeed, his claim is acknowledged ; if both succeed, the 
 property continues common to both. It is on these occasions that 
 the Dyaks are dangerous ; and perhaps an European, whose 
 inheritance depended on the issue, would not be very scrupulous 
 as to the means of success. It must be understood, however, 
 that the individuals do not go alone, but a party accompanies 
 each, or they may send a party without being present. The loss 
 of life is not heavy from this cause, and it is chiefly resorted 
 to by the Singe and Sows, and is about as rational as our 
 trials by combat. This babukid must be a check of a permanent 
 sort. 
 
 Houses. — With certain of the Dyak tribes the houses are not 
 huts, nor yet mere dwelling-houses of ordinary dimensions. They 
 hold from one hundred to two hundred persons each ; and are 
 raised above the ground on piles. 
 
 Religion. — " The notions of the Dyaks respecting the spiritual 
 world are in general much confused, and at variance with each other. 
 They agree, however, in the belief in good and evil spirits. The good 
 spirits are divided into two classes, viz. , spirits of the world above, 
 or of the higher regions, who come under the collective denomination 
 of 6 Sengiang ; ' and spirits of the lower regions, or more pro- 
 perly, such as have their dominion in the waters, in great 
 rivers, and these are called 6 Jata. ? The collective name of the 
 evil spirits is c Talopapa,' which word signifies, in general, all bad 
 things. 
 
 u It is to be observed here that the Dyaks describe the aspect of 
 the regions above as similar to the terrestrial world. Mountains, 
 valleys, streams, lakes, &c. &c., are found there, as well as here 
 beneath ; and the dominions of various spirits are bounded by the 
 different streams and branches of the rivers." — From the Rev. 
 T. F. Berker's 66 Mythology of the Dyaks," Journ. Ind. Archip., 
 vol. iii. p. 162. 
 
 " In the interior, men are still occasionally sacrificed, principal!} 7 
 on the death of chiefs, and other considerable persons. In Sirat, 
 the furthest inhabited point of the Kapus Biver, where I some 
 years ago made a journey of investigation, they had a short time 
 before our arrival, sacrificed two women. An acquaintance who 
 had been present, gave me the following account of the horrible 
 event ; — One morning at Skat, there gathered a great number of 
 
24 
 
 THE NATURAL HISTORY COURT. 
 
 people, who streamed in on all sides to celebrate a great feast. 
 There was firing of guns — the open plain before the Kotta (fort) 
 was prepared for the occasion, and adorned with branches, flowers, 
 and cloths ; a number of hogs were killed ; and when, finally, 
 by midday, everything had been arranged according to use and 
 wont, the real objects of the festival were brought forward — two 
 women, still young, who had been purchased for the purpose 
 from another race. They had to seat themselves on the 
 side of the ready- dug graves, and contemplate for some time the 
 noisy rejoicings of the feasters. A lance of about thirty feet in length 
 was then brought and laid on one of the victims. All now hurried 
 to take a part in the impending detestable deed. A hundred hands 
 seized the long lance, and the instant the customary sign was given, 
 they threw themselves, amidst the loud acclamations of the multi- 
 tude, on the unfortunate wretch, and pierced her through and 
 through, even transfixing her to the ground. They then cut off 
 the head of the fallen victim, and carried it during the rest of the 
 day, dancing and singing round it. The same fate also befel her 
 unfortunate companion. Those who are thus offered become, in 
 their belief, in the other world, slaves of the deceased friend to whose 
 memory they are offered." — From "Some Remarks on the Dyahs 
 of Banjarmassing" in the Journ. of the Ind. Archip., vol. i., 
 p. 30. 
 
 The blow-pipe, with which so many of the figures before us are 
 furnished, is called, in the native language, sumpitan. It is made 
 of the wood of the palm, bored with the greatest possible nicety. 
 The arrows, which are from four to six inches long, fit 
 the bore, and are poisoned — at least with some of the tribes. 
 At twenty yards the sumpitan is sure to hit ; at one hundred it 
 attains its longest range. Since the ones before us have been in 
 England, more than one amateur has tried them — both with the 
 Dyak arrows, and with little pellets of clay. They have succeeded in 
 bringing down sparrows from the house-tops with the latter. The 
 aim is sure, and a little practice accomplishes it. 
 
 The male in the sailor's dress is a Philippine Islander, who spoke 
 the Iloco language. The female is a half-blood Spanish and 
 Manilla-Indian. 
 
ETHNOLOGY. 
 
 25 
 
 GROUP V. 
 
 A. ISLANDERS OF THE LOUISIADE ARCHIPELAGO PAPUAN'S, (p. 91 ) 
 
 A. THE PAPUANS. B. AUSTRALIANS. 
 
 When we move eastwards from the more eastern of the Moluccas 
 we reach New Guinea, of which the very name suggests the likeli- 
 hood of a change in the character of the population. How did it 
 arise ? Much in the same way that such a term as West Indies 
 did. There was something in the new country which reminded 
 the discoverers of an old one. Now the large island under notice 
 reminded the early voyagers of the coast of Guinea on the western 
 side of Africa. Why ? Because they found there a population of 
 Blacks ; a population that reminded them of the negro ; a popu- 
 lation unlike the Malay tribes of islands westward. 
 
 A. New Guinea. This is anything but a native name ; indeed, it 
 is a name that no New Guinea men know anything about. 
 
 Just what occurred in Borneo, occurs here. There is no general 
 name at all ; neither one for the island itself, nor one for the 
 population of it — no native name at least. 
 
 There is, however, a Malay one. The word Papua means 
 frizzly-haired. Originally and, more properly, applied to occupants 
 of the north-west coast, it has since been extended — for the 
 purposes of Ethnology at least — to a whole family. Hence, the 
 Papuan stock contains, not only the inhabitants of New Guinea, 
 but those of the islands to the east, and south thereof — the 
 Louisiade Archipelago, New Britain, New Ireland, New Hanover, 
 Solomon's Isles, New Hebrides, Loyalty Isles, and New Caledonia. 
 
 No part of the world is less known than these Papuan islands — 
 the interior of New Guinea being as much a mystery as the interior 
 of Africa. There are certain points, however, on which attention 
 has been concentrated. Thus — 
 
 a. The western coast of New Guinea itself has been described, 
 more or less incompletely, by the Dutch. 
 
 h. The south-eastern part, along with the islands of Torres 
 Straits, has been surveyed by H.M.S. the Fly. 
 
 c. The Louisiade Archipelago, &c, by H.M.S. Rattlesnake. 
 
 d. The parts about Tanna, Mallicollo, and New Caledonia, by 
 Captain Erskine. 
 
 The figures before us are from drawings made on the spot by 
 Mr. Huxley, naturalist to the Rattlesnake^ and as they were from 
 
26 
 
 THE NATURAL HISTORY COURT. 
 
 the pencil of an anatomist as well as an artist they may be relied 
 on as characteristic. The chief notices are from Mr. M'Gillivray's 
 " Voyage of the Rattlesnake." 
 
 The Louisiade houses (or huts) in their simplest form consist of 
 a roof of palm-leaves on four wooden uprights, each of which pierces 
 a round piece of wood. This prevents rats and vermin from 
 finding their way upwards and into the dwelling. 
 
 The larger and more elaborate contain several families — the 
 following being a section of the part occupied. In parts subject to 
 inundation they stand upon high props — upon piles as it were. 
 
 This mode of building is common in New Guinea, on certain 
 islands of the Indian Archipelago, the more swampy parts of 
 inter-tropical America ; like adaptations occurring in like 
 localities. 
 
 Next to the domestic architecture that of their canoes deserves 
 attention. These, always, or almost always, are built without 
 riggers — sometimes with a sort of stage or platform projecting from 
 
ETHNOLOGY. 
 
 27 
 
 the sides, the structure of a raft being superadded to that of a 
 boat. The sailing vessels take the following form. Less nautical 
 
 than the Malays — the Papuan family is more so than the 
 Australian, 
 
 With some varieties the hair is far more elaborately dressed 
 than with those of the present group ; being twisted into long 
 curls, likened to the thrums of a mop, stiffened with oil, and 
 washed in alkaline leys, which give a red tinge. When this kind 
 of ornamentation attains its fullest development, the frizzled mass 
 of strong and stiffened hair makes the owner unable to lie down 
 without disarranging his head-dress. In this case a neck-pillow 
 becomes necessary ; just as it does with certain tribes of Africa, 
 
23 
 
 THE NATURAL HISTORY COURT. 
 
 with whom the care of these head-gear is one of the primary 
 employments of life. 
 
 The chief weapons are the bow and arrow, their political organi- 
 sation of the lowest and simplest kind ; that of small tribes living 
 in a state of chronic hostility with each other. Woven cloth they 
 have none. On the other hand they show some skill in the art 
 of pottery. In New Guinea, at least, they defend their soil with 
 tenacity and resolution, eschewing European intercourse. In the 
 more southern and smaller islands, however, this is less the case 
 than in the more northern and larger ones. They contrast more 
 favourably with the Australians than with the Malays. 
 
 But little is known of their languages. 
 
 The islands of Torres Strait, even when they lie nearest to the 
 coast of Australia, are not Australian, but Papuan, so that the 
 following extracts from the "Voyage of the Fly" apply to a 
 population allied to one under notice — allied, but not identical. 
 
 In Darnley Island the natives "were fine, active, well-made 
 fellows, rather above the middle height, of a dark brown 
 or chocolate colour. They had frequently almost handsome 
 faces, aquiline noses, rather broad about the nostril, well-shaped 
 heads, and many had a singularly Jewish cast of features. 
 The hair was frizzled, and dressed into long pipe-like ringlets, 
 smeared sometimes with ochre, sometimes left of its natural 
 black colour ; others had wigs not to be distinguished from 
 the natural hair, till closely examined. The septum narium 
 was bored, but there was seldom anything worn in it. Most 
 of their ears were pierced all round with small holes, in which 
 pieces of grass were stuck, and in many the lobe was torn 
 and hanging down to the shoulder. Their only scars were 
 the faint oval marks on the shoulder. The hair of their 
 bodies and limbs grew in small tufts, giving the skin a slightly 
 woolly appearance. They were entirely naked, but frequently 
 wore ornaments made of mother-of-pearl shells, either circular or 
 crescent-shaped, hanging round their necks. Occasionally, also, 
 we saw a part of a large shell, apparently a cassis, cut into a 
 
ETHNOLOGY. 
 
 29 
 
 projecting shield-shape, worn in front of the groin. The women 
 wore a petticoat ronnd the waist, reaching nearly to the knee?, 
 formed of strips of leaves sewn on to a girdle f These formed a 
 very efficient covering, as one or two were worn over each other. 
 The grown-up woman's petticoat, or nessoor, was formed, we after- 
 wards found, of the inside part of the large leaves of a bulbous- 
 rooted plant, called by them teggaer, of which, each strip was an 
 inch broad. The girl's nessoor was made of much narrower strips 
 from the inside of the leaf of the plantain, which they called 
 cabbow, 
 
 " The younger women were often gracefully formed, with 
 pleasing expressions of countenance, though not what we should 
 consider handsome features. The girls had their hair rather long, 
 but the women had almost all their hair cut short, with a bushy 
 ridge over the top, to which they, singularly enough, gave the 
 same name as to pieces of tortoise-shells, namely, kaisu. Many of 
 the elder women had their heads shaved quite smoothly, and we 
 never saw a woman wearing a wig, or with the long ringlets of the 
 men. At our first landing, all the younger women and girls 
 kept in the back-ground, or hid themselves in the bush. On 
 strolling to the back of the huts, we found a small native path, 
 along which we went a short distance till we came to a rude fence 
 in front of a plantain-ground, where the men objected to our 
 going further, and we heard the voices of the women among the 
 trees beyond. 
 
 " There were four huts at this spot, all bee-hive shaped, six- 
 teen feet in diameter, and as much in height. They stood in 
 small court-yards, partially surrounded by fences formed of poles 
 of bamboo, stuck upright in the ground, close together, and con- 
 nected by horizontal rails, to which they were tied by withies. 
 Inside the huts were small platforms covered with mats, apparently 
 bed-places ; and over head were hung up bows and arrows, clubs, 
 calabashes, rolls of matting, and bundles apparently containing 
 bones, which they did not like our examining. Outside the huts 
 were one or two small open sheds, consisting merely of a raised 
 flat roof, to sit under in the shade, and a grove of very fine cocoa- 
 nut trees surrounded the houses." 
 
 The arms of the natives were the bow and arrow, and in hold- 
 ing the former, especial care was taken that the part of the wood 
 which was uppermost as the tree grew, should be uppermost when 
 used as a weapon. Rough imitations of the human figure were 
 common ; but whether they served as idols or not was uncertain* 
 
CO 
 
 THE NATURAL HISTORY COURT. 
 
 The use of tobacco was general. On the part of the females, the 
 reserve and decorum of manner formed a striking contrast with 
 the very different habits of the Polynesians. 
 
 B. The Australians. — These are taken from life ; two natives of 
 the parts about Cape York .having been taken up in an English 
 vessel and brought with it to England. They passed a fortnight 
 under the same roof with Mr. Thomson, and were well observed 
 by both the artists engaged on the figures, and the present writer. 
 The thinness of the legs is by no means exaggerated. It is just 
 what the plates of Dr. Prichard's "Varieties of Man" make it. 
 On the other hand, the chest was well developed, and the arms 
 comparatively — though only comparatively — strong. They told 
 the story of their being on board the ship that brought them over, 
 in dumb show, but they told it in a way that the most consum- 
 mate professional actor might admire. But this was about all the 
 talent they showed. 
 
 They ran neither faster nor slower than the Englishman they 
 came in contact with ; but swam as adepts. By no means insen- 
 sible to such kindnesses as they received, they evinced quite as 
 much kindness to their English house-mates as they did to one 
 another. So silent, indeed, were they, that until we took a 
 vocabulary of their language, we thought that they belonged to 
 two different tribes who had carried their hostility with them 
 across the Pacific, and nourished it in Sydenham. Smoking, or 
 rather swallowing smoke, was their chief delight. 
 
 Tom, the livelier and less saturnine of the two, has a throwing- 
 stick in his hand, which he is about to project. 
 
 In the group of two he re-appears. When Dick, the gloomier, 
 had a headache, Tom could scarcely be withheld from scarifying 
 his temples with such pieces of glass or flint as he could pick up. 
 
 Dick and Tom are Northern Australians — Northern Australians 
 from the parts about Cape York. 
 
 Observe the points of difference and likeness between them and 
 the Louisiade Papuans. As both are dark-skinned, they have been 
 dealt with as branches of one and the same family ; for which a 
 name (or rather a pair of names) derived from the Greek has 
 been applied — Mdanesian and Kelnonesian. Nesos means island ; 
 kelnos, dark ; melas (melan-os), black. The latter compound is 
 the better. They are certainly dark coloured ; and it is equally 
 certain that both New Guinea and Australia are islands. The 
 exact relationship, however, is less certain. Nevertheless, the 
 name Kelnonesian is adopted. 
 
ETHNOLOGY. 
 
 31 
 
 It has been said that the Papuan contrasts favourably with the 
 Australian ; the latter being the better known of the two. 
 
 The differences between the different Australian languages have 
 long been known and definitely insisted upon. 
 
 Less marked differences in frame and physiognomy between the 
 different Australian tribes, have also been long known and defi- 
 nitely insisted upon. 
 
 Differences of customs and manners have been similarly noticed 
 and considered. E c i withstanding all this, however, there is no 
 opinion more generally admitted than the fundamental unity of 
 the Australian population from Swan River to Botany Bay, from 
 the Gulf of Carpentaria to Bass's Straits. Captain Grey, 
 Schurman, Teichelman, and all who have devoted average atten- 
 tion to the language, have given their evidence to this ; and they 
 have supplied facts of various kinds, of their own collection, 
 towards the proof of it. No man is less inclined to disturb this 
 view than the present writer. 
 
 As to the physical conformation of the Australians, I believe 
 that it is so uniform throughout the island, that it has never been 
 made the basis of a division ; — indeed I am inclined to believe 
 that the similarity of external appearance has been over-rated ; 
 nevertheless, it is certain that there are deviations from the 
 general slim and underfed condition of the body ; and (which is 
 of more importance), from the usual straight character of the hair. 
 Such is the case, according to Mr. Earl, with the trepang fishers 
 of Arnhem Bay. Then as to the hair — with the Jaako, or Croker 
 Island tribe, it is coarse and bushy (the whiskers being thick, 
 and curly) and so short, crisp, and abundant about the breast and 
 shoulders as to conceal the skin ; whereas, on the other hand, the 
 Oitbo, or Bidjenelumbo, have straight silky hair, arched eyebrows, 
 fair complexion, and occasionally the oblique eye. 
 
 The lowest form of humanity has been sought for in Australia, 
 whilst the physical condition of the country and the absence of 
 those animals and herbs that supply human food, have made it a likely 
 quarter to exhibit it. Whether, however, so low a rank in the scale 
 of human development be, upon the whole, a fact or exaggeration, it 
 is certain that, upon several points, there has been considerable 
 over-statement. One sample of this sort is the accredited opinion 
 as to the absolute incapacity of the Australian of forming even the 
 rudest elements of a mythology — an opinion which engenders the 
 notion that their intellects are too sluggish for even the evolution 
 of a superstition. 
 
32 
 
 TPIE NATURAL HISTORY COURT. 
 
 That this was not the case was indicated some years back by 
 Captain Grey, and that there is some exponent of the religious 
 feeling in the shape of a rude form of shamanism, has been 
 shown in the account of the American Exploring Expedition ; 
 where the first published details of the Australian mythology, if 
 so it may be called, are to be found : — " It is not true, however, 
 as has been frequently asserted, that the natives have no idea of a 
 Supreme Being, although they do not allow this idea to influence 
 their actions. The Wellington tribes, at least, believe in the 
 existence of a Deity called Baiamai, who lives on an island beyond 
 the great sea to the East. His food is fish, which come up to him 
 from the water when he calls them. Some of the natives consider 
 him the maker of all things, while others attribute the creation of 
 the world to his son Burambin. They say of him, that Baiamai 
 spoke, and Burambin came into existence. When the missionaries 
 first came to Wellington, the natives used to assemble once a year, 
 in the month of February, to dance and sing a song in honour 
 of Baiamai. This song was brought there from a distance 
 by strange natives, who went about teaching it. Those who 
 refused to join in the ceremony were supposed to incur the dis- 
 pleasure of the god. For the last three years the custom has been 
 discontinued. In the tribe on Hunter's Biver, there was a native 
 famous for the composition of these songs or hymns ; which, 
 according to Mr. Threlkeld, were passed from tribe to tribe, to a 
 great distance, till many of the words became at last unintelligible 
 to those who sang them. 
 
 " Dararwirgal, a brother of Baiamai, lives in the far west. 
 It was he who lately sent the small-pox among the natives, for no 
 better reason than that he was vexed for want of a tomahawk. 
 But now he is supposed to have obtained one, and the disease 
 will come no more. The Balumbal are a sort of angels, who are 
 said to be of a white colour, and to live on a mountain at a great 
 distance to the south-east : their food is honey, and their employ- 
 ment is to do good ' like the Missionaries. ? 
 
 " It is possible that some of these stories owe their origin to 
 intercourse with the whites, though the great unwillingness which 
 the natives always evince to adopt any customs or opinions from 
 them, militates against such a supposition. But a being who is, 
 beyond question, entirely the creation of Australian imagination, 
 is one who is called in the Wellington dialect, Wandong ; though 
 the natives have learned from the whites to apply to him the name 
 of devil. He is an object not of worship, but merely of supersti- 
 
ETHNOLOGY. 
 
 33 
 
 tious dread. Tliey describe him as going about under the form of 
 a black man of superhuman stature and strength. He prowls 
 at night through the woods around the encampments of the 
 natives, seeking to entrap some unwary wanderer, whom he 
 will seize upon ; and, having dragged him to his fire, will there 
 roast and devour him. They attribute all their afflictions to his 
 malevolence. If they are ill, they say Wandong has bitten them. 
 No one can see this being but the nujargir, or conjurors, who 
 assert that they can kill him, but that he always returns to life. 
 He may, however, be frightened away by throwing fire at him 
 (though this statement seems inconsistent with that respecting his 
 invisibility), and no native will go out at night without a firebrand 
 to protect him from the demon. 
 
 " There is some difference in the accounts given of this character. 
 By the tribe of Hunter's River he is called Koin or Koen. Some- 
 times, when the Blacks are asleep, he makes his appearance, seizes 
 upon one of them and carries him off. The person seized endea- 
 vours in vain to cry out, being almost strangled. At daylight, 
 however, Koin disappears, and the man finds himself conveyed 
 safely to his own fireside. From this it would appear that the 
 demon is here a sort of personification of the nightmare, — a visita- 
 tion to winch the natives, from their habits of gorging themselves 
 to the utmost when they obtain a supply of food, must be very 
 subject. 
 
 " At the Muruya River the devil is called Tulugal. He was 
 described to us, by a native, as a black man of great stature, 
 grizzled with age, who has very long legs, so that he soon over- 
 takes a man ; but very short arms, which brings the contest 
 nearer an equality. This goblin has a wife who is much like him- 
 self ; but still more feared, being of a cruel disposition, with a 
 cannibal appetite, especially for young children. It would hardly 
 be worth while to dwell upon these superstitions, but they seem to 
 characterise so distinctly the people, at once timid, ferocious, and 
 stupid, who have invented them. 
 
 " Their opinions with regard to the soul vary : some assert that 
 the whole man dies at once, and nothing is left of him ; others 
 are of opinion that his spirit still survives, but upon this earth, 
 either as a wandering ghost, or in a state of metempsychosis, 
 animating a bird or other inferior creature. But the most singu- 
 lar belief is one which is found at both Port Stephens and Swan 
 River, places separated by the whole breadth of the Australian 
 continent. This is, that white people are merely blacks who have 
 
 i> 
 
THE NATURAL HISTORY COURT. 
 
 died, passed to a distant country, and having there undergone 
 a transformation, have returned to their original homes. When 
 the natives see a white man who strongly resembles one of their 
 deceased friends, they give him the name of the dead person, and 
 consider him to be actually the same being." 
 
 It is difficult to take an exact measure of the extent to which one 
 superstition is grosser than another ; — hence, all that can be said 
 respecting the Pantheon, of which Baiamai and Wandong are 
 portions, is that it is as low in the scale of mythologies as any 
 that has fallen under the notice of the writer. 
 
 Incomplete Numeration of the Australians. — The import of an 
 Australian having no more than the three, four, or five first 
 numerals, and being thereby as unable to count the number of the 
 fingers of his hands, as that of the hair of his head, is less equi- 
 vocal. It speaks, at once, to a minimum amount of intellectual 
 power. Nevertheless, the same inability occurs elsewhere ; espe- 
 cially in certain languages of South America. The only vocabulary 
 of Australia where the numerals run beyond five, is that of King 
 George's Sound, as given in Mitchell's Australia. 
 
 The political constitution (if so it may be called) of the Austra- 
 lians is preeminently simple, exhibiting a society of families rather 
 than of tribes ; and of the facts connected with the evidence in 
 favour of the unity of the Australian division of mankind is the 
 remarkable distribution of families bearing the same name. The 
 principal of these are the Ballaroke, the Tdondarup, the Ngotok, 
 the Nagarnook, the Nogonyuk, the Mongalung, and the Nar- 
 rangar. Now, persons bearing one or other of these names, may 
 be found in parts of the country five hundred miles apart. Nor 
 does this appear to be the effect of migration, since each tribe is 
 limited by the jealousy of its neighbours to its own hunting-ground, 
 beyond which it seldom passes. 
 
 Polygamy in Australia is what we find, and expect to find. 
 The practice of circumcision is what we find, perhaps, without 
 expecting it. The habit of the children taking the name of the 
 mother, will occur again in the south of India. The rule that a 
 man cannot marry a woman of his own family-name will also re- 
 appear, and that amongst the Indians of North America. 
 
 The Kobong. — u Each family among the Australians adopts 
 some animal or plant, as a kind of badge or armorial emblem, or, 
 as they call it, its Icobong. A certain mysterious connection exists 
 between a family and its kobong, so that a member of the family 
 will not kill an animal, or pluck any plant of the species to which 
 
ETHNOLOGY. 
 
 his kobong belongs, except under particular circumstances. This 
 institution again, which in some respects resembles the Polynesian 
 tabu, though founded on a different principle, has its counterpart 
 in the customs of the native Americans. Captain Gray observes, 
 citing Mr. Gallatin, that among the Hurons, the first tribe is that 
 of the bear ; the two others, those of the wolf and turtle. The 
 Iroquois have the same divisions, and the turtle family is divided 
 into the great and little turtle. The Sioux are named on a similar 
 principle. According to Major Long, one part of the superstitions 
 of these savages consists in each man having some totem, or 
 favourite spirit, which he believes to watch over him. The 
 totem assumes the shape of some beast, and therefore they never 
 kill or eat the animal whose form they suppose their totem to 
 bear." 
 
 The ceremony of initiation.* — 66 When the boys arrive at the age 
 of puberty (or about fourteen), the elders of a tribe prepare to 
 initiate them into the duties and privileges of manhood. Suddenly, 
 at night, a dismal cry is heard in the woods, which the boys are 
 told is the Bubu calling for them. Thereupon all the men of the 
 tribe (or rather of the neighbourhood) set off for some secluded 
 spot previously fixed upon, taking with them the youths who are 
 to undergo the ceremony. The exact nature of this is not known, 
 except that it consists of superstitious rites, of dances representing 
 the various pursuits in which men are engaged, of sham fights, and 
 trials designed to prove the self-possession, courage, and endurance 
 of the neophytes. It is certain, however, that there is some 
 variation in the details of the ceremony, in different places ; for 
 among the coast tribes, one of these is the knocking out of an upper 
 front tooth, which is not done at Wellington, and farther in the 
 interior. But the nature and object of the institution appear to 
 be everywhere the same. Its design unquestionably is, to imprint 
 upon the mind of the young man the rules by which his future life 
 is to be regulated ; and some of these are so striking, and, under 
 the circumstances, so admirable, that one is inclined to ascribe 
 them to some higher state of mental cultivation than now prevails 
 among the natives. Thus, the young men, from the time they are 
 initiated, till they are married, are forbidden to approach or speak 
 to a female. They must encamp at a distance from them at night, and 
 if they see one in the way, must make a long detour to avoid her. 
 Mr. Watson told me that he had often been put to great incon- 
 venience in travelling through the woods, with a young man for 
 his guide, as such a one could never be induced to approach 
 
 d 2 
 
80 
 
 THE NATURAL HISTORY COURT. 
 
 an encampment where there were any women. The moral intent 
 of tins regulation is evident. 
 
 " Another rule requires the young men to pay implicit obedience 
 to their elders. As there is no distinction of rank among them, it is 
 evident that some authority of this kind is required, to preserve 
 the order and harmony of social intercourse. 
 
 ' ' A third regulation restricts the youth to certain articles of 
 diet. They are not allowed to eat fish, or eggs, or the emu, or 
 any of the finer kinds of opossum and kangaroo. In short, their 
 fare is required to be of the coarsest and most meagre description. 
 As they grow older, the restrictions are removed, one after 
 another ; but it is not till they have passed the period of middle 
 age that they are entirely unrestrained in the choice of food. 
 Whether one purpose of this law be to accustom the young men to 
 a hardy and simple style of living may be doubted ; but its prime 
 objects and its result certainly are to prevent the young men from 
 possessing themselves, by their superior strength and agility, of all 
 the more desirable articles of food, and leaving only the refuse to 
 the elders. 
 
 " The ceremony of marriage, which, amongst most nations, 
 is considered so important and interesting, is with this people one 
 of the least regarded. The woman is looked upon as an article of 
 property, and is sold or given away by her relatives without the 
 slightest consideration of her own pleasure. In some cases she is 
 betrothed, or rather promised, to her future husband in the child- 
 hood of both ; and in this case, as soon as they arrive at a proper 
 age, the young man claims and receives her. Some of them 
 have four or five wives, and in such a case, they will give one to a 
 friend who may happen to be destitute. Notwithstanding this 
 apparent laxity, they are very jealous, and resent any freedom 
 taken with their wives. Most of their quarrels relate to 
 women. In some cases, the husband who suspects another native 
 of seducing his wife either kills or severely injures one or both 
 of them. Sometimes the affair is taken up by the tribe, who 
 inflict punishment after their own fashion The manner of this 
 is another of the singularities of their social system. 
 
 " When a native, for any transgression, incurs the displeasure 
 of his tribe, their custom obliges him to 6 stand punishment, 1 as 
 it is called : that is, he stands with a shield, at a fair distance, 
 while the whole tribe, either simultaneously or in rapid succession, 
 cast their spears at him. Their expertness generally enables those 
 who are exposed to this trial to escape without serious injury, 
 
ETHNOLOGY. 
 
 S7 
 
 though, instances occasionally happen of a fatal result. There is a 
 certain propriety even in this extraordinary punishment, as it is 
 very evident that the accuracy and force with which the weapons 
 are thrown will depend very much upon the opinion entertained of 
 the enormity of the offence. 
 
 " When the quarrel is between two persons only, and the tribe 
 declines to interfere, it is sometimes settled by a singular kind of 
 duello. The parties meet in presence of their kindred and friends, 
 who form a circle round them as witnesses and umpires. They 
 stand up opposite one another, armed each with a club about two 
 feet long. The injured person has the right of striking the first 
 blow, to receive which the other is obliged to extend his head 
 forward, with the side turned partially upwards. The blow is 
 inflicted with a force commensurate with the vindictive feeling of 
 the avenger. A white man, with an ordinary cranium, would be 
 killed outright, but, owing to the great thickness of their skulls, 
 this seldom happens with the natives. The challenged party now 
 takes his turn to strike, and the other is obliged to place himself 
 in the same posture of convenience. In this way the combat is 
 continued ; with alternate buffets, until one of them is stunned, or 
 the expiation is considered satisfactory. 
 
 " What are called wars among them may more properly be 
 considered duels (if this word may be so applied) between two 
 parties of men. One or more natives of a certain part of the 
 country, considering themselves aggrieved by the acts of others in 
 another part, assemble their neighbours to consult with them con- 
 cerning the proper course to be pursued. The general opinion 
 having been declared for war, a messenger or ambassador is sent 
 to announce their intention to the opposite party. These imme- 
 diately assemble their friends and neighbours, and all prepare for 
 the approaching contest. In some cases, the day is fixed by the 
 messenger, in others not ; but, at all events, the time is well 
 understood. 
 
 " The two armies (usually from fifty to two hundred each) 
 meet, and after a great deal of mutual vituperation, the combat 
 commences. From their singular dexterity in avoiding or parry- 
 ing the missiles of their adversaries, the engagement usually con- 
 tinues a long time without any fatal result. When a man is killed 
 (and sometimes before), a cessation takes place ; another scene of 
 recrimination, abuse, and explanation ensues, and the affair com- 
 monly terminates. All hostility is at an end, and the two parties 
 mix amicably together, bury the dead, and join in a general dance. 
 
38 
 
 THE NATURAL HISTORY COURT. 
 
 " One cause of hostility among them, both public and 
 private, is the absurd idea which they entertain, that no person 
 dies a natural death. If a man perishes of disease, at a distance 
 from his friends, his death is supposed to have been caused by 
 some sorcerer of another tribe, whose life must be taken for satis- 
 faction. If, on the other hand, he dies among his kindred, the 
 nearest relative is held responsible. A native of the tribe at 
 Hunter's Eiver, who served me as a guide, had not long before 
 beaten his own mother nearly to death, in revenge for the loss of 
 his brother, who died while under her care. This was not because 
 he had any suspicions of her conduct, but merely in obedience to 
 the requirements of a senseless custom." 
 
 Another fact connected with the decease of an Australian 
 deserves notice. When one of them dies, those words which 
 are identical with his name, or, in the case of compounds, 
 with any part of it, cease to be used ; and some synonym 
 is adopted instead ; just as if, in England, whenever a Mr. 
 Smith departed this life, the parish to which he belonged 
 should cease to talk of blacksmiths, and say forgemen, forgers, or 
 something equally respectful to the deceased, instead. This 
 custom reappears in Polynesia, and in South America ; Dobrizr 
 hoffer's account of the Apibonian custom being as follows : — " The 
 Abiponian language is involved in new difficulties by a ridiculous 
 custom which the savages have of continually abolishing words 
 common to the whole nation, and substituting new ones in their 
 stead. Funeral rites are the origin of this custom. The Abipones 
 do not like that anything should remain to remind them of the 
 dead. Hence appellative words bearing any affinity with the 
 names of the deceased are presently abolished. During the first 
 years that I spent among the Abipones, it was usual to say Heg- 
 malham kahamdtek, when will there be a slaughtering of oxen ? 
 On account of the death of some Abipon, the word Kahamatek was 
 interdicted, and, in its stead, they were all commanded by the 
 voice of a crier to say, Hemalkcmn negerkatd f The word Nihirenak, a 
 tiger, was exchanged for Apanigehak ; Pen,, a crocodile, for Kaeprhak, 
 and Kcvdma, Spaniards, for Bikil, because these words bore some 
 resemblance to the names of Abipones lately deceased. Hence it 
 is that our vocabularies are so full of blots occasioned by our 
 having such frequent occasions to obliterate interdicted words, and 
 insert new ones." 
 
ETHNOLOGY. 
 
 39 
 
 GROUP VI. 
 
 DANAKIL AND NEGRO OF THE EASTERN COAST OF AFRICA (THE 
 DANAKXL LIGHT-COLOURED) j FROM THE PARTS BETWEEN THE 
 ENTRANCE TO THE RED SEA AND THE HIGHLANDS OF SOUTHERN 
 ABYSSINIA. 
 
 Attention is directed to the Danakil figures, They are African ; 
 but they are not negro. They are Africans from one of the 
 very hottest parts. They are other than negro, nevertheless. 
 Their hair is longer than the negro's ; their lips thinner • their 
 colour lighter ; their nose more aquiline. Travellers who have 
 been struck by their appearance have called them Caucasians, by 
 which they mean that they approach the European type. Others 
 have compared them with the Arabs — others with the Jews ; and 
 this has led them further. The coasts of Arabia are not far off ; so 
 why should there not be Arab blood amongst them 1 This has 
 more than once been assumed. The assumption, however, is 
 unnecessary — nay, it is incorrect. The negro of the next group — 
 the negro from the Delta of the Niger, the negro in his most 
 extreme form — is not more truly indigenous and aboriginal to the 
 soil of Africa than are these Danakil ; who are not only Africans, 
 in the strictest sense of the term, but also members of a large 
 family, falling into divisions and subdivisions. So far are they 
 from being exceptional, or in any respect peculiar. 
 
 The other members of this family are (a) the Somauli, on the 
 coast of the Pacific Ocean, about Cape Guardafui and (b) the 
 Gallas, or Ilmorma, a pastoral people spread over a vast area 
 to the south of Abyssinia, and who so encroach upon that country 
 that they are in a fair way of reducing it altogether. 
 
 The Gallas, like the Danakil, and the Danakil, like the Somauli 
 and Gallas, are a pastoral people — pastoral, locomotive, wild, and 
 intractable — with manners that remind us of the Arab of Asia, 
 the Itaffre of Southern Africa, or of the Berber of the Desert of 
 Sahara ; and it is these whom they resemble, more or less closely, 
 in their forms — more or less closely in their social constitution. 
 Like all such populations, they fall into numerous tribes, each under 
 the influence of their chief with the spirit of blood, or pedigree, 
 running strong amongst them. Every man belongs to his tribe, 
 or class, and is proud of being attached to it. Of the Danakil 
 alone, more than fifty of these tribual divisions are known by 
 name. 
 
40 
 
 THE NATURAL HISTORY COURT. 
 
 In respect to creed the Danakil are what the neighbourhood of 
 Arabia leads us to expect, Mahometans, more or less incompletely 
 converted ; and this is the general rule for the eastern coast of 
 Africa — the coast, but not the interior. In the interior we get 
 amongst pagans. On the other hand, Abyssinia and some of 
 the parts about it are Christian. Dr. Beke considered that he 
 found traces of a corrupt and displaced Christianity among the 
 Gallas. 
 
 The fact of the neighbourhood of Arabia having determined a 
 large portion of the eastern coast of Africa to Mahometanism 
 explains the meaning of the words Kaffre, and Caffraria, or Kaffer- 
 land. Kaffre, in the mouth of an Arab, means Infidel. It means 
 Infidel not only in the mouth of an Arab, but in that of any 
 Mahometan. In different languages it takes different forms, and 
 is applied to different populations. In Persia it expressed the old 
 Fire-ivorshijjpers, since Guebre is but another form of it. In Cabul 
 it denotes the occupants of a district to the north of Peshawur, 
 wherein the natives still reject Mahometanism, and, so doing, are 
 Kafirs, their country being Kaferistan. In Turkey it generally 
 means a Christian — since Giaour is neither more nor less than 
 Kafir in the mouth of a Turk. 
 
 But to return to Eastern Africa. Where the Arab influence 
 ceases, the land of the Kaffres begins. 
 
 Of these Kaffres more may be seen in group vn. 
 
 The black figure (modelled from life) is evidently more negro 
 than aught else. The hair is crisp, to say the least of it, and 
 the skin black ; the open and patulous character of the nostrils, 
 and their lateral position, claim attention. They are by no means 
 exaggerated. 
 
 The youth from whom the figure was taken belonged to the 
 Msegurra tribe ; of which I can only state that it is an occu- 
 pant of some part of the back of the coast of Zanzibar, or 
 Mozambique. 
 
 The present group prepares us for a Kaffre ; let it also prepare us 
 for a negro one. That all Africans are not negroes may be seen 
 from the figures before us. The negro form is by no means 
 universal — not even in the hottest parts of Africa — not even 
 between the tropics : it is only in the lower levels that the true 
 negro is to be found. Look for him amongst the high pastures of 
 the mountains, look for him even on the hot but arid plateaus 
 of the desert, and you search in vain. Tribes with dark skins 
 you may find, tribes with hair more or less wavy, or frizzly,. 
 
ETHNOLOGY. 
 
 41 
 
 tribes with features heavy, massive, and coarse — but the true 
 and typical negro, with his short woolly hair, and his thick pro- 
 jecting lips you will not find. Wherever he is the occupant, the 
 soil is alluvial, and the heat of the atmosphere is combined with 
 moisture. Wherever the land gets high and dry, the inhabi- 
 tant is brown rather than black, and long-haired rather than 
 frizzly headed. His features, too, become more prominent. 
 
 GROUP VII. 
 
 NEGROES, 2. LIGHT-COLOURED. FROM THE LOWER NIGER. 
 
 In the Delta of the Niger we find the best opportunity for 
 contrasting the negro with the European, the black man with 
 the white ; inasmuch as it is in the Delta of the Niger where the 
 points wherein the African differs from the rest of the world are 
 found in the most marked form. The climate is tropical (well 
 nigh equatorial), the soil swampy and alluvial, the atmosphere 
 surcharged with damp warm vapours. Under these conditions the 
 negro is found in his most extreme form. Let us ask what it is. In 
 the true and typical negro (the negro from whom the current no- 
 tions of the black man are derived), over and above the colour of the 
 skin, there is a woolly, cottony, or frizzy head of hair, there is a 
 yellow tinge over the white of the eye (the sclerotica), and there are 
 thick lips, with a projecting mouth — a muzzle rather than a mouth, 
 in its more exaggerated form. This is because the teeth are set 
 obliquely, i. e. they slant somewhat forward. Then there is the 
 forehead, which is described as being narrow, and retiring, and 
 receding, or sloping backwards. There is some exaggeration in 
 this, though upon the whole the negro character is well marked ; 
 the hair, the skin, and the lips, being the chief points. To the 
 notice of these it should be added that the nose is generally flat 
 and depressed, with the nostrils thrown out, so to say, sideways. 
 Harely, very rarely indeed, is the bridge sufficiently curved to give 
 what is called the Roman or aquiline nose ; whilst it is almost as 
 rare to find a Grecian one, i. e. one where the nasal bones are 
 raised but straight. Then there is the proportion which the different 
 parts of the face bear to each other. A # German writer of eminence 
 as a naturalist, has lately been taking measurements from amongst 
 the negroes of Brazil, and states that instead of the parts between 
 
 * Burmeister — The Blade Man, a pamphlet. 
 
12 
 
 THE NATURAL HISTORY COURT. 
 
 the chin and nose (the nasal portion of the face), and the forehead 
 forming a third, each, of the whole physiognomy, the forehead 
 forms less than a third, the nasal part more than the forehead, 
 and the chin, &c. more than the nasal ; in other words, the lower 
 we go the greater the mass of the several parts of the face, and 
 the nearer we approach the brain, the smaller. I can neither 
 verify nor deny this statement. 
 
 Other points, more or less characteristic, real or supposed, are to 
 be found in the "relations of the limbs to the trunk — the former 
 being longer in proportion to the latter than is usual with 
 Europeans. 
 
 It is more important, however, to investigate the amount of 
 difference indicated by the difference of colour, and to do this we 
 must look to the structure of the skin. The structure of the 
 negro's skin differs from that of the white man in degree only, 
 the one containing much, the other but little colouring matter ; 
 this colouring matter being deposited in a particular layer, called 
 the mucous layer, the stratum Malpighii, or the rete mucosum. 
 The character of this mucous layer, or rete mucosum, is well given in 
 the forthcoming plates, which, along with the description, is taken 
 from ^Kolliker's Manual. It differs in some degree from the one 
 which occurs in the ordinary works on Ethnology, 
 
 The external integument of all men alike consists of the cutis 
 or true skin, and the epidermis, or scarf-skin, the latter consisting 
 of cells only, the former of cells, vessels and nerves. 
 
 As far as the cutis is concerned, the blackest and whitest of 
 mankind are alike ; so that it is in the scarf-skin or epidermis 
 that the difference lies. This consists of two layers, an external 
 and an internal. 
 
 The internal layer is the rete mucosum. It lies immediately upon 
 the true skin, and consists solely and wholly of cells, being equally 
 destitute of vessels and nerves. Here begin the first discrepan- 
 cies in the opinion of writers. Some deny that it belongs to the 
 epidermis, looking upon it as a separate substantive tissue, neither 
 skin nor scarf-skin, but intermediate to the two. Others find it 
 only in the coloured families of mankind. It occurs, however, 
 universally ; being of a yellowish-white colour in Europeans, 
 and dark brown or black in negroes, Indians, and the so-called 
 dark races. Hence, the real difference is not in the existence of an 
 additional tissue, but in a greater amount of colouring matter. 
 
 * Translated by Messrs. Busk and Huxley for the Sydenham Society. 
 
ETHNOLOGY. 
 
 4°, 
 
 Similar in respect to the two layers of their cutis, similar in respect 
 to the two layers of their epidermis, the black man and the white 
 differ in the extent to which the second layer of the scarf- 
 skin is charged with a black deposit. 
 
 The accompanying figure represents a section through the 
 skin and scarf-skin of the ball of the thumb ; wherein a is the 
 outer layer of the epidermis ; b, the inner, or rete rnueosum ; 
 c, and d, the cutis ; e, glands, ducts, &c. 
 
 The next gives us the epidermis only — a, 
 being the outer ; b, the inner layer (rete rnueo- 
 sum) ; c, the cutis, to the outline of which 
 the rete rnueosum adapts itself. 
 
 It is in the deepest parts of the inner layer, 
 in the parts more immediately in contact with 
 the true skin, that the most colouring matter 
 is accumulated. Hence, the horny, or outer 
 part of the epidermis is white or yellowish, 
 all the world over. A blister, in popular language, raises the shin ; 
 in reality, it only raises the outer layer of the 
 epidermis. Now blisters rise equally ivhite with the 
 African and with the European. 
 
 It is not until after birth that the colouring 
 matter of the second layer of the scarf-skin becomes 
 deposited, A negro child is born of somewhat 
 deeper red colour than an European, but he is not 
 born black. The edges of the nails and the nipple 
 of the breast darken first ; the body having darkened by the third 
 day, there or thereabouts. 
 
 As the hue of the skin attains its deepest tinge with the groupe 
 before us, the structure that exhibits it has been enlarged upon. 
 
 What is the moral and social state of these negroes of the 
 Delta of the Niger ? what their habits, customs, and creeds ? 
 
 We cannot follow the account of any observer for these parts, 
 without discovering that, overpowering as is the heat, and swampy 
 as is the ground, unfavourable, in one word, as are the conditions 
 of soil and climate, the whole of the low country represented by 
 the groupe before us teems with human life ; neither is there the 
 absence of human industry. We first hear of villages of from 
 twenty to thirty, from thirty to forty, from fifty to seventy huts ; 
 to each of which we may give, upon an average, some six occupants. 
 Then there are large towns like Iboh and Iddah, wherein the inha- 
 bitants are counted by the thousand ; where there are regular 
 
44 
 
 THE NATURAL HISTORY COURT. 
 
 market-days, and where there is a king with his court, such as it 
 is. It is with these kings that the treaties have to be made 
 against the slave-trade, these kings who, as in the late case at 
 Lagos, have disputes as to the "succession"; these kings who give 
 licenses to trade, and who make the access to the interior part of 
 the country practicable or the contrary. There are kings and 
 viceroys — viceroys with kings over them, so that there is a sort of 
 feudal chain of vassalage and sovereignty. King Emmery, for 
 instance, was, at the time of the Niger Expedition, the chief of 
 a village on the river Nun, himself being a subject to King Boy 
 of Brass Town. Then there is the kingdom of Iddah, with its 
 subordinate kingships, whilst Kakanda and Egga are the depen- 
 dencies of a really consolidated monarchy at Sakkatu. 
 
 At best, however, the African monarch, except in the Maho- 
 metan kingdoms, is but a sorry potentate ; a drunken, sensual, 
 slave-dealing polygamist. When Drs. McWilliam and Stanger 
 visited this same King Emmery, his dress was a uniform coatee 
 that had belonged to a drummer # in some English regiment, a 
 plain black hat, and a blue cotton handkerchief for the lower man 
 — a blue cotton handkerchief for drawers, trowsers and stockings, 
 collectively ; the dress of the ordinary natives being limited to a 
 simple shirt, with a cloth round the middle. In this we get 
 one of the measures of the amount of English influence and 
 trade. 
 
 The huts are of clay, arranged in squares rather than in rows, 
 and when the soil is low and liable to be flooded, they are raised 
 some feet from the ground on a foundation of wooden pillars, in 
 which case a ladder leads to the principal opening. The King's 
 palace is an assemblage of such huts ; a miniature town ; one 
 side of the square which they form being the " women's quarters." 
 Here reside the numerous wives, half-wives, and ex-wives of the 
 sovereign, the number of which is always considerable, since the 
 rank of the man regulates it. The following table gives us, in 
 the first column, the names of the different members of the Court 
 
 * A drummer's -uniform is a favourite dress elsewhere. In the Ethnological 
 Museum at Copenhagen, Professor Thompson can show no marriage-garment 
 for a male Esquimaux, although of female wedding-gear, and that a truly native 
 and characteristic kind, he has abundance. But there are no male equivalents. 
 The reason of this lies in the fact of a Danish Drummer's dress having been left 
 as a sort of general property to the community, to be lent or hired, as the case 
 may be whenever a marriage ceremony takes place, to the utter obliteration of 
 the old costume, and with a great disregard to fit. 
 
ETHNOLOGY. 
 
 45 
 
 of King Obi of Iboh in 1840 ; in the others, their age, and the 
 numbers of their wives and families — ■ 
 
 
 
 
 Wives. 
 
 Children. 
 
 
 
 Age. 
 
 Living. 
 
 Dead. 
 
 Living. 
 
 Dead. 
 
 1. 
 
 2. 
 
 A jeli, king's brother . . . 
 
 Amorara, judge and king's \ 
 mouth .... J 
 
 40 
 
 in 
 
 80 
 
 4 
 
 40 
 2 
 
 uncer- 
 tain. 
 
 2 
 
 uncer- 
 tain. 
 
 6 
 
 3. 
 
 Ozama, headman .... 
 
 35 
 
 4 
 
 2 
 
 2 
 
 6 
 
 4. 
 
 Omenibo, headman . . . 
 
 32 
 
 3 
 
 2 
 
 3 
 
 6 
 
 5. 
 
 Amebak, headman . 
 
 28 
 
 4 
 
 1 
 
 3 
 
 6 
 
 6. 
 
 
 34 
 
 2 
 
 1 
 
 6 
 
 3 
 
 7. 
 
 Ambili, headman 
 
 35 
 
 3 
 
 2 
 
 3 
 
 11 
 
 8. 
 
 Ogrou, headman .... 
 
 30 
 
 3 
 
 1 
 
 2 
 
 2 
 
 9. 
 
 
 44 
 
 110 
 
 uncertain . 
 
 Let us see something more of this female quarter, which, in 
 the negro parts of Africa, presents a social scene, in the way of 
 barbarism, which the harems of Asia — bad as they are — far fall 
 short of. Obi's establishment was seen to advantage ; for his wives 
 were amused at the faces and dresses of the Europeans who visited 
 their lord and master, and they flocked in swarms to laugh at 
 them. Their mirth then " brought * out about twenty damsels 
 of more mature age, who were superannuated wives, permitted 
 to live within the precincts of the palace." What will be the 
 ultimate fate of these old and young, active and superannuate ? 
 Even this — that when the king dies, they will be sacrificed to his 
 manes. 
 
 This practice is common throughout the districts under notice. 
 At Old Calabar, the south-eastern angle of the Delta, the death 
 of a well-known chief or caboceer,f named Ephraim, caused the 
 death of some hundreds of men, women, and children who were 
 immolated at his burial — decapitation, burning alive, and the 
 administration of the poison-nut, being the methods resorted to 
 for terminating their existence. 
 
 Again, when King Eyeo, father of the present Chief of Creek 
 
 * Dr. McWilliam — Medical History of the Niger Expedition. 
 + From the Portuguese Cabocero — Captain. 
 
THE NATURAL HISTORY COURT. 
 
 Town, died, an eyewitness, who had only arrived just after the 
 completion of the funeral rites, informed me that a large pit had 
 been dug, in which several of the deceased's wives were bound 
 and thrown in, until a certain number had been procured ; the 
 earth was then thrown over them, and so great was the agony of 
 these victims, that the ground for several minutes was agitated 
 with their convulsive throes. So fearful, in former times, was the 
 observance of this barbarous custom, that many towns narrowly 
 escaped depopulation.* 
 
 The savage character of the negro warfare is on a level with 
 such practices as these — the slave trade being the chief incentive 
 to them. When these take place, and when the burial-place of a 
 king is known to the enemy, they rifle his grave for his remains ; 
 and having obtained his scull, keep it as a trophy. For this 
 reason the tombs of royalty are kept concealed. 
 
 But there is another peculiarity. In more than one part of the 
 western coast, the woman serves as a soldier, or even as a captain. 
 In Akkim, on the Gold Coast, the notice of a female colonel, 
 when first made, excited as much incredulity as surprise. The fact, 
 nevertheless, has been confirmed by respectable testimony, by Mr. 
 Duncan, and Captain Forbes, more especially ; inasmuch as in the 
 kingdom of Dahomey, there is a whole regiment consisting exclu- 
 sively of females — a large proportion being the ex-wives of the 
 king. The following song, given on the authority of the last- 
 named author, shows the temper and spirit of the unsexed 
 Amazons : — 
 
 1. 
 
 4 * When Yoribah f said she could conquer Dahomey ; 
 When we meet we'll change their night into day ; 
 
 Let the rain fall : 
 The season past, the river dries. 
 
 Yoribah and Dahomey ! 
 Can two rams drink from one calabash ? 
 The Yoribahs must have been drunk to say 
 Dahomey feared them, 
 They could conquer Dahomey. 
 
 2. 
 
 " There's a difference between Gezo and a poor man ; 
 There's a difference between Gfezo and a rich man. 
 If a rich man owned all, 
 Gezo would still be king. 
 
 * Dr. Daniell on the Natives of Old Calabar, " Transactions of the Ethno- 
 logical Society." 
 
 f A neighbouring kingdom on the East. 
 
ETHNOLOGY. 
 
 47 
 
 All guns are not alike ; 
 
 Some are long, some short, some thick, some thin. 
 The Yoribahs mnst "be a drunken nation, 
 And thus we will dance before them. 
 
 2. 
 
 u Gfezo is king of kings ! 
 While Gfezo lives we have nothing to fear. 
 Under him we are lions, not men. 
 Power emanates from the king. 
 
 4. 
 
 M Let all eyes behold the king J 
 There are not two but one- — 
 
 One only, Gfezo ! 
 All nations have their customs, 
 But none so brilliant or enlightened, 
 
 As those of Dahomey. 
 People from far countries are here : 
 Behold all nations, white and black, 
 Send their ambassadors. 
 
 AMAZONS' CHOEUS. 
 
 " With these guns in our hands, 
 And powder in our cartouch-boxes, 
 
 What has the king to fear ? 
 When we go to war, let the king dance, 
 While we bring him prisoners and heads. 
 
 GENERAL CHOEUS. 
 
 4 1 Let the king grant war speedily ! 
 Do not let our energies be damped. 
 Fire cannot pass through water. 
 The king feeds us ; 
 When we go to war. 
 Eemember this ! 
 u We are clothed and fed by Gezo ; 
 In consequence, our hearts are glad. 
 
 War and slavery engender each other ; war leading to slavery, 
 and slavery stimulating to war. And slavery takes three forms, 
 all bad — bad, but one worse than the other two. This is the 
 slavery of the traders. An expedition is undertaken against some 
 neighbouring tribe, weak enough, or unprepared enough, to divest 
 the attack of half its danger. Captives are taken, driven to the 
 coast in groups, shut up in barracoons, and then sold for trans* 
 portation to the new world. It is this form of slavery that 
 engenders the miseries and atrocities of the middle passage. 
 
48 
 
 THE NATURAL HISTORY COURT. 
 
 The second form is that of simple domestic servitude, wherein 
 the slave, although under constant compulsion, forms a part of 
 his master's family, and is ensured against removal from his 
 native soil. 
 
 The third is like that of the Nexi of ancient Rome, and occurs 
 when a negro, in order to raise a particular sum of money, sells 
 himself as a labourer for a certain period — pawns his body, so to 
 say, or borrows money on himself. 
 
 The administration of justice is on the same low level as the 
 other institutions ; the punishments being cruel, and the rules of 
 evidence barbarous. # Two methods, as may be expected, pre- 
 dominate, the ordeal and the torture. The commonest form of 
 the latter is " what is called tying Guinea-fashion. In this 
 the arms are closely drawn together behind the back, by means of 
 a cord tied tightly round them, about midway between the elbows 
 and shoulders. A piece of wood to act as a rack having been 
 previously introduced, is then used so as to tighten the cord, and 
 so intense is the agony, that one application is generally suf- 
 ficient to occasion the wretch so tortured to confess to anything 
 that is required of him." 
 
 Another form consists in " tying the head and hands, in such a 
 way that by turning the body backwards, they may be drawn 
 together by the cords employed. Another is securing the wrist or 
 ankle to a block of wood by an iron staple. By means of a 
 hammer any degree of pressure may thus be applied." 
 
 The chief form of ordeal is, what is called on the Gold Coast, 
 the dhoom test, but which appears and reappears all along the 
 intertropical parts of Western Africa. The dhoom is a kind of 
 wood with poisonous and emetic properties. The innocent man 
 drinks and ejects it : the guilty one drinks and dies. In Old 
 Calabar the seeds of an aquatic legume replace the dhoom wood. 
 Unless emetic, they are poisonous. 
 
 Partaking of the nature of the ordeal, as a means of investigation 
 in criminal matters, is the application to priest, sorcerer, medicine- 
 man, or Fetish-msm ; but as the principles of belief that this practice 
 involves one illustrated in the Zulu group, we only make a passing 
 allusion to it. The notice, too, of the festivals as connected with 
 religion, will similarly stand over. 
 
 What applies to one of the negro populations of the western 
 coast, applies, more or less, to all. There are, of course, differences, 
 nevertheless the general character of the social and political 
 
 * From the United Service Journal, November, 1850. 
 
ETHNOLOGY. 
 
 49 
 
 institutions, of their liabits and superstitions, is alike ; so that the 
 description of one tribe is the description of several others besides ; 
 the chief distinctions consist in the creeds. I do not mean by this 
 that the particular form of the native and indigenous superstition 
 is of much importance. They are all low and debasing, and even 
 when an African form of faith aspires to the character of a 
 mythology, it is a mythology of an unpoetical, unimaginative, and 
 poverty-stricken character, never indicating much play of feeling, 
 never any vigour or activity of imagination, never inspiring either 
 art or poetry. Of such things we must not think here. 
 
 The difference I allude to, and which is one of practical and of 
 ever increasing importance, is that between the Pagan and the Maho- 
 metan population, between those which hold to their original 
 Fetishism, to their snake-worship and the like, and those who, 
 having adopted the creed of Islam, are (whatever else they may be) 
 at least, Monotheists. 
 
 The Mahometans of the African states must always be separated 
 from the Pagans. 
 
 The negro districts of the western coast begin with the 
 country of the Wolofs or Jolofs, as far north as the southern 
 border of the Desert, and the lower course of the river Senegal. 
 There are no better-shaped negroes than these same Wolofs, for 
 they are tall, well-made, active, and intelligent men ; Pagans, 
 however, according to their original creed, rather than Mahometans. 
 
 The Sereres of Cape Verde, and the Scrawoolli in the interior, 
 are in the same predicament. 
 
 The Mandingoes, like the Wolofs, are negroes but not Pagans. 
 They are amongst the first and foremost of the Mahometan 
 negroes : but this applies only to the Mandingoes in the limited 
 sense of the term — the Mandingoes of the Gambia. In the wider 
 sense of the word, the great Mandingo class comprises more than 
 twenty different populations, some of which are as Pagan as the 
 most grovelling snake-worshippers of Dahomey. 
 
 Then come the tribes of the islands between the Gambia and 
 Sierra Leone ; as also of the lower part of the rivers Grande, 
 Nunez, Casamanca, (fee. Under the names of Felups, Papds, 
 Nalus, Sapis, Sc. , and we have some of the rudest, but at the same 
 time, the least known of the western negroes. 
 
 Between Sierra Leone and Cape Palmas, along with several 
 populations more or less akin to the Mandingo, lie the Krumen, 
 whom a writer already quoted, calls the Scotchmen of Africa. 
 The Kruman leaves without hesitation or reluctance his own 
 
 E 
 
50 
 
 THE NATURAL HISTORY COURT. 
 
 country to push his fortune wherever he can find a wider field. 
 He is ready for any employment which may enable him to increase 
 his means, and ensure a return home in a state of improved pros- 
 perity. There the Kruman's ambition is to purchase one or two 
 head of cattle, and one or two head of wives, and to enjoy the 
 luxuries of rum and tobacco. Half the Africans that we see in 
 Liverpool and London are Krumen, who have left their own 
 country when young, and taken employment on board a ship, 
 where they exhibit a natural aptitude for the sea. "Without being 
 nice as to the destination of the vessel in which they engage, they 
 return home as soon as they can ; and rarely or never contract 
 matrimony before their return. In Cape Coast Town, as well as 
 in Sierra Leone, they form a bachelor community quiet and 
 orderly ; and in that respect stand in strong contrast to the other 
 tribes around them. Besides which, with all their blackness, and 
 all then typical negro character, they are distinguishable from most- 
 other western Africans ; having the advantage of them in make, 
 features, and industry. Hence, a Kruman is preeminently the 
 free labourer of Africa ; quick of perception and amenable to 
 instruction. His language is the Grebo tongue, and it has been 
 reduced to writing by the American missionaries of Cape 
 Palmas. 
 
 The Gold Coast gives as the chief populations the Fantis, and 
 the Ashantis, pagan l and negro ; the latter remarkable for the 
 consolidation of one of the more powerful kingdoms of Africa. 
 
 In Dahomey we reach the nadir of ISTegro rudeness ; in 
 Dahomey, where the wars are the cruelest, the slave trade the 
 most rife, and the heathenism, at one and the same time emin- 
 ently debasing in itself, and eminently unmodified by Mahome- 
 tanism. 
 
 In the neighbouring kingdom of Yoruba, this is not so much 
 the case, where the influence of the Fellatas has made itself felt. 
 
 This brings us to the Delta of the Niger, the chief population 
 of which is the Ibo. 
 
 South of the Delta come the negroes of the Gaboon, and 
 south of these those of Loarigo, Angola, and Benguela. Between 
 this last -named country and Walvisch Bay, the type changes to 
 that of the browner-coloured Caffres, and the Hottentots. The 
 language changed long before — in the parts between the Gaboon 
 and the old Calabar rivers. 
 
 I do not profess that scientific imperturbability which enables me 
 to write about such abominations as human sacrifice, and such 
 
ETHNOLOGY. 
 
 51 
 
 follies as snake-worship, without branding them and the nations 
 that adopt them as barbarous. They belong, however, to the 
 darker side of the picture. The brighter gives us something 
 better ; warmth of domestic feeling, aptitude for such commercial 
 dealings as their circumstances develop, adaptation to the habits of 
 the European, susceptibility to the ameliorating influences both of 
 Mahometanism and Christianity, are all negro characteristics. 
 
 We have noticed the character of the Kruman, we will now 
 notice a negro tribe wherein an alphabet has been evolved. A 
 man of the Vey country, to the back of Liberia, a truly negro 
 locality, named Doaia Bakara, having seen both Arabic and 
 English books, conceived the idea of producing an alphabet for his 
 own tongue. This idea, as he tells the story himself, haunted him 
 in a dream, wherein he was shown a series of signs of letters. 
 These he forgot in the morning ; but remembered the impression. 
 So he consulted his friends ; and they and he, laying their heads 
 together, coined new ones. The king of the country made its 
 introduction a matter of state, and built a large house as a day- 
 school. The effect of this has been, that a book in the Yey 
 tongue has been deciphered by an English scholar, and that several 
 Yey natives, of both sexes can read and write. The alphabet 
 itself is a syllabarium ; i. e. there is a separate sign or letter, for 
 the different syllables of which a word consists — not for the diffe- 
 rent elementary sounds. 
 
 The darker individuals of the group before us have furnished 
 a text upon which a general sketch of the negro population of 
 Western Africa has been the commentary. Let us now turn to 
 the men of the lighter complexion, and the less prominent lips. 
 They are Fellatas, Fellatahs, or Falatiya. Sometimes they are 
 called Fellatiya Arabs ; but they have nothing to do with the 
 Arab of Arabia except so far as they are Mahometans in creed, 
 and somewhat iight-complexioned in respect to their colour. 
 
 The metropolis of the Fellatas is Sakkatu, visited by Clapper- 
 ton, from whom the following remarkable history is taken : — - 
 Towards the end of the last century a vast number of wandering 
 pastoral tribes spread over that part of Central Africa, which is 
 called Sudania — underwent a change in respect to the social and 
 political organisation, which Prichard compares with that of the 
 Arabs at the time of Mahomet. Many — but not all — of them 
 embraced Mahometanism, and that with more than ordinary zeal 
 and devotion. They visited the more civilised parts of Barbary, 
 they performed pilgrimages to Mecca, they recognised in one of 
 
 e 2 
 
52 
 
 THE NATURAL HISTORY COURT. 
 
 tlieir sheiks, called Danfodio, a prophet with a mission, to preach, 
 to convert, to conquer. Under Ins inspiration they attacked the 
 pagan population of the countries around — Guber to the north, 
 and Kubbi to the south, Zamfra, Kashna, and parts of the 
 Houssa country to the east. Their war-cry was Allah Akbar ; 
 their robes and flags white, emblematic of their purity. Kano 
 was conquered without a blow, so was Yaouri, so was the town of 
 Eyo or Katunga on the Niger, so was part of the Nun or Tapua 
 country — even the frontier of Bornou was violated. 
 
 Danfodio's death, which took place in 1818, was preceded by 
 fits of religious madness ; not, however, before he had consolidated 
 a great Fellatah kingdom, and become the terror to the states 
 around. It was in vain that a portion of his conquests revolted. 
 The present Sultan of Sakkatu, Mohammed Bello, is the most 
 powerful prince of Africa, whether pagan or Mahometan. 
 
 Most of these Fellatas are Mahometans, some retaining their 
 original paganism ; but whether pagan or Mahometan, they are 
 still the same people. Their features are the same, their pastoral 
 habits the same, their language the same. This is one of the 
 most isolated tongues of Africa ; with plenty of miscellaneous, 
 but no very definite or special affinities. 
 
 In Borgho, i. e. in the parts about Boussa, and Wawa, 
 visited by Lander, there are two populations, one speaking a 
 language akin to the Yoruba, one akin to the Fellatah ; so that 
 there Fellata offsets in Borgho. But here, according to Lander, 
 they have been in the country from time immemorial. Here, 
 too, they hold themselves as a separate people from the Fellatas 
 of Sakkatu, dominant and powerful as that branch is, and respect- 
 able as would be the connexion. Such, at least, is Lander's 
 statement. Their name, too, undergoes a slight modification, 
 and is Filani. They have neither idea nor tradition as to the 
 origin — not at least the Filani of Borgho. 
 
 All this looks as if Borgho were the original country of the 
 Fellata stock, the starting-point from which they spread them- 
 selves abroad. If so, tlieir movement must have been from south 
 to north. 
 
 But we have yet to hear the whole of their history. Under the 
 names of Fida, Fulahs, Foule or Peule, they appear elsewhere. 
 Where ? — As far north as the Wolof (or Jolof) country — as far north 
 as the parts between the Senegal and the desert — as far north as 
 17 N. L. Here between Galam and Kay or is a vast Fula district — 
 the district of the Fulas of the Siratik. There on the south bank 
 
ETHNOLOGY. 
 
 53 
 
 of the river lie the Fulas of Foutatorro, an elevated tract of land 
 forming the watershed to the Senegal and the Gambia. 
 
 Thirdly, far in the interior, on the high ground over which 
 Park passed from the drainage of the Senegal to that of the Niger, 
 is a Fula-^w, or country of the Fulas, between Bambuk and 
 Bambarra. 
 
 Fourthly, there are the Fulas to the south of Bammakoo, in 
 the parts called Wasselah, on the Niger itself. 
 
 Fifthly, in 11 ET; L., on the head- water of the Rio Grande, 
 is the large kingdom of the Fouta-jallo Fulahs, of which Timbu 
 is the metropolis, surrounded by dry and rocky deserts, and 
 exposed mountain pastures, prolific with sheep, oxen, goats, and 
 horses. Here, although the use of the plough is unknown, the 
 occupants cultivate the soil, and exercise more than one of the 
 mechanical arts. They forge iron and silver, weave, and tan, and 
 support schools and mosques. To the south lies the Sulimana 
 tribe, more or less akin to the Mandingoes, From these, Laiug 
 learnt, that the acquisition of the country about Tembu by the 
 Fulas of Futa-jallo was an event of no great antiquity, having 
 taken place about a.d. 1700. 
 
 There are other Fula, Fellata, and Filani localities, but an 
 enumeration of the foregoing has been sufficient. It shows the 
 vast space of ground covered by the population so-called. It 
 shows, too, the difficulty of ascertaining the original mother 
 country. Indeed, upon the whole, this is a point upon which good 
 writers are satisfied to suspend their judgment — no one having 
 committed himself very decidedly to a preference for one district 
 over another. 
 
 The main facts lie in the superiority of their organisation over 
 the ordinary negro, and their higher civilisation — this being chiefly 
 due to their Mahometanism. There is no doubt as to either. 
 Although, the particular shade of the particular colour which best 
 suits the Fula is not a matter upon which authors write with 
 unanimity ; the testimony of all observers goes to the fact that, 
 whether Filani or Fellata, Fellata or Fula, whether pagan or 
 Mahometan, whether Sudanian or Senegambian, whether moun- 
 taineer or desert-born, the Fula is something different from the 
 typical Negro. Sometimes his complexion is intermediate to that 
 of the African and the Moor ; sometimes he is described as being 
 tawny, with soft hair, and lips by no means prominent : some- 
 times the skin is of a reddish-black, the countenances being 
 regular. " The tribe of Fulas," writes Golberry, "which under 
 
54 
 
 THE NATURAL HISTORY COURT. 
 
 the name of Foules or Peuls, have peopled the borders of the 
 Senegal between Podhon and Galam, are black with a tinge of red 
 or copper colour ; they are in general handsome and well-made ; 
 the women are handsome, bnt proud and indolent." 
 
 To the Fula-jallo Fulas the very definite and suggestive term 
 "Red Peuls" has been applied; to which the name "Black 
 Peuls n stands in opposition, this meaning the Fulas of the north 
 bank of the lower Senegal. 
 
 What is our inference from these discrepancies of description — 
 what our inference from the points of agreement ! Even this * — 
 that the Fula complexion varies with the physical conditions of the 
 Fula locality. In the high and exposed tracts of Fula-jallo it is 
 the least, in the lower levels of the parts about lake Kay or, it is 
 most like that of the negro. 
 
 GROUP VIII. 
 
 SOUTHERN AFRICA. — NEIGHBOURHOOD OF THE CAPE. — 
 PORT NATAL. 
 
 A. ZULUS. (THE TALLER AND BARKER.) E. BUSHMEN. (THE 
 SHORTER AND BROWNER.) 
 
 A. The Zulu group is taken from life — from the men lately 
 exhibited at St. George's Hall. The story told is the search for 
 some lost article. When this is the case, a Fetish-man, medium- 
 man, mystery-man, or conjuror (we may choose our name), is called 
 in, and set upon the suspected parties, who sit round in a circle. 
 The conjuror then works himself, like the Pythoness of the old 
 oracles, into a state of rabid excitement, and keeps it up until he 
 fixes upon the culprit. 
 
 ST othing is less peculiar ' than this practice throughout Africa — 
 throughout, indeed, most savage countries ; nor is it without its 
 value. Writing about the same practice on the Gold Coast, an 
 author already quoted, after stating the "superstitious rites 
 employed by the Fetish-men for the detection of crime," adds, 
 66 and whether it is that these people really possess such powerful 
 influence over their wretched dupes, as to frighten into confession 
 of his guilt the perpetrator of crime, or whether it is that they 
 manage by their numerous spies to obtain a clue sufficient in most 
 cases to lead to the detection of the person, is more than I can 
 
 * For further details, see Prlchard, Researches, dsc, vol. ii. pp. 66 — 73. 
 
 and 121—125. 
 
ETHNOLOGY. 
 
 55 
 
 venture to assert ; but, be the means employed what they may, a 
 Fetish-man will assuredly very often bring a crime home to the 
 right person, even after the most patient investigation in the 
 ordinary way has failed to elicit the slightest clue. " 
 
 The Zulus come from the part about Port Natal, they are 
 closely allied, in language, at least, to the Kaffres— the Kaffres of 
 the Amakosa, Amaponda, Amatembu, and other tribes, but too 
 well known to the Cape Colonist and the English tax-payer. 
 
 They are similarly allied to the Bechuana tribes of the interior. 
 The Bechuanas, however, are browner in colour, as is expected from 
 their locality, which is high and dry. 
 
 The Fingoes are also an allied population. 
 
 The differences between the Proper Kaffres, the Bechuanas, the 
 Fingoes, and the Zulus, lie within' a small compass, so that the 
 general likeness is pretty clear. But neither the differences nor 
 the likenesses between the populations akin to the Kaffres end here. 
 
 The word (the derivation of which has been given elsewhere) has 
 two meanings. It means, in its more limited sense, the Kaffres of 
 Caffraria, chiefly of the Amakosa tribe, the men who have given 
 so much trouble to the colonists. But it also has a wider or more 
 general signification, and in this case it serves as the designation of 
 a large family of allied populations — and a very large family — one 
 of the largest in Africa. 
 
 The connecting link between its numerous branches is the 
 language, of which the structure has (amongst others) the following 
 characteristic peculiarities. Suppose that in English, instead of 
 saying 
 
 Man's dog, we said dan dog, 
 $un's beam — 6un freain, 
 .Father's daughter — father daughter, 
 Daughter's father — /aughter father ; 
 
 in such a case we should accommodate the sound of the 
 word in the possessive case to that with which the word in the 
 nominative case began. And if we did this, we should assuredly 
 do something very remarkable in the way of speech. Now the 
 Kaffre tongues all do this. It is done by the Amakosa, the 
 Zulu, the Fingo, the Bechuana. It is done by the languages 
 on the western coast as far as the Cameroons, %. e. , to the north of 
 the equator — by the languages of Benguela, Angola, Congo, 
 Loango, and the G-aboon, &c. It is done by the languages on the 
 eastern coast as well ; indeed, it was very probably done by the 
 
5-3 
 
 THE NATURAL HISTORY COURT. 
 
 language of the Moegurras. It is done, so far as we know, by 
 all the languages of the interior south of the equator — save and 
 except those of the Hottentot class. It is certainly done by 
 the languages of the Great Lake Ngami. 
 
 The Kaffre division, then, is a large one ; and it is based, 
 chiefly, on similarity of language. In physical form, the range of 
 difference is great. Some of the Kaffres are truly negro, others 
 brown in colour, and with lips of moderate thickness. The Zulus 
 before us certainly approach the negro. 
 
 On the other hand, more than one good writer has enlarged upon 
 the points of contrast ; and such there certainly are, if we take the 
 more extreme forms — the typical Kaffre and typical Negro. In 
 the latter, for instance, the skin (as aforesaid) may be brown rather 
 than black. Then the cheek-bones may project outwards ; and 
 where the cheek-bones so project beyond a certain limit, the chin 
 appears to taper downwards, and the vertex upwards. When this 
 becomes exaggerated, we hear of lozenge-shaped skulls. Be this as 
 it may, the breadth in the malar portion of the face is often a 
 remarkable feature in the Kaffre physiognomy. This he has in 
 common with the Hottentot. Sometimes, too, the eye is oblique ; 
 the opening generally narrow. 
 
 An opinion often gives a better picture than a description. 
 Kaffres, that have receded in the greatest degree from the negro 
 type, have been so likened to the more southern Arabs, as to have 
 engendered the hypothesis of an infusion of Arab blood. 
 
 The manners of the Kaffres of the Cape are those of pastoral 
 tribes under chieftains ; tribes which, from their habits and social 
 relations, are naturally active, locomotive, Avarlike, and jealous of 
 encroachment. 
 
 It would be strange indeed if the Kaffre life and Kaffre 
 physiognomy had no peculiarities. However little in the way of 
 physical influence we may attribute to the geography of a country, 
 no man ignores them altogether. Now Kaffreland has very nearly 
 a, latitude of its own ; inhabited lands similarly related to the 
 southern tropic being found in South America and Australia only. 
 And it has a soil still more exclusively South-African. We connect 
 the idea of the desert with that of sand ; whilst steppe is a term 
 which is limited to the vast tracts of central Asia. Now the Kaffre, 
 and still more the Hottentot, area, dry like the desert, and elevated 
 like the steppe, is called a ka/iro. Its soil is often a hard, cracked, 
 and parched clay rather than a waste of sand, and it constitutes an 
 argillaceous table-land. 
 
ETHNOLOGT. 
 
 57 
 
 Their polity and manners, too, are peculiar. The head-man of 
 the village settles disputes, his tribunal being in the open air. 
 From him an appeal lies to a chief of higher power ; and from him 
 to some superior, higher still. In this way there is a long chain 
 of feudal or semi-feudal dependency. 
 
 The wife is the slave to the husband ; and he buys her in order 
 that she should be so. The purchase implies a seller. This is 
 always a member of another tribe. Hence the wish of a Kaffre is 
 to see his wife the mother of many children, girls being more 
 valuable than boys. 
 
 Why a man should not sell his offspring to the members of his 
 own tribe is uncertain. It is clear, however, that the practice of 
 doing so makes marriage between even distant relations next to 
 impossible. To guard against the chances of this, a rigid and 
 suspicious system of restraint has been developed in cases of 
 consanguinity ; and relations must do all they can to avoid meeting. 
 To sit in the same roojoi, to meet on the same road, is undesirable. 
 To converse is but just allowable, and then all who choose must 
 hear what is said. So thorough, however, has been the isolation 
 in many cases, that persons of different sexes have lived as near 
 neighbours for many years without having conversed with each 
 other ; and such communication as there has been, has taken place 
 through the medium of a third person. No gift will induce a 
 Kaffre female to violate this law. 
 
 B. The Bushmen, too, are taken from life, the two children 
 being in England at the present time. 
 
 J ust as the Zulu belongs to the Kaffre, the Bushman belongs to 
 the Hottentot family — the latter family being a large one ; not so 
 large, however, as the former. The present Hottentot districts, 
 wholly surrounded by the Kaffre, lie on the western rather than 
 eastern side of South Africa, and extend from the parts about 
 Yalvisch Bay to the Cape ; the original population of the last- 
 named locality having become well-nigh extinct. 
 
 How has this extinction been effected 1 In two ways. By the 
 European settlers of the colony — Dutch and English, English 
 and Dutch ; by the Kaffres, who have ever spread southwards. 
 Before these encroachments had taken effect, there were 
 Hottentot tribes on the eastern as well as the western coast, 
 on both sides of South Africa. Now there are none, either on 
 the side of the Pacific, or in the parts about the Cape itself — 
 except (of course) so far as they are mixed up with the colonial 
 population. 
 
5S THE NATURAL HISTORY COURT. 
 
 The names (all or some) of the extinct branches of the Hottentot 
 family are as follows : — 
 
 1. Gunyeman, nearest the Cape. 
 
 2. Kokkaf^a, north of the Gunyeman. 
 
 3. Sussa^ua, Saldanha Bay. 
 
 4. Odiqua. 
 
 5. Khirigri^uos, on Elephants' BAver. 
 
 6. Koopmans. 
 
 7. Hessa^uas. 
 
 8. Sonquas, east of the Cape. 
 
 9. Duiiquas. 
 
 10. Damaquas. 
 
 11. Gu&riquas. 
 
 12. Hontenigitas. 
 
 13. Khantouers. 
 
 14. Heykoms, as far on the north-east as Natal. JSTow replaced 
 by Amakosah Kaffres. 
 
 The chief divisions still existing are the Gonaquas, the Koranas, 
 the Namaquas (between Valvisch Bay and the Orange River), the 
 Sown, Darmup, of the Dammara Country (to the back of Valvisch 
 Bay), and the Saabs, or Bushmen. 
 
 The Koranas are the best-shaped and best-looking of the 
 Hottentots ; the Bushmen the worst. The latter, indeed, are the 
 starvelings of the family. They belong to the most miserable 
 part of the Karroo, and they have neither flocks nor herds. 
 
 The Laplander of Lapland is not more strongly contrasted with 
 his strong and sturdy neighbour of the Duchy of Finland than are 
 the Korana and the Saab. The former are well-grown men, though, 
 of the Hottentot family. The Saabs are described as having con- 
 stitutions " so much enfeebled by the dissolute life the}^ lead, and 
 the constant smoking of dacha, that nearly all, including the young 
 people, look old and wrinkled ; nevertheless, they are remarkable 
 for vanity, and decorate their ears, legs, and arms with beads, and 
 iron, coprjer, or brass rings. The women likewise stain their faces 
 red, or paint them, either wholly or in part. Their clothing 
 consists of a few sheepskins, which hang about their bodies, and 
 thus form the mantle or covering, commonly called a haross. This 
 is their only clothing by day or night. The men wear old hats, 
 which they obtain from the farmers, or else caps of their own 
 manufacture. The women wear caps of skins, which they stiffen 
 and finish with a high peak, and adorn with beads and metal rings. 
 The dwelling of the Bushman is either a low wretched hut, or a 
 
ETHNOLOGY. 
 
 59 
 
 circular cavity, on the open plain, into which, at night, he creeps 
 with his wife and children, and which, though it shelters him from 
 the wind, leaves him exposed to the rain. In this neighbourhood, 
 in which rocks abound, they had formerly their habitations in them, 
 as is proved by the many rude figures of oxen, horses, serpents, 
 &c. still existing. It is not a little interesting to see these poor 
 degraded people, who formerly were considered and treated as little 
 better than wild beasts in their rocky retreats. Many of those who 
 have forsaken us live in such cavities not far from our settlement, 
 and we have thus an opportunity of observing them in their 
 natural condition. Several who, when they came to us from the 
 farmers, were decently clothed and possessed a flock of sheep, 
 which they had earned, in a short time returned to their fastnesses 
 in a state of nakedness and indigence, rejoicing that they had got 
 free from the farmers, and could live as they pleased in the 
 indulgence of their sensual appetites. Such fugitives from civilised 
 life, I have never seen otherwise occupied than with their bows and 
 arrows. The bows are small, but made of good elastic wood ; the 
 arrows are formed of small reeds, the points furnished with a well- 
 wrought piece of bone, and a double barb, which is steeped in a 
 potent poison of a resiny appearance. This poison is distilled from 
 the leaves of an indigenous tree. Many prefer these arrows to 
 fire-arms, under the idea that they can kill more game by means of 
 a weapon that makes no report. On their return from the chase, 
 they feast till they are tired and drowsy, and hunger alone rouses 
 them to renewed exertion. In seasons of scarcity they devour all 
 kinds of wild roots, ants, ants' eggs? locusts, snakes, and even 
 roasted skins. Three women of this singular tribe were not long 
 since met with, several days' journey from this place, who had forsaken 
 their husbands, and lived very contentedly on wild honey and locusts. 
 As enemies, the Bushmen are not to be despised. They are adepts 
 in stealing cattle and sheep ; and the wounds they inflict when pur- 
 sued, are ordinarily fatal if the wounded part is not immediately cut 
 out. The animals they are unable to carry off, they kill or mutilate. 
 
 " To our great comfort, even some of these poor outcasts have 
 shown eagerness to become acquainted with the way of salvation. 
 The children of such as are inhabitants of the settlement, attend 
 the school diligently, and of them we have the best hopes. 
 
 " The language of the Bushman has not one pleasing feature ; it 
 seems to consist of a collection of snapping, hissing, grunting, 
 sounds, all more or less nasal. It is this language that shows that 
 the Saab and Hottentot belong to the same family." 
 
60 
 
 THE NATURAL HISTORY COURT. 
 
 We now move to the parts on the left of the entrance, and begin 
 with the parts opposite the Znlus and Bushmen. These give us 
 the southern parts of South America — not, however, the extreme 
 south. 
 
 GROUP IX. 
 
 BOTOCUDOS AND PAMPA GIRL. 
 
 The word Botocudo means plugged ; and it belongs to the Portu- 
 guese language. It is applied by the Brazilians to the populations 
 of this group, from the fact of their perforating their lips and 
 ears, and inserting pieces of wood in the openings. In their 
 quarrels, these are torn out, and shreds of the lip or ear to which 
 they belong left hanging. One of these quarrels described and 
 sketched in the Travels of Prince Maximilian of JSTeuwied, is 
 here represented, the faces being taken from casts in the possession 
 of Professor Betzius, and the drawings in the Travels of Spix and 
 Von Martius. The native name — the name by which the Botocudos 
 designate themselves — is Engraecknung. 
 
 Their country lies to the north of Bio Janiero — between eighteen 
 and twenty degrees JN".L. It never touches the sea-coast now, 
 whatever it may have once done. On the contrary, it lies inland, 
 and is limited to the mountain-range called Tierra dos Ay mores ; 
 wherein lie the sources of the rivers Doce and Pardo. 
 
 On each of these we find Botocudos ; those of the latter having 
 been induced to abandon, along with some of their more barbarous 
 habits, their inveterate hostility to the Portuguese. The other 
 still retain their original and notorious barbarism. They have 
 ceased, however, to be formidable ; though, in the sixteenth 
 century, they carried on a destructive warfare against the settlers 
 in the Government of Porto Seguro. They have the credit of being 
 cannibals. 
 
 The language is peculiar, and different from the other Indians of 
 the same range. Of these the Machacaris, the Patachos, the 
 Camacans, the Malali, are the chief. 
 
 The girl in the bullock's hide is one of the Pampa Indians ; the 
 face being taken from a cast of Professor Betzius. 
 
 The Pampas are vast plains to the south of the Bio Plata, 
 destitute of trees, free from hills, and without rivers. They are 
 traversed by innumerable herds of oxen and horses, in every 
 stage of domestication or of wildness. The Indians, whose habits 
 are determined by these physical conditions of the soil, are rude, 
 
ETHNOLOGY. 
 
 CI 
 
 ferocious, and independent ; hardy even for Indians ; and very- 
 Centaurs for their skill in horsemanship. They range over the 
 whole district between the frontier of Buenos Ayres and the 
 western foot of the Andes of Chili. 
 
 GROUP X. 
 
 INDIANS OF THE AMAZONS. 
 
 The tribes of so vast a river as the Amazons are numerous, 
 even if we go no further than the main stream — much more so if 
 we look to those on its feeders. 
 
 At the same time they are fragmentary, and most imperfectly 
 known. Neither are they free from intermixture — Spanish inter- 
 mixture on the western, and Portuguese on the eastern. 
 
 All the tribes, however, illustrated by the figures before us, 
 belong to Brazil, i. e. , to Portuguese America. 
 
 Their history is that of aborigines in general ; there is their 
 period of independence, their period of oppression, their period of 
 mitigated persecution — of reaction. 
 
 Let us look at the history of the parts about the rivers Negro 
 and Madeira — the one joining the Amazons from the north, the 
 others from the south. 
 
 In 1671, a company of soldiers was stationed to protect the 
 Portuguese trade, and the foundation of the Yilla da Barra 
 de Rio Negro was laid by Antonio de Albuquerque Coelho. 
 This was the area of the Juripixunas, or Juruuna — Indians — 
 the Blackfaces, so called because they tattooed themselves black. 
 These also were numerous, and not intractable ; handy with 
 their canoes, and active on the water. As many as 1000 at 
 a time found their way to the slave-market at Pera. Sometimes 
 they were stolen without the disguise of a quarrel — stolen, 
 because the man-stealer was the stronger. But, at times, there 
 was a clever piece of villany put in practice. The slave- 
 hunter would get a cross, the symbol of his religion, lay it 
 somewhere in the track of the Indians, look for it some days after- 
 wards, miss it, and then make a charge of sacrilege against the 
 Indians of the locality. Out of practices like these rose regular 
 slave-hunting settlements, with barracoons, after the fashion of 
 the negro slave-trade. There was the usual practice, with the 
 usual incentives, the usual organisation, the usual wars to follow, 
 violence, unscrupulousness, cruelty, blood. The enemy to the 
 Indian was the trader ; his best friend the priest. 
 
THE NATURAL HISTORY COURT. 
 
ETHNOLOGY. 
 
 When King John IV., in 1652, wished to enact a favourable 
 code for the aborigines, the governors of Maranham and Para 
 instigated the population of their respective governments to 
 uproarious manifestations. 
 
 In a.d. 1661, the Jesuits were expelled ; in a.d. 1679 
 reinstated. The interval was a time of sorrow to the Indians ; 
 the restoration a time of joy. The establishment of missions now 
 began. 
 
 A settlement or village, Aldea, was founded in some favourable 
 situation, and the Indians of the neighbourhood induced to put 
 themselves under the tutelage of the resident and directorial father. 
 They were then taught to cultivate the soil or to weave — taught 
 as children, and, when the temper was not that of the wilder and 
 more independent tribes, this training answered. They were also 
 instructed in the Christian creed, the medium being the Tupi 
 language. Their own dialects were numerous — too numerous 
 to make the cultivation of them in detail practicable ; and in 
 each aldea the variety of such dialects was considerable, each being 
 spoken by but a few individuals. To learn a difficult language for 
 the sake of so few, was an unnecessary expenditure of time for the 
 Jesuits ; whilst Portuguese was a difficult language for the Indians. 
 The surer plan, then, of taking the most prevalent Indian tongue 
 and making it into a kind of common medium, a lingua franca, 
 was devised. This prevalent tongue was the Tupi, and the name 
 it took was the Portuguese one of Lingoa Geral — general language. 
 Until a.d. 1757, the Lingoa Geral was used in the law-courts of 
 Gram Para. This state of things lasted till a.d. 1759, when the 
 Jesuits were expelled ; from Para and Maranham as many as 11 2. 
 In 1718, the number of aldms was as follows : — > 
 Jesuits . . . . 19 
 Capuchins . . . 15 
 Carmelites ... 5 
 Officers called Directors took the places of the J esuits. In many 
 respects their orders were those of their predecessors. They were 
 to teach and convert ; but they were also to get some work out of 
 the Indians in the way of public service, e. g> 9 in the arsenals as 
 pilots, as a kind of police in the case of Indian warfare and bush- 
 ranging. And beside these points of difference, the Tupi, or 
 Lingoa Geral, was to be replaced by the Portuguese. In the 
 localities where the intercourse with the whites was important, 
 judges were appointed to settle disputes. Kidnapping however 
 continued, and things went ill with the Indians until the separa- 
 
64 
 
 THE NATURAL HISTORY COURT. 
 
 tion of Brazil from Portugal ; and they have gone ill since. The 
 Indians and the negroes form the lowest part of the not elevated 
 population of Para, the half-blood between them (the Indians) 
 and the whites being called Cafusos. Both the Cafusos and the 
 full-blooded Indians are free, but they are not flourishing. They 
 drink and live lives of idleness. They live, in short, much as all 
 the coloured races when the whites are in contact with them. 
 
 This prepares us for the necessity of seeking the Indian in his 
 unmodified state on the feeders of the Amazons, rather than the 
 main stream. Mr. Wallace has described those of the Uaupes — 
 which falls into the Bio Negro from the west, and lie just under 
 the equator. 
 
 He remarks upon the extent to which they are a truly un- 
 sophisticated population, and also upon the extent to which they 
 differ from the Indians lower down, i.e., between Barra and Para, 
 the junction of the Bio Negro and Amazons, and the mouth of 
 that latter river. His description (founded on personal observa- 
 tion) is one of the best we have. I quote it freely : — " All the 
 tribes of the Uaupe's," he writes, " construct their dwellings after one 
 plan, which is peculiar to them. Their houses are the abode of 
 numerous families, sometimes of a whole tribe. The plan is a 
 parallelogram, with a semicircle at one end. The dimensions of 
 one at Jauarite were one hundred and fifteen feet in length, by 
 seventy-five broad, and about thirty high. This house would hold 
 about a dozen families, consisting of near a hundred individuals. 
 In times of feasts and dances, three or four hundred are accommo- 
 dated in them. The roof is supported on fine cylindrical columns, 
 formed of the trunks of trees, and beautifully straight and smooth. 
 In the centre a clear opening is left, twenty feet wide, and on the 
 sides are little partitions of palm-leaf thatch, dividing off rooms for 
 the separate families : here are kept the private household utensils, 
 weapons, and ornaments ; while the rest of the space contains, on 
 each side, the large ovens and gigantic pans for making caxirf, and, 
 in the centre, a place for the children to play, and for their dances 
 to take place. These houses are built with much labour and skill ; 
 the main supporters, beams, rafters, and other parts, are straight, 
 well proportioned to the strength required, and bound together with 
 split creepers, in a manner that a sailor would admire. The thatch 
 is of the leaf of some one of the numerous palms so well adapted to 
 the purpose, and is laid on with great compactness and regularity. 
 The walls, which are very low, are formed also of palm thatch, but 
 so thick and so well bound together, that neither arrow nor bullet 
 
ETHNOLOGY. 
 
 65 
 
 will penetrate it. At the gable-end is a large doorway, about six 
 feet wide and eiglit or ten high : the door is a large palm-mat, hung 
 from the top, supported by a pole during the day, and let down at 
 night. At the semicircular end is a smaller door, which is the 
 private entrance of the Tushaua, or chief, to whom this part of the 
 house exclusively belongs. The lower part of the gable-end, on 
 each side of the entrance, is covered with the thick bark of a tree 
 unrolled, and standing vertically. Above this is a loose hanging of 
 palm-leaves, between the fissures of which the smoke from the 
 numerous fires within finds an exit. Tn some cases this gable-end 
 is much ornamented with symmetrical figures painted in colours. 
 
 " The furniture consists principally of maqueiras, or hammocks, 
 made of string, twisted from the fibres of the leaves of the Mauritia 
 flexuosa : they are merely an open network of parallel threads, 
 crossed by others at intervals of a foot ; the loops at each end have 
 a cord passed through them, by which they are hung up. The 
 Uaupes make great quantities of string of this and other fibres, 
 twisting it on their breasts or thighs, with great rapidity. 
 
 " They have always in their houses a large supply of earthen pots, 
 pans, pitchers, and cooking utensils, of various sizes, which they 
 make of clay from the river and brooks, mixed with the ashes of 
 the caripe bark, and baked in a temporary furnace. They have 
 also great quantities of small saucer -shaped baskets, called 
 6 Balaios,' winch are much esteemed down the river, and are the 
 subject of a considerable trade. 
 
 " Two tribes in the lower part of the river, the Tarianos and 
 Tucanos, make a curious little stool, cut out of a solid block of wood, 
 and neatly painted and varnished ; these, which take many days to 
 finish, are sold for about a pennyworth of fish-hooks. 
 
 6 c Their canoes are all made out of a single tree, hollowed and 
 forced open by the cross-benches ; they are very thick in the 
 middle, to resist the wear and tear they are exposed to among the 
 rocks and rapids ; they are often forty feet long, but smaller ones 
 are generally preferred. The paddles are about three feet long, 
 with an oval blade, and are each cut out of one piece of wood. 
 
 <c These people are as free from the encumbrances of dress as it is 
 possible to conceive. The men wear only a small piece of tururf 
 passed between the legs, and twisted on to a string round the loins. 
 Even such a costume as this is dispensed with by the women : they 
 have no dress or covering whatever, but are entirely naked. This 
 is the universal custom among the Uaupe's Indians, from which, in 
 a state of nature, they never depart. Paint, with these people, 
 
 F 
 
Weapons, &c, from the Amazons. 
 
ETHNOLOGY. 
 
 67 
 
 seems to be looked upon as a sufficient clothing ; they are never 
 without it on some parts of their bodies, but it is at their festivals 
 that they exhibit all their art in thus decorating their persons : the 
 colours they use are red, yellow, and black, and they dispose them 
 generally in regular patterns, similar to those with which they 
 ornament their stools, their canoes, and other articles of furniture. 
 
 " They pour the juice of a tree, which stains a deep blue-black, on 
 their headsf' and let it run in streams all down their backs ; and the 
 red and yellow are often disposed in large round spots upon the 
 cheeks and forehead. 
 
 " The use of ornaments and trinkets of various kinds is almost 
 confined to the men. The women wear a bracelet on the wrists, 
 but none on the neck, and no comb in the hair ; they have a garter 
 below the knee, worn tight from infancy, for the purpose of 
 swelling out the calf, which they consider a great beauty. While 
 dancing in their festivals, the women wear a small tanga, or apron, 
 made of beads, prettily arranged : it is only about six inches square, 
 but is never worn at any other time, and immediately the dance is 
 over, it is taken off. 
 
 " The men, on the other hand, have the hair carefully parted and 
 combed on each side, and tied in a queue behind. In the young 
 men, it hangs in long locks down their necks, and, with the comb, 
 which is invariably carried stuck in the top of the head, gives to 
 them a most feminine appearance : this is increased by the large 
 necklaces and bracelets of beads, and the careful extirpation of 
 every symptom of beard. Taking these circumstances into con- 
 sideration, I am strongly of opinion that the story of the Amazons 
 has arisen from these feminine-looking warriors encountered by the 
 early voyager. I am inclined to this opinion, from the effect they 
 first produced on myself, when it was only by close examination I 
 saw that they were men ; and, were the front parts of their bodies 
 and their breasts covered with shields, such as they always use, I 
 am convinced any person seeing them for the first time would 
 conclude they were women. We have only therefore to suppose 
 that tribes having similar customs to those now existing on the 
 river Uaupes, inhabited the regions where the Amazons were 
 reported to have been seen, and we have a rational explanation of 
 what has so much puzzled all geographers. The only objection to 
 this explanation is, that traditions are said to exist among the 
 natives, of a nation of 6 women without husbands. ' Of this 
 tradition, however, I was myself unable to obtain any trace, and I 
 ean easily imagine it entirely to have arisen from the suggestions 
 
 e2 
 
88 
 
 THE NATURAL HISTORY COURT. 
 
 and inquiries of Europeans themselves. When the story of the 
 Amazons was first made known, it became of course a point with 
 all future travellers to verify it, or if possible get a glimpse of these 
 warlike ladies. The Indians must no doubt have been overwhelmed 
 with questions and suggestions about them, and they, thinking that 
 the white men must know best, would transmit to their descendants 
 and families the idea that such a nation did exist in some distant 
 part of the country. Succeeding travellers, finding traces of this 
 idea among the Indians, would take it as a proof of the existence 
 of the Amazons ; instead of being merely the effect of a mistake 
 at the first, which had been unknowingly spread among them by 
 preceding travellers, seeking to obtain some evidence on the 
 subject. 
 
 " Tattooing is very little practised by these Indians ; they all, 
 however, have a row of circular punctures along the arm, and one 
 tribe, the Tucanos, are distinguished from the rest by three vertical 
 blue lines on the chin ; and they also pierce the lower lip, through 
 which they hang three little threads of white beads. All the tribes 
 bore their ears, and wear in them little pieces of grass, ornamented 
 with feathers. The Cobeus alone expand the hole to so large a 
 size, that a bottle-cork could be inserted : they ordinarily wear a 
 plug of wood in it, but, on festas, insert a little bunch of arrows. 
 
 " The men generally have but one wife, but there is no special 
 limit, and many have two or three, and some of the chiefs more ; 
 the elder one is never turned away, but remains the mistress of the 
 house. They have no particular ceremony at their marriages, 
 except that of always carrying away the girl by force, or making a 
 show of doing so, even when she and her parents are quite willing. 
 They do not often marry with relations, or even neighbours, — 
 preferring those from a distance, or even from other tribes. When 
 a young man wishes to have the daughter of another Indian, his 
 father sends a message to say he will come with his son and 
 relations to visit him. The girl's father guesses what it is for, and, 
 if he is agreeable, makes preparations for a grand festival : it lasts 
 perhaps two or three days, when the bridegroom's party suddenly 
 seize the bride, and hurry her off to their canoes ; no attempt is 
 made to prevent them, and she is then considered as married. 
 
 " Some tribes, as the Uacarras, have a trial of skill at shooting with 
 the bow and arrow, and if the young man does not show himself a 
 good marksman, the girl refuses him, on the ground that he will 
 not be able to shoot fish and game enough for the family. 
 
 tc The dead are almost always buried in the houses, with their 
 
ETHNOLOGY. 
 
 bracelets, tobacco-bag, and other trinkets upon them ; they are 
 buried the same day they die, the parents and relations keeping up 
 a continual mourning and lamentation over the body, from the 
 death to the time of interment ; a few days afterwards, a great 
 quantity of caxirl is made, and all friends and relatives invited to 
 attend, to mourn for the dead, and to dance, sing, and cry to his 
 memory* Some of the large houses have more than a hundred 
 graves in them, but when the houses are small, and very full, the 
 graves are made outside. 
 
 " The Tarianas and Tucanos, and some other tribes, about a month 
 after the funeral, disinter the corpse, which is then much decom- 
 posed, and put it in a great pan, or oven, over the fire, till all the 
 volatile parts are driven off with a most horrible odour, leaving 
 only a black carbonaceous mass, which is pounded into a fine 
 powder, and mixed in several large couches (vats made of hollowed 
 trees) of caxiri : this is drunk by the assembled company till all is 
 finished : they believe that thus the virtues of the deceased will be 
 transmitted to the drinkers. 
 
 6 6 The Cobeus alone, in the Uaupes, are real cannibals : they eat 
 those of other tribes, whom they kill in battle, and even make war 
 for the express purpose of procuring human flesh for food. When 
 they have more than they can consume at once, they smoke-dry the 
 flesh over the fire, and preserve it for food a long time. They 
 burn their dead, and drink the ashes in caxirl, in the same manner 
 as described above. 
 
 " Every tribe and every 6 malocca' (as their houses are called) 
 has its chief, or c Tushaua,' who has a limited authority over them, 
 principally in war, in making festivals, and in repairing the malocca 
 and keeping the village clean, and in planting the mandiocca-fields ; 
 he also treats with the traders, and supplies them with men to 
 pursue their journeys. The succession of these chiefs is strictly 
 hereditary in the male line, or through the female to her husband, 
 who may be a stranger : their regular hereditary chief is never 
 superseded, however stupid, dull, or cowardly he may be. They 
 have very little law of any kind ; but what they have is of strict 
 retaliation, — an eye for an eye and a tooth for a tooth ; and a 
 murder is punished or revenged in the same manner and by the 
 same weapon with which it was committed, 
 
 " They have numerous 6 Page's,' a kind of priests, answering to 
 the c medicine-men ' of the North American Indians. These are 
 believed to have great power : they cure all diseases by charms, 
 applied by strong blowing and breathing upon the party to be 
 
70 
 
 THE NATURAL HISTORY COURT. 
 
 cured, and by the singing of certain songs and incantations. They 
 are also believed to have power to kill enemies, to bring or send 
 away rain, to destroy dogs or game, to make the fish leave a river, 
 and to afflict with various diseases. They are much consulted and 
 believed in, and are well paid for their services. An Indian will 
 give almost all his wealth to a page, when he is threatened with 
 any real or imaginary danger. 
 
 66 They scarcely seem to think that death can occur naturally, 
 always imputing it either to direct poisoning or the charms of some 
 enemy, and, on this supposition, will proceed to revenge it. This 
 they generally do by poisons, of which they have many which are 
 most deadly in their effects : they are given at some festival in a 
 bowl of caxirl, which it is good manners always to empty, so that 
 the whole dose is sure to be taken. One of the poisons often used 
 is most terrible in its effects, causing the tongue and throat, as well 
 as the intestines, to putrefy and rot away, so that the sufferer 
 lingers some days in the greatest agony : this is of course again 
 retaliated, on perhaps the wrong party, and thus a long succession 
 of murders may result from a mere groundless suspicion in the first 
 instance. 
 
 " I cannot make out that they have any belief that can be called 
 a religion. They appear to have no definite idea of a God ; if 
 asked who they think made the rivers, and the forests, and the 
 sky, they will reply that they do not know, or sometimes that 
 they suppose it was ' Tupanau,' a word that appears to answer to 
 God, but of which they understand nothing. They have much 
 more definite ideas of a bad spirit, ' Jurupari,' or Devil, whom 
 they fear, and endeavour through their pages to propitiate. "When 
 it thunders, they say the 6 Jurupari 7 is angry, and their idea of 
 natural death is that the Jurupari kills them. At an eclipse they 
 believe that this bad spirit is killing the moon, and they make all 
 the noise they can to frighten him away. 
 
 " One of their most singular superstitions is about the musical 
 instruments they use at their festivals, which they call the Jurupari 
 music. They consist of eight or sometimes twelve pipes or 
 trumpets, made of bamboos or palm-stems hollowed out, some with 
 trumpet-shaped mouths of bark and with mouth-holes of clay and 
 leaf. Each pair of instruments gives a distinct note, and they 
 produce a rather agreeable concert, something resembling clarionets 
 and bassoons. These instruments however are with them such a 
 mystery, that no woman must ever see them on pain of death. 
 They are always kept in some igaripe, at a certain distance from 
 
ETHNOLOGY. 
 
 71 
 
 the malocca, whence they are brought on particular occasions : 
 when the sound of them is heard approaching, every woman retires 
 into the woods, or into some adjoining shed, which they generally 
 have near, and remains invisible till after the ceremony is over, 
 when the instruments are taken away to their hiding-place, and 
 the women come out of their concealment. Should any female be 
 supposed to have seen them, either by accident or design, she is 
 invariably executed, generally by poison, and a father will not 
 hesitate to sacrifice his daughter, or a husband his wife, on such an 
 occasion. 
 
 " They have many other prejudices with regard to women. They 
 believe that if a woman, during her pregnancy, eats of any meat, 
 any other animal partaking of it will suffer : if a domestic animal 
 or tame bird, it will die ; if a dog, it will be for the future incap- 
 able of hunting ; and even a man will be unable to shoot that par- 
 ticular kind of game for the future. An Indian, who was one of 
 my hunters, caught a fine cock of the rock, and gave it to his 
 wife to feed, but the poor woman was obliged to live herself on 
 cassava-bread and fruits, and abstain entirely from all animal 
 food, peppers, and salt, which it was believed would cause the bird 
 to die ; notwithstanding all precautions however the bird did die, 
 and the woman got a beating from her husband, because he thought 
 she had not been sufficiently rigid in her abstinence from the 
 prohibited articles." 
 
 Few ethnological phenomena deserve more attention than the 
 re-appearance of similar customs in the distant parts of the world, 
 where, however, the physical conditions are alike. 
 
 Borneo and the Uaupes country, both are under the equator ; 
 and the same mode of building large houses for joint occupation 
 prevails in both. 
 
 Observe, too, the use of the blow-pipe ; it appears equally on 
 the Amazons and in Borneo. 
 
 The details of the group before us are as follows : — 
 
 The tattoed and painted individual with the skull of a slain 
 enemy on a pole, is a Mundrucu, of the Hiver Tapajos, the most 
 formidable, numerous, and independent of the Brazilian Indians. 
 
 When a Mundrucu has slain an enemy, he cuts off his head, 
 extracts the brain through the occipital foramen, washes the blood 
 away, fills the skull with cotton, and then converts the whole into 
 a kind of mummy, by drying it before the fire. The eyes he 
 gouges out, and he fills up the orbits with colouring matter. Thus 
 prepared, the head is placed outside his hut. On festive occasions 
 
72 
 
 THE NATURAL HISTORY COURT. 
 
 it is placed at the top of a spear. Such is the history of the head 
 of an enemy. Those, however, of friends and relations are pre- 
 served, and kept — though with certain differences of detail. Thus, 
 on certain days dedicated to the obsequies and memory of the 
 dead, the widow of the deceased takes his skull, seats herself before 
 the cabin, and indulges either in melancholy lamentation, or in fierce 
 encomium — the assembled friends meanwhile dancing round her. 
 
 The one behind is a Mura ; the Muras being a numerous 
 tribe, and from the vast extent of country over which they 
 are spread, or rather scattered, a tribe whose number seems 
 greater than it is. Settled habitations they have none ; but, 
 just as necessity or inclination takes them, they wander from 
 wood to wood, from stream to stream. Taking the different 
 divisions of them altogether, their number may amount to 
 between 6000 and 7000 " bows," (this "bow" meaning "fight- 
 ing-man ;) " the rest of the population being in proportion. This 
 gives us from 20,000 to 30,000 persons. The lower Madeira 
 was their original area, but the lower Madeira was vexed and 
 harassed by tribes of the powerful and hostile Mundrucus ; and 
 the Mundrucus and Muras are ever at war with each other. At 
 present the Mundrucus are the superior population. They are 
 bigger in body, and they are more closely allied to the Portuguese. 
 Indeed the Portuguese used them as a sort of military police 
 against the Muras ; who fear them so much that the presence of a 
 single Mundrucu on board Von Martins' canoe terrified a whole 
 family of Muras. 
 
 The incursions, then, of the Mundrucus dispersed the Muras of the 
 lower Madeira over vast districts on the Solimoes, and on the Rio 
 Negro. Plere they are formidable as pirates. The Muras, with 
 their associates, the Toras (or Torayes), harass the navigation of 
 the Amazons, where the settlers and traders know them as the 
 Indies de Corso, and attempt their extermination accordingly. 
 When the stream gets narrow, and the current strong, and the 
 canoe has to labour slowly against the stream of a mighty river, 
 the Mura places himself on the banks, and lies in wait, ture in 
 hand. The hire is an instrument, half wood and half reed, made 
 out of the bamboo, the transverse septum of which is pierced in its 
 centre. Here is inserted a second piece of cane, split. The twre 
 is heard at a considerable distance, and the watchman that blows 
 it has a tree for a watch-tower. The hire, too, is the instrument 
 to which they dance, and sing, and drink, at their festivals. 
 
 Less formidable than they once were, the Mura is still shy^ 
 
ETHNOLOGY. 
 
 73 
 
 indocile, intractable, and impracticable as a labourer. Nothing 
 but liquor will tempt him ; and liquor tempts him but little in the 
 way of work. He hunts skilfully, and he fishes skilfully ; but he 
 is rarely provident enough to economise the results of any success- 
 ful exertions for the future. He gorges himself when he is in 
 luck, and starves when out of it ; he thinks of the passing time 
 only. 
 
 As a general rule, the Indians of the Amazons neither respect 
 the female sex, nor vex themselves with jealousy on account of 
 them. The Muras are said to be exceptions. The number of 
 wives is two or three, and of these the youngest is the favoured 
 one. The other is little more than a domestic drudge. To win 
 them, the Mura must have fought at fisticuffs ; for a battle of this 
 kind always takes place whenever a young lady becomes marriage- 
 able. Those who enter into the list for possession, fight, and the 
 winner carries her off. 
 
 Their language is harsh and guttural, and their speech is accom- 
 panied with gesticulation. It is peculiar, at least it is different 
 from the Lingoa Geral, which but few Muras understand. It has 
 been stated that the Mundrucus are their chief enemies. Besides 
 these there are the Mauhes, and the Catauxis — hostile also. 
 
 The use of the paricd is one of the characteristic customs of 
 the Muras. The paricci is a powder. It is made from the dried 
 seeds of a kind of Inga. It is a narcotic stimulating in the first 
 instance, sedative or depressing afterwards. Once a year there is 
 a ptwicd feast, where the "snuff" is indulged in to excess, and 
 where the additional stimulants of dance, and song, and fermented 
 liquors are superadded. 
 
 The other Indians are from the northern bank, on the frontier 
 of Brazil and Bolivia. They cannot be said to represent any par- 
 ticular tribe. If they give an idea of the general character of a 
 South American Indian of the parts in question it is sufficient. 
 All the current descriptions are of this general character. The 
 figures before us approach, however, the Ticunas Indians of 
 Osculati, the nearest. Ticunas, however, is a term of a somewhat 
 lax import ; inasmuch as it means any of the Indians who use 
 the Ticunas poison, or come from the country which produces it. 
 
THE NATURAL HISTORY COURT. 
 
 "Weapons, &c, from 
 
 the Amazons. 
 
ETHNOLOGY. 
 
 75 
 
 GROUP XL 
 
 INDIANS FROM BRITISH GUIANA. 
 
 These are from casts taken from life during Sir R. Schomburgk's 
 expedition. All belong to the great Carib stock, and speak dialects 
 of the widely-spread Carib language. 
 
 This is a point of importance. In Brazil the predominant 
 language is the one alluded to under the name of Tupi — the basis 
 of the Lingoa Geral (General Language) or Lingua Franca. 
 
 In other respects, the leading characteristics are the same, or 
 similar ; the details being more or less different. Some tribes, for 
 instance, flatten the head, or tattoo the body ; which the others 
 do not. Some burn, others bury the dead. With the Carabisi, 
 for instance, in ordinary cases the hammock in which the death 
 took place, serves as a coffin, the body is buried, and the funeral 
 procession made once or twice round the grave ; but the bodies of 
 rjersons of importance are watched and washed by the nearest 
 female relations, and when nothing but the skeleton remains, the 
 bones are cleaned, painted, packed in a basket and preserved. 
 When, however, there is a change of habitation they are burned ; 
 after which the ashes are collected, and kept. 
 
 The Macusiy on the other hand, buries his dead in a sitting 
 posture without coffins, and with but few ceremonies. 
 
 The Arawak custom is peculiar. When a man of note dies, his 
 relations plant a field of cassava. They lament loudly. But 
 when twelve moons are over, and the cassava is ripe, they re- 
 assemble, feast, dance, lash each other cruelly, and severely with 
 whips. The whips are then hung %ip on the spot where the person 
 died. Six moons later a second meeting takes place ; and this 
 time the whips are buried. 
 
 GROUP XII. 
 
 NORTH AMERICANS DANCING. 
 
 This group gives us the general character of the more typical 
 North American Indians, rather than the details of any particular 
 division ; the chief sources being the portraits in McKennedy's 
 Gallery, and some well-executed daguerreotypes taken at St. Louis, 
 and kindly placed at the disposal of the Crystal Palace Company 
 by Mr. Fitzherbert of New York. 
 
 The prominence of the features, along with the red or copper 
 
76 
 
 THE NATURAL HISTORY COURT. 
 
 tinge of the skin, characterises the Americans before us. This 
 contrasts them with the Eskimo. Their size, on the other hand, 
 distinguishes them from the majority of the South American tribes. 
 Nevertheless, the size decreases as we go southward ; and the 
 Eskimo configuration (along with the Eskimo habits) is approached 
 as we move westward of the Rocky Mountains. 
 
 Nine-tenths, and perhaps a larger proportion of the Indians of 
 the northern half of the United States are referable to one of three 
 great groups — the Algonkin, the Iroquois, the Sioux ; each of which 
 falls into divisions and subdivisions. 
 
 T. The Algonkin is the greatest ; greatest in respect to the 
 number of its divisions and subdivisions, greatest in respect to the 
 ground it covers, and greatest in respect to the range of difference 
 which it embraces. 
 
 The whole of the Canadas, with one small exception, the whole 
 of New Brunswick, Nova Scotia, Cape Breton, and Prince Edward's 
 Isle, was originally Algonkin, as were Labrador and Newfoundland 
 to a great extent. 
 
 To the Algonkin stock belonged and belong the extinct and 
 extant Indians of New England, part of New York, part of 
 Pennsylvania, Delaware, Maryland, Virginia, part of the Carolinas, 
 and part of even Kentucky and Tennessee. 
 
 The Pequods, the Mohicans, the Narragansetts, the Massachuset, 
 tke Montaug, the Delaware, the Menomini, the Sauks, the 
 Ottogamis, the Kikkapus, the Potawhotamis, the Illinois, the 
 Miami, the Piankeshaws, the Shawnos, (fee. belong to this stock — - 
 all within the United States. 
 
 The Algonkins of British America are as follows : — 
 
 1. The Grees ; of which the Skofi and Sheshatapiish of Labrador 
 are branches. 
 
 2. The Ojihways ; falling into — 
 
 a. The Ojihways Projier, of which the Sauteurs are a section. 
 h. The OUawas of the River Ottawa. 
 
 c. The original Indians of Lake Nijnssing ; important because 
 it is believed that the form of speech called Algonkin, a term since 
 extended to the whole class, was their particular dialect. They 
 are now either extinct or amalgamated with other tribes. 
 
 d. The Messisaugis, to the north of Lake Ontario. 
 
 3. The Micmacs of New Brunswick, Gasps', Nova Scotia, Cape 
 Breton, and part of Newfoundland ; closely allied to the — 
 
 4. Abnalci of Mayne, and the British frontier ; represented at 
 present by the >SY. John's Indians, 
 
ETHNOLOGY. 
 
 7/ 
 
 5. The Beihuck — the aborigines of Newfoundland. 
 G. The Blackfoois, consisting of the — 
 
 a. Satsikaa, or Blackfoois Proper. 
 
 b. The Kena, or Blood Indians. 
 
 c. The Piegan. 
 
 To these must be added numerous extinct tribes. 
 
 II, The Iroquois class has been larger than it is now, many of its 
 members being extinct. It still, however, contains the Wiandots, 
 or HuronS) of the parts between Lakes Simcoe, Huron, and Erie ; 
 the once famous and formidable Mohawks, the Senekas, the Onon- 
 dagos, the Cayugas, the Oneidas, and the Tuskaroras. 
 
 III. To the Sioux class belong the Assiniboins of the Red River, 
 and the Osages of Arkansas ; tribes widely distant. It is the great 
 Sioux to which nine-tenths of the Yalley of Missouri originally 
 belonged — Sioux, whose original hunting-grounds included the vast 
 X^rairie-country from the Rocky Mountains to the Mississippi, and 
 who again appear as an isolated detachment of Lake Michigan ; 
 Sioux, known under the names of Winebagoes, Dahcotas, Yanktons, 
 Tetons, Upsarokas, Mandans, Minetaris, Missouris, Osages, 
 Konzas, Ottos, Omahaws, Puncas, Ioways, and Quappas. 
 
 None of the Sioux tribes came in contact with the sea. None of 
 them belonged to the great forest districts of America. Most of 
 them hunt over the country of the buffalo. This makes them 
 warlike migratory hunters ; with fewer approaches to agricultural 
 or industrial civilisation than any Indians equally favoured by soil 
 and climate. 
 
 It is the Iroquois, the Sioux, and certain members of the 
 Algonkin stock, upon which the current and popular notions of the 
 American Indian, the Bed Man, as he is called, have been formed* 
 
 GROUP XIII. 
 
 GREENLANDERS. 
 
 Gkeenla.M) is occupied by the same family that occupies the 
 coast of Labrador. It does more. It extends all along the 
 northern coast of North America ; all along the shores of the 
 Arctic Sea, both east and west. It extends to Russian America, 
 and beyond it to the other side of Behring's Straits, and to the 
 Aleutian Islands; Hence, there are certain members of the 
 family to which the Greenlanders belong in Asia, 
 
THE NATURAL HISTORY COURT. 
 
 The general name for this is Eskimo, a word, which, like 
 Malay and Mongol, is used in a general, as well as a particular 
 sense. It denotes a large family, and it means the special occupants 
 of the coast of Labrador, and the coast of the Arctic Sea. 
 
 The Eskimo is the only family common to the Old and the 
 New World. 
 
 The large Greenland tent, with its furniture, and a canoe, is 
 from one of the few ethnological museums in existence, — that of 
 Copenhagen ; from which it has been liberally and courteously 
 supplied to the Crystal Palace. The details are due to the skill 
 and care of Professor Thomsen of that capital. 
 
ETHNOLOGY. 
 
 79 
 
 BIBLIOGRAPHY. 
 
 1. For the Tibetans, &c, Turner's Embassy; Works on the Himalayas, 
 by Thomson and Hooker ; Cunningham's Ladakh. 
 
 2. The Aborigines of India, by B. Hodgson ; Papers in Asiatic Researches ; 
 Transactions of the Asiatic Society ; Transactions of the Asiatic Society of 
 Bengal, &c. &c. 
 
 3. 4. Marsden's Sumatra ; Raffles' History of Java ; Craufurd's Indian 
 Archipelago ; Papers in Journal of the Indian Archipelago ; Sir James 
 Brooke's writings. 
 
 5. Jukes' Voyage of Fly ; McG-illivray's Voyage of Rattlesnake ; The 
 Papuans, by Windsor Earl ; Works of Collins, King, Mitchell, &c. ; 
 Journal of Indian Archipelago ; United States' Exploring Expedition. 
 
 6. Travels in Abyssinia by Johnstone, Harris, Mansfield, Parkyns, &c. 
 
 7. The Negroes, &c. Medical History of the Niger Expedition, by Dr. 
 MoWilliam ; On the Natives of Old Calabar, by Dr. Daniell. 
 
 8. Licshtenstein's Travels \ Q-alton in Journal of Geographical Society ; 
 The Caffres and Bushmen, 
 
 9. 10, 11, 12. Travels of Prince Maximilian of Neuwied, of Spix, and 
 Von Martius ; Sir R. . Schomburgk, in Geographical Transactions ; 
 Wallace's Travels on the Amazon ; Squier's Nicaragua. 
 
 13. North American Indians.— Archgeologia Americana, VoL ii. } Transac- 
 tions of American Ethnological Society ; Works of Schoolcraft, Squier, &c. ; 
 Smithsonean Contributions to Knowledge. 
 
 14. Papers by Dr. King on the Industrial and Intellectual character of the 
 Eskimo, in Transactions of Ethnological Society ; Accounts of the Arctic Expe- 
 dition, by Parry, Ross, &c. &c. 
 
 For Ethnology in general— Price ard's Natural History "of Man, five 
 volumes j Ditto, one volume. 
 
 The large Greenland hut, boat and furniturey kindly supplied by 'thef 
 Curator of the Ethnological Museum at Copenhagen (Professor Thomsen) 
 reached us after the present pages were in print. 
 
THE NATURAL HISTORY COURT. 
 
 PART II. 
 
 ZOOLOGY AND BOTANY. 
 
 Animals and plants are not scattered indifferently over tlie 
 earth's surface, but are grouped together in assemblages of different 
 kinds. The animals and plants of the British Isles, for example, are 
 wholly distinct from those of the West Indies, and these again 
 from the East Indian kinds. Naturalists, after a long study of 
 the distribution of organised beings, have been enabled to divide 
 the earth's surface into provinces, each characterised by its peculiar 
 set of inhabitants. The assemblage of organised beings in each 
 province exhibits, when viewed en masse, a general aspect, or 
 fades, independent of its being composed, in part, of kinds of 
 creatures different from those found in any other province. This 
 facies depends on combinations of colour, sculpture, texture, and 
 often minute and insignificant characters, when regarded separately, 
 but when presented in coordination, becoming of importance 
 through their constancy and their influence in determining the 
 leading features of a fauna or flora, or both combined. Even 
 when comparatively few of the characteristic animal and vegetable 
 types of a province are brought together, within a limited space, 
 some notion may thus be conveyed to the spectator of the facies, 
 or aspect of life in that region. This has been attempted in the 
 arrangement of the Geographical Garden in the Crystal Palace. 
 
 Organised beings are distributed over the earth and in the 
 sea horizontally and vertically. On their horizontal distribution 
 depend their geographical life-provinces ; on their vertical distri- 
 bution, their arrangement in altitudinal and bathymetrical zones or 
 belts. If we ascend any high mountain, we rise through succes- 
 sive belts of vegetation, each frequented by its favourite form of 
 animal life. We are reminded during our ascent of the successive 
 faunas and floras that we should pass amongst, were we proceeding 
 from the mountain's base to the pole. If the mountain be suffi- 
 ciently high, we at length reach a region where all life ceases. So 
 likewise in the sea — if we explore the depths of ocean, and com- 
 mence our examination on the borders of the shore, we shall find 
 that the animal and vegetable population of the waters are not 
 dispersed indifferently through their depths, but occupy successive 
 
ZOOLOGY AND BOTANY. 
 
 81 
 
 levels, or zones. If we go deep enough, vegetable life first 
 disappears, and animal species become so few, comparatively, that 
 we cannot but conclude that we are approaching a point beyond, or 
 rather below which all is desert. 
 
 As yet, no attempt has been made in the Crystal Palace to 
 display the zones of altitude, though it is quite possible to do so, 
 by means of a miniature mountain encircled by belts of alpine 
 vegetation, amid which the characteristic animals of the zones 
 might be placed in relative order of elevated dwelling-places. 
 This may be looked forward to, as a worthy object for carrying out 
 hereafter. A slight and partial indication of the phenomena of 
 distribution of marine animals in depth, is exhibited in cases 
 representing the sea-population of a few regions ; especially the 
 British, the West Indian, and Australian seas. In these the 
 spectator will observe that the law of distribution in provinces 
 holds good among marine animals as among terrestrial. And if 
 we regard the peculiar, features of the contents of the West Indian 
 case, contrasting it with that filled with British sea-animals, a 
 striking example of the difference of fades, or general aspect, in a 
 temperate province as contrasted with a tropical one, is ioo 
 evident not to attract our notice. Differences of the same kind 
 are displayed in the contrasts of form and colour presented by the 
 birds of different regions, inclosed in the cases placed at intervals 
 among the plants, and always in connection with the other illus- 
 trations of the portions of the globe to which they belong. 
 
 EASTERN OR OLD WORLD. 
 
 The Boar-hunt, one of the relics of the Great Exhibition of 
 1851, placed beyond this Court, must be accepted as a type of 
 Europe — a region so familar to all, that no space has been spared 
 for its fuller illustration. The Old World Court is consequently 
 devoted to African and Asiatic illustrations. The several provinces 
 of Africa are fairly typified, but those of Asia, great and impor- 
 tant though they be, have, for the present, an inadequate share of 
 space assigned. 
 
 The southernmost portion of this Court is occupied by the south 
 extremity of Africa ; to this we pass southwards through the 
 northern African provinces of Egypt and Barbary, brought into 
 unavoidable proximity with the tropical countries of Asia. Central 
 and Eastern Africa follow, the latter having affinities with Asia 
 through Arabia. 
 
 Q 
 
82 
 
 THE NATURAL HISTORY COURT. 
 
 The visitor wlien beside tlie North African section of the Court 
 must suppose the proximity of Southern Europe, and by doing so, 
 bear in mind the close affinity that exists between the mass of 
 vegetation that he then sees around him, and the floras of Italy 
 and Spain. 
 
 CENTRAL ASIA. 
 
 The yak and Ovis Amnion stand as representatives of the 
 central regions of Asia. The former is a characteristic animal of 
 Tibet, and does not thrive except at high elevations. Here, too, 
 is placed the Bactrian camel. The vegetation among which these 
 animals are grouped is mainly Himalayan, and may be regarded as 
 representing the flora of the verge of this great province. 
 
 Beyond the northern bounds of the Central Asiatic region, we 
 pass rapidly amid European types, mingling, as we proceed east- 
 wards, with Boreal American forms. The vegetation, like the 
 animal life, puts on a mixed aspect, and one of a transatlantic 
 character. In the main, the Siberian fauna and flora are linked 
 with those of eastern Europe. 
 
 The arctic portion of Asia presents the characteristic assemblage 
 of polar animals, white bears, seals, walruses, narwhals, dolphins, 
 gulls, and cormorants, whilst along the shores range reindeer, 
 arctic foxes, lemmings, ptarmigans, and snowy owls ; more inland, 
 wolves and otters, with fur-bearing animals abound. This is the 
 linking region of the Old and New Worlds. 
 
 INDIA. 
 
 The group of the Tiger-hunt indicates some of the zoological 
 features of the low country and jungles of India and the warm 
 regions of Asia. The tiger is indeed one of the most charac- 
 teristic animals of the Tropical Asiatic provinces, as is also the 
 Indian elephant. The one-horned rhinoceros, the Indian hyaena, 
 humped oxen of various kinds, a few peculiar deer, the scaly 
 ant-eater, the bonnet-monkey, the Hoonuman (Semnopithecus 
 f/ntellus), and the wanderoo, are all well-marked and conspicuous 
 Indian mammals. Some of the larger quadrupeds are common 
 to Europe and Africa. The birds of India are numerous, and 
 often very beautiful. 
 
 By bamboos and orange-trees, and a few forms of vegetation 
 capable of cultivation under the conditions and within the space 
 of our Garden, a very slight indication indeed is afforded of 
 the general Indian flora. But in the back-ground of the 
 
ZOOLOGY AND BOTANY. 
 
 83 
 
 Indian group, the rich assemblage of Indian rhododendrons and 
 azaleas, the Juniperus recurva and the Ficus elastica, serve to 
 represent one of the most beautiful floras in the world, that of the 
 mountain ranges of India, whilst on its eastern-side, camellias, 
 tea-plants, Carphon laurels, and magnolias exemplify the change 
 in Asiatic vegetation with the great Chinese province. 
 
 NORTH AFRICA. 
 
 The portion of this continent, north of Sahara, west of the 
 Libyan desert, and including the chains of the Atlas, is clothed 
 with a very different vegetation, and peopled by a distinct set of 
 land animals from those occupying the greater and more charac- 
 teristic African regions. In many respects, it has more affinity in 
 its natural history and features with the southern countries of 
 Europe, especially Spain and Sicily, than with Africa. Even 
 its most characteristic mammal, the Barbary ape, has apparently 
 an indigenous . stronghold in Gibraltar. The wild boar, genet, 
 porcupine, and fallow deer, the last alone of its tribe in Africa, 
 indicate European affinities, whilst southern relations are marked by 
 a few forms of antelope and by the lion. Some small rodents are 
 peculiar. The traveller passing from temperate Europe to Barbary, 
 sees in the domesticated camel and many plants — the date- 
 palm, the opuntia, and the agave — distinguishing and peculiar 
 features of its landscape ; yet none of these is an original native 
 of the region. Even the date-palm belongs properly to the 
 countries south of the Atlas. The truly characteristic plants — 
 such as the carob, fig, and palmetto, are all of Mediterranean types 
 and South European forms. The sea that separates Europe and 
 Africa has an uniform population nearly throughout ; and, in the 
 main, is not more than a colony of the Atlantic. 
 
 NORTH-EASTERN AND EASTERN AFRICA. 
 
 Egypt is a truly African province, and is linked by many of 
 its productions with Nubia, Abyssinia, and the countries that 
 border on the Indian Ocean. The crocodile and the hippopotamus, 
 now confined to the higher portions of the Nile, are essentially 
 African types. The fishes of the Mle have close affinities with 
 those of the rivers of the Senegal streams. Among them the 
 polypterus is remarkable for its approach to the ancient and extinct 
 forms of ganoids. From Sennaar, southwards, we find the elephant 
 and one-horned rhinoceros. Monkeys, species of Cercopithecus, 
 occur in the same region. 
 
84 THE NATURAL HISTORY COURT. 
 
 In the Highlands of Shoa, the undulating surfaces of the table- 
 lands are covered with green bushes of euphorbia ; lions and 
 hyaenas are common. In the lower country of the Danakils, palms 
 abound, with acacias and aloes ; and the wart-hog, small antelopes 
 and guinea-fowls, are among the animals. Crocodiles and hippopo- 
 tami haunt the streams and marshes. On the plains are the 
 Koodoo antelope and zebra ; ostriches are hunted below the Galla 
 country, and leopards and buffaloes abound. 
 
 Taking the vegetation from the north southwards, not a few 
 conspicuous plants are distinctive of successive districts ; thus, the 
 date-palm, the papyrus, and the bean of Pythygoras may be cited 
 for Egypt Proper ; the doom, the coffee, and acacias to the more 
 southern provinces. Some curious affinities with South African 
 vegetation are indicated by Abyssinian species of pelargonium and 
 protea. 
 
 There is a close relationship between the natural history of the 
 Eastern African region and that of Arabia ; so near, indeed, that in 
 many respects we may regard these provinces as subdivisions of 
 one great region. Many of the most striking plants are common 
 to both, and the same may be said of not a few characteristic 
 animals. The Ped Sea, that separates them, proves, when its 
 animal and vegetable inhabitants are explored, to be only a colony 
 of the great Indian Ocean marine province, the most extensive of 
 all the natural -history regions of the ocean, and the most varied in 
 its contents. These are remarkable for brilliancy of colouring and 
 beauty or singularity of shape and sculpture, as well as for the 
 richness of the fauna in the number of generic and specific types. 
 
 WESTERN AFRICA. 
 
 Western Africa within the tropics constitutes in many re- 
 spects one vast natural-history province, extending far into the 
 interior and towards the eastern coasts. This wide-spreading region 
 is capable of being subdivided, and the steaming districts along the 
 coast from Senegal to Congo present numerous peculiarities that 
 are not seen in the inland portions. These latter again vary con- 
 siderably in features of surface, and the animal and vegetable 
 population must change more or less accordingly. But throughout 
 this portion of the African continent there range not a few of the 
 large quadrupeds, and doubtless of the smaller ones and other 
 tribes along with them. The African elephant, the hippopotamus, 
 the two-horned rhinoceros, the phascochcerus, or wart-hog, the 
 lion and the jackal, are examples ; although the Great Desert cuts 
 
ZOOLOGY AND BOTANY. 
 
 85 
 
 off the range northwards of several of them. Among birds, the 
 ostrich and the Vultur kolbii are instances. 
 
 The most conspicuous zoological peculiarities of this region are 
 manifested by quadrumanous and edentate quadrupeds. This is 
 a country of monkeys, and of very remarkable ones. The thumb- 
 less apes (Colobus) are concentrated here. The various herds of 
 Cercopithecus are chiefly members of this region : the mandrills 
 are all belonging to it, and the baboons abound. The African 
 orang-outang is a native of Guinea ; and three species of chimpanzee 
 are found on the same line of coast. 
 
 The edentata of this region are confined to the countries in the 
 neighbourhood of the coast, and though few are highly peculiar. 
 There are species of the genus Manis, the scaly ant-eater, or 
 pangolin. In the presence of these extraordinary quadrupeds 
 along the western shores of Africa we seem to have a relation with 
 the New World shadowed out ; one that is also indicated by a few 
 analogies among the plants. At the same time, by similar indi- 
 cations, a relationship of analogy with the Indian region may be 
 traced. Thus, there are curious resemblances between the flora of 
 Congo, that of India, and of the islands of the Indian Ocean. 
 These similitudes are the more remarkable since the physical 
 features of the country between the western and eastern coasts 
 are such as scarcely to admit of any continuity of like vegetation 
 or animal population. With the flora of South Africa that of the 
 west has but very slight connection. 
 
 A number of antelopes, though as we go northwards the species 
 are less numerous, manifest the distinguishing feature of the 
 group of African ruminants. In our group the harnessed and 
 Isabella antelopes typify this character. 
 
 The vegetation of intertropical Africa varies considerably in dif- 
 ferent districts, on account of the striking difference in the mineral 
 constitution of the soil, and the elemental peculiarities of the sea- 
 ward and inland districts. Palms of several kinds are abundant 
 along the coast countries, and among them the most prominent is 
 the Mais guiniensis, a palm-oil species. As a group, however, 
 although playing so prominent a part in the West African land- 
 scape, the number of kinds of palm is small, when compared 
 with the vast number of individuals. The Pandanus candelabrum, 
 one of the screw-palms, is a conspicuous tree. Mangroves clothe 
 the sides of swamps and the deltas of rivers. Towards the inner 
 country the great Adansonia digitata or Baobab, the largest tree in 
 the world, becomes frequent, and ranges westwards to the boun- 
 
86 
 
 THE NATURAL HISTORY COURT. 
 
 claries of Abj^ssinia. The great tree- cotton, or JBombax, is also 
 characteristic. Among the herbaceous plants that range along the 
 western coasts of Africa, one of the best known and prettiest is 
 the Gloriosa superba. Cinchoniacece and Malvacece are among the 
 tribes of plants that attain a considerable development. 
 
 SOUTH AFRICA. 
 
 There are few tracts of land on the earth's surface so distinctly 
 marked by zoological and botanical peculiarities, and by a striking 
 aspect of fauna and flora as South Africa. Its mountains — and 
 they attain considerable elevation, as much as 10,000 feet in some 
 instances — its low grounds, sandy plains, and deserts called 
 Karoos, if not everywhere adorned with a luxuriant vegetation, are 
 singularly prolific in remarkable and interesting plants, and are the 
 resorts of numerous quadrupeds, many of them of considerable 
 dimensions. In its mammalia and its flowering plants we recognise 
 the prominent and distinctive natural-history characteristics of 
 the region. 
 
 One baboon, Cynocephalus porcarius, and a Cercopithecus, are the 
 only monkeys of the Cape region, and though peculiar as species, 
 are rather to be regarded as links of the fauna of the South African 
 with the general fauna of Africa. In this light, too, must the 
 carnivora be regarded, although numerous and prominent ; for the 
 most conspicuous, the lion for example, are common to a vast 
 extent of the African continent. The hyaena genus, however, may 
 be regarded as having its metropolis in this province. Some of the 
 conspicuous pachyderms also appertain to the general African 
 group, such as the elephant, the hippopotamus, the two-horned 
 rhinoceros, the Ethiopic hog, and the zebra. Here is the country 
 of the gnoos and other antelopes, of quaggas, lions following in the 
 track ; some of the antelopes may be seen in herds of hundreds. 
 
 Here we are out of the region of palms ; nor are large trees of 
 any kind very distinctive of the South African flora. There are no 
 vast forests, arborescent plants are scarce, but instead, there are great 
 tracts of bush, composed, in the CafFrarian districts, for the most part 
 of succulent and thorny shrubs; leafless columnar euphorbias, some 
 of them shaped like great candelabra and occasionally towering to 
 thirty or forty feet, and fleshy aloes with threatening weapon- 
 like leaves and tall standards of handsome flowers, give a strange 
 and bizarre aspect to the Bush-country vegetation, and cover 
 with prickly thickets the steep sides of the ravines that furrow and 
 separate the long flat ridges of hills. Here grow the Zamia 
 
ZOOLOGY AND BOTANY. 87 
 
 horrida, the crane-like Strelitzia, prickly kinds of acacia, 
 everlasting-flowers in great variety, and ice-plants. One of the 
 latter, the Mesembryanthemum edule, or Hottentot fig, is the only 
 native fruit, and a bad one at best. 
 
 The mention of Cape plants at once suggests to the lover of 
 flowers a number of beautiful natives of the South African region : 
 Cape lilies, various sorts of corn-flags, ixias, lobelias, oxalidise, 
 peculiar orchids, pelargoniums, diosmeas, polygalas, and heaths, 
 of the last in wondrous variety. The curious little pachydermatous 
 quadruped, Hyrax capensis, is a specific peculiarity ; so also is the 
 quagga. It is the group of the hollow-formed ruminants that give 
 the grand distinguishing feature to the South African fauna. The 
 beautiful family of antelopes attains its maximum here, nearly one 
 half of the total number of species being South African. The gnoo, 
 the *eland, the harte-beest and spring-bok, are some of those most 
 familiar on account of their dimensions or beauty : the abundance 
 of antelopes compensates for the absence of deer. The Cape 
 buflalo (Bos caffer) is another distinctive ruminant ; and the 
 girafle, though ranging far to the north, is a conspicuous member 
 of the southern fauna. The sand-flats around the Cape are bored 
 by peculiar moles of the genus Bathyergus, and one of the most 
 curious of African animals, the Cape ant-eater, Orycteropus capensis, 
 one of the few members of its order existing in the Old World, is 
 confined to the province from which it derives its specific appellation. 
 The ornithological peculiarities of the Cape are not so striking. 
 
 Many of the animals mentioned are now becoming scarce, or to 
 be seen only far in the interior. The elephant, rhinoceros, and 
 hippopotamus are rapidly disappearing through the persecution of 
 the hunter. On the high open table-lands of the interior immense 
 multitudes of quadrupeds congregate especially ; and the proteacese, 
 equally distinctive of this flora, abound most in the western 
 districts of the colony, and are especially numerous on the sandy 
 plains. One of the most beautiful of orchids, the famous Disa 
 grandiflora, is a plant of Table Mountain. Among remarkable 
 plants may be mentioned, the waxberry, Myrsia cordifolia, a shrub, 
 the berries of which are thickly coated with wax ; and the well- 
 known monstrous-looking Testudinaria elephantipes. The much- 
 cultivated and familiar great White Arum, G cilia JEthiopica, is 
 common in wet places. 
 
 It is worthy of note, that whilst the animals, both quadrupeds 
 and birds, of South Africa have many relations with those of 
 Western Africa within the tropics, the plants belong to completely 
 
THE NATURAL HISTORY COURT. 
 
 a different series, and are connected with the flora of the rest of 
 Africa only by eastern relations. In some features of the flora 
 there is a curious analogy manifested with the Australian types. 
 
 The coasts of the Cape have a marine population as peculiar and 
 striking in their way as the terrestrial, and constitute a well- 
 marked sea-province, the eastern limits of which are to the south 
 of Natal, where the great Indo-Pacific region meets that of the 
 Cape. Among shell-fish, the limpet tribe has its chief congre- 
 gation of species here. 
 
 WESTERN OR NEW WORLD. 
 
 ANTARCTIC AMERICA. 
 
 We enter the New World by the cold regions of the extreme 
 south — the home of penguins. Here we find forms of animal and 
 vegetable life representative of those that inhabit the Arctic regions 
 and their borders. The most southerly arborescent vegetation is 
 seen in Hermit Island near Cape Horn, where stunted forests 
 of antarctic and evergreen beeches grow. The same phenomenon 
 is exhibited of multiplication of individuals and paucity of species 
 to which attention will be called in the notice of the extreme north. 
 The southernmost of all flowering plants is a grass, the Aim 
 antarctica, a native of the South Shetland islands. 
 
 SOUTHERNMOST REGIONS. 
 
 By the Chilian auraucarias, the fuchsias, calceolarias, and 
 petunias, some of the peculiar features of the vegetation of the 
 southernmost regions of South America are indicated. Many of 
 our most beautiful and familiar garden plants come from these 
 provinces. In the high regions of the Andes of Chili, as well as 
 further towards the equator, lives the chinchilla, famous for its 
 fur, at an elevation of between 12,000 and 14,000 feet — guinea- 
 pigs are found of peculiar kinds, and the llama, which ranges to a 
 height of 1800 feet. 
 
 TROPICAL SOUTH AMERICA. 
 
 The rich regions of Brazil and Tropical America are typified 
 by some of their most characteristic vegetable forms, and by not a 
 few of the most striking members of their mammalian fauna, as well 
 as birds of exquisite hues and strange shapes. Among the latter, 
 the toucans and humming birds are singularly striking. This is 
 the great central home of the New World monkeys, contrasting 
 with and representative of those of the Old World, but constituting 
 
ZOOLOGY AND BOTANY. 
 
 8:> 
 
 an entirely distinct group. Their nostrils placed far apart and 
 flattened, the number of their teeth, and the prehensile tail, — 
 a fifth hand, — with which so many of them are endowed, give them 
 an aspect very different from their relatives over the Atlantic. In 
 the vast forests of Brazil they revel among the palms, Barringtonias 
 and monkey pots, whilst, on the ground below, the giant ant-eater, 
 and many another creature equally strange, prowls around the 
 shade. The jaguar, puma, and ocelot, which take the place of the 
 great cats of the Old World, the agouti and capabara, the sloth and 
 coati-mundi, all present themselves in this compartment. The 
 American tapir is here, and in the more western portions of the 
 ground, are placed crochet-deer, and the Rhea americcma, the ostrich 
 of the west. The llama marks the region of the Andes, and in 
 the New World represents the camel of the Old. 
 
 CENTRAL AMERICA. 
 
 Birds of beautiful plumage, and vegetation of singular and 
 fantastic forms, mark the separating region of Central America. 
 The cactus tribe of plants, the yuccas, and the great aloe or rather 
 agave give a peculiar and striking aspect to this region. Yet of 
 the larger forms of animal life there is little to display. Before 
 long we may show the strange sea-cow, or manatee, as coming 
 within the bounds of this province, and a glance at the West 
 Indian marine case will serve at once to indicate the richness and 
 beauty of the fauna of seas and shores. The number and curious 
 variety of its sponges, the elegance and rich painting of its shell-fish, 
 the odd shapes of its fishes, and the presence of striking forms of 
 reef-building corals, all, however, different from those of the 
 Indian seas, cannot fail to impress its peculiarities on the thoughtful 
 visitor. 
 
 Along the southern verge of this province is the country of that 
 most exquisite of water-lilies, the great Victoria : on secluded 
 lakes, among luxuriant forests, and in the reaches of the mighty 
 rivers that flow tranquilly -among them, this beautiful plant 
 flourishes indigenous. 
 
 TEMPERATE NORTH AMERICA. 
 
 Between the Central and the Arctic Provinces are the wooded 
 regions of North America, where the vegetation of Canada passes 
 into that of the United States, and is bounded on the western side 
 by Oregonian fauna. A wide range has to be illustrated in a 
 small space, and we are obliged to bring together in close proximity 
 
 K 
 
00 
 
 THE NATURAL HISTORY COURT. 
 
 the countries of the pines and the palmettos. The Canadian 
 porcupine, Wapiti deer, elk, beaver, raccoon, Virginian opossum, 
 and Virginian deer stand here as representatives for the States 
 and neighboring countries. Shrew moles (Scalops aquaticus), 
 starnoses (Condylura cristata), musk-rats, bony pikes and limuli 
 would be effective additions, aud highly characteristic. The 
 fauna and flora of the United States, though in great part 
 peculiar, are in many of their members curiously representative 
 of the vegetable and animal life in the corresponding portion of 
 the Old World ; in not a few instances form replaces form. At 
 the same time, the differences are not to be overlooked, and in the 
 presence of the opossum, of some of the fishes and certain in- 
 vertebrate animals, we seem to have indications of claims to a 
 superior antiquity on the part of the so-called !New, over the 
 boasted Old World. 
 
 BARREN GROUNDS. 
 
 The Barren grounds that skirt the polar regions of North 
 America, and which include the country to the east of the Rocky 
 Mountains, and north of the great lakes, constitute a region of low 
 hills with rounded summits, and more or less precipitous sides, 
 separated by narrow valleys. They are bare of trees, except near 
 the margins of larger rivers ; a few stunted willows, dwarf birches 
 and larches, are occasionally met with, but the greater part of the 
 surface is covered with lichens only. The brown bear, the glutton, 
 the ermme, the Canadian otter, the wolf, the zibet, the arctic 
 hare, the reindeer, and the musk-ox, are characteristic quadrupeds. 
 Between this district and the northern shores of Lake Superior is a 
 belt of wooded land, where the elk, squirrel, beaver, &c, occur. 
 On the prairie lands that belong to the next section are the great 
 bison or American buffalo, peculiar deer, and the grisly bear. 
 Towards the west, and along the Rocky Mountains are found the 
 American goat (only on the highest ridges), and the pretty prong- 
 horned antelope. The distribution of most of these large animals 
 is determined by the vegetation, and that in a great measure by 
 the disposition of the water-sheds. 
 
 ARCTIC REGIONS. 
 
 To realise our conceptions, we ought, before quitting the Geogra- 
 phical Garden from the north, to find ourselves surrounded by 
 masses of ice and snow. Let us picture in our minds long lines 
 of hoary coasts, the dark rock occasionally breaking through its 
 
ZOOLOGY AND BOTANY. 
 
 91 
 
 frosty covering, the deep green waves tossing masses of ice, and 
 bearing np towering and fantastic icebergs, whose cleft and caver- 
 nous sides are beautiful with intense blue shadows. Great whales 
 sport among the waters, their black masses, here and there, 
 breaking the monotony of colours. Myriads of glancing jelly- 
 fishes, iridescent beroes, and pearly molluscs, give animation 
 to the transparent waters. Flocks of sea-birds fly in 
 every direction, watching the fishes that supply them with 
 abundant food ; seals rest on the icy platform, and nearer the 
 land the great white bear, beautiful as strong, prowls along the 
 verge of the shore. A scene such as this cannot be realised ever 
 at Sydenham, but we can indicate some few of its charac- 
 teristic elements. The imagination of intelligent visitors must 
 supply the rest. 
 
 The Arctic Province is represented only in one geographical 
 Court, that of the Western or New World. The one indication " 
 must serve for all the regions that border the icy seas. Indeed 
 there is no forcing in this arrangement, for the entire Arctic 
 fauna is characterised by prevailing monotony. Myriads of 
 individuals of the prevailing species, mostly dull in hue, or at 
 least deficient in brilliant colouring, whether they belong to the 
 earth, the air, or the sea, compensate for the paucity of different 
 kinds. White and grey, in the air ; dull browns in the sea, are the 
 prevailing tints. Some bright flowers during the summer season, 
 break the modest rule by their gaiety. Throughout the icy seas, 
 from Greenland round by Spitzbergen to Behring's Straits, and 
 along the labyrinthine coast of Asiatic America to Greenland again, 
 the same marine animals are diffused. This is the region of the 
 salmon genus, all the species of which radiate, as it were, around 
 the Arctic province. 
 
 By the polar bears and a group of Arctic birds an indication of 
 this northernmost of faunas is afforded. The various foxes of 
 the Arctic shores, the dogs of the Esquimaux, the walrus with its 
 human head, whalebone and finner whales, were their bulk 
 admissible, would fill up the group with more completeness. The 
 reindeer serves to indicate the boundary of the province, and stands 
 as a representative of the verge of these realms of ice and snow. 
 
 AUSTRALIA AND INDIAN ISLANDS. 
 
 The vegetation and much of the animal population of the Indian 
 islands, both on the land and in the sea, constitute a passage between 
 
02 
 
 THE NATURAL HISTORY COURT. 
 
 the floras and faunas of Asia, and those so exceedingly peculiar, when 
 regarded apart, of Australia. The group of islands connected with 
 New Guinea — mountainous, forest-clothed, hot and moist in their 
 climate — especially exhibit this passage. Spice-trees and numerous 
 forms of palms mark differences ; the presence of casuarinse, gum- 
 trees, and melaleucas, resemblances. A few species of Austra- 
 lian types are highly suggestive of the same relation. 
 
 The ourang, the Malay tapir, and bears, and the flying-squirrels, 
 with a rich array of birds, illustrate the zoology of the Indian 
 Archipelago ; while that of Australia and Tasmania are indicated 
 by the kangaroos, duck-billed platypus, Tasmanian wolf, and 
 echidnas, with many of the singular and strangely peculiar birds 
 of this most remarkable zoological province, where we seem to 
 have the lowest conditions of the vertebrate type, assembled as if 
 to indicate a rudimentary stage in the world's history. The 
 vegetation — typified here by Banksias and other x>roteaceous shrubs, 
 epacridiae, gum-trees, and many more forms as striking and 
 peculiar — indicates a corner of the earth set apart. 
 
 l.'.AnniJUY AND EVANS, riUNTERE, WH IT KV H I A R8. 
 
GEOLOGY AND INHABITANTS 
 
 OF THE 
 
 ANCIENT WORLD. 
 
 DESCRIBED BY 
 
 RICHARD OWEN, P.R.S. 
 
 THE ANIMALS CONSTRUCTED BY B. W. HAWKINS, F.C.S. 
 
 CRYSTAL PALACE LIBRARY, 
 
 AND 
 
 BRADBURY & EVANS, 11, BOUVERIE STREET, LONDON. 
 1854. 
 
B R AT) HURT AND EVA Wg, 
 rfilMIKS TO TDK CRYSTAL PA1.ACK COMFAST, 
 VT III T U 1 R I A US. 
 
CONTENTS. 
 
 PAGE 
 
 INTRODUCTION 5 
 
 THE SECONDARY ISLAND . . . . . . . . 7 
 
 CHALK FORMATION 9 
 
 THE MOSASAURUS 10 
 
 THE PTERODACTYLE 11 
 
 WEALDEN FORMATION U 
 
 THE IGUANODON . . . . . . . .14 
 
 THE HYLiEOSAURUS . . . . . . . . . 17 
 
 OOLITE FORMATION 19 
 
 THE MEGALOSAURUS 19 
 
 PTERODACTYLES OP THE OOLITE 22 
 
 TELEOSAURUS 22 
 
 LIAS FORMATION 25 
 
 ENALIOSAURIA 25 
 
 THE ICHTHYOSAURUS 25 
 
 ICHTHYOSAURUS PLATYODON 29 
 
 ICHTHYOSAURUS TENUIROSTRIS . . . . . . .30 
 
 ICHTHYOSAURUS COMMUNIS 30 
 
 PLESIOSAURUS 31 
 
 PLESIOSAURUS MACROCEPHALUS 31 
 
 PLESIOSAURUS DOLICHODEIRUS 32 
 
 PLESIOSAURUS HAWKINSII 33 
 
 NEW RED SANDSTONE 35 
 
 BATRACHIA 35 
 
 LABYRINTHODON SALAMANDROIDES . . . . r .36 
 
 LABYRINTHODON PACHYGNATHUS 38 
 
 DICYNODON 38 
 
 B 2 
 
GEOLOGY AND INHABITANTS OP THE 
 ANCIENT WORLD. 
 
 INTRODUCTION. 
 Before entering upon a description of the restorations of the 
 Extinct Animals, placed on the Geological Islands in the great 
 Lake, a brief account may be premised of the principles and pro- 
 cedures adopted in carrying out this attempt to present a view of 
 part of the animal creation of former periods in the earth's 
 history. 
 
 Those extinct animals were first selected of which the entire, 
 or nearly entire, skeleton had been exhumed in a fossil state. To 
 accurate drawings of these skeletons an outline of the form of the 
 entire animal was added, according to the proportions and rela- 
 tions of the skin and adjacent soft parts to the superficial parts of 
 the skeleton, as yielded by those parts in the nearest allied living 
 
G 
 
 GEOLOGY AND 
 
 animals. From such an outline of the exterior, Mr. Waterhouse 
 Hawkins prepared at once a miniature model form in clay. 
 
 This model was rigorously tested in regard to all its proportions 
 with those exhibited by the bones and joints of the skeleton of 
 the fossil animal, and the required alterations and modifications 
 were successively made, after repeated examinations and com- 
 parisons, until the result proved satisfactory. 
 
 The next step was to make a copy in clay of the proof model, 
 of the natural size of the extinct animal : the largest known 
 fossil bone, or part, of such animal being taken as the standard 
 according to which the proportions of the rest of the body were 
 calculated agreeably with those of the best preserved and most 
 perfect skeleton. The model of the full size of the extinct animal 
 having been thus prepared, and corrected by renewed comparisons 
 with the original fossil remains, a mould of it was prepared, and a 
 cast taken from this mould, in the material of which the restora- 
 tions, now exposed to view, are composed. 
 
 There are some very rare and remarkable extinct animals of 
 which only the fossil skull and a few detached bones of the 
 skeleton have been discovered : in most of these the restoration 
 has been limited to the head, as, for example, in the case of the 
 Mosasaurus ; and only in two instances — those, viz., of the 
 Labyrinthodon and Dicynodon — has Mr. Hawkins taken upon 
 himself the responsibility of adding the trunk to the known 
 characters of the head, such addition having been made to illus- 
 trate the general affinities and nature of the fossil, and the kind 
 of limbs required to produce the impressions of the footprints, 
 where these have been detected and preserved in the petrified 
 sands of the ancient sea-shores trodden by these strange forms of 
 the Reptilian class. 
 
 With regard to the hair, the scales, the scutes, and other modi- 
 fications of the skin, in some instances the analogy of the nearest 
 allied living forms of animals has been the only guide ; in a few 
 instances, as in that of the Ichthyosaurus, portions of the petri- 
 fied integument have been fortunately preserved, and have guided 
 the artist most satisfactorily in the restoration of the skin and soft 
 parts of the fins ; in the case of other reptiles, the bony plates, 
 spines, and scutes have been discovered in a fossil state, and have 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 7 
 
 been scrupulously copied in the attempt to restore the peculiar 
 tegumentary features of the extinct reptiles, as e. g. in the 
 Hylseosaurus. 
 
 In every stage of this difficult, and by some it may be thought, 
 perhaps, too bold, attempt to reproduce and present to human 
 gaze and contemplation the forms of animal life that have success- 
 ively nourished during former geological phases of time, and have 
 passed away long ages prior to the creation of man, the writer of 
 the following brief notice of the nature and affinities of the 
 animals so restored feels it a duty, as it is a high gratification to 
 him, to testify to the intelligence, zeal, and peculiar artistic skill 
 by which his ideas and suggestions have been realised and carried 
 out by the talented director of the fossil department, Mr. Water- 
 house Hawkins. Without the combination of science, art, and 
 manual skill, happily combined in that gentleman, the present 
 department of the Instructive Illustrations at the Crystal Palace 
 could not have been realised. 
 
 The Secondary Island. 
 
 The most cursory observation of the surface of the earth 
 shows that it is composed of distinct substances, such as clay, 
 chalk, lias, limestone, coal, slate, sandstone, <fec. ; and a study 
 of such substances, their relative position and contents, has 
 led to the conviction that these external parts of the earth have 
 acquired their present condition gradually, under a variety of 
 circumstances, and at successive periods, during which many races 
 of animated beings, distinct both from those of other periods and 
 from those now living, have successively peopled the land and the 
 waters ; the remains of these creatures being found buried in 
 many of the layers or masses of mineral substances, forming the 
 crust of the earth. 
 
 The object of the Islands in the Geological Lake is to demon- 
 strate the order of succession, or superposition, of these layers or 
 strata, and to exhibit, restored in form and bulk, as when they 
 lived, the most remarkable and characteristic of the extinct 
 animals and plants of each stratum. 
 
 The series of mineral substances and strata represented in the 
 
s 
 
 GEOLOGY AND 
 
 smaller island have been called by geologists " secondary formations," 
 because they lie between an older series termed " primary," and 
 a newer series termed " tertiary : " the term " formation " meaning 
 any assemblage of rocks or layers which have some character in 
 common, whether of origin, age, or composition.* 
 
 Following the secondary formations as they descend in the 
 earth, or succeed each other from above downwards, and as they 
 are shown, obliquely tilted up out of their original level position 
 from left to right, in the Secondary Island, they consist : 1st, of 
 the Chalk or Cretaceous group ; 2nd, the Wealden ; 3rd, the 
 Oolite ; 4th, the Lias ; and 5th, the New Red Sandstone. 
 
 * Lyell, "Manual of Elementary Geology." 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 9 
 
 THE CHALK. 
 
 The clialk formations or "cretaceous group of beds" include 
 strata of various mineral substances ; but the white chalk which 
 forms the cliffs of Dover and the adjoining coasts, and the downs 
 and chalk quarries of the South of England, is the chief and most 
 characteristic formation. Chalk, immense as are the masses in 
 which it has been deposited, owes its origin to living actions ; 
 every particle of it once circulated in the blood or vital juices of 
 certain species of animals, or of a few plants, that lived in the 
 seas of the secondary period of geological time. White chalk con- 
 sists of carbonate of lime, and is the result of the decomposition 
 chiefly of coral-animals (Madrepores, Millepores, Flustra, Cellepora, 
 &c), of sea-urchins (Echini), and of shell-fishes (Testacea), and of 
 the mechanical reduction, pounding, and grinding of their shells. 
 Such chalk-forming beings still exist, and continue their operations 
 in various parts of the ocean, especially in the construction of 
 coral reefs and islands. 
 
 Every river that traverses a limestone district carries into the 
 sea a certain proportion of caustic lime in solution : the ill effects 
 of the accumulation of this mineral are neutralised by the power 
 allotted to the above-cited sea,-animals to absorb the lime, combine 
 it with carbonic-acid, and precipitate or deposit it in the condition 
 of insoluble chalk, or carbonate of lime. 
 
 The entire cretaceous series includes from above downwards : 
 
 Maestricht beds of yellowish chalk. 
 
 Upper white chalk with flints. 
 
 Lower white chalk without flints. 
 
 Upper green-sand. 
 
 Gault. 
 
 Lower green-sand and Kentish rag. 
 The best known and most characteristic large extinct animal of 
 the chalk formations is chiefly found in the uppermost and most 
 recent division, and is called 
 
10 
 
 GEOLOGY AND 
 
 No. 1. — The Mosasaurus. 
 (Mosasaurus Hoffmanni, Hoffmann's Mosasaur.) 
 
 Of this animal almost the entire skull has been discovered, but 
 not sufficient of the rest of the skeleton to guide to a complete 
 restoration of the animal. The head only, therefore, is shown, of 
 the natural size, at the left extremity of the Secondary Island. 
 
 The first or generic name of this animal is derived from the 
 locality, Maestricht, on the river Meuse (Lat. Mosa), in Germany, 
 where its remains have been chiefly discovered, and from the 
 Greek word sauros, a lizard, to which tribe of animals it belongs. 
 Its second name refers to its discoverer, Dr. Hoffmann, of Maes- 
 tricht, surgeon to the forces quartered in that town in 1780. 
 This gentleman had occupied his leisure by the collection of the 
 fossils from the quarries which were then worked to a great extent 
 at Maestricht for a kind of yellowish stone of a chalky nature, 
 and belonging to the most recent of the secondary class of forma- 
 tions in geology. In one of the great subterraneous quarries or 
 galleries, about five hundred paces from the entrance, and ninety 
 feet below the surface, the quarrymen exposed part of the skull of 
 the Mosasaurus, in a block of stone which they were engaged in 
 detaching. On this discovery they suspended their work, and 
 went to inform Dr. Hoffmann, who, on arriving at the spot, 
 directed the operations of the men, so that they worked out the 
 block without injury to the fossil ; and the doctor then, with his 
 own hands, cleared away the matrix and exposed the jaws and 
 teeth, casts of which are shown in the cretaceous rock of the 
 Island. 
 
 This fine specimen, which Hoffmann had added with so much 
 pains and care to his collection, soon, however, became a source 
 of chagrin to him. One of the canons of the cathedral at 
 Maestricht, who owned the surface of the soil beneath which was 
 the quarry whence the fossil had been obtained, when the fame 
 of the specimen reached him, pleaded certain feudal rights to 
 it. Hoffmann resisted, and the canon went to law. The 
 Chapter supported the canon, and the decree ultimately went 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 11 
 
 against the poor surgeon, who lost both his specimen and his 
 money — being made to pay the costs of the action. The canon 
 did not, however, long enjoy possession of the unique specimen. 
 When the French army bombarded Maestricht in 1795, directions 
 were given to spare the suburb in which the famous fossil was 
 known to be preserved ; and after the capitulation of the town it 
 was seized and borne off in triumph. The specimen has since 
 remained in the museum of the Garden of Plants at Paris. 
 
 This skull of the Mosasaurus measures four and a half feet 
 long and two and a half feet wide. The large pointed teeth on the 
 jaws are very conspicuous ; but, in addition to these, the gigantic 
 reptile had teeth on a bone of the roof of the mouth (the pterygoid), 
 like some of the modern lizards. The entire length of the animal has 
 been estimated at about thirty feet. It is conjectured to have been 
 able to swim well, and to have frequented the sea in quest of prey ; 
 its dentition shows its predatory and carnivorous character, and its 
 remains have hitherto been met with exclusively in the chalk forma- 
 tions. Besides the specimens from St. Peter's Mount, Maestricht, 
 of which the above-described skull is the most remarkable, fossil 
 bones and teeth of the Mosasaurus have been found in the chalk 
 of Kent, and in the green-sand — a member of the cretaceous 
 series — in New Jersey, United States of America. No animal 
 like the Mosasaurus is now known to exist. 
 
 Nos. 2 & 3. — The Ptekodactyle. 
 
 ]STos. 2 and 3 are restorations of a flying reptile or dragon, 
 called Pterodactyle, from the Greek words yyUron, a wing, and 
 dactylos, a finger ; because the wings are mainly supported by the 
 outer finger, enormously lengthened and of proportionate strength, 
 which, nevertheless, answers to the little finger of the human hand. 
 The wings consisted of folds of skin, like the leather wings of the 
 bat ; and the Pterodactyles were covered with scales, not with 
 feathers : the head, though somewhat resembling in shape that of 
 a bird, and supported on a long and slender neck, was provided 
 with long jaws, armed with teeth ; and altogether the structure of 
 these extinct members of the reptilian class is such as to rank 
 them amongst the most extraordinary of all the creatures yet dis- 
 covered in the ruins of the ancient earth. 
 
12 
 
 GfEOLOGrY AND 
 
 Remains of the Pterodactyle were first discovered, in 1784, by 
 Prof. Collini, in the lithographic slate of Aichstadt, in Germany, 
 which slate is a member of the oolitic formations : the species so dis- 
 covered was at first mistaken for a bird, and afterwards supposed 
 to be a large kind of bat, but had its true reptilian nature demon- 
 strated by Baron Cuvier, by whom it was called the Pterodadylus 
 longirostris, or Long-beaked Pterodactyle : it was about the size of a 
 curlew. 
 
 A somewhat larger species — the Pterodaetyhis macronyx, or 
 Long-clawed Pterodactyle — was subsequently discovered by the 
 Hev. Dr. Buckland, in the lias formation of Lyme Pegis : its 
 wings, when expanded, must have been about four feet from tip to 
 tip. The smallest known species — the Pterodadylus brevirostris, or 
 Short-beaked Pterodactyle — was discovered in the lithographic slate 
 at Solenhofen, Germany, and has been described by Professor 
 Soemmering. 
 
 Remains of the largest known kinds of Pterodactyle have been 
 discovered more recently in chalk-pits, at Burham, in Kent. The 
 skull of one of these species — the Pterodadylus Cuvieri — was about 
 twenty inches in length, and the animal was upborne on an ex- 
 panse of wing of probably not less than eighteen feet from tip to 
 tip. The restored specimen of this species is numbered 3. 
 
 A second very large kind of Pterodactyle — the Pterodadylus 
 compressirostris, or Thin-beaked Pterodactyle — had a head from 
 fourteen to sixteen inches in length, and an expanse of wing, from 
 tip to tip, of fifteen feet. The remains of this species have also 
 been found in the chalk of Kent. From the same formation and 
 locality a third large kind of Pterodactyle, although inferior in 
 size to the two foregoing, has been discovered, called the Pterodac- 
 tylus convrostris, and also — until the foregoing larger kinds were 
 discovered — Pterodactylus giganteus. The long, sharp, conical teeth 
 in the jaws of the Pterodactyles indicate them to have preyed upon 
 other riving animals ; their eyes were large, as if to enable them to 
 fly by night. From their wings projected fingers, terminated by 
 long curved claws, and forming a powerful paw, wherewith the 
 animal was enabled to creep and climb, or suspend itself from trees. 
 It is probable, also, that the Pterodactyles had the power of swim- 
 ming ; some kinds, e.g., the Pterodaetylus Gemmingi, had a long 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 13 
 
 and stiff tail. "Thus/' writes Dr. Buckland, "like Milton's 
 Fiend, all qualified for all services and all elements, the creature 
 was a fit companion for the kindred reptiles that swarmed in the 
 seas, or crawled on the shores of a turbulent planet. 
 
 < The Fiend, 
 
 O'er bog, or steep, through strait, rough, dense, or rare, 
 With head, hands, wings, or feet, pursues his way, 
 And swims, or sinks, or wades, or creeps, or flies.' 
 
 Paradise Lost, Book II." 
 
14 
 
 GEOLOGY AND 
 
 THE WEALDEN. 
 
 The Wealden is a mass of petrified clay, sand, and sand- 
 stone, deposited from the fresh or brackish water of probably some 
 great estuary, and extending over parts of the counties of Kent, 
 Surrey, and Sussex. This fresh- water formation derives its name 
 from the " Weald " or " Wold" of Kent, where it was first geolo- 
 gically studied, and where it is exposed by the removal of the 
 chalk, which covers or overlies it, in other parts of the South of 
 England. 
 
 The Wealden is divided into three groups of strata, which suc- 
 ceed each other in the following descending order : — 
 
 1st. Weald Clay, sometimes including thin beds of sand and 
 shelly limestone, forming beds of from 140 to 280 feet in depth or 
 vertical thickness. 
 
 2nd. Hastings Sand, in which occur some clays and calcareous 
 grits, forming beds of from 400 to 500 feet in depth. 
 
 3rd. Purbeck Beds, so called from being exposed chiefly in the 
 Isle of Purbeck, off the coast of Dorsetshire, where it forms the 
 quarries of the limestone for which Purbeck is famous : the beds 
 of limestones and marls are from 150 to 200 feet in depth. 
 
 Nos. 4 & 5. — The Iguanobon. 
 
 (Iguanodon Mantelli, Conybeare.) 
 
 One afternoon, in the spring of 1822, an accomplished lady, the 
 wife of a medical practitioner, at Lewes, in Sussex, walking along 
 the picturesque paths of Tilgate Forest, discovered some objects in 
 the coarse conglomerate rock of the quarries of that locality, which, 
 from their peculiar form and substance, she thought would be 
 interesting to her husband, whose attention had been directed, 
 during his professional drives, to the geology and fossils of his 
 neighbourhood. 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 15 
 
 The lady was Mrs. Mantell : lier husband, the subsequently 
 distinguished geologist, Dr. Mantell,* perceived that the fossils 
 discovered by his wife were teeth, and teeth of a large and 
 unknown animal. 
 
 " As these teeth," writes the doctor, <c were distinct from any 
 that had previously come under my notice, I felt anxious to sub- 
 mit them to the examination of persons whose knowledge and 
 means of observation were more extensive than my own. I 
 therefore transmitted specimens to some of the most eminent 
 naturalists in this country and on the continent. But although 
 my communications were acknowledged with that candour and 
 liberality which constantly characterise the intercourse of scien- 
 tific men, yet no light was thrown upon the subject, except by 
 the illustrious Baron Cuvier, whose opinions will best appear by 
 the following extract from the correspondence with which he 
 honoured me : — 
 
 " c These teeth are certainly unknown to me ; they are not from 
 a carnivorous animal, and yet I believe that they belong, from 
 their slight degree of complexity, the notching of their margins, 
 and the thin coat of enamel that covers them, to the order of 
 reptiles. 
 
 " 6 May we not here have a new animal ! — a herbivorous reptile ? 
 And, just as at the present time with regard to mammals (land- 
 quadrupeds with warm blood), it is amongst the herbivorous that 
 we find the largest species, so also with the reptiles at the remote 
 period when they were the sole terrestrial animals, might not the 
 largest amongst them have been nourished by vegetables ? 
 
 " c Some of the great bones which you possess may belong to 
 this animal, which, up to the present time, is unique in its kind. 
 Time will confirm or confute this idea, since it is impossible but 
 that one day a part of the skeleton, united to portions of jaws 
 with the teeth, will be disco vered.'" 
 
 " These remarks," Dr. Mantell proceeds to say, "induced me to 
 pursue my investigations with increased assiduity, but hitherto they 
 have not been attended with the desired success, no connected 
 
 * " The first specimens of the teeth were found by Mrs. Mantell in the coarse 
 conglomerate of the Forest, in the spring of 1822." — Mantell, "Gfeology of the 
 South-East of England," 8vo, 1833, p. 268. 
 
16 
 
 GEOLOGY AND 
 
 portion of the skeleton having been discovered. Among the speci- 
 mens Lately connected, some, however, were so perfect, that I 
 resolved to avail myself of the obliging offer of Mr. Clift (to whose 
 kindness and liberality I hold myself particularly indebted), to 
 assist me in comparing the fossil teeth with those of the recent 
 Lacertos in the Museum of the Royal College of Surgeons. The 
 result of this examination proved highly satisfactory, for in an 
 Iguana which Mr. Stutchbury had prepared to present to the 
 College, we discovered teeth possessing the form and structure of 
 the fossil specimens." (Phil. Trans., 1825, p. 180.) And he 
 afterwards adds : — " The name Iguanodon, derived from the form 
 of the teeth, (and which I have adopted at the suggestion of the 
 Rev. W. Conybeare,) will not, it is presumed, be deemed objec- 
 tionable." (Ib. p. 184.) 
 
 The further discovery which Baron Cuvier's prophetic glance 
 saw buried in the womb of time, and the birth of which verified 
 his conjecture that some of the great bones collected by Dr. Mantell 
 belonged to the same animal as the teeth, was made by Mr. W. H. 
 Bensted, of Maidstone, the proprietor of a stone-quarry of the 
 Shanklin-sand formation, in the close vicinity of that town. This 
 gentleman had his attention one day, in May, 1834, called by his 
 workmen to what they supposed to be petrified wood in some pieces 
 of stone which they had been blasting. He perceived that what 
 they supposed to be wood was fossil bone, and with a zeal and 
 care which have always characterised his endeavours to secure for 
 science any evidence of fossil remains in his quarry, he immediately 
 resorted to the spot. He found that the bore or blast by which these 
 remains were brought to light, had been inserted into the centre of 
 the specimen, so that the mass of stone containing it had been shat- 
 tered into many pieces, some of which were blown into the adjoining 
 fields. All these pieces he had carefully collected, and proceeding 
 with equal ardour and success to the removal of the matrix from 
 the fossils, he succeeded after a month's labour in exposing them 
 to view, and in fitting the fragments to their proper places. 
 
 This specimen is now in the British Museum. 
 
 Many other specimens of detached bones, including vertebrae or 
 parts of the back-bone, especially that part resting on the hind 
 limbs, and called the " pelvis," bones of the limbs, down to those 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 17 
 
 that supported the claws, together with jaws and teeth, which have 
 since been successively discovered, have enabled anatomists to re- 
 construct the extinct Iguanodon, and have proved it to have been a 
 herbivorous reptile, of colossal dimensions, analogous to the diminu- 
 tive Iguana in the form of its teeth, but belonging to a distinct and 
 higher order of reptiles, more akin to the crocodiles. The same 
 rich materials, selecting the largest of the bones as a standard, have 
 served for the present restorations (JSTos. 4 and 5) of the animal, as 
 when alive : all the parts being kept in just proportion to the 
 standard bones, and the whole being thus brought to the following 
 dimensions : — 
 
 Total length, from the nose or muzzle to the end 
 
 of the tail . . . . .34 feet 9 inches. 
 Greatest girth of the trunk , . . 20 ,, 5 ,, 
 Length of the head . . . 3 6 
 
 Length of the tail . - . 15 ,, 6 
 
 The character of the scales is conjectural, and the horn more 
 than doubtful, though attributed to the Iguanodon by Dr. Mantell 
 and most geologists. 
 
 This animal probably lived near estuaries and rivers, and may 
 have derived its food from the Clathrarice, Zamice, Cycades, and 
 other extinct trees, of which the fossil remains abound in the same 
 formations as those yielding the bones and teeth of the Iguanodon. 
 
 These formations are the Wealden and the Neocomian or green- 
 sand : the localities in which the remains of the Iguanodon have been 
 principally found, are the Weald of Kent and Sussex : Horsham, 
 in Sussex ; Maidstone, in Kent ; and the Isle of Wight. 
 
 Restorations of the Cycas and Zamia are placed, with the 
 Iguanodon, on the Wealden division of the Secondary Island. 
 
 No. 6. — The Eyljeosaurus. (Hylceosaurus Owenii.) 
 The animal, so called by its discoverer, Dr. Mantell, belongs to 
 the same highly organised order of the class of reptiles as the 
 Iguanodon, that, viz., which was characterised by a longer and 
 stronger sacrum and pelvis, and by larger limbs than the reptiles of 
 the present day possess ; they were accordingly better fitted for 
 progression on dry land, and probably carried their body higher and 
 more freely above the surface of the ground. 
 
 c 
 
13 
 
 GEOLOGY AND 
 
 Visiting, in the summer of 1832, a quarry in Tilgate Forest, 
 Dr. Mantell had his attention attracted to some fragments of a large 
 mass of stone, which had recently been broken up, and which exhi- 
 bited traces of numerous pieces of bone. The portions of the rock, 
 which admitted of being restored together, were cemented, and 
 then the rock was chiselled from the fossil bones, which consisted 
 of part of the back-bone or vertebral column, some ribs, the 
 shoulder bones called scapula and coracoid, and numerous long 
 angular bones or spines which seemed to have supported a lofty 
 serrated or jagged crest, extended along the middle of the back, as 
 in some of the small existing lizards, e.g., the Iguana : cut No. 6. 
 Many small dermal bones were also found, which indicate the 
 Hylseosaurus to have been covered by hard tubereulate scales, like 
 those of some of the Australian lizards, called Cyclodus. 
 
 This character of the skin, and the serrated crest, are accurately 
 given in the restoration, the major part of which, however, is 
 necessarily at present conjectural, and carried out according to the 
 general analogies of the saurian form. The size is indicated with 
 more certainty according to the proportions of the known vertebrae 
 and other bones. 
 
 No. 0. Diagram of the Slab containing the Bones of Hyla?osaurus. 
 
INHABITANTS OF THE ANCIENT WORLD. 19 
 
 THE OOLITE. 
 
 The division of the secondary formations, called " Oolite," takes 
 its name from the most characteristic of its constituents, which is a 
 variety of limestone composed of numerous small grains, resembling 
 the "roe" or eggs of a fish, whence the term, (from the Greek oon, 
 an egg, lithos, a stone). The oolite, however, includes a great series 
 of beds of marine origin, which, with an average breadth of thirty 
 miles, extend across England, from Yorkshire in the north-east to 
 Dorsetshire in the south-west. 
 
 The oolite series lies below the Wealden, and where this is 
 wanting, below the chalk, and consists of the following subdivisions, 
 succeeding each other in the descending order : — 
 
 Upon the portion of the island representing the oolite series, the 
 most conspicuous of the restored animals of that period is — 
 
 The Megalosaurus, as its name implies (compounded by its dis- 
 coverer, Dr. Buckland, from the Greek megas, great, and sauros, 
 lizard), was a lizard-like reptile of great size, " of which," writes Dr. 
 Buckland, "although no skeleton has yet been found entire, so 
 many perfect bones and teeth have been discovered in the same 
 quarries, that we are nearly as well acquainted with the form and 
 dimensions of the limbs as if they had been found together in a single 
 block of stone." 
 
 Oolite. 
 Portland stone and sand. 
 Kimmeridge clay. 
 
 Cornbrash and forest marble. 
 Great oolite and Stonesfield slate. 
 Fuller's earth. 
 Inferior oolite. 
 
 No. 7. — The Megalosaurus. 
 
 c 2 
 
20 
 
 GEOLOGY AND 
 
 The restoration of the animal has been accordingly effected, 
 agreeably with the proportions of the known parts of the skeleton, 
 and in harmony with the general characters of the order of 
 reptiles to which the Megalosaurus belonged. This order — the 
 Dinosauria (Gr. deinos, terribly great sauros, a lizard)— is that 
 to which the two foregoing huge reptiles of the Wealden series 
 belong, viz., the Iguanodon and Hylseosaurus, and is characterised 
 
 by the modifications already mentioned, that fitted them for more 
 efficient progression upon dry land. The Iguanodon rej)resented 
 the herbivorous section of the order, the Hylseosaurus appears, from 
 its teeth, to have been a mixed feeder, but the Megalosaurus was 
 decidedly carnivorous, and, probably, waged a deadly war against 
 its less destructively endowed congeners and contemporaries. 
 
 Baron Cuvier estimated the Megalosaurus to have been about 
 fifty feet in length ; my own calculations, founded on more com- 
 plete evidence than had been at the Baron's command, reduce its 
 size to about thirty-five feet :* but with the superior proportional 
 height and capacity of trunk, as contrasted with the largest existing 
 crocodiles, even that length gives a most formidable character to 
 tins extinct predatory reptile. 
 
 As the thigh-bone (femur) and leg-bone (tibia) measure each 
 nearly three feet, the entire hind-leg, allowing for the cartilages of 
 the joints, must have attained a length of two yards : a bone of the 
 
 * " Report of British Fossil Reptiles," 1841, p. 110. 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 21 
 
 foot (metatarsal) thirteen inches long, indicates that part, with the 
 toes and claws entire, to have been at least three feet in length- 
 The form of the teeth shows the Megalosaurus to have been strictly 
 carnivorous, and viewed as instruments for providing food for 
 so enormous a reptile, the teeth were fearfully fitted to the 
 destructive office for which they were designed. They have com- 
 pressed conical sharp-pointed crowns, with cutting and finely 
 serrated anterior and posterior edges ; they appear straight, as 
 seen when they had just protruded from the socket, but become 
 bent slightly backwards in the progress of growth, and the 
 fore part of the crown, below the summit, becomes thick and 
 convex. 
 
 A minute and interesting description of these teeth will be found 
 in Dr. Buckland's admirable "Bridge water Treatise" (vol. i. 
 p. 238), from which he concludes that the teeth of the Megalosaurus 
 present "a combination of contrivances analogous to those which 
 human ingenuity has adopted in the construction of the knife, the 
 sabre, and the saw." The fossils which brought to light the former 
 existence of this most formidable reptile, were discovered in 1823? 
 in the oolitic slate of Stonesfield, near Oxford, and were described 
 by Dr.Buckland, in the volume of the " Geological Transactions" 
 for the year 1824. 
 
 Remains of the Megalosaurus have since been discovered in the 
 " Bath oolite," which is immediately below the Stonesfield slate, 
 and in the " Cornbrash," which lies above it. Vertebrae, teeth, 
 and some bones of the extremities have been discovered in the 
 Wealden of Tilgate Forest, Kent, and in the ferruginous sand, 
 of the same age, near Cuckfield, in Sussex. Remains of the 
 Megalosaurus also occur in the Purbeck limestone at Swanage Bay, 
 and in the oolite in the neighbourhood of Malton, in Yorkshire. 
 
 Mr. Waterhouse Hawkins's restoration, according to the propor- 
 tions calculated from the largest portions of fossil bones of the 
 Megalosaurus hitherto obtained, yields a total length of the animal, 
 from the muzzle to the end of the tail, of thirty-seven feet ; the 
 length of the head being five feet, the length of the tail fifteen feet ; 
 and the greatest girth of the body twenty-two feet six inches. 
 
22 
 
 GEOLOGY AND 
 
 JSTos. 8 <fc 9. — Pterodactyles of the Oolite. 
 
 To the right of the Hylseosaurus, on the rock representing the 
 greater oolite formation, are restorations of species of Pterodactyle 
 (Pterodactylus Bucklandi, No. 9), smaller than and distinct from those 
 of the chalk formations. The remains of Buckland's Pterodactyle are 
 found pretty abundantly in the oolitic slate of Stonesfield, near 
 Oxford. ' 
 
 Nos. 10 & 11. — Teleosaurus. 
 
 On the shore beneath the overhanging cliff of oolitic rock are two 
 restorations, Nos. 10 and 11, of a large extinct kind of crocodile, 
 to which the long and slender-jawed crocodile of the Ganges, called 
 "Gavial" or " Gharrial" by the Hindoos, offers the nearest resem- 
 blance at the present day. Remains of the ancient extinct British 
 gavials have been found in most of the localities where the oolitic for- 
 mations occur, and very abundantly in the lias cliffs near Whitby, in 
 Yorkshire. The name Teleosaurus (telos, the end, sauros, a lizard), 
 was compounded from the Greek by Professor Geoffroy St. Hilaire, 
 for a species of these fossil gavials, found by him in the oolite stone 
 at Caen, in jSTormandy, and has reference to his belief that they 
 formed one — the earliest — extreme of the crocodilian series, as this 
 series has been successively developed in the course of time on our 
 planet. 
 
 The jaws are armed with numerous long, slender, sharp-pointed, 
 slightly curved teeth, indicating that they preyed on fishes, and the 
 young or weaker individuals of co-existing reptiles. The nostril 
 is situated more at the end of the upper jaw than in the modern 
 gavial : the fore-limbs are shorter, and the hind ones longer and 
 stronger than in the gavial, which indicates that the Teleosaur was 
 a better swimmer ; the vertebrae or bones of the back are united by 
 slightly concave surfaces, not interlocked by cup and ball joints as 
 in the modern crocodiles, whence it would seem that the Teleosaur 
 lived more habitually in the water, and less seldom moved on dry 
 land ; and, as its fossil remains have been hitherto found only in 
 the sedimentary deposits from the sea, it may be inferred that it 
 was more strictly marine than the crocodile of the Ganges. 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 23 
 
 The first specimen of a Teleosaur that was brought to light was 
 from the " alum-schale " which forms one layer of the lofty lias 
 cliffs of the Yorkshire coast, near Whitby. A brief description, 
 and figures, of this incomplete fossil skeleton were published by 
 Messrs. Wooller and Chapman, in separate communications, in 
 the 50th volume of the " Philosophical Transactions," in 1758. 
 Captain Chapman observes, " it seems to have been an alligator 
 and Mr. Wooller thought " it resembled in every respect the 
 Gangetic gavial." Thus, nearly a century ago, the true nature of 
 the fossil was almost rightly understood, and various were the 
 theories then broached to account for the occurrence of a supposed 
 Gangetic reptile in a petrified state in the cliffs of Yorkshire. It 
 has required the subsequent progress of comparative anatomy to 
 determine, as by the characters above defined, the essential dis- 
 tinction of the Teleosaur from all known existing forms of croco- 
 dilian reptiles. 
 
 Very abundant remains, and several species, of the extinct genus 
 have been subsequently discovered : but always in the oolitic and 
 liassic formations of the secondary series of rocks. 
 
 The oolitic group of rocks are very rich in remains of both 
 plants and animals : many reptiles of genera and species distinct 
 from those here restored have been recognised and determined by 
 portions of the skeleton. Extremely numerous are the remains of 
 fishes, chiefly of an almost extinct order (Ganoidei), characterised 
 by hard, shining, enamelled scales. But the most remarkable 
 fossils are those which indisputably prove the existence, during the 
 period of the " Great " or " Lower Oolite/' of insectivorous and 
 marsupial mammalia — i.e., of warm-blood quadrupeds, which, 
 like the shrew or hedgehog, fed on insects, and, like the opossum, 
 had a pouch for the transport of the young. The lower jaw of 
 one of these earliest known examples of the mammalian class, 
 found in the Stonesfield slate, near Oxford, may be seen at the 
 British Museum, to which it was presented by J. W. Broderip, 
 Esq., F.R.S., by whom it was described in the " Zoological 
 Journal," vol. iii., p. 408. 
 
 It is interesting to observe that the marsupial genera, to which 
 the above fossil quadruped, called Phascolotherium, was most 
 nearly allied, are now confined to New South Wales and Yan 
 
24 
 
 GEOLOGY AND 
 
 Diemen's Land ; since it is in the Australian seas that is found 
 the Cestracion, a cartilaginous fish which has teeth that are most 
 like those fossil teeth called Acrodus and Psammodus, so common 
 in the oolite. In the same Australian seas, also, near the shore, 
 the beautiful shell-fish called Trigonia is found living, of which 
 genus many fossil species occur in the Stonesfield slate. More- 
 over, the Araucarian pines are now abundant, together with ferns, 
 in Australia, as they were in Europe in the oolitic period. 
 
INHABITANTS OF THE ANCIENT WOULD. 
 
 25 
 
 THE LIAS. 
 
 "Lias" is an English provincial name adopted in geology, and 
 applied to a formation of limestone, marl, and petrified clay, which 
 forms the base of the oolite, or immediately underlies that division 
 of secondary rocks. The lias has been traced throughout a great 
 part of Europe, forming beds of a thickness varying from 500 to 
 1000 feet of the above-mentioned substances, which have been 
 gradually deposited from a sea of corresponding extent and 
 direction. The lias abounds with marine shells of extinct species, 
 and with remains of fishes that were clad with large and hard 
 shining scales. Of the higher or air-breathing animals of that 
 period, the most characteristic were the 
 
 Enaliosauria. 
 
 The creatures called Enaliosauria or Sea-lizards (from the Greek 
 enalios, of the sea, and sauros, lizard), were vertebrate animals, or 
 had back bones, breathed the air like land quadrupeds, but were 
 cold-blooded, or of a low temperature, like crocodiles and other 
 reptiles. The proof that the Enaliosaurs respired atmospheric air 
 immediately, and did not breathe water by means of gills like fishes, 
 is afforded by the absence of the bony framework of the gill 
 apparatus, and by the presence, position, and structure of the air 
 passages leading from the nostrils, and also by the bony mechanism 
 of the capacious chest or thoracic-abdominal cavity : all of which 
 characters have been demonstrated by their fossil skeletons. With 
 these characters the Sea-lizards combined the presence of two pairs 
 of limbs shaped like fins, and adapted for swimming. 
 
 The Enaliosauria offer two principal modifications of their 
 anatomical, and especially their bony, structure, of which the two 
 kinds grouped together under the respective names of Ichthyosaurus 
 and Plesiosaurus are the examples. 
 
 The Ichthyosaurus. 
 The genus Ichthyosaurus includes many species : of which three 
 
GEOLOGY AND 
 
 of the best known and most remarkable have been selected for 
 restoration to illustrate this most singular of the extinct forms of 
 animal life. 
 
 The name (from the Greek ichthys, a fish, and sawros, a lizard) 
 indicates the closer affinity of the Ichthyosaur, as compared with 
 the Plesiosaur, to the class of fishes. The Ichthyosaurs are remark- 
 able for the shortness of the neck and the equality of the width of 
 the back of the head with the front of the chest, impressing the 
 observer of the fossil skeleton with a conviction that the ancient 
 animal must have resembled the whale tribe and the fishes in the 
 absence of any intervening constriction or "neck." 
 
 This close approximation in the Ichthyosaurs to the form of the 
 most strictly aquatic back-boned (vertebrate) animals of the existing 
 creation is accompanied by an important modification of the sur- 
 faces forming the joints of the back-bone, each of which surfaces 
 is hollow, leading to the inference that they were originally con- 
 nected together by an elastic bag, or " capsule," filled with fluid — 
 a structure which prevails in the class of fishes, but not in any of 
 the whale or porpoise tribe, nor in any, save a few of the very 
 lowest and most fish-like, of the existing reptiles. 
 
 With the above modifications of the head, trunk, and limbs, in 
 relation to swimming, there co-exist corresponding modifications of 
 the tail. The bones of this part are much more numerous than in 
 the Plesiosaurs, and the entire tail is consequently longer ; but it 
 does not show any of those modifications that characterise the bony 
 support of the tail in fishes. The numerous "caudal vertebrae" 
 of the Ichthyosaurus gradually decrease in size to the end of the 
 tail, where they assume a compressed form, or are flattened from 
 side to side, and thus the tail instead of being short and broad, as 
 in fishes, is lengthened out as in crocodiles. 
 
 The very frequent occurrence of a fracture of the tail, about 
 one fourth of the way from its extremity, in well-preserved 
 and entire fossil skeletons, is owing to that proportion of the 
 end of the tail having supported a tail-fin. The only evi- 
 dence which the fossil skeleton of a whale would yield of the 
 powerful horizontal tail-fin characteristic of the living animal, is 
 the depressed or horizontally flattened form of the bones supporting 
 .such fin. It is inferred, therefore, from the corresponding bones 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 27 
 
 of the Ichthyosaurus being flattened from side to side, that it 
 possessed a tegumentary tail-fin expanded in the vertical direction. 
 The shape of a fin composed of such perishable material is of 
 course conjectural, but from analogies, not necessary here to 
 further enlarge upon, it was probably like, or nearly like, that 
 which the able artist engaged in the restoration of the entire form 
 of the animal has given to it. Thus, in the construction of the 
 principal swimming-organ of the Ichthyosaurus we may trace, as 
 in other parts of its structure, a combination of mammalian 
 (beast-like), saurian (lizard-like), and piscine (fish-like) peculiarities. 
 In its great length and gradual diminution we perceive its saurian 
 character ; the tegumentary nature of the fin, unsustained by bony 
 fin-rays, bespeaks its affinity to the same part in the mammalian 
 whales and porpoises ; whilst its vertical position makes it closely 
 resemble the tail-fin of the fish. 
 
 The horizontality of the tail-fin of the whale tribe is essentially 
 connected with their necessities as warm-blooded animals breath- 
 ing atmospheric air ; without this means of displacing a mass of 
 water in the vertical direction, the head of the whale could not be 
 brought with the required rapidity to the surface to respire ; but 
 the Ichthyosaurs, not being warm-blooded, or quick breathers, 
 would not need to bring their head to the surface so frequently, or 
 so rapidly, as the whale ; and, moreover, a compensation for the 
 want of horizontality of their tail-fin was provided by the addition 
 of a pair of hind-paddles, which are not present in the whale 
 tribe. The vertical fin was a more efficient organ in the rapid 
 cleaving of the liquid element, when the Ichthyosaurs were in 
 pursuit of their prey, or escaping from an enemy. 
 
 That the Ichthyosaurs occasionally sought the shores, crawled 
 on the strand, and basked in the sunshine, may be inferred from 
 the bony structure connected with their fore-fins, which does not 
 exist in any porpoise, dolphin, grampus, or whale ; and for want of 
 which, chiefly, those warm-blooded, air-breathing, marine animals are 
 so helpless when left high and dry on the sands : the structure in ques- 
 tion in the Ichthyosaur is a strong osseous arch, inverted and span- 
 ning across beneath the chest from one shoulder-joint to the other ; 
 and what is most remarkable in the structure of this " scapular " 
 arch, as it is called, is, that it closely resembles, in the number, 
 
23 
 
 GEOLOGY AND 
 
 shape, and disposition of its bones, the same part in the singular 
 aquatic mammalian quadruped of Australia, called Omithorhynchus, 
 Platypus, and Duck-mole. The Ichthyosaurs, when so visiting the 
 shore, either for sleep, or procreation, would lie, or crawl prostrate, 
 or with the belly resting or dragging on the ground. 
 
 The most extraordinary feature of the head was the enor- 
 mous magnitude of the eye ; and from the quantity of light 
 admitted by the expanded pupil it must have possessed great 
 powers of vision, especially in the dusk. It is not uncommon to 
 find in front of the orbit (cavity for the eye), in fossil skulls, a 
 circular series of petrified thin bony plates, ranged round a cen- 
 tral aperture, where the pupil of the eye was placed. The eyes of 
 many fishes are defended by a bony covering consisting of two 
 pieces ; but a compound circle of overlapping plates is now found 
 only in the eyes of turtles, tortoises, lizards, and birds. This 
 curious apparatus of bony plates would aid in protecting the eye- 
 ball from the waves of the sea when the Ichthyosaurus rose to the 
 surface, and from the pressure of the dense element when it dived 
 to great depths ; and they show, writes Dr. Buckland,* " that 
 the enormous eye, of which they formed the front, was an optical 
 instrument of varied and prodigious power, enabling the Ichthyo- 
 saurus to descry its prey at great or little distances, in the 
 obscurity of night, and in the depths of the sea." 
 
 Of no extinct reptile are the materials for a complete and 
 exact restoration more abundant and satisfactory than of the Ichthyo- 
 saurus they plainly show that its general external figure must 
 have been that of a huge predatory abdominal fish, with a longer 
 tail, and a smaller tail-fin : scale-less, moreover, and covered by 
 a smooth, or finely wrinkled skin analogous to that of the 
 whale tribe. 
 
 The mouth was wide, and the jaws long, and armed with 
 numerous pointed teeth, indicative of a predatory and carnivorous 
 nature in all the species ; but these differed from one another in 
 regard to the relative strength of the jaws, and the relative size 
 and length of the teeth. 
 
 Masses of masticated bones and scales of extinct fishes, that 
 lived in the same seas and at the same period as the Ichthyo- 
 
 * Op. cit., p. 174. 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 29 
 
 saurus, have been found under the ribs of fossil specimens, in the 
 situation where the stomach of the animal was placed ; smaller, 
 harder, and more digested masses, containing also fish-bones and 
 scales have been found, bearing the impression of the structure of 
 the internal surface of the intestine of the great predatory sea- 
 lizard. These digested masses are called " coprolites. " 
 
 In tracing the evidences of creative power from the earlier to the 
 later formations of the earth's crust, remains of the Ichthyosaurus 
 are first found in the lower lias, and occur, more or less abundantly, 
 through all the superincumbent secondary strata up to, and inclusive 
 of, the chalk formations. They are most numerous in the lias and 
 oolite, and the largest and most characteristic species have been 
 found in these formations. 
 
 ~No. 12. — Ichthyosaurus platyodon. 
 
 This most gigantic species, so called on account of the crown of 
 ihe tooth being more flattened than in other species, and having 
 sharp edges, as well as a sharp point, was first discovered in the 
 lias of Lyme Hegis, in Dorsetshire. Fossil remains now in the 
 British Museum, and in the museum of the Geological Society, 
 fully bear out the dimensions exhibited by the restoration of the 
 animal as seen basking on the shore between the two specimens of 
 Long-necked Plesiosaurs. The head of this species is relatively 
 larger in proportion to the trunk, than in the Ichthyosaurus com- 
 munis or Ichthyosaurus tenuirostris : the lower jaw is remarkably mas- 
 sive and powerful, and projects backwards beyond the joint, as far as 
 it does in the crocodile. In the skull of an individual of this species, 
 preserved in the apartments of the Geological Society of London, the 
 cavity for the eye, or orbit, measures, in its long diameter, fourteen 
 inches. The fore and hind paddles are large and of equal size. 
 
 The lias of the valley of Lyme Regis, Dorsetshire, is the chief 
 ■ grave-yard of the Ichthyosaurus platyodon ; but its remains are 
 pretty widely distributed. They have been found in the lias of 
 Glastonbury, of Bristol, of Scarborough and Whitby, and of Bitton, 
 in Gloucestershire ; some vertebrae, apparently of this species, 
 .have likewise been found in the lias at Ohmden, in Germany. 
 
so 
 
 GEOLOGY AND 
 
 No. 13. — Ichthyosaurus tenuirostris. 
 
 Behind the Ichthyosaurus platyodon, is placed the restoration of 
 the Ichthyosaurus tenuirostris, or Slender-snouted Fish-lizard. The 
 most striking peculiarity of this species is the great length and 
 slenderness of the jaw-bones, which, in combination with the large 
 eye-sockets and flattened cranium, give to the entire skull a form 
 which resembles that of a gigantic snipe or woodcock, with the bill 
 armed with teeth. These weapons, in the present species, are 
 relatively more numerous, smaller, and more sharply pointed than in 
 the foregoing, and indicate that the Ichthyosaurus tenuirostris preyed 
 on a smaller kind of fish. The fore-paddles are larger than the hind 
 ones. In the museum of the Philosophical Institution, at Bristol, 
 there is an almost entire skeleton of the present species which 
 measures thirteen feet in length. It was discovered in the lias 
 of Lyme Begis. Portions of jaws and other parts of the 
 skeletons of larger individuals have been found fossil in the 
 liasnear Bristol, at Barrow-on-Soar, in Leicestershire, and at 
 Stratford-on-Avon. The Ichthyosaurus tenuirostris has also left its 
 remains in the lias formation at Boll and Amburg, in Wirtemberg, 
 Germany. 
 
 No. 14. — Ichthyosaurus communis. 
 
 Of this species, which was the most " common," when first dis- 
 covered in 1824, but which has since been surpassed by other 
 species in regard to the known number of individuals, the head is 
 restored, as protruded from the water, to the right of the fore- 
 going species. 
 
 The Ichthyosaurus communis is characterised by its relatively 
 large teeth, with expanded, deeply-grooved bases, and round conical 
 furrowed crowns ; the upper jaw contains, on each side, from forty 
 to fifty of such teeth. The fore-paddles are three times larger than 
 the hind ones. With respect to the size which it attained, the 
 Ichthyosaurus communis seems only to be second to the Ichthyosaurus 
 platyodon. In the museum of the Earl of Enniskillen, there is a 
 fossil skull of the Ichthyosaurus communis which measures, in length, 
 two feet nine inches, indicating an animal of at least twenty feet 
 in length. 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 si 
 
 Plesiosaurus. 
 
 The discovery of this genus forms one of the most important 
 additions that geology has made to comparative anatomy. Baron 
 Cuvier deemed " its structure to have been the most singular, and 
 its characters the most monstrous, that had been yet discovered amid 
 the ruins of a former world. " To the head of a lizard it united 
 the teeth of a crocodile, a neck of enormous length, resembling the- 
 body of a serpent, a trunk and tail having the proportions of an 
 ordinary quadruped, the ribs of a chameleon, and the paddles of a 
 whale. "Such," writes Dr. Buckland, "are the strange combina- 
 tions of form and structure in the Plesiosaunis, a genus, the 
 remains of which, after interment for thousands of years amidst 
 the wreck of millions of extinct inhabitants of the ancient earth, 
 are at length recalled to light by the researches of the geologist, 
 and submitted to our examination, in nearly as perfect a state as 
 the bones of species that are now existing upon the earth." (Op. 
 cit., vol. v. p. 203). 
 
 The first remains of this animal were discovered in the lias of 
 Lyme Regis, about the year 1823, and formed the subject of the 
 paper by the Rev. Mr. Conybeare (now Dean of Llandaff), and 
 Mr. (now Sir Henry) De la Beche, in which the genus was 
 established and named Plesiosaunis (from the Greek words, plesios 
 and sauros, signifying "near" or "allied to," and "lizard"), 
 because the authors saw that it was more nearly allied to the lizard 
 than was the Ichthyosaurus from the same formation. 
 
 The entire and undisturbed skeletons of several individuals, of 
 different species, have since been discovered, fully confirming the 
 sagacious restorations by the original discoverers of the Plesiosaurus* 
 Of these species three have been selected as the subjects of Mr,. 
 Waterhouse Hawkins's reconstructions and representations of the 
 living form of the strange reptiles. 
 
 No. 15. — Plesiosaurus macrocephalus. 
 
 The first of these has been called, from the relatively larger size 
 of the head, the Plesiosaunis macrocephalus (No. 15), (Gr. macros, 
 long, cephale, head). The entire length of the animal, as indicated 
 by the largest remains, and as given in the restoration, is eighteen 
 
32 GEOLOGY AND 
 
 feet, the length of the head being two feet, that of the neck six 
 feet ; the greatest girth of the body yields seven feet. 
 
 No. 15. Plesiosaurus macrocephalus. 
 
 Although Baron Cuvier and Dr. Buckland both rightly allude 
 to the resemblance of the fins or paddles of the Plesiosaur to 
 those of the whale, yet this most remarkable difference must be 
 borne in mind, that, whereas the whale tribe have never more than 
 one pair of fins, the Plesiosaurs have always two pairs, answering 
 to the fore and hind limbs of land quadrupeds ; and the fore-pair 
 of fins, corresponding to those in the whale, differed by being more 
 firmly articulated, through the medium of collar-bones (clavicles), 
 and of two other very broad and strong bones (called coracoids), 
 to the trunk (thorax), whereby they were the better enabled to 
 move the animal upon dry land. 
 
 Remains of the Plesiosaurus macrocephalus have been discovered 
 in the lias of Lyme Regis, in Dorsetshire, and of Weston, in 
 Somersetshire. 
 
 No. 16. — Plesiosaurus dolichodeirus. 
 
 Further to the left, on the shore of the Secondary Island, is a 
 restoration of the Plesiosaurus dolichodeirus, or Long-necked Plesio- 
 saurus (No. 16). The head in this remarkable species is smaller, and 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 33 
 
 the neck proportionally longer than in the Plesiosaurus macrocephalus. 
 The remains of the Long-neeked Plesiosaur have been found chiefly 
 at Lyme Regis, in Dorsetshire. The well known specimen of an 
 almost entire skeleton, formerly in the possession of His Grace the 
 Duke of Buckingham, is now in the British Museum. 
 
 JSTo. 17. — Plesiosaurus Hawkinsii. 
 
 The most perfect skeletons of the Plesiosaurus are those that 
 have been wrought out of the lias at Street, near Glastonbury, by 
 Mr. Thomas Hawkins, F.G.S., and which have been purchased by 
 the trustees of the British Museum. A restoration is given by 
 Mr. Waterhouse Hawkins, at ~No. 17, of a species with characters 
 somewhat intermediate between the Large-headed and Long-necked 
 Plesiosaurs, and which has been called, after its discoverer, Plesio- 
 saurus Sawhinsii. 
 
 The Plesiosaurs breathed air like the existing crocodiles and the 
 whale tribe, and appear to have lived in shallow seas and estuaries. 
 That the Long-necked Sea-lizard was aquatic is evident from the 
 form of its paddles ; and that it was marine is almost equally so, 
 from the remains with which its fossils are universally associated ; 
 that it may have occasionally visited the shore, the resemblance of 
 its extremities to those of a turtle leads us to conjecture ; its 
 motion, however, must have been very awkward on land ; its long 
 neck must have impeded its progress through the water, presenting 
 a striking contrast to the organisation which so admirably adapted 
 the Ichthyosaurus to cut its swift course through the waves. " May 
 it not, therefore, be concluded that it swam upon, or near the 
 surface," asks its accomplished discoverer, " arching back its long 
 neck like a swan, and occasionally darting it down at the fish that 
 happened to float within its reach 1 It may perhaps have lurked 
 in shoal- water along the coast, concealed among the sea- weed, and, 
 raising its nostrils to a level with the surface from a considerable 
 depth, may have found a secure retreat from the assaults of 
 dangerous enemies ; while the length and flexibility of its neck 
 may have compensated for the want of strength in its jaws, and 
 its incapacity for swift motion through the water, by the sudden- 
 
 D 
 
34 
 
 GEOLOGY AND 
 
 ness and agility of the attack which it enabled it to make on every 
 animal fitted for its prey which came within its reach." * 
 
 For the Secondary Island three species of the Plesiosaurus have 
 been restored, the Plesiosaurus maeroceplialus, the Plesiosaiirus 
 doUchodeirus (Gr. dolichos, long, deire, neck), and the Plesiosaurus 
 ffaickinsii. The name " long-necked " was given to the second of 
 these species before it was known that many other species with 
 long and slender necks had existed in the seas of the same ancient 
 period : the third species is named after Mr. Thomas Hawkins, 
 F.G.S., the gentleman by whose patience, zeal, and skill, the 
 British Museum has been enriched with so many entire skeletons 
 of these most extraordinary extinct sea-lizards. 
 
 The remains of all these species occur in the lias at Lyme Regis, 
 and at Street, near Glastonbury ; but the Plesiosaurus Hawkinsii 
 is the most abundant in the latter locality. 
 
 * " Transactions of the Geological Society," Second Series, vi. 503. 1841. 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 85 
 
 NEW RED SANDSTONE. 
 
 "Trias" is an arbitrary term applied in geology to the upper 
 division of a vast series of red loams, shales, and sandstones, inter- 
 posed between the lias and the coal, in the midland and western 
 counties of England. This series is collectively called the "New 
 Red Sandstone formation," to distinguish it from the " Old Red 
 Sandstone formation," of similar or identical mineral character, 
 which lies immediately beneath the coal. 
 
 The animals which have been restored and placed on the lowest 
 formation of the Secondary Island, are peculiar to the " triassic," 
 or upper division of the "New Red Sandstone" series, which 
 division consists, in England, of saliferous (salt-including) shales and 
 sandstones, from 1000 to 1500 feet thick in Lancashire and 
 Cheshire, answering to the formation called " Keuper- sandstone " 
 by the German geologists ; and of sandstone and quartzose con- 
 glomerate of 600 feet in thickness, answering to the German 
 " Bunter-sandstone. " 
 
 The largest and most characteristic animals of the trias are 
 reptiles of the order 
 
 Batrachia. 
 
 The name of this order is from the Greek word batrachos, 
 signifying a frog : and the order is represented in the present 
 animal-population of England by a few diminutive species of frogs, 
 toads, and newts, or water-salamanders. But, at the period of the 
 deposition of the new red sandstone, in the present counties of 
 "Warwick and Cheshire, the shores of the ancient sea, which were 
 then formed by that sandy deposit, were trodden by reptiles, 
 having the essential bony characters of the Batrachia, but com- 
 bining these with other bony characters of crocodiles and lizards ; 
 and exhibiting both under a bulk which is made manifest by the 
 restoration of the largest known species, (No. 16), occupying the 
 
86 
 
 GEOLOGY AND 
 
 extreme promontory of the Island, illustrative of the lowest and 
 oldest deposits of the secondary series of rocks. The species in 
 question is called the — 
 
 No, 18. — Labyrinthodon Salamandroides. 
 
 or the Salamander-like Labyrinthodon ; the latter term being from 
 the Greek, signifying the peculiar structure of the teeth, which 
 differ from all other reptiles in the huge Batrachia in question, by 
 reason of the complex labyrinthic interblending of the different 
 substances composing the teeth. The skull of the Labyrinthodon 
 is attached to the neck-bones by two joints or condyles, and the 
 teeth are situated both on the proper jaw-bones, and on the bone 
 of the roof of the mouth called "vomer both these characters 
 are only found at the present day in the frogs and salamanders. 
 
 No. 18. Labyrinthodon Salamandroides. 
 
 The hind-foot of the Labyrinthodon was also, as in the toad and 
 frog, much larger than the fore-foot ; and the innermost digit in 
 both was short and turned in, like a thumb. 
 
 Consecutive impressions of the prints of these feet have been 
 traced for many steps in succession (as is accurately represented in 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 37 
 
 the new red sandstone part of the Secondary Island) in quarries of 
 that formation in Warwickshire, Cheshire, and also in Lancashire, 
 more especially at a quarry of a whitish quartzose sandstone at 
 Storton Hill, a few miles from Liverpool. The foot-marks are 
 partly concave and partly in relief ; the former are seen upon the 
 upper surface of the sandstone slabs, but those in relief are only 
 upon the lower surfaces, being, in fact, natural casts, formed on the 
 subjacent foot-prints as in moulds. The impressions of the hind- 
 foot are generally eight inches in length and five inches in width : 
 near each large footstep, and at a regular distance — about an inch 
 and a half — before it, a smaller print of the fore-foot, four inches 
 long and three inches wide, occurs. The footsteps follow each 
 other in pairs, each pair in the same line, at intervals of about 
 fourteen inches from pair to pair. The large as well as the small 
 steps show the thumb-like toe alternately on the right and left 
 side, each step making a print of five toes. 
 
 Foot-prints of corresponding form but of smaller size have been 
 discovered in the quarry at Storton Hill, imprinted on five thin 
 beds of clay, lying one upon another in the same quarry, and 
 separated by beds of sandstone. From the lower surface of the 
 sandstone layers, the solid casts of each impression project in high 
 relief, and afford models of the feet, toes, and claws of the animals 
 which trod on the clay. 
 
 Similar foot-prints were first observed in Saxony, at the village of 
 Hessberg, near Hillburghausen, in several quarries of a gray 
 quartzose sandstone, alternating with beds of red sandstone, and of 
 the same geological age as the sandstones of England that had 
 been trodden by the same strange animal. The German geologist, 
 who first described them, proposed the name of Gheirotherium (Gr. 
 clieir, the hand, therion, beast), for the great unknown animal that 
 had left the foot-prints, in consequence of the resemblance, both of 
 the fore and hind feet, to the impression of a human hand, and 
 Dr. Kaup conjectured that the animal might be a large species of 
 the opossum-kind. The discovery, however, of fossil skulls, jaws, 
 teeth, and a few other bones in the sandstones exhibiting the 
 footprints in question, has rendered it more probable that both the 
 footprints and the fossils are evidences of the same kind of huge 
 extinct Batrachian reptiles. 
 
33 
 
 GEOLOGY AND 
 
 An entire skull of the largest species discovered in the new red 
 sandstones of Wurtemberg ; a lower jaw of the same species found 
 in the same formation in Warwickshire ; some vertebrae, and a 
 few fragments of bones of the limbs, have served, with the indica- 
 tions of size and shape of the trunk of the animal yielded by the 
 series of consecutive foot-prints, as the basis of the restoration of 
 the Labyrmihodon salamandroides, in the Secondary Island. It is 
 to be understood, however, that, with the exception of the head, 
 the form of the animal is necessarily more or less conjectural. 
 
 Nos. 19 & 20. — Labymnthodon pachygnathus. 
 
 This name, signifying the Thick-jawed Labyrinthodon, was given 
 
 by its discoverer to a species of 
 these singular Batrachia, found in 
 the new red sandstone of Warwick- 
 shire, and which bears to the largest 
 species the proportion exhibited by 
 the head and fore-part of the body, 
 as emerging from the water, for 
 
 Nos. 19 & 20. Section of Tooth of wllicn P arts alone tne fossils bither- 
 
 Labyrmthodon + 0 discovered justify the restora- 
 
 a Pulp-cavity : b b inflected folds of *f 
 ossified capsule of tooth. tion. ^ 
 
 JSTos. 21 & 22. — Dicynodon. 
 
 In 1844 Mr. Andrew Gr. Bain, who had been employed in the 
 construction of military roads in the colony of the Cape of Good 
 Hope, discovered, in the tract of country extending northwards 
 from the county of Albany, about 450 miles east of Cape Town, 
 several nodules or lumps of a kind of sandstone, which, when 
 broken, displayed, in most instances, evidences of fossil bones, and 
 usually of a skull with two large projecting teeth. Accordingly, 
 these evidences of ancient animal life in South Africa were first 
 notified to English geologists by Mr. Bain under the name of 
 " Bidentals ; " and the specimens transmitted by him were sub- 
 
 * Conybeare, Geol. Trans., i. 388. 
 
INHABITANTS OF THE ANCIENT WORLD. 
 
 39 
 
 niittecl at his request to Professor Owen for examination. The 
 results of the comparisons thereupon instituted went to show that 
 there had formerly existed in South Africa, and from geological 
 evidence, probably, in a great salt-water lake or inland sea, since 
 converted into dry land, a race of reptilian animals presenting in 
 the construction of their skull characters of the crocodile, the 
 tortoise, and the lizard, coupled with the presence of a pair of huge 
 sharp-pointed tusks, growing downwards, one from each side of the 
 upper jaw, like the tusks of the mammalian morse or walrus. ]STo 
 other kind of teeth were developed in these singular animals : the 
 lower jaw was armed, as in the tortoise, by a trenchant sheath of 
 horn. Some bones of the back, or vertebrse, by the hollowness of 
 the co-adapted articular surfaces, indicate these reptiles to have been 
 good swimmers, and probably to have habitually existed in water ; 
 but the construction of the bony passages of the nostrils proves 
 that they must have come to the surface to breathe air. 
 
 Some extinct plants allied to the Lepidodendron, with other 
 fossils, render it probable that the sandstones containing the 
 Dicynodont reptiles were of the same geological age as those that 
 have revealed the remains of the Labyrinthodonts in Europe. 
 
 The generic name Dicynodon is from the Greek words signifying 
 " two tusks or canine teeth." Three species of this genus have 
 been demonstrated from the fossils transmitted by Mr. Bain. 
 
 The Dicynodon lacerticeps, or Lizard-headed Dicynodon, attained 
 the bulk of a walrus ; the form of the head and tusks is correctly 
 given in the restoration (No. 21) ; the trunk has been added 
 conjecturally, to illustrate the strange combination of characters 
 manifested in the head. 
 
 A second species, with a head so formed as to have given the 
 animal somewhat of the physiognomy of an owl, has been partially 
 restored at No. 22. 
 
No. 8. Dinornis. 
 
 WD15URY AND EVANS, PRINTERS, WKITEFRIARS. 
 
THE 
 
 POMPEIAN COURT 
 
 CRYSTAL PALACE. 
 
 DESCRIBED BY GEORGE SCHARE, Jon., 
 
 F.S.A., F.R.S.L., be. 
 
 CRYSTAL PALACE LIBRARY j 
 
 AND 
 
 BRADBURY AND EVANS, 11, BOUVERIE STREET, LONDON. 
 1854. 
 
BUADBURY AND EVANS, 
 
 paiNTKBt. TO THE CRYSTAL V ALACE C'OMPAN T 
 WHITEFIIIABS. 
 
PREFACE. 
 
 Itf the following account of the Pompeian Court, my chief 
 aim has been to combine simplicity with truth ; relying for 
 success on that interest which so alluring a subject is certain 
 to create. "With much gratification I avail myself of the 
 privilege granted to an author, in his preface, of returning 
 my best thanks to those friends who have lent me their aid 
 in this arduous undertaking. Mr. Digby "Wyatt is entitled 
 to the gratitude of all engaged in the works of art at the 
 Crystal Palace for the opportunities he has afforded to each 
 artist for the display of his particular talents, and I sincerely 
 thank him for his kindness * in accompanying me through 
 the building and affording minute information to my numerous 
 enquiries when he could with difficulty spare the time. I 
 beg also cordially to thank Mr. Samuel Phillips for important 
 suggestions respecting the conduct of my work, and for his 
 interest and encouragement in its progress. Mr. Edward 
 Palkener is entitled to my best acknowledgments, not only 
 for the valuable assistance rendered in his published account 
 of a Pompeian house, but for his kindness in looking over the 
 proofs of these pages before they were committed to press. 
 It is to be hoped that many of his observations may appear 
 at greater length in the next edition of this Handbook, with- 
 out prejudice to the magnificent work he is contemplating on 
 the " Domestic Architecture of Pompeii." I sincerely thank 
 my friend, Mr. James Morant Lockyer for the benefit of his 
 
 b 2 
 
iv 
 
 PREFACE. 
 
 long architectural sojourn in Pompeii ; regretting, at the same 
 time, that the public has not had the advantage of his exten- 
 sive knowledge and experience. 
 
 The excellent paintings produced here in the Pompeian 
 Court, under the direction of Signor Abbate require no com- 
 mendation from me ; but I feel that I shall be only expressing 
 the sentiment of others in wishing that we may at some 
 future period see an extension of this ancient palace, or 
 another series of apartments in which the same abilities shall 
 afford us accurate copies of still more of the pictorial cele- 
 brities — such as the Theseus and the Minotaur, and Hercules 
 and Telephus, found at Herculaneum ; the Sacrifice- of 
 Iphigenia and the Anger of Achilles, from the House of the 
 Tragic Poet ; also the Zephyrus and Mora, and some of the 
 picture mosaics, the Choragus one, for instance, and the far- 
 famed Alexander and Darius at the battle of Issus. 
 
THE POMPEIAN COUKT. 
 
 DESCRIBED BY GEORGE SCHARF, Jun. 
 
 INTRODUCTION. 
 
 DESTRUCTION OF HERCTJLANEUM AND POMPEII. 
 
 "Many a calamity has befallen the world ere now, yet none like this 
 replete with instruction and delight for remote generations." — Goethe. 
 
 View of Naples and Mount Vesuvius. 
 
 Near the modern city of Naples, at the foot of Mount Vesu- 
 vius, once stood the ancient cities of Pompeii and Herculaneum. 
 Whilst the former was considerably removed from the volcano, the 
 latter was seated immediately at the base of the mountain, on a 
 promontory projecting into the bay. 
 
6 
 
 THE POMPEIAN COURT. 
 
 Vesuvius was not considered dangerous by the ancient occupants 
 of the soil, as no eruption had ever been known to take place. 
 Strabo noticed the igneous character of its rocks, but the whole 
 district being covered with vines and plantations, undisturbed since 
 the memory of man, he thence assumed the fires to be extinct for 
 want of fuel. Even the sides of the mountain were overgrown 
 with trees, and the summit alone continued barren and rough. 
 The inhabitants of the neighbourhood were probably less inclined to 
 consider the possibility of danger to themselves from the existence 
 of two active volcanoes not far from them which seemed to serve 
 as a vent for all subterranean commotions — the one, Mount 
 ^Etna ; the other, Mount Epopeus in the island now called Ischia. 
 ^Etna, the majestic snowy mountain of Sicily, more than three 
 times the height of Vesuvius, has been known, from the earliest 
 times, as an active volcano ; and many passages in JEschylus, 
 Pindar, Thucydides, and Diodorus Siculus might be adduced, 
 commemorating particular eruptions, &c. Pausanias mentions an 
 instance of the piety of two youths who saved their parents at 
 Catana (Book 10., ch. xxviii.) during the descent of the lava 
 which threatened to surround them. In the year 73 B.C., Spar- 
 tacus, a fugitive slave, at the head of a troop of gladiators and 
 revolters, encamped on the summit of Vesuvius, where they were 
 blockaded. The natural ruggedness of the place, and the density 
 of the vines, favoured their subsequent escape. This is the earliest 
 mention of the actual appearance of the volcano. The natural 
 beauties of the district, then called Campania, are glorified by most 
 writers ; it was more particularly celebrated for its fertility and 
 the luxuriant magnificence of its scenery. 
 
 The convulsions of nature have indeed changed the outline of 
 the mountain, but the varied charms of the beautiful coast remain 
 in undiminished attraction. Deep shades and crystal streamlets, 
 sunny banks and refreshing groves, display the natural loveliness 
 of a locality, favoured with the most luxuriant vegetation, and 
 the finest climate in the world. These enable us fully to com- 
 prehend the pains and trouble bestowed by the ancient Pomans 
 in building villas and marine residences in so charming a situation. 
 Thus, in the earliest times of the empire, the more wealthy and 
 luxurious Pomans established what we moderns should denominate 
 watering places, for fashionable resort, on the coast, Baise, 
 Dicsearchia, afterwards Puteoli, Cumas, Neapolis, and Hercula- 
 neum, but the warm springs of the first two rendered them the most 
 favourite resorts, and they became the Bath and Brighton of that era. 
 
VILLAS AT BALE. — EARTHQUAKES. 
 
 7 
 
 Lucullus, Pompey and Caesar, had villas at Baise, Nero spent 
 much time there, and Caligula contributed to the celebrity of the 
 scene by his extraordinary bridge of boats. Hadrian died at Baise ; 
 and, at a later period, Alexander Severus erected many villas in the 
 same neighbourhood. Some of the mosif splendid palaces were 
 raised upon artificial foundations in the sea itself, and nothing 
 could exceed the luxury and indolence indulged in by the visitors 
 to these regions as depicted by some of the later poets. Horace 
 himself speaks of the pleasant Baiee as the most delicious place 
 in the world. # And so it may have been, and all the neigh- 
 bouring cities of the bay must have partaken more or less of 
 the same glories. Pompeii was somewhat removed from these 
 enchanting scenes, being on the other side of the bay of Naples, 
 and the situation was not so pleasant as that of its fellow- 
 sufferer Herculaneum. This city stood on a promontory, open, 
 as Strabo says, to the south wind, which made it especially 
 healthy. In fact, the art and style of everything found at Her- 
 culaneum show it to have been the resort of a superior class of 
 people. Pompeii is supposed to have stood on the banks of 
 the river Sarnus. The town itself was raised upon a consider- 
 able eminence so as to be protected in a great measure from 
 the floods that at certain times of the year devastated the sur- 
 rounding plain. 
 
 The peace and tranquillity of these beautiful regions were first 
 disturbed by natural convulsions in the year 63 a.d. A violent 
 earthquake on the 16th February, threw down many parts of 
 Pompeii, and seriously injured Herculaneum ; six hundred sheep 
 were swallowed up at once, statues were split, and many persons 
 became insane. From this period, the Pompeians were disturbed 
 by frequent shocks of earthquake ; between the first symptoms in 
 63 and the dreadful catastrophe which involved their destruction, 
 evidences still exist of the persevering endeavours of the inhabi- 
 tants at restoration and repair. Many mosaics have been found, 
 which display traces of a very different order of workmanship, in 
 the repair of damage caused by the earthquake, from that employed 
 in their original construction. 
 
 In the reign of the emperor Titus, A. D. 7 9, the celebrated erup- 
 tion of Vesuvius broke out, suddenly ejecting dense clouds of 
 ashes and pumice-stones, beneath which Herculaneum, Pompeii, 
 and Stabise were completely buried. Awful as such a phenomenon 
 
 * " Nullus in orbe sinus Baiis prselucet ainoenis." — Ep. bk. i. 1, line 83. 
 
8 
 
 THE POMPEIAN COURT. 
 
 must at all times appear, the event was still more appalling to the 
 inhabitants as they were unable, in the confusion of the moment, 
 to comprehend the source whence these horrors proceeded. An 
 eye witness has fortunately left a detailed account of the event 
 in two letters which are still preserved. We insert the greater part 
 of them as best exhibiting the realities of the scene and the excite- 
 ment of the unfortunate sufferers. 
 
 PLINY'S LETTER TO TACITUS. 
 
 < 6 Your request that I would send you an account of my uncle's 
 death, in order to transmit a more exact relation of it to posterity, 
 deserves my acknowledgments ; for if this action shall be cele- 
 brated by your pen, the glory of it, I am well assured, will be 
 rendered for ever illustrious. And notwithstanding he perished 
 by a misfortune, which, as it involved at the same time a most 
 beautiful country in ruins, and destroyed so many populous 
 cities, seems to promise him an everlasting remembrance ; not- 
 withstanding he has himself composed many and lasting works, 
 yet I am persuaded the mentioning of him in your immortal 
 writings will greatly contribute to eternise his name. Happy I 
 esteem those to be whom Providence has distinguished with the 
 abilities either of doing such actions as are worthy of being re- 
 lated, or of relating them in a manner worthy of being read ; but 
 doubly happy are they who are blessed with both these uncommon 
 talents. In the number of which my uncle, as his own writings 
 and your history will evidently prove, may justly be ranked. 
 It is with extreme willingness, therefore, I execute your com- 
 mands ; and should indeed have claimed the task if you had not 
 enjoined it. 
 
 "He was at that time with the fleet under his command at 
 Misenum. On the 24th of August, about one in the afternoon;, 
 my mother desired him to observe a cloud which appeared of a 
 very unusual size and shape. He had just returned from taking 
 the benefit of the sun, and after bathing himself in cold water, 
 and taking a slight repast, was retired to his study. He imme- 
 diately arose and went out up on an eminence from whence he 
 might more distinctly view this uncommon appearance. It was 
 not at that distance discernible from what mountain this cloud 
 issued, but it was found afterwards to ascend from Mount 
 Vesuvius, I cannot give you a more exact description of its figure, 
 than by resembling it to that of a pine tree, for it shot up a great 
 
PLINY'S LETTER TO TACITUS. 
 
 9 
 
 height in the form of a trunk, which extended itself at the top 
 into sort of branches, occasioned, I imagine, either by a sudden gust 
 of air that impelled it, the force of which decreased as it advanced 
 upwards, or the cloud itself being pressed back again by its own 
 weight, expanded in this manner : — it appeared sometimes bright 
 and sometimes dark and spotted, as it was either more or less 
 impregnated with earth and cinder. This extraordinary phenomenon 
 excited my uncle's philosophical curiosity to take a nearer view of 
 it. He ordered a light vessel to be got ready, and gave me the 
 liberty, if I thought it proper, to attend him ; I rather chose to 
 continue my studies ; for, as it happened, he had given me an 
 employment of that kind. As he was coming out of the house he 
 received a note from Pectina, the wife of Bassus, who was in the 
 utmost alarm at the imminent danger which threatened her ; for 
 her villa being situated at the foot of Mount Vesuvius, there was 
 no way to escape but by sea ; she earnestly entreated him, there- 
 fore, to come to her assistance. He accordingly changed his first 
 design, and what he began with a philosophical, he pursued with 
 an heroical turn of mind. He ordered the galleys to put to sea, 
 and went himself on board with an intention of assisting, not only 
 Pectina, but several others ; for the villas stand extremely thick 
 upon that beautiful coast. "When hastening to the place from 
 whence others fled with the utmost terror, he steered his direct 
 course to the point of danger, and with so much calmness and 
 presence of mind, as to be able to make and dictate his observa- 
 tions upon the motion and figure of that dreadful scene. He was 
 now so nigh the mountain, that the cinders, which grew thicker 
 and hotter the nearer he approached, fell into the ships, together 
 with pumice stones, and black pieces of burning rock. They were 
 likewise in danger not only of being aground by the sudden retreat 
 of the sea, but also from the vast fragments which rolled down 
 from the mountain, and obstructed all the shore. Here he stopped 
 to consider whether he should return back again ; to which the 
 pilot advising him, 6 Fortune,' said he, 6 befriends the brave ; 
 carry me to Pomponianus. ' Pomponianus was then at Stabise, 
 separated by a gulf, which the sea, after several insensible wind- 
 ings, forms upon the shore. He had already sent his baggage on 
 board ; for though he was not at that time in actual danger, yet 
 being within the view of it, and indeed extremely near, if it 
 should in the least increase, he was determined to put to sea as 
 soon as the wind should change. It was favourable, however, 
 for carrying my uncle to Pomponianus, whom he found in 
 
10 
 
 THE POMPEIAN COURT. 
 
 the greatest consternation. He embraced him with tenderness, 
 encouraged and exhorted him to keep up his spirits, and the 
 more to dissipate his fears, he ordered, with an air of unconcern, 
 the bath to be got ready ; when, after having bathed, he sat 
 down to supper with great cheerfulness, or at least, what is 
 equally heroic, with all the appearance of it. In the meanwhile, 
 the eruption from Mount Vesuvius flamed out in several places 
 with much violence, which the darkness of the night contributed 
 to render still more visible and dreadful. But my uncle, in order 
 to soothe the apprehensions of his friend, assured him it was only 
 the burning of the villages, which the country people had aban- 
 doned to the flames ; after this he retired to rest, and it is most 
 certain he was so little discomposed as to fall into a deep sleep, 
 for being pretty fat, and breathing hard, those who attended with- 
 out, actually heard him snore. The court which led to his apart- 
 ment being now almost filled with stones and ashes, if he had 
 continued there any time longer, it would have been impossible for 
 him to have made his way out ; it was thought proper therefore to 
 awaken him. He got up and went to Pomponianus and the rest 
 of his company, who were unconcerned enough to think of going 
 to bed. They consulted together whether it would be most 
 prudent to trust to the houses, which now shook from side to side 
 with frequent and violent concussions, or fly to the open fields, 
 where the calcined stones and cinders, though light indeed, yet 
 fell in large showers, and threatened destruction. In this distress 
 they resolved for the fields, as the less dangerous situation of the 
 two. A resolution which, while the rest of the company were 
 hurried into by their fears, my uncle embraced upon cool and 
 deliberate consideration. They went out then having pillows tied 
 upon their heads with napkins, and this was their whole defence 
 against the storm of stones that fell round them. It was now 
 day everywhere else, but there a deeper darkness prevailed than 
 in the most obscure night ; which, however, was in some degree 
 dissipated by torches and other lights of various kinds. They 
 thought proper to go down farther upon the shore, to observe if 
 they might safely put out to sea, but they found the waves still run 
 extremely high and boisterous. There my uncle having drank a 
 draught or two of cold water, threw himself down upon a cloth 
 which was spread for him, when immediately the flames, and a 
 strong smell of sulphur, which was the forerunner of them, dis- 
 persed the rest of the company, and obliged him to arise. He 
 raised himself up with the assistance of two of his servants, and 
 
PLINY'S LETTER TO TACITUS. 
 
 11 
 
 instantly fell down dead, suffocated, as I conjecture, by some 
 gross and noxious vapour, having always had weak lungs, and 
 frequently subject to a difficulty of breathing. As soon as it was 
 light again, which was not till the third day after this melancholy 
 accident, his body was found entire, and without any marks of 
 violence upon it, exactly in the same posture that he fell, and 
 looking more like a man asleep than dead. 
 
 " During all this time my mother and I, who were at Misenum — 
 but as this has no connection with your history, so your inquiry 
 went no farther than concerning my uncle's death ; with that 
 therefore I will put an end to my letter. Suffer me only to add, 
 that I have faithfully related to you what I was either an eye- 
 witness of myself, or received immediately after the accident 
 happened, and before there was time to vary the truth. 
 
 " You will choose out of this narrative such circumstances as shall 
 be most suitable to your purpose ; for there is a great difference 
 between what is proper for a letter and a history — between writing 
 to a friend and writing to the public. Farewell." 
 
 TO CORNELIUS TACITUS. 
 
 " The letter which, in compliance with your request, I wrote 
 concerning the death of my uncle, has raised, it seems, your 
 curiosity to know what terrors and dangers attended me, while I 
 continued at Misenum ; for there, I think, the account in my 
 former broke off. Though my shocked soul recoils, my tongue shall 
 tell. My uncle having left us, I pursued the studies which 
 prevented my going with him, till it was time to bathe. After 
 which I went to supper, and from thence to bed, where my sleep 
 was greatly broken and disturbed. There had been for many 
 days before some shocks of an earthquake, which the less surprised 
 us as they are extremely frequent in Campania ; but they were so 
 particularly violent that night, that they not only shook every 
 thing about us, but seemed indeed to threaten total destruction. 
 My mother flew to my chamber, where she found me rising, in 
 order to awaken her. "We went out into a small court belonging 
 to the house, which separated the sea from the buildings. As 
 I was at that time but eighteen years of age, I know not whether 
 I should call my behaviour in this dangerous juncture courage or 
 rashness ; but I took up Livy and amused myself with turning 
 over that author, and even making extracts from him, as if all 
 about me had been in full security. While we were in this 
 
12 
 
 THE POMPEIAN COURT. 
 
 posture, a friend of my uncle's who was just come from Spain to 
 pay a visit, joined us, and observing me sitting by my mother with 
 a book in my hand, greatly condemned her calmness, at the same 
 time that he reproved me for my careless security ; nevertheless I 
 still went on with my author. Though it was now morning, the 
 light was exceedingly faint and languid ; the buildings all around 
 us tottered, and though we stood upon open ground, yet as the 
 place was narrow and confined, there was no remaining there without 
 certain and great danger ; we therefore resolved to quit the town. 
 The people followed us in the utmost consternation, and (as to the 
 mind distracted with terror, every suggestion seems more prudent 
 than its own) pressed in great crowds about us in our way out. 
 Being got at a convenient distance from the houses, we stood still, 
 in the midst of a most dangerous and dreadful scene. The chariots 
 which we had ordered to be drawn out, were so agitated backwards 
 and forwards, though upon the most level ground, that we could 
 not keep them steady, even by supporting them with large stones. 
 The sea seemed to roll back upon itself, and to be driven from its 
 banks by the convulsive motion of the earth ; it is certain, at least, 
 the shore was considerably enlarged, and several sea animals were 
 left upon it. On the other side a black and dreadful cloud, 
 bursting with an igneous serpentine vapour, darted out a long train 
 of fire resembling flashes of lightning, but much larger. Upon 
 this our Spanish friend, whom I mentioned above, addressing 
 himself to my mother and me with greater warmth and earnestness, 
 < If your brother and your uncle,' said he, ' is safe, he certainly 
 wishes you may be so too ; but if he perished, it was his desire, 
 no doubt, that you might both survive him. Why, therefore, do 
 you delay your escape a moment ? ' c We could never think of 
 our own safety,' we said, 4 while we were uncertain of his.' 
 Hereupon our friend left us, and withdrew from the danger with 
 the utmost precipitation. Soon afterwards the cloud seemed to 
 descend and cover the whole ocean ; as indeed it entirely hid the 
 island of Caprea and the promontory of Misenum. My mother 
 strongly conjured me to make my escape at any rate, which, as I 
 was young, I might easily do ; as for herself, she said, her age and 
 corpulency rendered all attempts of that sort impossible ; however, 
 she should willingly meet death, if she could have the satisfaction 
 of seeing that she was not the occasion of mine. But I absolutely 
 refused to leave her, and taking her by the hand, I led her on : 
 she complied with great reluctance, and not without many 
 reproaches to herself for retarding my flight. The ashes now 
 
PLINY'S LETTER TO TACITUS. 
 
 13 
 
 begun to fall upon us, though in no great quantity ; I turned my 
 head, and observed behind us a thick smoke, which came rolling 
 after us like a torrent. I proposed, while we had yet any light, 
 to turn out of the high road, lest we should be pressed to death in 
 the dark, by the crowd that followed us. We had scarce stepped 
 out of the path, when a darkness overspread us, not like that of a 
 cloudy night, or when there is no moon, but of a room when it is 
 shut up, and all the lights extinct. Nothing then was to be heard 
 but the shrieks of women, the screams of children, and the cries 
 of men ; some calling for their children, others for their parents, 
 others for their husbands, and only distinguishing each other by 
 their voices ; one lamenting his own fate, another that of his 
 family ; some wishing to die, from the very fear of dying ; some 
 lifting up their hands to the gods ; but the greater part imagining 
 that the last and eternal night was come, which was to destroy 
 both the gods and the world together. Among these there are 
 some who augmented the real terrors by imaginary ones, and made 
 the frighted multitude falsely believe that Misenum was actually 
 in flames. At length a glimmering light appeared, which we 
 imagined to be rather the forerunner of an approaching burst of 
 flames (as in truth it was), than the return of day ; however, the 
 fire fell at a distance from us : then again we were immersed in 
 thick darkness, and a heavy shower of ashes rained upon us, which 
 we were obliged every now and then to shake off, otherwise we 
 should have been crushed and buried in the heap ; I might boast 
 that, during all this scene of horror, not a sigh or expression of 
 fear escaped from me ; had not my support been founded in that 
 miserable, though strong consolation, that all mankind were 
 involved in the same calamity, and that I imagined I was perishing 
 with the world itself. At last this dreadful darkness was dissipated 
 by degrees, like a cloud of smoke ; the real day returned, and even 
 the sun appeared, though very faintly, and as when an eclipse is 
 coming on. Every object that presented itself to our eyes 
 (which were extremely weakened) seemed changed, being covered 
 over with white ashes as with a deep snow. We returned to 
 Misenum, where we refreshed ourselves as well as we could, 
 and passed an anxious night between hope and fear, though, 
 indeed, with a much larger share of the latter ; for the earth- 
 quake still continued, while several enthusiastic people ran up and 
 down, heightening their own and their friend's calamities, by 
 terrible predictions. However, my mother and I, notwithstanding 
 the danger we had passed, and that which still threatened us, had 
 
14 
 
 THE POMPEIAN COURT. 
 
 no thoughts of leaving the place till we should receive some 
 account of my uncle. 
 
 " And now you will read this narrative without any view of 
 inserting it in your history, of which it is by no means worthy ; 
 and indeed you must impute it to your own request, if it shall 
 appear scarce to deserve even the trouble of a letter. Farewell. " 
 
 Shortly after the catastrophe all memorials of the devoted cities 
 were lost ; discussions on the places they had once occupied were 
 excited only by some obscure passages in classical authors. Five 
 successive eruptions contributed to bury them still deeper under 
 the surface, and the sixth, which occurred in the year 1036, is the 
 first instance of an emission of lava. Before that time the only 
 agents of desolation were showers of sand, cinders, and scoriae, 
 together with loose fragments of rock. Volcanic ashes poured out 
 in a current have been known to darken the air for hours, and 
 even for days. Such must have been the nature of the phenomenon 
 which the younger Pliny saw and compared to a lofty pine. Dion 
 Cassius states that the ashes of this eruption were carried as far as 
 Africa, and that the dust was so abundant as even to darken the 
 air in the neighbourhood of Rome. Steam poured out in vast 
 quantities, and uniting with the ashes that fell upon Herculaneum, 
 formed a torrent of mud, imbedding all in solid tufa, whilst the 
 ashes of Pompeii were not impregnated, and all lay in this city 
 loose and unconsolidated. Stones of eight pounds weight fell on 
 Pompeii, whilst Stabise was overwhelmed with fragments of about 
 an ounce in weight, which must have drifted in immense quantities. 
 During a later eruption fine ashes were borne by the wind as far 
 as Constantinople. Whilst the ancient cities thus lay buried and 
 forgotten, Neapolis, the residence and burial-place of Virgil,* grew 
 into the great modern city of Naples, extending its suburban 
 villages along the shore, and connecting itself by a chain of 
 houses to the very roots of Vesuvius. The next town to Naples 
 is Portici. It contains 6000 inhabitants. Immediately adjoining 
 Portici is the still larger town of Pesina, with a population of 
 11,000 souls. These bustling and much frequented places are 
 built upon the lava which covers Herculaneum. 
 
 * See Portrait Gallery, No 121. 
 
GEOLOGICAL FORMATION". 
 
 15 
 
 DISCOVERY OF THE ANCIENT CITIES. 
 
 In the year 1689, during some excavations in the plain at the 
 foot of Vesuvius, where it was subsequently proved that Pompeii 
 had nourished, a workman observed the regularity with which 
 successive layers of earth and volcanic matter had been deposited. 
 
 Part of the Bay of Naples, showing the relative positions of Naples, Herculaneum 
 Pompeii, and Stabiae to Mount Vesuvius. 
 
 He compared them to pavements one upon the other ; with remains 
 of burnt vegetation, charcoal, and common earth beneath each 
 volcanic deposit. Under one of these dense masses of scoria, 
 dust, and pumice stone, he found large quantities of carbonised 
 timber, locks, and iron work, evidently the remains of habitations, 
 which, together with some old keys, and inscriptions giving the 
 name of the locality, satisfied the learned of the day that they 
 belonged to the ancient city of Pompeii. (Venuti, p. 37. Mem. de 
 FAcademie Fran. ; Mem. de Litterature, torn. xv. Des Embrasemens 
 du Mont Vesuve, and also Bianchini, Istoria Universale, Poma, 
 1699, p. 246. Cochin, p. 31). The discovery created little excitement 
 at the time ; the government was indisposed to prosecute the research, 
 and no farther excavation was carried on till the year 1749. 
 
 Meanwhile, the accidental sinking of a well in another place 
 brought to light such treasures of art as to induce a systematic 
 
16 
 
 THE POMPEIAN COURT. 
 
 exploration in a more profitable locality. This was in the neigh- 
 bourhood of Naples, where after seventeen centuries the city of 
 Herculaneum was once more rescued from oblivion. The circum- 
 stances which led to the discovery are briefly these. The prince 
 D'Elboeuf, of the house of Lorraine, came to Naples in 1706 (Cochin, 
 p. 35), and ordered the construction of a marine villa for himself 
 at Portici, in 1711. (Yenuti, p. 38. Gori, Admiranda, p. 39.) 
 He had a Frenchman in his service, who possessed the art of making 
 a durable stucco from pulverised marble, and as many fragments of 
 antique marbles as possible were collected for the manufacture of 
 his composition. One day a countryman presented himself, assert- 
 ing that in sinking a well at Resina (Yenuti, p. 39), he had dis- 
 covered a variety of precious marbles, some of which he had 
 brought with him as specimens. These marbles were so beautiful 
 and rare, that the prince was induced to purchase of the man the right 
 of further excavation, and he immediately commenced a systematic 
 course of exploration upon that spot. The stucco prepared by 
 the Frenchman was not only an imitation of precious marbles, but 
 also a cement similar to that employed by the ancients. Most 
 of the antique buildings were so plastered internally, as it was 
 harder and more durable than marble in its natural state. The 
 excavators, therefore, were more delighted when they found large 
 plain slabs and shafts of columns than elaborately carved foliage 
 and statues, because the latter afforded them a smaller quantity of 
 actual material. Stendardo was appointed to direct the works which 
 were carried on branching sideways from the well, just above the 
 level of the water ; (Gori, p. 40, Yenuti, p. 39. Cochin, p. 37 ;) 
 at the expiration of two days, they found a statue of Hercules, evi- 
 dently from a Grecian chisel, and they remarked with astonishment 
 that it had formerly been restored (Gori, p. 40). Some days after 
 this they came upon a female statue, which was at once pronounced 
 to be a Cleopatra (Gori, p. 40). They next extricated a large square 
 mass of marble, and upon removing a crust of bituminous matter 
 it was found to be the architrave of a gateway, with letters of 
 bronze inlaid into the surface. The inscription was 
 
 APPIVS. PVLCHER. CAII. FILIVS. 
 
 vir, epvlonvm. (Yenuti, p. 39.) 
 
 Many columns of variegated alabaster were next discovered, and 
 this led to the excavation of a circular temple, with twenty-four 
 columns, and statues of Greek marble between them (Gori, p. 41). 
 The pavement of this building was constructed of that rich yellow 
 
DISCOVERY OF ANCIENT CITIES. 
 
 17 
 
 marble, called Giallo antico, and many columns of the same material 
 lay in the vicinity. Seven of the twelve figures belonging to the 
 temple were female, executed in a superior Grecian style. Prince 
 Elbceuf dispatched them to Vienna as a present to Prince Eugene 
 of Savoy (Venuti, p. 39). The best of these statues were after- 
 wards sold to the King of Poland for 60,000 scudi ; they are now 
 at Dresden, and engraved in plates 19 to 26 of Becker's 
 " Augusteum " (Winckelmann, Werke, vol. ii. p. 135). The prince 
 evidently knew very little of the real value of his discoveries, and 
 during the next five years continued disinterring pieces of mosaic 
 alabaster slabs, and a few statues, some of which decorated his villa, 
 and the rest were sent over to France. Upon the discovery of 
 a beautiful statue of one of the daughters of Balbus, the state 
 interfered, and the Neapolitan government prohibited any further 
 excavations. For thirty years the site was almost forgotten. In 
 1736, the King Carlo III. (Borbone) resolved to build a palace at 
 Portici, and the ancient well was once more resorted to. The excava- 
 tions were resumed, and very important results followed. 
 
 Animated discussions were still maintained respecting the name of 
 the ancient city, for a city the excavations had already proved it 
 to be. A communication to the Poyal Society by a Mr. Sloane, 
 in 1740, exhibits the matter as still in a state of uncertainty. The 
 Marquis Yenuti, keeper of the Farnese library which Carlo Borbone 
 had inherited from Pome, was appointed superintendent of the excava- 
 tions at Pesina. He has left minute records of his proceedings both 
 in the " Admiranda Notizia," 2 et. seq., of Gori, and in his own 
 work published at Venice and London, 1750. He commenced 12th 
 November, 1738, by carrying on a kind of tunnel laterally from the 
 old well. In a short time (Venuti, p. 40. Gori, p. 42) two bronze 
 equestrian statues were found, and soon after three full length 
 marble figures, larger than life, of Roman dignitaries, dressed in 
 the toga, with massive piers of brick between, plastered with stucco, 
 and painted with arabesques in various colours. The excavators 
 had now reached the interior of the theatre, which the numerous 
 seats and steps clearly indicated. An inscription, moreover, on 
 the architrave contained part of the word Theatre, the name of 
 the person at whose cost the building was erected, and that of 
 the architect. A second inscription on the corresponding architrave 
 of the opposite side is almost a repetition : — 
 
 L. AKNTVS. L. F. MAMMIANVS. EVFVS. IIVIR. QVINQ. TiEaTb • . . O. . . . 
 P. NVMISIVS. ARC. . . TEC. . . 
 
 (Gori, p. 42, Yenuti, p. 42.) 
 
 c 
 
18 
 
 THE POMPEIAN COURT. 
 
 These architraves covered the side entrances to the orchestra, 
 and both of them supported a colossal group in bronze of a chariot 
 and two horses. The central group of the building was a 
 quadriga, and probably represented the emperor in his chariot 
 with four horses. All these bronze statues had been gilt. Some 
 fine columns of rosso antico were transported to the cathedral of 
 Naples, and others to the Hoyal Palace ; they appear to have 
 adorned the proscenium (Venuti, p. 71). The theatre was one 
 of the most perfect specimens of ancient architecture. It 
 had, from the floor, upwards of eighteen rows of seats (Gori, 
 44), and above these three other rows which seem to have been 
 intended for the female part of the audience, and were covered 
 with a portico to screen them from the rays of the sun. Statues 
 of Drusus and Antonia, and of the nine Muses, were found in 
 other parts of the building. A bronze colossal statue of Titus 
 filled with lead (Gori, p. 45) was so heavy that twelve men were 
 unable to move it. Many other bronze statues of municipal autho- 
 rities and benefactors were found with their respective inscriptions. 
 
 The theatre was capable of containing 8000 persons. Nearly the 
 whole of its surface, as well as the arched walks leading to the 
 seats, was cased with marble. The area or pit was floored with 
 thick squares of giallo antico, the beautiful marble of a yellowish 
 hue. The pedestal, of white marble, which supported a chariot 
 and four bronze horses, is still to be seen in its place ; but the 
 group itself had been crushed and broken in pieces by the immense 
 weight of lava which fell on it. The fragments having been 
 collected, might have been easily reunited, but they were carelessly 
 thrown into a corner, like old iron, and part of them were stolen. 
 The body of one horse and part of the charioteer, being deemed 
 useless, were accordingly fused, to be converted into two large 
 framed medallions of their Neapolitan Majesties. The remaining 
 fragments were cast into the vaults of the royal palace ; and, at 
 last, it was resolved to make the best use of what was left ; 
 which was, to convert the four horses into one, by taking a fore leg 
 of one of them, a hinder leg of another, the head of a third, and 
 where the breach was irremediable, to cast a new piece. To this 
 contrivance, the famous bronze horse now in the Museum owes its 
 existence ; and, considering its patchwork origin, still conveys a high 
 idea of the skill of the ancient artist. A pompous inscription 
 upon its pedestal records the circumstances of its construction 
 (Bronzi di Ercolano, vol. ii., page 255). 
 
 On the south side of the theatre, stood a basilica or public 
 
HERCULANEUM. 
 
 19 
 
 building which contained the celebrated equestrian statues of the 
 Balbi — of one block of marble (Gori, p. 59), — These fine statues 
 possess the additional value of having finally set at rest the ques- 
 tion respecting the proper name of the city. On the front of the 
 pedestals is inscribed — 
 
 M. NONIO. M. F, 
 BALBO. PR. PRO. COS. 
 HERCVLANENSES. 
 
 (Gerhard, Meapel. p. 22. Gori. p. 167. Venuti. p. 59.) 
 
 The certainty of this city having been the ancient Herculaneum 
 is said to have materially increased the energy of the excavators. 
 In the same basilica were found the famous pictures of Hercules 
 and Telephus, Theseus and the Minotaur, and many others, 
 together with bronze statues of Nero and Geraianicus, and a 
 Vespasian, with two sitting figures of marble, nine feet high. 
 The streets of the city were paved with blocks of lava, they were 
 flanked with causeways, and lined with porticos. The private 
 buildings, which resembled those of Pompeii, were very difficult 
 of access, from the nature of the material that overwhelmed them, 
 and could only be examined in small portions at a time. "No maps 
 of sufficient accuracy have been laid down of the earliest excava- 
 tions, and it will be better to reserve all accounts of domestic 
 arrangements till we can illustrate them by the Pompeian remains. 
 One large villa, however, seems to have been a very important 
 structure. It was surrounded by a garden enclosed within a square 
 wall and ditch. The floors were ornamented with beautiful mosaics 
 and the halls contained a rich variety of busts and statues. One 
 of the chambers served the purpose of a bath ; another, supposed 
 to have been a sacrarium, was painted with serpents, and within it 
 was found a brazen tripod, containing cinders and ashes ; but 
 the most curious discovery of all, was an apartment in this villa 
 used as a library, and fitted up with wooden presses around the 
 walls, about six feet in height ; a double row of presses stood in the 
 middle of the room, so as to admit of a free passage on every side. 
 The wood of which the presses had been made was burned to a 
 cinder, and gave way at the first touch ; but the volumes, composed 
 of a much more perishable substance, the Egyptian or Syracusan 
 papyrus, were, although completely carbonised, through the effect 
 of the heat, still so far preserved as to admit of their removal. 
 A number of these supposed pieces of charcoal were at first 
 carried off, which by accidental fracture exposed the remains of 
 
 c 2 
 
 p 
 
20 
 
 THE POMPEIAN COURT. 
 
 letters and proved to be so many ancient manuscripts. The 
 Greek manuscripts consisted of rolls scarcely a foot in length, and 
 but two or three inches in thickness. Some had a label in front, 
 at one end of the roll, with the name of the work or the author, 
 which was visible from its place in the library. * 
 
 The sixteen centuries during which the substances had been 
 crushed together, rendered it almost hopeless to unroll, and still 
 less to decipher them ; but Camillo Paderni devoted twelve days 
 to the occupation underground, and succeeded in carrying away 
 337 manuscripts. Almost all are in Greek, very few in Latin, 
 and some of the rolls are forty or fifty feet in length. The lines 
 are arranged in columns across the shortest surface, as in our news- 
 papers, each line extending only about two or three inches in 
 length. The greater part of the works in this collection relate 
 to Epicurean philosophy. Their decipherment has naturally occu- 
 pied much of the attention of the learned, and many of the 
 manuscripts have been published at Oxford. 
 
 The condition of Herculaneum was at the period of its discovery 
 more interesting and much more worthy the notice of the traveller 
 than it is at present. The object of its excavation having unfor- 
 tunately been confined to the discovery of statues, paintings, and 
 other curiosities, and not carried on with a view to lay open the 
 city, and thus to ascertain the features of its buildings and streets, 
 most of the latter were again filled up with rubbish as soon as they 
 were divested of everything moveable. Even the marble was torn 
 from the temples. 
 
 Herculaneum may therefore be said to have been overwhelmed 
 a second time by its modern discoverers ; and the appearance it 
 previously presented can now only be ascertained from the accounts 
 of those who beheld it in a more perfect state. ' The existence of 
 the large towns of Portici and Hesina overhead render it impos- 
 sible for many parts of the excavations to remain open to the sky ; 
 one portion, however, was allowed to be so until the sinking of the 
 main road, subject to incessant traffic, compelled the government 
 to have the undercuttings filled in, and the apertures blocked up. 
 A part of the city nearer to the mountain has been thrown open 
 and the sun is again permitted to shine upon gardens and 
 habitations now desolate and mouldering. 
 
 From the hard nature of the rock at Herculaneum, the city was 
 for a long time supposed to have been buried in lava, and the 
 
 * See a Pompeian painting described at p. 50, Cubiculum 3. 
 
EXCAVATIONS. 
 
 21 
 
 darkness and obscurity of the passages prevented the discovery of 
 the truth. But now, since daylight has been admitted, the whole 
 mass is found to be nothing more than hard tufa, rendered, at the 
 lower parts, still more compact by the percolation of water, which 
 in all cases leaves the finest possible sediment. Lava is stone 
 that has been actually melted, and flows over the surface in the 
 same way as molten iron issues from a furnace. The beds of real 
 lava may be easily distinguished in the upper levels of the earth 
 laid open in these excavations. All the timber of the houses 
 has been completely reduced to charcoal, but every beam was 
 found perfect as to shape and in its proper position ; many of the 
 bronzes, however, were melted. These effects seem to be the 
 result of an intense heat diffused through the entire mass at a sub- 
 sequent period ; for, at the time of the first eruption, great quan- 
 tities of boiling water appear to have been mixed with the fine dust 
 and scoria, the same materials that fell dry and loose upon Pompeii. 
 
 An entrance from the road at Resina to the excavations was 
 formed in 1750. It is still the only means of access to the most 
 important buildings, and consists of a narrow passage cut through 
 the solid lava. The ancient city lies at a depth of seventy feet 
 below the modern level. 
 
 The great difficulty of excavating Herculaneum, on account of 
 the soil above being occupied by crowded habitations, induced the 
 government to turn their attention more particularly to Pompeii. 
 
 " Nearly seventeen centuries had rolled away when the City of 
 Pompeii was disinterred from its silent tomb, all vivid with 
 unclimmed hues ; its walls fresh as if painted yesterday, not a hue 
 faded on the rich mosaic of its floors ; in its forum the half-finished 
 columns as left by the workman's hands ; in its gardens the sacri- 
 ficial tripod ; in its halls the chest of treasure ; in its baths the 
 strigil ; in its theatres the counter of admission ; in its saloons the 
 furniture and the lamp ; in its triclinia the fragments of the last 
 feast ; in its cubicula the perfumes and the rouge of faded beauty ; 
 and everywhere the bones and skeletons of those who once moved 
 the springs of that minute, yet gorgeous machine of luxury and 
 of life. 
 
 "In the house of Diomed, in the subterranean vaults, twenty 
 skeletons (one of a babe) were discovered in one spot by the door, 
 covered by a fine ashen dust, that had evidently been wafted 
 slowly through the apertures, until it had filled the whole space, 
 There were jewels and coins, candelabra for unavailing light, and 
 wine hardened in the amphorae for a prolongation of agonised life. 
 
22 
 
 THE POMPEIAN COURT. 
 
 The sand, consolidated by damps, had taken the forms of the 
 skeletons as in a cast ; and the traveller may yet see the impression 
 of a female neck and bosom of yonng and round proportions. 
 
 " It seems to the mqiiirer as if the air had been gradually changed 
 into a sulphurous vapour ; the inmates of the vaults had rushed to 
 the door to find it closed and blocked up by the scoria without, 
 and, in their attempts to force it, had been suffocated with the 
 atmosphere. 
 
 " In the garden was found a skeleton with a key by its bony 
 hand, and near it a bag of coins. This is believed to have been 
 the master of the house, who had probably sought to escape by 
 the garden, and been destroyed either by the vapours or some 
 fragment of stone. Beside some silver vases lay another skeleton, 
 probably of a slave. 
 
 " The houses of Sallust and of Pansa, the temple of Isis, with the 
 juggling concealments behind the statues — the lurking place of its 
 holy oracles — are now bared to the gaze of the curious. In one of 
 the chambers of that temple was found a huge skeleton with an 
 axe by the side of it : two walls had been pierced by the axe — the 
 victim could penetrate no farther. In the midst of the city was 
 found another skeleton, by the side of which was a heap of coins 
 and many of the mystic ornaments of the fane of Isis."* 
 
 Linen and fishing nets ; loaves of bread with the impress of the 
 baker's name ; even fruits, as walnuts, almonds, peach-stones, and 
 chestnuts, were distinctly recognisable. Eggs have been found 
 whole and empty, and a jar of oil had olives still floating in it ; the 
 oil burnt upon application of flame, but the fruit was flavourless. 
 Yery few jewels were discovered, which shows that the inhabitants 
 had time to escape ; a wooden comb was found with teeth on 
 both sides, closer on one side than the other. Lace fabricated of 
 pure gold, a folding parasol similar to those now in use, a case of 
 surgeon's instruments, balances, sculptors' tools, chisels and com- 
 passes, writing materials, vessels of white cut and coloured glass, 
 coals collected for fuel, and wine still remaining in jars, may all be 
 found in the curious catalogue of articles that had braved the lapse 
 of time. Other circumstances there are which claim our better 
 feelings. At the city gate, the sentinel, faithful to his trust, was 
 found in his sentry box, a skeleton, clothed in 
 
 u The very armour he had on," 
 
 when his dreadful doom overtook him ; in the barracks, near the 
 
 * Bulwer's " Last Days of Pompeii.** 
 
AMPHITHEATRE AT POMPEII. 
 
 23 
 
 triangular forum, malefactors were found in the public stocks ; the 
 crumbling remains of prisoners were discovered in the dungeons 
 near the temple of Jupiter, no one in that hour of general horror 
 and confusion having thought of them or of their wretchedness, 
 in being thus immured alive. The bones of the ass, that worked 
 the baker's mill, were found there ; the skeletons of horses re- 
 mained in the cribs in which they had been stabled for the last time. 
 The discoveries that had been made long before the arrival of Prince 
 Elbceuf, and which were communicated to the French Academy of 
 Science, 1689, were remembered by the Neapolitan Government, and 
 in the beginning of the year 1749 we have the first authentic refer- 
 ence to the ancient city of Pompeii. " On the 18th of January, 
 at a place called Civita," so runs the official announcement, " not 
 far from Torre delF Annunciata, where the ancient Pompeii may 
 have been, was found an apartment decorated with sixteen charming 
 little dancing females brightly coloured, two centaurs and figures, 
 bands of arabesques forming panels with Cupids in the midst, and 
 twelve fauns dancing on a rope, all upon a black ground." (Pitture 
 d'Ercolano, vol. i., p. 93, tavole 17 to 28, and vol. iii., tavole 
 28 to 35 inclusive.) They are very small figures, and have since 
 been removed to the Museo Borbonico. About the same time a 
 labourer, whilst ploughing in the neighbouring fields, found a 
 statue of brass. 
 
 Among the earliest buildings excavated at Pompeii was the 
 Amphitheatre ; it was cleared in 1755, and seems to have been 
 capable of holding ten thousand people (Pompeiana, p. 259). In 
 the amphitheatre, games were held, gladiators fought for their 
 lives with wild beasts, or with one another, and these savage 
 spectacles were under the particular superintendence of an edile. 
 We are informed by Dion Cassius, that the eruption came on whilst 
 the populace were assembled in the theatre, but which of the 
 theatres is meant, as there were several, remains doubtful. Thus far 
 is certain, that sufficient time was left for escape, as no skeletons 
 were found in either of them. From the seats of this amphitheatre 
 may certainly be obtained the grandest view of the mountain, and 
 if, as Bulwer's admirable romance "the Last Days of Pompeii" 
 depicts it, the assembly was held on this spot, the first signs of the 
 coming destruction would have been seen by all the multitude. An 
 announcement connected with these performances has since been 
 discovered upon the walls of the Basilica. A placard — the play- 
 bill of those times— announced that the troops of gladiators belong- 
 ing to Ampliatus would contend in the amphitheatre on the 17th 
 
24 
 
 THE POMPEIAN COURT. 
 
 of May, and that another exhibition would take place on the 31st, 
 exactly three months before the destruction of the city. 
 
 The Temple of Isis was accidentally discovered in 1765, by some 
 workmen employed in making a subterraneous aqueduct to Torre 
 delF Annunciata. These discoveries induced Charles III. to transfer 
 his attention exclusively to Pompeii (Pompeiana, p. 5). The 
 Triangular Forum, the Temple of -ZEsculapius, and the two great 
 theatres were all laid open in the course of two or three successive 
 years. These buildings are all in the same quarter of the town, 
 but quite remote from the great forum and public buildings which 
 were not discovered until 1816. 
 
 It is a remarkable fact that Fontana, the great architect, 
 carried a subterraneous canal in 1592 directly under the court of 
 the Temple of Isis. He was employed to convey the waters of the 
 river Sarno to the town of Torre dell' Annunziata ; and it seems 
 wonderful that the existence of this interesting city was not made 
 known at the time. 
 
 The situation of Pompeii, as it originally stood upon an elevation 
 surrounded by a fertile plain, is well shown in the accompanying 
 view. The eminence marked in the woodcut by the long pale light 
 mounds on the right between the tower of a farm-house and the 
 base of the volcano, is the site of the city. Pompeii was never 
 buried beneath the surface of the ground ; on the contrary, many 
 of its w?dls were always conspicuous, as, for instance, that at the 
 back of the tragic theatre. The locality seems to have been known 
 to the peasants of the vicinity by the name of civita (city). The 
 rains of successive seasons may probably have carried away most of 
 the stones and ashes that fell around the city, whilst the walls of 
 the houses themselves would serve to retain all that had fallen 
 upon them. 
 
 Other villas also were excavated at Gragnano, the ancient Stabise. 
 and most of their decorations were removed to the Museo Borbonico. 
 The baths discovered at Stabias, in 1827, were very interesting. 
 They are described in " Gell's Pompeiana," 2nd series, vol. i. 
 pp. 131 and 140. 
 
 For our present purpose, the public buildings and temples of 
 Pompeii and Herculaneum require a less detailed account ; a slight 
 enumeration of them, however, is necessary to show the extent 
 and importance of the community, whose taste and refinement 
 required such dwellings for their private enjoyment, and also to 
 prove that the buildings, from which many of the designs on the 
 walls of the Pompeian Court have been taken, do not owe their origin 
 
26 
 
 THE POMPEIAN COURT. 
 
 to the slight and flimsy taste prevailing among the frequenters of 
 a seaside town in the modern sense of the word, but to the higher 
 refinement and habits of those who, leaving Rome in the heat of 
 a summer sun, sought the ease and indulgence of a life such as 
 Campania alone afforded, and yet could not tolerate the contrast of 
 an inferior art around them. This is proved by a comparison of the 
 Pompeian decorations with those of the same period in the baths 
 of Titus, at Rome. The same style and the same peculiarities of 
 taste are evident, and they perfectly illustrate the remarks of 
 Titruvius, which will be considered in a future place. 
 
 When the French occupied Naples, the walls surrounding the 
 city were entirely cleared ; this was in October, 1812, and in the 
 March following the street of tombs. Murat defrayed most of 
 the expenses of excavation, and in a short time the Forum and 
 Basilica, with the adjacent buildings, were laid open. At one time 
 3000 men were employed in the work of exploration. 
 
 The Forum (1816) is the largest and by far the grandest spot in 
 Pompeii. It is surrounded by a Grecian Doric colonnade, the 
 Temple of Jupiter, two triumphal arches, forming the north end, 
 and the Temple of Venus and Basilica on the west. Facing the 
 Temple of Jupiter were large buildings, profusely decorated with 
 statues, called the Curiae and ^Erarium, and the remaining side 
 of the forum was occupied by various buildings, among them the 
 Pantheon and the Chalcidicum of Eumachia ; these were excavated 
 between 1817 and 1821. The discovery of the public baths did 
 not take place till 1824. These contributed materially to a better 
 comprehension of many passages in ancient authors, being more 
 perfect examples than the vast ranges for similar purposes still 
 existing at Rome. 
 
 The general result of the Pompeian excavations up to the 
 present time may be thus summed up ; three forums, nine temples, 
 a basilica, a chalcidicum, three piazze, an amphitheatre, two 
 theatres, a prison, double baths, nearly one hundred houses and 
 shops, several villas, town walls, six gates, and twelve tombs. 
 
 The impression likely to be produced on the mind of a spectator 
 from the scene in its present condition, may be gathered from the 
 following passages extracted from my own journal, recording my 
 first visit to Pompeii, September 16th, 1843. 
 
EXTRACTS FROM EDITOR'S JOURNAL. 
 
 27 
 
 JOURNAL. 
 
 66 By half-past ten we were at the railway station, just outside 
 the gates of Naples, and immediately started for Pompeii. The 
 line of rail continues along the shore of the bay ; nothing can 
 exceed the bustle, confusion, and want of system on this amusing 
 road. There exists neither distinction of classes nor limitation of 
 luggage, so that fruit-stalls and puppet-shows — Polichinello, by the 
 way, is here in his native land — are heaped together in the carriages. 
 The first station we reached was Portici, the next Pesina, accom- 
 panied by the classic cry of Ercolano — signer e, Porta d'Ercolano — 
 then Torre del Greco, where heaps of lava piled one upon the 
 other, attest the awful eruption of the last century. Torre dell' 
 Annunciata being the nearest station to Pompeii we alighted here 5 
 and proceeded along a dusty road, lined with cactus, poplar, stone 
 pine, and the castor-oil tree. Festoons of the richest vines hung 
 from tree to tree, and the black clusters peeped out beneath the 
 broad-spread leaves, already beginning to change into the gold of 
 the approaching Autumn. The fields were teeming with corn, hemp, 
 and cotton. No beggars, the pest of Naples, crowded round our 
 carratella, and the dust which rolled in dense clouds was our 
 only annoyance. We now turned our thoughts to Pompeii. A 
 small guard house of soldiers marked the entrance to these 
 classic precincts, and for some distance further the road was 
 planted with willows, producing a rich and solemn effect, and 
 well preparing us for the street of tombs which soon broke upon 
 our view. The road was lined with tombs for a considerable 
 distance before we approached the city gate, called Porta 
 d'Ercolano, on the Herculaneum side ; but previously to ex- 
 amining the tombs, we diverged to the right to explore the villa 
 of Diomed, where we found everything in exact accordance with 
 the description of Sir William Gell and Mr. Malkin's work, 
 c Pompeii/ by the Society of Entertaining Knowledge. 
 
 "The tombs are all small but minutely ornamented, the upper 
 parts still remain, and they appear altogether much more complete 
 than I had expected. The gate of Plerculaneum, with its grooves 3 
 sentry box, and road-pavements, corresponds exactly with prints 
 and descriptions given by numerous travellers. 
 
 " At this point of view, little is really wanting. The eye pursues 
 a long line of ascending road, with tombs and thick trees on each 
 side, broken only by the gate of the city, through the arch of 
 which a long continuation of houses is clearly visible. We entered 
 
23 
 
 THE POMPEIAN COURT. 
 
 the city ; everything is on a small scale, but the walls at this entrance 
 to the city seem high in proportion ; the footway and carriage-road 
 remain undisturbed, and still retain the track of chariot wheels. 
 The motion and noise of inhabitants alone seem wanting — no 
 decay is visible, and the impression produced by the scene was 
 that of a populous city during church time. We wandered on 
 through streets and lanes, prying into buildings both public and 
 private, after the manner of that wonderful prince mentioned in 
 the 6 Arabian Nights Entertainments/ who explored a city, the 
 inhabitants of which had been turned into stone. 
 
 " In the shops, many of the walls remain perfect, roofs alone have 
 disappeared, but counters, doorways, and depositaries are just such 
 as we see daily at Naples, and scarcely inferior in point of freshness. 
 
 " The mosaic strewn floors are wonderfully perfect — a httle patch- 
 ing and inequality of level caused by the previous earthquake are 
 here and there perceptible ; the chief difficulty at first is to know 
 the floor from the pavement, that is, to distinguish the inside of a 
 house from the courtyard. All external walls were plastered and 
 coloured, so that a mistake might easily arise. 
 
 " The Houses of the Quaestor, Sallust, and the Faun, are exquisite 
 specimens of proportion and arrangement in domestic building. 
 The beautifully painted walls, columns, and inlaid marble or 
 mosaic floor, combine with the deep blue sky, forming so glorious 
 a whole that the rooflessness is forgotten, and the eye reposes with 
 delight on the assembled harmonies. 
 
 " The whole city is encompassed by enormous mounds of debris, 
 under which it was formerly buried. These lumps are now caked 
 together, and in their sloping sides trees have already sprung 
 up, so that all appearance of rubbish is fortunately concealed. 
 
 "I was greatly disappointed with the scale of many objects, 
 especially the Baths. Sir William Gell's views are very correct, 
 but the living figures introduced are on an utterly false scale. 
 The Telamons, a series of terra-cotta figures, tinted red, with yellow 
 hair and drapery, supporting the frieze, seem, in his pictures, the 
 size of life, whereas they are only two feet high, one-third in fact 
 of the size they are made to appear in his drawings. 
 
 Modern roofs are extended over all parts retaining ornament, 
 stucco, or paintings ; some of the finest mosaics are carefully boarded 
 over — the famous lion, for instance — whilst others are protected by 
 coarse glass frames with slides such as we use for cucurnber-beds 
 in kitchen gardens. A beautiful marble pavement attracted our 
 attention, in the house of Action or Sallust, but the great mosaic 
 
EXTRACTS FROM EDITOR'S JOURNAL. 
 
 29 
 
 of Darius is not visible, being plastered over preparatory to its 
 removal to Naples. The borders alone remain uncovered. The 
 Forum, with its Basilica, temples of Jupiter, Yesta, and Venus, 
 are only realisations of my previous conception, allowing, as before, 
 for the reduction of size. The best mosaics, paintings, statues and 
 bronzes have been removed to Naples, but their place is frequently 
 supplied by copies, which serve equally well to illustrate their effect. 
 
 "The tragic theatre is complete in form ; the stone seats, however, 
 have nearly all disappeared. The amphitheatre is considerably 
 distant from the rest of the excavations ; it is remarkably perfect, 
 and the view of Yesuvius from the summit of this building is 
 surprisingly grand. It contrasts strangely with the beautiful lime- 
 stone range of mountains on the other side of the bay. Yesuvius 
 appears more rugged and frowning in this aspect — beheld from the 
 remains of its victim — than from the more-frequently painted scene, 
 the Chiaja of Naples. The deep blue and gray-brown of the 
 volcano is studded with white dots, each of which is a villa or 
 hermitage, creeping up to the mouth of the crater, regardless of 
 the warnings of the buried cities, and the devastation at its roots 
 in Torre del Greco, and in Nola of the plain beyond. They seem 
 like flies settled on the head of a sleeping monster, or, to speak in 
 better phrase, like white sails on the calm and azure sea, which, 
 at the moment I am writing, seems incapable of harbouring the 
 terrors and destruction which mankind so frequently experience, 
 and which two days ago we saw in all their sublimity. 
 
 "In the baths of Pompeii a slight refreshment was offered us, and 
 at a little farm-house in the neighbourhood of the amphitheatre, 
 we enjoyed a more substantial meal. The comic theatre is small, 
 but much more perfect than the one previously visited. In all the 
 public buildings a commencement of restoration after the earthquake 
 was clearly visible, especially in the forum. 
 
 « Vegetation takes root, at every opportunity, between cracks of 
 stones, or wherever mould is collected ; grass there is none. The 
 wild fig and the luxuriant fern are the most frequent intruders, 
 but they do not spread sufficiently to afford shelter, and the walls 
 themselves are not high enough to serve as protection against the 
 scorching sun. As the sun neared the horizon, we were warned to 
 depart, and, mounting our car in preference to the railway, we 
 rattled off along the high road, well pleased with a journey that, 
 after defraying all expenses, did not exceed the cost of 3s. 4cL 
 So ended my first day at Pompeii, 1843. 
 
 "I could not help contrasting all this with our first visit to 
 
30 
 
 THE POMPEIAN COURT. 
 
 Herculaneum, which is entirely underground, imbedded in hard 
 tufa, and exposed only in small portions protruding here and there, 
 where we threaded long caverns and galleries cut in the wet, cold, 
 and dripping material, the bad vapours of which are very dangerous. 
 I would compare Herculaneum to a geological fossil half worked 
 out of the compact material which surrounds it. There is an 
 important difference in the overwhelming of the two cities. 
 Pompeii was covered solely with fine dust and powdered scoria, all 
 dry but rendered compact by the great pressure of the fallen mass. 
 Herculaneum was filled up by a dense rolling liquid, or rather 
 paste of fine powder mixed with boiling water strongly impregnated 
 with sulphur, and forming what has now become a perfectly hard 
 compact stone, and only to be removed with the axe. In Pompeii 
 all excavations are carried on with the shovel, as the dry powder 
 easily gives way." 
 
 The private houses of Pompeii have been variously named, some- 
 times from an inscription on the door post, or from the subject of 
 some principal painting, at other times from the supposed occupa- 
 tion or condition of the owner, or from a peculiar object found in 
 the dwelling; and not unfrequently the presence of some distin- 
 guished person at the time of excavation has conferred a lasting 
 title on some particular remains. The application of these names 
 will be seen in the houses of Pansa, of Meleager, the Quaestor, the 
 Surgeon, the Fountain, and that of Queen Caroline. Some of the 
 houses have had the names changed, as that of the Tragic Poet is 
 now called the House with Homeric Paintings. All the houses 
 seem to have been buried somewhat higher than the top of the 
 ground floor. Upon this bed of ashes is found a layer of ashes 
 mixed with mould, and remains of buildings to the depth of 
 seven feet. The moisture retained in the vegetable mould had 
 destroyed the surface of the paintings, and not unfrequently the 
 pattern was seen on the mould to which the stucco still adhered. 
 In this manner has the decoration of the upper apartments been 
 destroyed, and the pressure of superincumbent masses has crum- 
 bled the woodwork. That the houses had upper ranges of cham- 
 bers is evident from the remains of staircases leading to them 
 both within and without. The first floors were nobly paved, 
 mosaics having been found at various levels one above the other. 
 Ceilings also were variously decorated with paintings like the walls, 
 and sometimes composed of stucco. Mr. Falkener (pp. 66 and 67) 
 observed a gorgeously ornamented ceiling to a tablinum. It con- 
 sisted of a large circle in a square panel boldly moulded, and 
 
COLOURING ON POMPEIAN WALLS. 
 
 31 
 
 enriched with stucco ornament, with ultramarine, vermilion, and 
 purple colouring, together with a profusion of gilding. Fragments 
 of equally elaborate ceilings were found in such a position as to 
 lead to the conviction that they belonged to apartments of 
 different stories, one above the other. 
 
 The visitor to Pompeii is generally struck with the intensity and 
 crudeness of the colours on the walls. This is easily accounted 
 for in the necessity for the exclusion of light in hot countries ; 
 for with light heat comes also, and all who have visited Italy will 
 remember the care with which the modern sitting rooms are 
 darkened during daytime. The strength of these colours would 
 thus be always toned $own by shade. * With all the variegation of 
 colour in these Pompeian walls, one pervading principle may be 
 observed, viz., that the strongest and darkest colours are confined 
 to the bottom of the room. Thus if the dado, or lower part of the 
 wall, be black, the rest will be red or yellow, and the ceiling white ; 
 and if the dado be red, the rest of the wall yellow or blue. If the 
 dado be yellow, all the rest of the room will be white. 
 
 ARRANGEMENT OF A POMPEIAIST HOUSE. 
 
 Painted Garden. 
 
 Peristyle. Fauces. . Ala, Cubiculum 
 
 Tablinum. Impluvium. 
 
 INTERIOR OF THE ATRIUM OF THE HOUSE OF THE TRAGTC POET, ACCORDING 
 TO THE RESTORATION OF SIR WILLIAM GELL. 
 
 The principal divisions of a Poman house consist of three 
 * See page 65. 
 
32 
 
 THE POMPEIAN COURT. 
 
 square chambers, leading one into the other ; the first and last of 
 these are lighted by a square opening in the middle of the ceiling, 
 but the central apartment is destitute of any means for the 
 entrance of the daylight ; in fact, it receives only such light as 
 can be communicated from the rooms on either side ; still as there 
 was no actual partition between these chambers, beyond that made 
 by curtains, # sufficient light must have obtained entrance, which 
 could be modulated at pleasure. The name of this central room 
 was the Tablinum. The first room, which is generally the largest, is 
 called the Atrium, and has a square tank or basin in the middle of 
 the floor to collect the water dropping from the roof, and to receive 
 the falling rain, as the apartment is directly open to the sky. The 
 aperture in the roof is not very large, and this arrangement for 
 the free descent of rain affords two essential luxuries to the inhabit- 
 ant of a southern climate — shade and moist are. In a country like 
 our own it is scarcely possible to estimate their value. 
 
 The further room had a larger aperture above, and the open 
 space below was laid out with plants like a garden, bordered with 
 columns, so that the narrow covered space left on each side formed 
 a miniature cloister. It was called Peristyle, from the Greek words, 
 meaning surrounded by columns. In the map of ancient Home, 
 made in the time of Septimius Severus, this arrangement in the 
 private houses is distinctly visible. As in our modern houses, the 
 proportions varied both according to the caprice of the owner, or 
 the limitations of space. Some had a greater number of apartments, 
 and others a double set. Not a few added an extensive series of 
 domestic offices, dining-rooms, and bed chambers, some of them up 
 stairs. Many houses had a second and third story of bed-rooms 
 above the common level, but in all well constructed houses, what- 
 ever the rank of the owner, these three apartments, Atrium, 
 Tablinum, and Peristyle, remain the essential portions. Here, as 
 much of the life of a leading citizen was public, he received his 
 clients and allowed the slaves to wait upon him. It was only in 
 the inner apartment, such as the ceci and triclinia, that he could 
 indulge in privacy. 
 
 In the better class of houses, the Atrium was generally sur- 
 rounded by smaller rooms, called eubieula, and the square of the 
 Atrium was broken by the further part being widened on each side 
 T fashion, into alee or wings, which correspond to the transepts of 
 
 * Sir William Gell (vol. i. p. 160 of Pompeiana, Second Series) states that 
 the iron rods on which curtains or draperies were suspended from column 
 to column were discovered perfect in an excavation at Herculaneum in 1828, 
 
A POMPEIAN HOUSE. 
 
 33 
 
 our cathedrals. The tablinum, again, was narrowed by a partition 
 which took off a side passage, called fauces, through which the ser- 
 vants passed from one end of the house to the other without disturbing 
 those occupied in the middle chamber. The floor of this tablinum 
 was frequently ornamented with elegant pictures, in mosaic, as 
 that of the Tragic Poet's House, by the choragus teaching his actors, 
 and distributing his masks (Gell, vol. i. pi. 45). The famous large 
 mosaic, the Battle of Issus, in the House of the Faun, has already 
 been mentioned. In some houses, but very rarely, there was a 
 passage on both sides of the tablinum ; as in the reproduction 
 described in these pages, the House of the Coloured Capitals, and 
 a few others, but the majority have one only. 
 
 The reader may derive a clearer and certainly a more poetical idea 
 of an ancient house from the following extracts from Sir Bulwer 
 Lytton's " Last Days of Pompeii." The house which he describes 
 is taken from a personal examination and the assistance of his 
 antiquarian friend, Sir William Gell : — 
 
 " You enter then usually by a small entrance passage, called 
 vestibulum, into a hall sometimes with — but more frequently 
 without — the ornament of columns ; around three sides of this 
 hall are doors communicating with several bedchambers — among 
 which is the porter's — the best of these being usually appropriated 
 to country visitors. At the extremity of the hall on either side 
 to the right and left, if the house is large, there are two small 
 recesses, rather than chambers, generally devoted to the ladies of 
 the mansion ; and in the centre of the tessellated pavement of the 
 hall is invariably a square shallow reservoir for rain water — classi- 
 cally termed impluvium — which was admited by an aperture in the 
 roof above, the said aperture being covered at will by an awning. 
 Near this impluvium, which had a peculiar sanctity in the eyes of 
 the ancients, were sometimes — but at Pompeii more rarely than at 
 Home — placed images of the household gods. The hospitable hearth 
 often mentioned by the Roman poets, and consecrated to the Lares, 
 was at Pompeii almost invariably formed by a moveable brazier ; 
 while in some corner, often the most ostentatious place, was 
 deposited a huge wooden chest, ornamented and strengthened by 
 bands of bronze or iron, and secured by strong hooks upon a stone 
 pedestal, so firmly as to defy the attempts of any robber to detach 
 it from its position. It is supposed that this chest was the money- 
 box, or coffer, of the master of the house ; though as no money 
 has been found in any of the chests discovered at Pompeii, it is 
 probable that it was sometimes rather designed for ornament than 
 
 D 
 
34 
 
 THE POMPEIAN COURT. 
 
 use. In this hall — or atrium, to speak classically — the clients and 
 visitors of inferior rank were usually received. In the houses of 
 the more ' respectable,' an atriensis, or slave peculiarly devoted 
 to the service of the hall, was invariably retained, and his rank 
 among his fellow-slaves was high and important. The reservoir in 
 the centre must have been rather a dangerous ornament ; but the 
 centre of the hall was like the grass plot of a college, and inter- 
 dicted to the passers to and fro, who found ample space in the 
 margin. Right opposite the entrance at the other side of the hall, 
 was an apartment (tablinum), in which the pavement was usually 
 adorned with rich mosaics, and the wall covered with elaborate 
 paintings. Here were usually kept the records of the family or 
 those of any public office that had been filled by the owner ; on 
 one side of this saloon, if we may so call it, was often a dining- 
 room or triclinium ; on the other side, perhaps, what we should 
 now term a cabinet of gems, containing whatever curiosities were 
 deemed most rare and costly ; and invariably a small passage for 
 the slaves to cross to the further parts of the house without pass- 
 ing the apartments thus mentioned. These rooms all opened on a 
 square or oblong colonnade, technically termed peristyle. If the 
 house was small its boundary ceased with this colonnade, and in 
 that case its centre, however diminutive, was ordinarily appropriated 
 to the purpose of a garden, and adorned with vases of flowers placed 
 upon pedestals ; while under the colonnade, to the right and left, 
 were doors admitting to bedrooms, to a second triclinium, or eat- 
 ing-room — for the ancients generally appropriated two rooms at 
 least to that purpose, one for summer and one for winter, or 
 perhaps one for ordinary, the other for festive occasions— and if 
 the owner affected letters, a cabinet dignified by the name of 
 library — for a very small room was sufficient to contain the few rolls 
 of papyrus which the ancients deemed a notable collection of books. 
 
 6 6 At the end of the peristyle was generally the kitchen. Supposing 
 the house was large, it did not end with the peristyle, and the 
 centre thereof was not, in that case, a garden, but might be 
 perhaps adorned with a fountain or basin for fish ; and at its end, 
 exactly opposite to the tablinum, was generally another eating 
 room, on either side of which were bed rooms, and perhaps a 
 picture saloon or pinacotheca. These apartments communicated 
 again with a square or oblong space, usually adorned on three sides 
 with a colonnade like the peristyle, and very much resembling the 
 peristyle, only usually longer. This was the proper viridarium or 
 garden, being commonly adorned with a fountain or statues, and a 
 
A POMPEIAN HOUSE. 
 
 85 
 
 profusion of gay flowers ; at its extreme end was the gardener's- 
 house ; on either side beneath the colonnade were sometimes, if the 
 size of the family required it, additional rooms. 
 
 "At Pompeii, a second or third story was rarely of importance, 
 being built only above a small part of the house and containing 
 rooms for the slaves ; differing in this respect from the more 
 magnificent edifices of Rome, which generally contained the 
 principal eating-room (or ccenaculum) on the second floor. The 
 apartments themselves were ordinarily of small size ; for in those 
 delightful climes they received any extraordinary number of visitors 
 in the peristyle (or portico), the hall, or in the garden ; and even 
 their banquet rooms, however elaborately adorned and carefully 
 selected in point of aspect, were of diminutive proportions ; for the 
 intellectual ancients being fond of society, not of crowds, rarely 
 feasted more than nine at a time, so that large dinner rooms were 
 not so necessary with them as with us. But the suite of rooms 
 seen at once from the entrance, must have had a very imposing 
 effect : you beheld at once the hall richly paved and painted — the 
 tabhnum — the graceful peristyle, and if the house extended further, 
 the opposite banquet-room, and the garden which closed the view 
 with some gushing fount or marble statue. 
 
 " The reader will now have a tolerable notion of the Pompeian r 
 houses, which resembled in some respects the Grecian, but mostly 
 the Roman fashion of domestic architecture. In almost every 
 house there is some difference in detail from the rest, but the 
 principal outline is the same in all. In all, you find the hall, the 
 tablinum, and the peristyle, communicating with each other ; in 
 all you find the walls richly painted ; and in all the evidence of a 
 people fond of the refining elegances of life. The purity of the 
 taste of the Pompeians in decoration is, however, questionable ; 
 they were fond of the gaudiest colours, of fantastic designs ; they 
 often painted the lower half of their columns a bright red, leaving 
 the rest uncoloured : and where the garden was small, its wall was 
 frequently tinted to deceive the eye as to its extent, imitating 
 trees, birds, temples, &c, in perspective ; a meretricious delusion 
 which the graceful pedantry of Pliny himself adopted with a 
 complacent pride in its ingenuity." 
 
 The novelist then proceeds to describe the house known by the 
 name of the Tragic Poet. (See plan No. 2 on page 38.) 
 
 " You enter by a long and narrow vestibule, on the floor of which 
 is the image of a dog in mosaic, with the well-known 6 Cave 
 canem/ or ' Beware the dog. ' On either side is a chamber of some 
 
 d 2 
 
36 
 
 THE POMPEIAN COURT. 
 
 size : for the interior part of the house not being large enough to 
 contain the two great divisions of private and public departments, 
 these two rooms were set apart for the reception of visitors who, 
 neither by rank nor familiarity, were entitled to admission in the 
 penetralia of the mansion. 
 
 " Advancing up the vestibule, you enter an atrium that, when 
 first discovered, was rich in paintings, which in point of expression 
 would scarcely disgrace a Raphael. You may see them now 
 transplanted to the Neapolitan Museum ; they are still the admira- 
 tion of connoisseurs — they depict the parting of Achilles and 
 Briseis. 
 
 " Who does not acknowledge the force, the vigour, the beauty, 
 employed in delineating the forms and faces of Achilles and the 
 immortal slave ? 
 
 " On one side of the atrium, a small staircase admitted to the 
 apartments for the slaves on the second floor ; there also were two 
 or three small bedrooms, the walls of which portrayed the Rape of 
 Europa, the battle of the Amazons, &c. 
 
 " You now enter the tablinum, across which, at either end, hung 
 rich draperies of Tyrian purple, half withdrawn. On the walls was 
 depicted a poet reading his verses to his friends ; and in the pave- 
 ment was inserted a small and most exquisite mosaic, typical of the 
 instructions given by the director of the stage to his comedians. 
 
 " You passed through the saloon, and entered the peristyle ; and 
 here, as I have said before was usually the case with smaller 
 houses of Pompeii, the mansion ended. From each of the seven 
 columns that adorned this court hung festoons of garlands ; the 
 centre, supplying the place of a garden, bloomed with the rarest 
 flowers, placed in vases of white marble, that were supported on 
 pedestals. At the left hand of this small garden was a diminutive 
 fane, resembling one of those small chapels placed at the sides of 
 roads in Catholic countries, and dedicated to the Penates ; before it 
 stood a bronze tripod ; to the left of the colonnade were two small 
 cubicula or bedrooms ; to the right was the triclinium, in which 
 the guests were now assembled. 
 
 " This room is usually termed by the antiquaries of Naples, c The 
 Chamber of Leda and in the beautiful work of Sir William Gell, 
 the reader will find an engraving from that most delicate and graceful 
 painting of Leda presenting her new-born to her husband, from 
 which the room derives its name. This charming apartment opened 
 upon the fragrant garden. Pound the table of citrean wood, 
 highly polished and delicately wrought with silver arabesques, were 
 
PLANS OF POMPEIAN HOUSES. 
 
 37 
 
 placed the three couches, which were yet more common at Pompeii 
 than the semicircular seat that had grown lately into fashion at 
 Rome ; and on these couches of bronze, studded with richer metals, 
 were laid thick quiltings, covered with elaborate broidery, and 
 yielding luxuriously to the pressure." 
 
 The following plans, pp. 38 and 39, are collected into one group 
 to afford a more easy view of the differences in their general con- 
 struction. They are not drawn to scale, and have no pretensions to 
 detail. The principal apartments only are named upon them, and the 
 following is a list of their chief peculiarities, together with the dates 
 when they were excavated, : .nd the various names by which they have 
 been known. The first numbers correspond with those on the plans. 
 
 1. House of the Emperor, Joseph IT. (17 67-69), was a mansion 
 of great magnificence, of three stories. It was beautifully situated 
 on the side towards the sea. This house had a suite of baths ; and 
 in the furnace-rooin the skeleton of a female was discovered. The 
 regularity of plan is very remarkable ; but, unfortunately, the exca- 
 vations were filled in again, so that nothing now remains to be seen. 
 
 2. House of the Tragic Poet (1824-26) is called in the Museo 
 Borbonico, " Gasa Omerica" the Homeric House : the same which 
 Bulwer describes as the house of Glaucus. Remarkable for the 
 beauty and dignified character of its paintings, most of them 
 illustrating Homeric subjects. 
 
 A list of a few of the principal paintings and mosaics in this 
 house will suffice to show the taste of its occupant. 
 Cave Canem. Mosaic at entrance. 
 
 In atrium, on right wall, next to entrance, The Marriage of 
 Peleus and Thetis. On side wall, right hand, The Parting of Achilles 
 and Briseis. On same wall, separated only by a door, The Depar- 
 ture of Chryseis. Opposite to the parting of Achilles and Briseis 
 was represented The Fall of Icarus. In a cubiculum on this side 
 was the small frieze of Battle of Amazons (copied in the Atrium of 
 Pompeian Court, page 47). The tablinum was adorned with a 
 picture of A Poet reading, and the mosaic pavement representing 
 The Choragus and Actors. In a little chamber to the left of tablinum 
 was a small picture of Venus fishing. At the end of ambulatory 
 of peristyle near triclinium was the famous picture of The Sacrifice 
 of Iphigenia, painted on the wall adjoining the oven of the Fullonica. 
 The Deserted Ariadne (page 57) adorned a small chamber to the left 
 of the peristyle. The opposite side of the peristyle was occupied 
 by the kitchen, latrina, and triclinium, which latter contained the 
 exquisite picture of Leda presenting her Infant Progeny to Tyndareus; 
 
1 
 
 . ,n . . n.. . . ._. 
 
 
 'i — i 
 
 r-T 
 
 J 
 
 1 TAB L) I £ 1 
 
 ^| M NUM B | B <,| 
 
 *«rw| ATRSUM j 
 
 r tht i 
 
 LJJHJ 
 
 1 1 
 
 1. House of Joseph II. 
 
 3. House of Queen 
 Caroline. 
 
 5. House of Sallust, or Actseon. 
 
 GREAT MOSAIC. 
 
 SMALL SHELL. 
 
 a o bo 
 
 " ATjRIUW | g 
 
 6. Houses of the Mosaic Fountain, and of the 
 Shell Fountain. 
 
7. House with the Coloured Capitals, near the Pantheon. 
 
 8. House of the Dioscuri, Quaestor, or Centaur. 
 
 9. House of the Female Musician, the Piute Player or 10. From ancient Marble Map of Rome. 
 
 " Sonatrice."— Excavated by Mr. Palkener. representing Private Houses. 
 
40 
 
 THE POMPEIAN COURT. 
 
 hence this apartment is sometimes called the Chamber of Leda. 
 Other pictures in the same room are Venus, Cupid, and Adonis, 
 and an elaborate composition of Theseus deserting Ariadne. He is 
 in the act of stepping on board a ship, where sailors are making 
 ready for departure. Ariadne lies asleep on the shore ; her head is 
 surrounded with a blue circular glory, which is not uncommon in 
 Pompeian paintings. Many of these pictures are on a compara- 
 tively large scale, and only equalled in artistic excellence by those 
 which have been discovered in the houses of the Dioscuri and 
 of Ceres, one of the smallest houses in Pompeii. It has only one 
 ala (plan given in Mus. Bor., vol. ii., tav. 55, and in Gell, vol. i.. 
 pi. 35, p. 143). 
 
 3. House of Queen Caroline (1813), now called that of 
 Adonis, remarkable for the width of Atrium when viewed from 
 vestibule. The kitchen has windows opening to the street. In 
 an open court is a permanent semicircular couch of stone, the 
 sigma of Martial, and so called from the shape that the Greek letter 
 had at this period acquired. (See notice on the changes in the Greek 
 alphabet, in the Catalogue of Greek Court, p. 22). In the Atrium, 
 plants were painted on the wall, as if sprung up out of the ground. 
 A celebrated caricature painting of the studio of a portrait painter 
 was discovered by Mazois in this house. 
 
 4. House of the Meleager or Apollo (1830-31), called also 
 the House of Isis, or of the Nereids. The house is very extensive, 
 and the various apartments are arranged in a different manner 
 from what is generally seen at Pompeii. The block plan, No. 4, 
 will sufficiently explain the distribution of the various parts. The 
 vestibulum is very long and narrow. 
 
 5. House of Sallust (1809). Known also as the House of 
 Acteon. The venereum is the peculiar feature of this house. 
 The skeleton of a young female, with four rings on one of her 
 fingers, was discovered as if just in the act of escaping ; five 
 gold bracelets, two ear-rings, and thirty-two pieces of money were 
 lying near her. The skeletons of three other females, probably 
 slaves, were found near her. The doorway of the Protlfiyrum was 
 very broad, and was closed with a quadrivalve door, folding back 
 like our shutters. 
 
 6. Two houses side by side, called from the features of their 
 peristyles, the Greater and the Smaller Fountain (1826). The small 
 fountain itself made of shells, the greater one encrusted with 
 mosaics. In the former house a remarkable painting of a sea-port, 
 supposed to represent Dicrearchia, or Puteoli, was discovered. Two 
 
PLANS OF POMPEIAN HOUSE'S. 
 
 41 
 
 staircases indicate the former existence of upper rooms. Here 
 they found oil, in vases, with olives still swimming in it. 
 
 7. House of the Coloured Capitals (1833-34). A very large 
 house near the so-called Pantheon. 
 
 It is a magnificent specimen of arrangement and decoration. 
 The long range of colonnade, forming a second peristyle or de- 
 corated garden, is peculiar to this habitation. (Plan given in Mus. 
 Bor., vol. x., tav. A & B.) 
 
 8. House of the Dioscuri (1828-29). This beautiful mansion has 
 been known by a great variety of names — The Quaestor, the Centaur, 
 Castor and Pollux. The latter name (Dioscuri also) is derived from 
 the spirited figures of the sons of Leda, painted reining in their 
 horses on the side walls of the left-hand vestibulum. A running 
 Mercury, with purse in hand, was painted on one of the posts of 
 the same entrance. The exterior of this house is much more care- 
 fully decorated than was usual among the Pompeians. Many of the 
 stucco ornaments have been picked out with colour. Highly- 
 decorated wooden chests, lined and bound externally with iron, 
 were found in the atrium, at the entrance of the left-hand ala, 
 which still contained a few gold and silver coins that had escaped 
 the grasp of some one who had returned to the spot after the 
 destruction of the city, and made excavation, evidently directed to 
 that particular spot. 
 
 This house is one of the finest for the grandeur and taste dis- 
 played in every part of it. The celebrated paintings, Perseus and 
 Andromeda, Medea and her Children, were found on the piers at 
 the lower angles of the great central Peristyle. The great Exedra, 
 or Triclinium, at its extremity, was closed with folding doors, the 
 sockets of which still remain, and the floor was decorated with 
 the famous circular mosaic of The Lion crowned with Garlands by 
 young Cupids. (Engraved in Mus. Bor., vol. vii., tav. 61.) (Plan 
 given in GelPs Pompeiana, vol. ii., pi. 63.) 
 
 9. House of the Female Musician (1847). Known by the 
 Italian name Delia Sonatrice, called likewise House of the 
 Triumphant Bacchus. It is a very interesting excavation, dis- 
 playing much magnificence and elegance of decoration. It may be 
 regarded as a double house of three stories. Several of the 
 paintings of the Sydenham Court have been copied from the walls 
 of this mansion. The name of the house is derived from a painting 
 in one of the chambers representing a young actress in a mask playing 
 the double flute. A picture was found near the foot of the stairs 
 displaying writing materials, such as tablets, stylus, atramentum, 
 
42 
 
 THE POMPEIAN COURT. 
 
 or ink-bottle, and a sealed letter, which preserves the direction on 
 it, "To the Decurion Marcus Lucretius. " Hence, the house is 
 not unfrequently called by his name, in the supposition that he 
 must have been the owner. Mr. Falkener was present during the 
 excavation of this house, and has published a very interesting 
 account of his observations in the Museum of Classical Antiquities. 
 The arrangement of the portion beyond the tablinum is very singular, 
 consisting of a fountain and basin surrounded by a variety of small 
 figures arranged in front of it. The house seems, at the period 
 of its destruction, to have been undergoing alteration. Many 
 of the central pictures had been taken out from the walls, pre- 
 paratory to the insertion of fresh ones. The artists appear to 
 have sometimes painted on wood for that purpose. Many years 
 ago, the workmen came to an apartment at Stabiae, where the 
 pictures had been separated from a wall preparatory to removal, 
 which the ruin of the city prevented : the paintings therefore were 
 found leaning against the wall of the apartment. (The plan of this 
 house is given in Mus. Bor., vol. xiv., tav. A and B.) 
 
 10. Plan of some private dwellings copied from the celebrated 
 fragments of a map of Rome, engraved on marble about the time 
 of Septimius Severus. (Bellorius Ichnographia, Tab. 7, page 35.) 
 
 The House of Pansa. (1811-14.) One of the largest of the 
 superior class of mansions hitherto discovered. It has an extensive 
 garden, and the rooms were distributed with great regularity. This 
 house is more generally referred to in illustration of a Pompeian 
 house, and for that reason has been made the subject of a larger 
 and more elaborate plan than the rest. In one of the bed-rooms, five 
 female skeletons were found, some of them with gold ear-rings. 
 The name of the house is derived from the red letters pansam. ^r>. 
 paratvs. kog. daubed upon the door-post. (The plan of this house 
 is given large at the end of this book.) 
 
 The House of Ceres (1827). Called also the House of Zephyrus 
 and Flora, from an interesting painting of the Marriage of Zephyrus 
 and Flora ; it is also known as the House of the Ship (Naviglio), 
 which latter name is derived from a painting in one of the shops. 
 Another name, also, is of the Bacchantes. The beautiful seated 
 divinities, Bacchus and Ceres, between the Tablinum and Alse of 
 this court, were copied from this House of Ceres. A third sitting 
 deity, Jupiter, with a round plate behind his head, like the nimbus 
 of saints in old pictures, belonged to this series. It is remarkably 
 dignified. (See Mus. Bor., vol. vi., tav. 52.) 
 
 The House of the Faun (1829-31). So called from the dis- 
 
HISTORY OF THE POMPEIAN HOUSE. 
 
 covery of the beautiful little Faun introduced in this court, copied in 
 the original material, bronze. This house is celebrated for its great 
 mosaic, representing Alexander and Darius at the Battle of Issus, 
 The apartments were very numerous and on a grand scale. 
 
 HISTORY OF THE POMPEIAN HOUSE. 
 
 The original intention in constructing the Pompeian Court in 
 the Crystal Palace was to appropriate it for purposes of refresh- 
 ment. In furtherance of this plan, more especial attention would 
 have been devoted to the mural decorations and the arrangements 
 for public accommodation and convenience. The nature and 
 extent of the gigantic structure within which this court was to be 
 erected, determined, in a great measure, the breadth of space to 
 be left open. A glance upwards will show the spectator how the 
 supports of the galleries are arranged, and also the necessity that 
 exists for incorporating these within the walls of the smaller erec- 
 tion. The refreshment chambers must necessarily have been much 
 larger in extent than any of the rooms in the houses at Pompeii 
 the general disposition of their chambers^ however well suited they 
 might have been for the purposes of ancient life, were totally 
 inadequate to the requirements of modern visitors ; consequently 
 this plan was abandoned, and the present Pompeian Court insti- 
 tuted in its stead. 
 
 The original design for this house was made by Mr. Digby 
 Wyatt, at Naples ; and, in conjunction with Mr. Owen Jones, his 
 companion in the tour for the collection of works of art for the 
 decoration of the Crystal Palace generally, he entered into arrange- 
 ments on the spot with Signor Abbate, the official draughtsman to 
 the King for the Pompeian excavations, to come over to England 
 the following spring, with cartoons and tracings, from Pompeii, in 
 order to decorate the building, then to be prepared for him at 
 Sydenham, with facsimiles of the different paintings at Pompeii 
 selected by Mr. Wyatt for the decoration of the respective rooms. 
 The King of Naples granted permission to Signor Abbate for the visit, 
 and, accordingly, this distinguished artist arrived in England fully 
 prepared to perform his task. Although the plan of devoting the 
 Pompeian Court to refreshment was meanwhile given up, the 
 measurement of the walls that had been given to Signor Abbate 
 for the preparation of his cartoons prevented any general change 
 of design, and the shortness of the period originally fixed for his 
 stay in this country prevented any important alterations being 
 
44 
 
 THE POMPEIAN COURT. 
 
 undertaken. The decorative painting of the Pompeian house was 
 entirely under the management of Signor Abbate, Mr. Parris, Jun. 
 acting as his deputy. They had thirty assistants, ten of whom 
 were English. The principal figure painters were Mundici and 
 Gow, and the names of the chief ornamentalists are Leslie, Luetyens, 
 Wassner, Yahn, Munsch, Moevius, and Meyer. The entire arrange- 
 ment and building are due to Mr. Digby Wyatt, furthered by the 
 zeal and energy of Mr. Thomas Hayes, his deputy. 
 
 It will be seen in the following description of the Court, that 
 each part has been copied from some existing authority ; and 
 the few exceptions that do occur, in which originality was neces- 
 sary, have been carefully noted. 
 
 Some of the leading works which contain illustrations of 
 Pompeii, will be found enumerated in the list of books at the end of 
 the description of the Roman Court, and others of more immediate 
 importance have been referred to in the text when requisite. 
 
 DESCRIPTION OF THE POMPEIAN HOUSE. 
 
 The outer walls are supposed to be surrounded by the street, 
 and the entire house forms what the Romans called an insula ; 
 that is, a detached building. The tiling, more conspicuous from 
 the gallery, has been faithfully copied from an ancient example, 
 from the House of the Female Musician. The roof of a house 
 was found complete in April, 1853, with the upper part of the 
 ridge carefully guarded by cement. The principal entrance faces 
 the nave ; it is flanked by two pilasters, the capitals of which are 
 copied from the back entrance of a house excavated in 1834 (Mus. 
 Bor., vol. x., tav. A, B), and from sketches taken on the spot. 
 
 The general proportions of the doorway are taken from the 
 house of Pansa (Gell, Pompeiana, series i., pi. 34.) ; the grating, 
 or lattice-work # over the door, is introduced upon the authority 
 of Mr. Donaldson in his work upon doorways. The external win- 
 dows are devised to throw more light into the chambers, and to 
 afford a more ready means of looking into the inner recesses. 
 This apparent innovation is authorised by the windows of the 
 Tragic Poet's house which open upon the street, although much 
 higher up, being raised more than six feet above the level of the 
 foot-pavement. They seem to have been closed by sliding shutters 
 and were sometimes glazed. Glass was much used at Pompeii 
 
 * Called by Vitruvius Hypaetrum, Smith, s. v. Janua. p. 626. Compare 
 a latticed window in vol. i., p. 229 of " Pittnre d'Ercolano." 
 
DESCRIPTION OF THE POMPEIAN HOUSE. 
 
 45 
 
 both for drinking vessels and windows ; sheets of glass have 
 been found there, and a convex glass for a lamp remained 
 in the wall, dividing two apartments in the public baths near the 
 forum. The front part of the entrance was called Vestibulum ; 
 the remaining part of the passage, Prothyrum, which latter was 
 bounded by a second door which closed in the Atrium. The door 
 is quadrivalve, and the panelling is taken from the false door 
 painted on the wall of the Chalcidicum near the statue of Eumachia 
 (Gell, Pompeiana, 2nd series, page 21, plate 9). 
 
 The inlaid marble on the threshhold, representing a dog, is 
 found at the entrance to the House of the Tragic Poet (Mus. Bor., 
 vol. ii., tav. 56). A similar device was painted at the entrance of 
 Trimalchio's house, described by Petronius, who was alarmed at 
 the first sight of the furious animal at the full stretch of his chain 
 so skilfully represented in the original mosaic (Petronius, Satyricon, 
 ch. 29). The inscription on both is the same, cave canem, which 
 means "Beware of the dog." 
 
 The Prothyrum # or Ostium, was the passage between the 
 street door (janua), and the house door (ostium), and corresponds 
 to our entrance hall ; a small square room on one side was 
 sometimes devoted to the door-keeper or porter (janitor or ostiarius). 
 They were called Cellce Ostiariw. 
 
 The walls and ceilings of these side apartments are white, with 
 a red dado, that is, the lower part of the wall, answering to 
 our surbase. The decoration of these rooms is imitated from 
 the House of the Second Fountain. The walls of the Prothyrum 
 itself are red, with a winged Cupid in a panel on each side. They 
 are from the House of the Dioscuri. The dado is black, the ceilings 
 of these three apartments are white and slightly arched. 
 
 Most of the ceilings in Pompeii were of this description, and 
 composed of segmental vaults painted in fresco, like the walls 
 beneath, only in lighter colours or more delicate and thinner pat- 
 terns on a white ground. A small stucco cornice highly enriched 
 with colour follows the lines of the archivolt. In the Villa of 
 Diomed are some flat ceilings, and other examples have been pub- 
 lished in the Pitture d'Ercolano. 
 
 ATRIUM. 
 
 The view of this spacious apartment at the moment of entrance is 
 very imposing ; the only difference between this and a real Pompeian 
 
 * Eicli, s. v. 
 
46 
 
 THE POMPEIAN COURT. 
 
 house consists in the greater diffusion of light, and the increased scale 
 of the apartment better suited to a palace in the capital of the Empire. 
 For the purpose of fully displaying the beauties of the mural 
 decorations, much more light has been admitted into this apart- 
 ment than is usually found in the same division of the Pompeian 
 houses. To this end, the central aperture, which ought to have 
 been of the same size as the reservoir below, has been considerably 
 widened. Windows also have been introduced in order to give the 
 spectator a better view of the decorations within the side cham- 
 bers. At a glance the eye recognises the various parts of the 
 building previously described. In the centre below is the square 
 basin to collect the water, called the impluvium, and the corre- 
 sponding aperture above would be the compluvium. At the further 
 end, facing the entrance, a graceful female figure is seen playing 
 the lyre — these paintings will be described hereafter. In many 
 houses this extremity is painted sky blue, with shrubs and 
 trees to imitate a distant garden — this was the case in the peristyle 
 of the Tragic Poet's House (Gell, vol. i., p. 159), also in the 
 Houses of the Queestor and Actaeon (Gell, pi. 20, page 175). The 
 dark square central part forming as it were a frame to our view 
 of the peristyle, is the tahlinum, the side-passages are the fauces, 
 and the smaller apertures round the sides of the Atrium will be 
 recognised as conducting to the cubicula. Each of these apart- 
 ments we propose to examine minutely, after having taken a general 
 view of the Atrium. This important space in a Roman house 
 was called also the Cavum JEdium, or Cavcedium, as Pliny writes 
 it. There were various kinds of Jiiria ; the simplest with no 
 support in the centre — as this — called the Atrium Tuscanicum. 
 Vv here the roof was supported by four columns in the centre it 
 was called Tetrastylum. If the columns surrounding the implu- 
 vium were numerous, it was called Gorinthium, and when, as rarely 
 has been found, no opening was left in the centre, the apartment 
 was said to be Testudinatum. Sometimes a roof was so arranged 
 as to throw off the water outside, and then the term displuviatum 
 was employed. 
 
 The Atrium, as viewed from the door, is oblong, in a position 
 reversed from that in which it is generally found in Pompeian 
 houses : although an authority for this arrangement exists in the 
 House of Queen Caroline. The implumum in the centre is of 
 marble, and the exquisite small marble statue of a faun, serving 
 at the same time as a fountain, is copied from the house called 
 after the grand Duke of Tuscany. The floor is an excellent 
 
DESCRIPTION OF THE POMPEIAN HOUSE. 
 
 47 
 
 imitation of ancient mosaic work, executed by Messrs. Minton ; 
 the various patterns are taken from different Pompeian houses. 
 Many of the floors at Pompeii exhibit some of the finest 
 examples of mosaic work in which elaborate paintings with every 
 variety of colour have been produced. They are composed solely 
 of small pieces of coloured stone or glass fitted closely together 
 and highly polished. It is the most durable of all methods of 
 painting, and is generally set in a strong bed of cement. The 
 modern Romans practise this art with such success, that a mosaic 
 can scarcely be distinguished from a picture carefully painted with 
 the brush. Every altar-piece but one, now in St. Peters', has been 
 made by this process. The celebrated mosaic of the Doves drinking, 
 described by Pliny, is now in the capitol at Pome, and many 
 descriptions of pictures executed in this mode are to be found in 
 ancient authors. This process must be carefully distinguished from 
 inlaying, which the ancients also practised, and may be seen here 
 in the vestibules and some of the side chambers leading out of the 
 peristyle. 
 
 The prevailing colour of the atrium is white. All round the doors 
 and the windows of the Cubicula the wall is painted bright blue 
 with red dado. The pilasters are white with the lower part yellow ; 
 their capitals white heightened by blue and red ; they are from the 
 House of the Centaur. In square compartments, on a white 
 ground, between the capitals of pilasters, are elegant groups of 
 female figures on marine animals, and Cupids in chariots ; some of 
 the small enriched mouldings are from the cornice of the tomb of 
 Calventius Quietus, and the atrium frieze above tdblinum is copied 
 from a side apartment in the Tragic Poet's House (Mus. Bor. vol. ii. , 
 tav. A). It is composed of white figures of combatants in armour 
 on foot and in chariots ; shields and dead bodies lie prostrate. The 
 ground of this frieze is purple, but the ground of the original is 
 described as white, and the figures are said to be clothed in blue, 
 green, and purple draperies. The females are Amazons, dis- 
 tinguished by the pelta or lunated shield (see Statue No. 194 of 
 the Greek Court.) The rest of the frieze is white, with patterns of 
 bright-coloured lines in simple forms. Over each pilaster the 
 frieze is broken by double figures of Victory, yellow and gold, 
 which serve to support the beams which project to the edge 
 of the compluvium. They were modelled by Mr. Monti, under the 
 superintendence of Signor Abbate, from a drawing by Mr. Wyatt. 
 
 The compluvium is bordered with red standing tiles called 
 antifixa, and the arrangement of Mazois in his restoration of 
 
48 
 
 THE POMPEIAN COURT. 
 
 the House of Diomed lias been followed. The antifixa may be seen 
 also on the model of the Parthenon in the bas-relief gallery 
 adjoining the Greek Court. The angle tiles, with a spout to 
 discharge the rain water, merit attention. The sloping roof of 
 the atrium, composed of light beams with panelling between them, 
 has been chiefly restored from existing paintings ; but few traces of 
 woodwork remain in any part of these ancient cities without 
 having been seriously disturbed ; the atrium ceilings being of wood, 
 were consequently destroyed ; pictorial records are therefore our 
 only authorities. Fortunately for us, the ancients seem to have 
 delighted in depicting themselves and their ways of living, so 
 that it is not improbable that the architectural specimens that 
 we see on their walls are only the transcripts of the slender con- 
 structions which were in fact confined to the upper stories. This 
 is the more probable as the background of these architectural scenes 
 is generally sky, and where vegetation does appear among them 
 it consists commonly of plants growing in pots, or else the tops of 
 trees as they would appear from the upper part of a house. 
 
 CUBICULA. 
 
 We must now go into the detail of the house and pass into 
 each room as consecutively numbered in the plan, beginning in this 
 instance on the left hand of the principal entrance, keeping the wall 
 of Atrium always to the left. 
 
 1. Cubiculum. This small chamber has the walls totally black 
 with a white ceiling. It is an exact copy both in size and 
 decoration, of a room in the House of the Bronzes at Pompeii, 
 called la stanza nera. Facing the door is a square picture 
 representing a " Sacrifice to Minerva " (engraved in Mus. Bor., 
 vol. xiii., tav. 8). In the centre a round shield — the Argolic 
 buckler — with serpent painted on it, mounted on a square pedestal ; 
 above this appears a helmet placed on the top of a square 
 pillar ; a winged Cupid seems to be adjusting the shield ; in front of 
 the pedestal is a smaller circular altar, and Psyche with butterfly 
 wings, clothed in yellow and pink, stands on the left, as if about 
 to cast incense upon the altar. On the other side a Cupid, with 
 blue wings of the same peculiar curve observable in the Marl- 
 borough gem, representing the Marriage of Cupid and Psyche, 
 brings a white lamb to the altar for sacrifice. Among the arabesques 
 to the right and left of this picture are graceful vases. Half doors 
 of a light wooden construction may be observed, and a curious 
 
DESCRIPTION OF THE POMPEIAN HOUSE. 
 
 40 
 
 method of displaying pictures is shown here ; they are represented 
 upon the wall very much sloped forward and with folding shutters 
 to them. (See Malkin's Pompeii, vol. ii., p. 123.) The arabesques 
 at each end of this cubiculum are especially beautiful. They have 
 been wonderfully copied in Gruner's specimens of Ornamental Art, 
 the size of the originals. The effect of their rich colours upon 
 a perfectly black ground is remarkable, contributing to increase 
 the apparent size of the room very considerably. Few at first 
 sight would imagine this little apartment to measure only 22 feet 
 9 inches by 6 feet 9 inches. The window openings to the atrium 
 have been explained at page 44. 
 
 2. Cubiculum. The next chamber, forming one corner of the quad- 
 rangle, and lighted by a window in the outer wall, has also a white 
 coved ceiling. The upper part of the walls is white, the dado black, 
 and the remaining interval blue. Three graceful female figures 
 floating in separate panels are Bacchantes ; they have no wings. The 
 picture surrounded by blue opposite the door, represents a sitting 
 Endymion ; he holds a branch in his right hand, and a staff leaning 
 on his left shoulder ; the drapery is pink ; at his feet a stag,* with 
 horns and blue collar, may be regarded as the emblem of Diana, 
 whose favourite he was. (See Greek Court, No. 33). The back- 
 ground is composed of rocks with a square tower in the centre. 
 The subject of Endymion was a very favourite one among the 
 Pompeians. He was sometimes represented, as here, entranced 
 awaiting the arrival of the goddess, at other times sleeping, and the 
 goddess gazing upon him, with his dog starting in surprise at the 
 visitor. JSTot unfrequently a Cupid is introduced leading Diana by 
 the hand, holding a whip, as if she had just descended from her 
 chariot of night. Whenever the goddess is present Endymion is 
 always represented asleep. On the wall next the door facing the 
 other picture is a square painting of Venus fishing. She sits on a 
 rock on the right hand side, her yellow hair bound with a myrtle 
 wreath, the lower part of her figure enveloped in green drapery ; a 
 fish has attached itself to the line of the rod which she holds in 
 her right hand, and Cupid with blue wings, sitting on a rock across 
 the water, expresses great joy at his mother's success, which is 
 evinced by his lively action. A piece of red drapery upon which 
 lie kneels adds greatly to the harmony of the picture. This 
 
 * On a closer examination I perceive that the animal is wounded, and the 
 picture therefore represents Cyparissus, who killed a favourite stag by acci- 
 dent, and was transformed into the cypress. The picture is mentioned by 
 Mr. Falkener (page 51). 
 
50 
 
 THE POMPEIAN COURT. 
 
 subject of Venus angling is also frequently repeated ; sometimes 
 Cupid holds the fish basket, and in other cases he angles also. (See 
 cubiculum 15.) 
 
 3. Cubiculum, The next room in order flanks a side entrance. 
 It is white with a yellow dado. The wall facing the atrium has a 
 square picture of a poet or bookseller, and a comedian. On each 
 side of this picture are painted tall, thin, yellow columns, with 
 yellow shields suspended between them. Medusa and Lion heads 
 are in the centre of these shields, as they were found in the house 
 described by Mr. Falkener (p. 46). The poet, in the picture oppo- 
 site the door, sits on the left, with his legs crossed. His head is 
 crowned with ivy, and the lower part of his figure wrapt in blue 
 and red drapery. He holds an open scroll in his left hand, and 
 with his right seems to be giving instructions to the player, who 
 stands before him with his mask raised over his head, as may also 
 be seen in the mosaic from the tablinum of the Tragic Poet's house. 
 (Gell, Pompeiana, pi. 45, vol. i. p. 17 4). The comedian is dressed 
 in a purple tunic with sleeves, and a full yellow mantle like a 
 pallium thrown over it. In his left hand he holds a lituus or 
 curved stick much used by the players. It resembles the crooked 
 staff borne by the augurs, and so often seen upon gems, Roman 
 coins, and Etruscan paintings. It was generally carried by actors. 
 (Wieseler, Theatergebaiide, <fcc. PL 11, No. 3, PL 12, JSTos. 23 to 
 28 ; and Pitture d'Ercolano, vol. ii. tav. 3. p. 19). The lituus 
 was curved more than the pedum or shepherd's crook, which is 
 simply a stick with a hook at the end of it. 
 
 At the foot of the sitting figure is a round box called capsa or 
 scrinium, it has rings and cords on the outside. This box is, in 
 fact, a library, it contains the volumes or rolls such as have been 
 discovered in the villa at Herculaneum (see ante, p. 20), one of 
 which the poet may be supposed to have taken out and to be 
 holding in his hand. Many instances of these scrinia occur among 
 the Pompeian paintings, with tickets or titles of the books 
 hanging out at the top. (See also a statue of Sophocles, No. 322, 
 where the scrinium is open and the rolls clearly displayed.) 
 
 Above this composition, is a landscape in an oblong frame. 
 It contains a long villa and trees with awnings extended for 
 shade, a yellow isolated column and a separate sediculum. This 
 is one of the examples of landscape painting prevalent during 
 the time between Nero and Titus. Landscape painting did not at 
 first become a separate branch of art but Ludius appears to have 
 introduced the style. The ancients rarely indulged in the modern 
 
DESCRIPTION OF THE POMPEIAN HOUSE. 
 
 51 
 
 taste for representing wild and romantic scenery ; all their compo- 
 sitions are made of long lines of building, basilicas, villas, trees 
 pleasantly disposed, bird's-eye views of sea ports and artificially 
 arranged gardens. Places in fact to go to and not in accordance with 
 the feeling of our own times, which leads ns to enjoy a grand scene, 
 a combination of earth and sky without any desire to move from 
 the spot upon which we have been placed. A description of the 
 Vale of Tempe in ^Elian has always been referred to as implying 
 that the ancients had some feeling for the picturesque, and surely 
 the back grounds to many of their figures show considerable in- 
 vention and romantic appreciation, although deficient in the modern 
 arts of aerial perspective and chiaroscuro. Above this landscape, 
 is a female figure, the lower part draped, with an elephant's trunk 
 on the head, and a lion at her right side. In this manner Africa 
 is personified on coins both of Hadrian and Septimius Severus, 
 (Millin, Gal. Myth., Nos. 371 and 372).* The left foot of this 
 figure is placed on an elephant's head, of which the trunk and 
 tusks only appear (compare Falkener, page 52, note). The yellow 
 dado is ormented with white swans, holding purple ribands. On 
 the left wall, opposite the side vestibule, is a pretty little group of 
 a winged Cupid leading an ibex or chamois, painted on a very 
 dark purple ground. 
 
 4. Vestibulum. The side entrance, light and narrow. The 
 ceiling consists of one fiat sunk panel, white, with blue and red 
 stars. The lower part of wall red, the dado black. The salve 
 inlaid in the pavement is taken from the house of the Vestals. 
 
 5. The Ala : here, of necessity, very shallow, but in many 
 Pompeian houses of much greater depth, has a white curved 
 ceiling, with broad blue, red, and green lines on it. The upper 
 part of walls white, a frieze of black below it, yellow panels with 
 white borders, black dado. 
 
 The paintings of the Ala have been taken from a house near the 
 Basilica. The great picture is called Cupid Condemned to Labour. 
 The height of the mountain in the background is very remarkable. 
 
 The picture is surrounded with red, and flanked with white 
 columns, having bright patterns spirally arranged upon them. On 
 either side of the chief picture are two floating figures upon a 
 yellow ground, surrounded by a chaste white patterned border, that 
 
 * The skin with trunk and tusks of an elephant's head may be seen applied 
 in a similar manner upon the coins of the Bactrian Demetrius. Compare also 
 a small double Hermes in the Koman Gallery, No. 385. 
 
 e 2 
 
o2 
 
 THE POMPEIAN COURT. 
 
 lias been published by Zahn. To the left are two Cupids bearing a 
 square pharetra or quiver. To the right a lovely Cupid with 
 crimson drapery, carrying a lyre such as Apollo sometimes plays : 
 he is assisted in the operation by a Psyche with purple butterfly 
 wings, a purple undervest and green over it, wearing pale blue 
 boots. These little figures are copied from a house near the forum. 
 In the spandril is an architectural scroll-work in gay colours, with 
 two lions leaping through it, a peculiarity to be seen in the Temple 
 of Isis, at Pompeii, and in the Theatre of Myra, in Lycia. 
 
 6. The wall adjoining the Ala, and forming part of the Atrium, 
 has been very gracefully decorated. It is occupied by a highly 
 finished picture of Bacchus enthroned. The god of wine in the 
 bloom of youth and beauty is crowned with the vine ; a fawn's 
 skin — the nebris — is tied across his chest ; in his right hand he 
 holds the cantharus — a two-handled cup sacred to Bacchus — and 
 with the other he grasps the thyrsus. His sandalled feet rest on 
 a square foot-stool, and a leopard sits on the ground to the right 
 of the throne ; a drum or tympanum is placed at the opposite side. 
 The main ground of this composition is blue, the architecture of 
 the shrine or canopy around the figure green, yellowish-brown and 
 red. The central group is engraved in the Mus. Bor., vol. vi., 
 tav. 53. The dado coloured rich deep red. From the House of 
 Ceres. 
 
 7. Next to this is the left-hand Fauces or passage to the interior, 
 and more private parts of the house. The white ceiling is delicately 
 covered and spangled with blue and red stars. The right side of 
 the fauces is white at the top, with alternate divisions below of 
 red and blue having arabesques upon them. The dado black, with 
 green and yellow patterns upon them, published by Zahn. 
 
 8. THE TABLINUM. 
 
 This broad central space, both as regards its dimensions and 
 decorations, is wholly copied from the Tablinum of the house of 
 Apollo. The entire upper part is white, with delicate lines of 
 bright colours forming elegant patterns upon it. In the centre 
 of the ceiling, which is gently curved, is a naked Venus upon a 
 green hippocamp or sea monster. A flying Cupid holds reins, 
 and another flying Cupid holds a mirror with a long handle. Mus. 
 Bor., vol. viii., tav. 10. Pitture d'Ercalano, vol. ii., p. 247. The 
 ground of the original group, found at Herculaneum, is black. The 
 Museo Borbonico text describes the second Cupid as holding an 
 
DESCRIPTION OF THE POMPEIAN HOUSE. 
 
 53 
 
 umbrella, but the form is peculiarly that of a mirror, and Appuleius, 
 Met. 4, in his account of the train attending Venus as she pro- 
 ceeded to the palace of Oceanus, makes especial mention of one 
 holding a mirror. The passage is so illustrative of the ideas of the 
 age that produced these paintings, that some part of it may be 
 transcribed with advantage. 
 
 " The daughters of JSTereus, too, were present singing in tuneful 
 harmony ; Portunus, too, rough with his azure-coloured beard ; and 
 Salacia, weighed down with her lapful of fish ; with little Palaemon, 
 their charioteer, upon a dolphin, and then troops of Tritons 
 furrowing the main in all directions. One softly sounded his 
 melodious shell ; another with a silken canopy protected her from 
 the sun ; a third held a mirror, while others, again, swam yoked to 
 her car." 
 
 The spandrils formed by the architrave of the peristyle and atrium 
 are filled with green marine animals on white ground. 
 
 9. Left Wall, — The chief central picture is Perseus showing the 
 head of Medusa to Andromeda, reflected in the water at their feet ; 
 as the direct sight of the Gorgon's visage turned all to stone, 
 the conceit here adopted is very pretty. It was popular in 
 Pompeii, and frequently repeated. When Perseus was about to 
 encounter Medusa, Minerva gave him a polished shield, by 
 the assistance of which he cut off her head without the peril 
 that had attended so many others, being guided through his 
 enterprise by the reflection in the shield. The composition of this 
 picture is very elegant. It is surrounded by bright red. On both 
 sides of the centre are rich architectural ranges of columns in 
 two tiers. The coffered ceilings represented are worthy of ob- 
 servation. Before the columns, at the lower part, are bright "blue 
 doorways, in which lie comic masks. To the right and left of these 
 central compartments are large yellow panels, each containing a 
 floating female figure without wings. The one to the left holds a 
 pedum in her right hand and a vintage basket with fruit in the 
 left. The drapery is blue lined with purple. The female to 
 the right, dressed in white and crimson edged with blue, has bare 
 feet and holds a lyre and plectrum ; both these females have 
 bracelets. Between the masks, under the principal picture, is a 
 black frieze with admirably-painted greenish marine monster?. 
 The dado of these walls is black. The picture and Bacchantes are 
 copied from the House with the Coloured Capitals. 
 
 10. Eight Wall. — The opposite side has exactly the same decora- 
 tions, with the exception of the central picture and the two side 
 
54 
 
 THE POMPEIAN COURT. 
 
 figures. The middle picture represents Yenus (Aphrodite), Euploia, 
 borne on the back of a Triton, playing a lyre. She is attended by 
 the Cupids Pothos, Hinieros, and Eros. A female figure behind 
 carries a jar, and the heads of Boreas and Zephyros blowing are 
 visible through the dark blue sky. This picture is taken from the 
 house with the coloured capitals. It has been carefully engraved 
 in the Museo Borbonico, vol. xii, tav. 32. See also Panofka 
 Autikenschau, Berlin, 1850. 
 
 The floating female to the left of central picture holds the 
 tympanum or drum in the right and thyrsus in the left ; her 
 dress is pale purple with white drapery floating behind. This 
 shows well on the yellow panel. Her left breast is covered with a 
 nebris or fawn-skin. The female to the right holds a ewer in her 
 right hand and a patera in her left. A thin gauze drapery is next 
 her skin, having a crimson drapery lined with blue over it. Both 
 these Bacchantes have bracelets and anklets. The four floating Bac- 
 chantes of tablinum have been taken from the House with the 
 Coloured Capitals^ 
 
 11. The second fauces is precisely like the other. The broad 
 black line in the pavement edging the floor is characteristic of a 
 Pompeian house. In the one described by Mr. Palkener the black 
 margin, about nine inches broad (page 39), joined the walls. In 
 some instances the colour was red. 
 
 12. Wall corresponding in position and decoration to Ma 6. 
 The central figure here enthroned is Ceres, the Demeter of the 
 Greeks. The Goddess of Corn, of Earth, and Agriculture, is 
 crowned with corn. A torch in her right hand, bearded corn on 
 her left arm, and a basket of corn also at her feet. The spiked 
 corn is always seen represented in ancient art both in paintings 
 and on coins. It forms a conspicuous symbol on the coins of 
 Metapontum, a city in the same part of Italy as Pompeii. This 
 painting is engraved in the Mus. Bor., vol. vi., tav. 54. Also by 
 Zahn, taf. 25. The figure of Ceres is dressed in thin gauze under- 
 garment, with pale slate-coloured drapery covering a purple dress, 
 whicji appears only above the feet. A muslin-like drapery is 
 gathered behind her head and shoulders. The throne, torch, and 
 flame are all of one uniform yellow colour. The basket of corn is 
 in natural colours. From the House of Ceres. 
 
 13. Ala. The general decoration of Ala corresponds with the 
 opposite one. The main central picture of this Ala represents the 
 rescue of Andromeda. This painting affords an interesting com- 
 parison with the bas-relief in the Greek Court, No. 35, where the 
 
DESCRIPTION OF THE POMPEIAN HOUSE. 
 
 55 
 
 same subject is represented. The treatment of the principal 
 figures in the painting is much more sculpturesque than in the 
 bas-relief. In the former the rescued lady stands attitudinizing on 
 a rock, like a statue on a pedestal ; her drapery is unruffled, and 
 there is no sign of emotion in the figure prompted either by love, 
 or the recollection of her recent perilous situation. In the latter 
 there is a wild flutter about the drapery of Andromeda. She is 
 descending from the rock with an evident confidence and 
 dependence on her deliverer ; and his firm manly pose in the 
 sculpture is characteristic of the hero. The freedom, however, 
 in the lines, is more pictorial in the bas-relief. The group as 
 exhibited in our Pompeian picture, is excellently adapted for 
 modelling in isolated statues. Compare Mus. Bor., vol. vi., tav. 50. 
 
 In this picture Perseus has yellow sandals and blue talaria. The 
 action of the hand to conceal the Gorgon's head is not so successful 
 as in the sculpture ; it is offensive to the spectator to see that 
 openly which is supposed to carry so much horror with it. On the 
 ground, at the feet of Andromeda, is a yellow casket, a white fan 
 with red handle, and several white cockle shells, scattered on the 
 ground, which give an appearance of petty detail. Two females are 
 sitting on the rocks to the left, and seem to be gazing upon the 
 vanquished monster rolling at the feet of Andromeda. The sword 
 which Perseus bears is worth notice. It is the falx, and has a 
 peculiar hook to it used for pruning. The falx and talaria or heel 
 wings, are characteristic of Perseus. The graceful figures on each 
 side of this central picture are from a house near the forum. To 
 the left, a Cupid, with purple drapery, is supporting a pale-blue 
 vase. Psyche, with purple butterfly wings and blue and green 
 drapery, soars above, and seems helping to lift the vase by the 
 handles. It forms a charming group. To the right of the chief 
 picture are two Cupids carrying a basket with double arched handle. 
 Both these groups are on a yellow ground. 
 
 14. Vestibulum, exactly the same as the one opposite. 
 
 15. Cubiculum or cella familiaris as next the vestibule. This 
 chamber has white walls with yellow dado. The central picture 
 facing Atrium represents Venus fishing ; she holds the rod in the 
 right hand, and, as usual, leans with the other hand on the seat, 
 having the arm quite straight. A similar subject has already been 
 described in cubiculum 2. Here the figures are larger and close 
 together. Instead of Cupid, is a Genius, # with broad-spreading 
 
 Called in Mr. Falkener's book, p. 49, Victory. 
 
50 
 
 THE POMPEIAN COURT. 
 
 green wings. He holds a green branch in his right hand ; his 
 drapery purple. Yenns is crowned with a diadem, white drapery 
 hangs behind her left arm, and the lower part of her figure is 
 covered by crimson folds with blue lining. The arrangement of 
 sloping shields on each side is the same as in chamber 3. Above 
 the chief painting is a landscape, with buildings, water and a boat. 
 Over this little picture again is a Victory in a biga or chariot, with 
 the horses painted entirely in yellow. The figure of Yictory holds 
 the palm branch in her left, and extends the right arm, grasping a 
 wreath. Her wings are wide spread, but very much distorted. 
 When Cupid was banished from Olympus for his impertinence, it 
 is said that his wings were taken from him and transferred to 
 Yictory. In early art many of the divinities were winged. Diana 
 on the chest of Cypselus (Pausanias, book v., ch. 19,) and so also 
 is she represented upon the celebrated Clitias vase, at Florence. 
 Many of the large figures of the Assyrian palaces, evidently acting as 
 priests or attendants, are provided with wings, but they are never 
 seen using them. Hebe is represented winged upon the famous cup 
 of Sosias at Berlin, but these all belong to the undeveloped 
 period of art. Among the Athenians Yictory was represented 
 un winged — Apteros. After the battle of Marathon, Minerva is 
 fabled to have confined Yictory to her favourite spot, the Acropolis, 
 by depriving her of her wings. A celebrated wooden statue of Wing- 
 less Yictory, Nike Apteros, was at Athens, and a copy of it made 
 by Calamis was sent to Olympia by the Mantineans. At Athens 
 was the celebrated little temple of Wingless Yictory, some of the 
 sculptures from which are described in JNTo. 57 of Greek Court 
 catalogue. The right hand of the great ivory statue by Phidias, 
 in the Parthenon, held a figure of Yictory, Greek Court catalogue, 
 pp. 29 and 30. To return to the painted Yictory in this apartment. 
 The highly decorated bar which seems attached to the collars of the 
 horses is very peculiar. The gathering of the mane into a knot 
 on the heads of the horses, and their breast collars are exactly like 
 those on the carved lid of the Chimeera tomb from Xanthus, now 
 in the British Museum. The top knot of the horses may be seen 
 in several antique sculptures from Naples and Florence, JSTos. 69 and 
 71 of Greek Catalogue, and seems to have been originally an eastern 
 custom. The body of the chariot is quite plain. The horses viewed in 
 front are very clumsily foreshortened. This group has been engraved 
 in Mus. Bor., vol. xiv., tav. 45. On the right hand wall is a little 
 compartment of a winged Cupid, with pedum and basket, running 
 from a sitting lion. These paintings are all from the House of the 
 
DESCRIPTION OF THE POMPEIAN HOUSE. 
 
 57 
 
 Girl playing the Dorible-flute, called della Sonatrice, discovered in 
 1847 (H.B. p. 353). 
 
 16. Cubioulum, occupying the corresponding angle to No. 2, 
 also lighted with a window, is blue with black dado ; copied from 
 the House of the Second Fountain. The chief picture on the wall 
 opposite the door is the deserted Ariadne, a subject many times 
 repeated at Pompeii, and with a great variety of treatment. 
 Ariadne is represented sitting on the shore of JSTaxos just awaking, 
 and beginning to be aware of her forlorn situation ; Cupid, at her 
 side, points to a ship far away, with full-spread sail and many 
 oars, which is bearing off Theseus, her faithless lover. A crimson 
 cord, for necklace, is crossed also over her naked body, a purple 
 drapery covers her lower limbs. The scene is indicated by wild 
 crags, and the horizon is placed remarkably high up in the picture. 
 The wings of Cupid are green, the ship yellow with a white sail. 
 This picture is copied from one in the House of the Tragic Poet ; 
 it has been engraved in the Mus. Bor., vol. ii., tav. 62., and 
 Zahn, vol. i., pi. 33. GelPs Pompeiana, vol. i., pi. 43, page 
 169. 
 
 On each side is a graceful floating female figure, the one to the 
 left holding a patera in one hand, and a garland in the other ; the 
 female on the other side, has a similar action, her drapery is 
 yellow : both figures are remarkably elegant. On the opposite wall, 
 next the door, is a picture of a very playful character ; it is a 
 Cupid seller. On the ground is a square strongly constructed 
 cage, such as is used for birds, with an opening at the top, through 
 which an old man is in the act of lifting out a Cupid ; other 
 Cupids are within the bars, and show by their gestures the irk- 
 someness of their confinement. The old man dressed in the exomis, 
 a garment peculiar to the working classes, lifts the struggling Cupid 
 by one wing ; he holds the square trap door in his left hand ; a 
 handsome lady who has come as a purchaser stands on the other 
 side and looks up to a Cupid flying above, holding two bright stars ; 
 her right hand seems to point to the cage from which the object of 
 her attention may have escaped. Another Cupid has eluded the 
 vigilance of his keeper and hides himself behind the lady's dress. 
 The scene takes place in a handsome portico with two Ionic 
 columns. This has been engraved in Zahn, 2nd series, taf. 18. 
 Another picture, found at Stabiao, of a female Love merchant is 
 much more pleasingly and better composed. There the woman 
 holds up the victim by both wings, and offers it like a live chicken 
 to a lady who is seated on the other side. Another Cupid remains 
 
53 
 
 THE POMPEIAN COURT. 
 
 witliin the cage, which is elegantly made and circular. This well- 
 known picture is engraved in the Pitt. Ere, vol. iii., tav. 7., and 
 Mus. Bor. , vol. i. , tav. 3. To the left of the picture on this wall 
 is a beautiful floating female figure, holding a tympanum or drum 
 in the right hand, with the other raised holding a thyrsus. A 
 nebris, or fawn-skin, passes over her right shoulder, her drapery- 
 is red lined with white, feet bare. The effect of colour upon 
 the blue ground is very charming. 
 
 17. Cubicultjm. A black chamber, corresponding to the one we 
 first entered. This room has been copied, both in style and 
 decoration, from the stanza nera of the House of the Bronzes. 
 Opposite the window is a pleasing group of Cupid and Psyche, her 
 (drapery is purple and blue, and the wings purple. The picture 
 opposite door represents three Cupids and Psyche surrounding a 
 peacock. In this bird we recognise the favourite of Juno, and the 
 Cupids appear to be feeding it, but the meaning of the subject is 
 very vague. It has been engraved in the Mus. Bor. , vol. xi. , tav. 
 15. Thus we have completed the circuit of the atrium and its 
 smaller chambers ; we propose to pass into the less public parts of 
 the house by the left hand fauces, No. 7. 
 
 PERISTYLE. 
 
 18. Ambulatory, Ambulatio, also called Porticus by the Romans, 
 and Stoa by the Greeks, is a colonnade on four sides, very like 
 the cloisters of our cathedrals. The view looking through the 
 fauces is bounded by a small shrine or chapel, called the Lararium. 
 It is a niche raised on a pedestal, flanked by pilasters, and sur- 
 mounted by a pediment. Within this were kept the Lares, the 
 sacred household gods, that accompanied the inhabitants in their 
 flight. ~No figures of this sort have ever been found in such places at 
 Pompeii, although many representations of them remain depicted 
 on the walls. They were generally represented as young men in 
 short girt tunics, crowned and holding the drinking horn in one 
 hand. (See Milman's Horace, p. 168.) Their appearance was first 
 ascertained by an inscription over the sculpture of an altar formerly 
 in the Villa Medici, and now at Florence ; a similar altar is in 
 the Vatican, both inscribed larxbvs avgvstis. (See Galleria 
 di Firenze, pi. 144 of statue, &c. ; Mus. Pio. Clem., vol. iv., 
 tav. 45 ; and Guattani Mon. Ined, vol. ii. ; Maggio, 1785). The 
 Lares presided especially over the domestic hearth. The cornice 
 and entablature of Lararium are taken from the funeral Triclinium 
 
DESCRIPTION OF THE POMPEIAN HOUSE. 59 
 
 at Pompeii. The wall behind is a rich Pompeian red, with a yellow 
 ornament, forming a panel on it, beautifully painted. 
 
 The roof of the ambulatory is panelled and decorated according 
 to the prevailing style of the lighter coloured ceilings at Pompeii,. 
 The devices are formed of very thin lines of the brightest colours 
 upon white. The Ionic capitals of the columns are from the 
 Basilica. The shafts of the columns are not fluted at the lower part, 
 the remaining unfluted surface, together with the mouldings upon 
 the base, are painted bright red. This is a Pompeian peculiarity. 
 Red is a prevailing colour at Pompeii, but in the House of the 
 Surgical Instruments, the lower part of the columns was blue, a 
 dwarf wall between them being painted red. (Gell, Pompeiana, 
 first series, pi. 25, p. 170.) 
 
 19. Thalamus, an apartment next to the fauces, and entered by 
 a door immediately to the left on entering the ambulatory. 
 
 It is a strictly private apartment, and the bedchamber of the 
 master of the house. The name is taken from the Greek. 
 
 White walls and dark red dado. A charming little Cupid occupies 
 the centre of each of the three panels, which have a peculiar border 
 to them. The upper part of the wall dividing the Thalamus from 
 the fauces has been thrown open for the better admission of light 
 and air. The decorations of this room are copied from the House 
 of the Dioscuri. On the right hand wall are two pictures of 
 great interest and sprightliness. They are taken from the triclinium 
 or exhedra of the house described by Mr. Falkener, and in his work 
 (p. 64) may be seen rough outlines done from memory. # In the 
 original apartment these pictures form side panels to still larger 
 compositions. Cupids and Psyches are the only actors in these 
 scenes ; and, in the left-hand picture, a Cupid dances holding an 
 amphora or diota on his left arm. A Cupid seated on the left of 
 the picture plays a lyre, and other Cupids are reclining upon 
 couches, beneath an awning. A statue of a bearded Bacchus appears 
 behind, raised on a round pedestal ; holding a thyrsus in his left 
 hand. The corresponding picture has a Psyche dancing in 
 similar company, who recline on a couch beneath a broad-spread 
 
 * The excessive illiberality of the Neapolitan government can hardly "be 
 conceived by those who live in a country where leave to copy and publish is so 
 freely accorded. No one is allowed to draw a monument that has not already 
 been published until after the expiration of three years, at the end of which 
 time the paintings are so often changed by the fading of colours and the oblite- 
 ration of the details as to render any attempt at copying them hopeless. 
 Falkener, pp. 62 and 65. 
 
60 
 
 THE POMPEIAN COUET. 
 
 awning supported by branches of trees. The statue at the back is 
 a Psyche holding a bow in the left hand. A Cupid playing the 
 flute sits on the left ; a reclining figure near him holds a scyphus 
 or drinking cup. The dancing Psyche has four butterfly wings 
 and plays the crotala or castanets ; her feet are bare, but she wears 
 bracelets. This picture is engraved in the Mus. Bor., vol. xv., 
 tav. 18. Falkener, p. 05. 
 
 The ceiling has a circular aperture, necessary for the admission 
 of light and air, which is authorised by the example in the 
 caldarium of the baths at Pompeii (Gell, Pompeiana, vol. i. pi. 31. 
 Zahn, vol. ii. pi. 94.) The doorway breaking irregularly through 
 the panel is not in accordance with modern notions of order 
 and symmetry. 
 
 20. (Ecus, so called from the Greek word signifying a house, 
 was sometimes a very spacious chamber to accommodate guests at 
 a more extensive banquet than could be held in the triclinium. 
 Here it is broad but not deep. The upper part of the walls white, 
 the dado black, and the intervening spaces red and black sur- 
 mounted by a rich architecturally-painted entablature. It consists 
 of architrave, frieze, and cornice. The architrave, or lower 
 portion, green with white garlands ; the frieze above this is purple 
 having red panels bordered with yellow, and producing a capital 
 effect ; and yellow figures of Sirens, or winged female monsters, which 
 uphold a bold projecting cornice. The perspective delineation of this 
 cornice, with its supports, is very remarkable, especially that of the 
 central projection ; a similar boldness of perspective drawing may 
 be seen in Pitt. Ere, vol. iii., p. 109, where the fullest knowledge 
 is evinced of the distribution of light and shade. 
 
 The black and red divisions of these walls have large broad 
 devices in green and red upon them. The central picture is a 
 collection of silver vessels lined with gold, the variety of forms 
 are well worthy of attention. The pavement of this apartment is 
 inlaid from patterns well known at Pompeii. Zahn, vol. ii., pi. 87. 
 
 21. Bath, Balneum or Balineum, a small chamber appropriately 
 fitted up. Light patterns on wall above, and middle spaces green, 
 red, and blue in broad masses. 
 
 22. A small simply-decorated room, white with red dado. 
 
 23. The end wall of the peristyle. Its paintings are conspi- 
 cuously seen from the principal entrance of the house. The 
 general colour is white. Dado red and yellow. The three central 
 compartments are copied from the House of the Augustals, or 
 banqueting house commonly known by the name of the Pantheon. 
 
DESCRIPTION OF THE POMPEIAN HOUSE. 61 
 
 Beneath a high canopy, supported by thin and gracefully orna- 
 mented columns, stands a lovely female with one foot upon the 
 step of a door. She is in the act of playing the lyre, holding the 
 plectrum with her right hand, and by her song seems ta invite 
 strangers to enter the portal. Upon the architrave of this porch 
 is a yellow group of a Winged Victory in a biga driving at full 
 speed, engraved in Zahn, vol. i. , pi. 24. The left-hand figure is a 
 priestess with a prefericulum, or small pitcher used for sacrifices, 
 in her right hand, and a bunch of corn and . poppies in the other. 
 Her hair is bound by a yellow circlet, and the upper garment or 
 mantle is remarkably similar to that in the dress of the cele- 
 brated Flora of the Capitol. (See Catalogue of Greek Court, 
 ISTo. 41.) The lower dress is blue and partly covering her 
 yellow shoes. The architecture, seen through the portal of the hall 
 which the priestess seems to be leaving, is admirably painted. The 
 companion picture on the opposite side, is a young man in purple 
 drapery, turned towards the fair lyrist, and seeming to offer a green 
 wreath. The first two of these figures are engraved in the Museo 
 Bor., vol. iii., tavole 5 and 6. The second one also in Malkin's 
 Pompeii, vol. ii., p. 315. 
 
 In the dado, beneath the figures just described, are large square 
 stalls or recesses. In the centre one is an elegant figure of a girl 
 holding a lyre, she seems to be sitting on the sill or edge of the 
 opening. This figure is engraved in the Mus. Bor., vol. ii., tav. 12., 
 and in Paoul Pochette, Choix de Peintures, pi. 4 ; Zahn, vol ii., 
 pi. 77, Gell gives it in his second series of Pompeiana, vol. i. , pi. 
 14, but surrounded by different groups to the original, although all 
 are to be found within the same building. The group beyond 
 forms a graceful heading to the view from the atrium looking 
 through the right hand fauces, No. 11. It consists of two figures, 
 a Victory with expanded wings holding an incense-burner in her 
 right hand, and a patera in the left. She is crowned with laurel, 
 the leaves of which stand like rays about the head. Behind and 
 above her appears a goddess with a sceptre and tiara, either Venus 
 or Juno, more probably the former ; she is in the act of putting some 
 incense into the burner held by the other figure. The patera with 
 offerings like purple fruit on it, has been converted by Gell and 
 Zahn into a painter's palette and brushes ; in the Mus. Bor. the 
 Victory wears sandals ; but in Zahn and Gell more correctly only 
 ankle rings. The play of line in this group is very pleasing. This 
 group is taken from the portico of the same building as the other 
 figures, viz., the House of the Augustals, commonly called the 
 
62 
 
 THE POMPEIAN COURT. 
 
 Pantheon. The ground of the original is black, here it is rich red. 
 Engraved in Mus. Bor., vol. ii. , tav. 19 ; Gell, vol. i., vignette 
 heading to preface ; Zahn, vol. i., pi. 2. 
 
 24. Culina. The apartment forming an angle of the peristyle 
 was the kitchen, which is copied from the House of Sallust, excepting 
 that the stove in this has only one arch instead of two. The painting 
 of an altar, with eggs between two serpents, is of frequent occur- 
 rence. Serpents were cherished in ancient dwellings as creatures 
 of good omen, and became domesticated, as quadrupeds are with 
 us. A similar painting of serpents engraved in Pittore Ercolano, 
 vol. iv., p. 65. 
 
 25. Side entrance into the street, immediately facing the bath. 
 
 26. Triclinium, opposite the (Ecus. Large panels, blue, black, 
 and yellow. Black dado, ceiling white, corresponding to that of 
 the oecus opposite. The walls are also decorated in the same 
 manner, with the exception of a frieze of boys carrying large 
 garlands composed of fruits and flowers entwined with a pink 
 and green ribband. The small central picture on a blue ground, 
 represents a dish of fruit — grapes, pomegranates, green fig, dates, 
 apricots, apple, and fircone. 
 
 The triclinium was the dining-room of an ancient Roman house. 
 The guests did not sit at table, they reclined on couches 
 arranged round three sides of a space for the table, leaving the 
 rest open for the servants to arrange the dishes and move the 
 trays. The word triclinium is derived from the three couches 
 occupying the apartment which surrounded the mensa or table in 
 
 the manner just described. Much importance was attached, in 
 ancient times, to the disposal of the guests. The right hand couch 
 was the most honourable ; the person reclining upon it, with his 
 left elbow nearest the railing, was the chief person in the assembly. 
 The Romans were accustomed to rest with the left arm upon 
 cushions during their meals, and after dinner to lie upon their 
 
A ROMAN DINNER. 
 
 backs and take their repose. In some Pompeian houses, the three 
 couches forming the triclinium, were permanently fixed. The 
 accompanying woodcut shows the arrangement of the places for a 
 party of nine, the favourite number for a dinner among the Romans. 
 
 The guests, preparatory to reclining on the couches, took off 
 their shoes, and were then provided with napkins, generally fringed, 
 and often richly embroidered. Water was poured over their hands 
 into basins of precious metal, a process repeated many times 
 during an entertainment, and doubtless very necessary, as the 
 fingers were much used in the course of eating. They had 
 knives and spoons, but forks are entirely a modern invention and 
 their mode of eating was very similar to that practised in oriental 
 countries, where the right hand alone is made use of. Women, 
 when admitted to the entertainment, always sat upon the couches. 
 The same custom may be observed on the painted vases and bas- 
 reliefs of the Greeks down to a late time. 
 
 The dinner consisted of three courses ; first, the promulsis, or 
 gustatio, chiefly stimulants to the appetite ; the second contained 
 an immense variety of dishes ; the principal dish was called coenm 
 caput or pompa. Among their chief delicacies were the pheasant, 
 thrush, liver of a capon steeped in milk, and fig-eaters dressed with 
 pepper. Hortensius the orator first introduced the peacock. The 
 favourite fish were the turbot and mullet : eels, also, stewed with 
 prawns. Pork, boar's-flesh, and venison, were the most highly 
 esteemed meats. The carving was performed to the sound of music, 
 by an especial servant called the scissor, or carptor. The third course 
 was the bellaria, or dessert, which consisted of uncooked fruits, 
 such as occupy the centre of the wall before us. In addition to the 
 fruits of the dessert great varieties of pastry were introduced, 
 modelled in imitation of other articles of food ; showers of perfume 
 and occasional jets d'eau contributed to the luxury of the scene, but 
 these were extravagancies, probably confined to the most wealthy 
 citizens of Home. The pages of Horace, Juvenal, Petronius, 
 Martial, Athenseus, Suetonius, Aulus Gellius, and Macrobius, 
 afford curious detail of these entertainments, from which we 
 may easily comprehend the enormous sums they are said to 
 have cost. An extraordinary feast is represented, in a painting, 
 at Pompeii, described by Mr. Donaldson. The table is set out 
 with every requisite for a grand dinner. In the centre is a 
 large dish containing four peacocks, their tails forming a magnifi- 
 cent dome. Around are lobsters, one of which holds in his claws a 
 blue egg, a second an oyster, and another a little basket full of 
 
THE POMPEIAN COURT. 
 
 grasshoppers. Four dishes of fish decorate the bottom, above 
 which are several partridges, hares, and squirrels, each holding 
 its head between its paws. These are surrounded by something 
 resembling a German sausage, then a row of yolks of eggs, then a 
 row of peaches, small melons and cherries ; lastly, a row of 
 different vegetables, and the whole seems to be covered by a green 
 coloured sauce. 
 
 Mulsum, wine made into a syrup by the addition of honey, was 
 handed round to the guests at the commencement of the feast. 
 Wine was kept in large earthenware jars, called Amphorae, stopped 
 with a cork or wooden plug, covered with resin, or gypsum. These 
 amphorae were sometimes made of glass. On the outside, the jars 
 were marked with the names of the consuls in office at the 
 time of the vintage from which the wine was made, to indicate its 
 age. Sometimes little tickets to this effect were suspended from 
 the necks. They generalfy had two ears, and were stored up in 
 repositories such as were found in the suburban villa (p. 19). It 
 was customary at great feasts according to Petronius (chap, xxxiv. ) 
 for the amphorae to be shown to the guests for them to read the 
 labels before they were opened. Many of these vessels are re- 
 presented in the paintings of Pompeii, and several originals from 
 Rome and Alexandria are to be seen in the British Museum. Some 
 of the glass cups and bowls filled with water are admirably repre- 
 sented. In one picture a decanter with the glass for drinking 
 turned down over it, is in exact accordance with our modern 
 custom. Elegant glass vases filled with fruit occur also among 
 the paintings of the House of the Augustals, together with small 
 earthen jars, having labels affixed. 
 
 In great houses it was not unusual for the guests after dinner to 
 enjoy their wine in another room. After-dinner drinking, 
 oomissatio, or convivium, was equivalent to the symposium of the 
 Greeks. 
 
 27. The winter Triclinium. A large square room, cor- 
 responding to the Thalamus. The walls are white, with deep red 
 dado. Ceiling coved, and with a round aperture similar to the one 
 in Thalamus. On the wall opposite the door are two beautiful 
 floating Bacchantes, one with thyrsus and tympanum, the other 
 dressed in pink and blue, holding a thyrsus in her left hand, and a 
 floating scarf with the other. They are engraved in Mus. Bor., 
 vol. ii., tav. 4, and in Zahn. vol. ii., pi. 13. The Bacchante next the 
 door is the same as hi cubiculum 1G ; her dress here is pale blue ; 
 she holds the tympanum and thyrsus ; a nebris crosses her breast. 
 
DECORATIVE PAINTING-. 
 
 65 
 
 On tlie left hand wall may be seen a most charming group, 
 exquisitely coloured, of a Faun supporting a Bacchante. The 
 faun holds a bunch of grapes in his right hand, and with the 
 other encircles her waist ; his drapery is red, and her delicate form 
 is surrounded by a transparent veil, apparently of gauze. The 
 drapery enveloping the lower part of her figure is purple, heightened 
 with white, shoes blue. The effect of the painting of this group is 
 perfectly fascinating, and entirely realises the treatment required 
 for cheerful subjects. The group is engraved in Mus. Bor., vol. xiii., 
 tav. 16, where the background is described as yellow. The 
 paintings in this room are copied from the House of the Female 
 Flute-player and the House of the Bacchantes. The group last 
 described is in the original of unusually large proportions for such 
 subjects, being three-fourths of life size. 
 
 Thus, then, we have completed the giro of the Pompeian house. 
 The ancients, although they have provided the graceful salutation 
 for comers on their threshold in the word salve, do not afford the 
 corresponding word vale to " speed the parting guest. w Their 
 manes, probably gratified by the interest now manifested in these 
 monuments of their habits, requirements, and enjoyments, desire 
 us to linger within these fairy walls, and to indulge in the thoughts 
 of those who would, ages ago, have found nothing strange and 
 nothing amiss here, excepting the appearance of the thronging 
 visitors, whose costume and manners could never have been 
 anticipated. The house, as we see it, is really a house such as the 
 excavations might reveal. We have already shown that every part 
 has its prototype at Pompeii. 
 
 The style of decorative painting during the earliest times of the 
 empire merits attention. It is here exhibited on a larger scale 
 and in a much more extensive series than ever before attempted 
 in England ; affording, in fact, the sole method by which such 
 decorations can be fully understood. The subjects of the small 
 central wall panels, and a few of the grotesque devices, have been 
 often published, and are familiar to us through the medium both 
 of prints and coloured copies ; isolated portions, however, cannot 
 suffice to give an idea of the harmonious effect that may be pro- 
 duced in mural decoration, by masses of even crude colour, when 
 conjoined in proper proportion with others equally crude. * The 
 eye at Pompeii is never offended by a want of balance in 
 
 * These colours could not appear equally crude to the ancients on account of 
 the necessary darkness that pervaded their apartments. See ante, p. 3 1 . 
 
66 THE POMPEIAN COURT. 
 
 arrangement ; and the system of confining the heaviest colours to 
 the lower part of the room has been already noticed. Even copies 
 of the same picture that come to England, on comparison, exhibit 
 variations which destroy all feeling of confidence in their accuracy. 
 They are for the most part so small as to conceal many important 
 peculiarities of style, and can only serve as souvenirs. Here we 
 see nothing on a reduced scale (except in Thalamus, No. 27), the 
 paintings are not only of the same size as at Pompeii, but even 
 the exactitude of the outlines is guaranteed to us by the fact of 
 their having been traced from the originals. 
 
 The scale and finish of the patterns have to a great extent been 
 regulated by the size of the rooms which they adorn ; and it will 
 be seen that in the smaller rooms patterns must necessarily be 
 more minute, and the form of the wall itself less regarded than in 
 a larger apartment where they are viewed at a greater distance. 
 The lightness of the architectural representations and their con- 
 nection has been already mentioned. The painters seem to have 
 delighted in representing every variety of pavilion, colonnade, 
 balcony steps, rooms and corners, in short, all the ins and outs and 
 tips and downs peculiar to buildings erected to form upper floors. 
 They are, in fact, at variance with the ground stories actually 
 remaining at Pompeii, where all columns and piers of brick and stone 
 are comparatively massive, without any traces whatever of interme- 
 diate supports of wood or metal, such as are represented in the 
 paintings. The arabesque devices which occupy so much of the 
 wall space of Pompeii are replete with imagination and ingenious 
 variety.' There is, notwithstanding the censures of Vitruvius, 
 which are inserted in page 69, such a playfulness and elegance 
 in the combination of objects so unexpectedly brought together, 
 that we tolerate incongruities, and regard the whole as a dream- 
 like succession of images, passing easily from one to the other, 
 without any consideration of that which has gone before. The 
 children rising out of flowers are charming ; and the living lions, 
 rushing through scroll work of the brightest hues, such as no 
 living lions ever saw, are purely ornamental conceits. Again, the 
 reeds for columns, with all the botanical details, of nodes and 
 internodes, are extremely graceful ; and with their rich colour and 
 firm appearance, notwithstanding an extreme slenderness, they 
 should be very suggestive to our metal workers as means of support. 
 The monsters sometimes perched upon them, in perfect illustration 
 of the words of Vitruvius, excite our surprise, and being frequently 
 ugly in themselves, incline us to agree with the illustrious 
 
LANDSCAPE PAINTING. 
 
 67 
 
 architect in wishing them away ; but at the same time, without 
 such paintings before us, how impossible it would be to comprehend 
 the passages in his book relating to such matters, and depending 
 for their effect upon the eye alone. The beautiful devices of the 
 stanza nera, cubiculum JSTo. 1. are sufficient illustrations of the grace 
 with which incongruities may be combined, and how in a very small 
 apartment, where minute decorations are appropriately introduced, 
 each portion is to be read, as it were, by itself, or, if regarded 
 generally, to seem merely a playful arrangement of colours relieving 
 the monotony of the wall. 
 
 Landscapes as seen in cubicula 3 and 15 are said to be peculiarly 
 the invention of Ludius, who lived in the early period of the 
 empire. His conceits, as described by Pliny, have something 
 almost Chinese about them, and his chief desire seems to have 
 been to amuse and occupy the spectators. Extensive landscape 
 views were found in the House of the Dioscuri in the four cubicula 
 on the extreme right, seen in plan (No. 8, on page 39). An 
 extensive painting of a sea-port was discovered in the House of the 
 Small Fountain (plan No. 6). Some very quaint coast scenes, with 
 enormous gallies, are engraved as vignettes in Pitture d'Ercolano, 
 vol. iii., pp. 7 and 13. An extensive scene of a crowded mole, 
 adorned with statues and arches, with a distant town and crowded 
 boats on the water, is engraved at page 47 of the same vol. At 
 page 279 of the same, is a curious representation of various 
 figures on a wet, slippery ground, as described by Pliny in the 
 paintings of Ludius. An extensive scene of a port, with shipping, 
 numerous statues raised on columns, houses, gardens, people in 
 boats and angling on the shore, was found at Stabise ; it is en- 
 graved in vol. ii., page 295, of Pitture d'Ercolano. Eight small 
 circular views of land and sea, animated by numerous figures, 
 were also found at Stabise. They are engraved in the same 
 volume at pp. 277, 281, 285, and 289, and form very important 
 illustrations of ancient life and scenery. Curious buildings may 
 be seen in vignettes on page 105 of same volume. A remarkable 
 painting of a creek with four large ships filled with armed soldiers, 
 with three rows of oars, is engraved in vol i., page 243. The 
 gallies filled with armed troops are seen also in page 239. A 
 curious latticed window in a landscape in page 229. These land- 
 scape views are all admirably engraved, in a faithful imitation of the 
 masses of light and shade, and with careful attention to the smallest 
 detail. In the Museo Borbonico, on the contrary, the style of 
 engraving fails to render any one of the peculiarities of their 
 
6S 
 
 THE POMPEIAN COURT. 
 
 execution. Many vignette landscapes are characteristically copied 
 in vol. ii. of Gell's Pompeiana, but they have not the complete- 
 ness or richness of the Pitture d'Ercolano. Some curious illustra- 
 tions of the social life of the Pompeians may be found in a series 
 of pictures representing the ancient Forum of that city, thronged 
 with the same variety of people that may be seen in the market 
 places of Naples and other Italian cities, all occupied in similarly 
 varied occupations of buying and selling, talking and idling ; they 
 supplied Bulwer with several incidents for his description, and have 
 been engraved in vol. iii., page 213 to 231 of Pitture d' Ercolano. 
 
 Notwithstanding the frequent occurrence elsewhere of ancient 
 paintings inscribed with the names of persons they are intended 
 to represent, scarcely any instances have been met with in the 
 cities overwhelmed by Vesuvius. The word didv is written in one 
 picture in white characters near the head of a figure. The fragment 
 was found at Stabise ; it is engraved in vol. iii., page 231, of Pitture 
 d'Ercolano. On the celebrated marble slab, monocrome drawings 
 by Alexander of Athens ; the artist has not only inscribed his own 
 name, but those of the five females in his composition. It repre- 
 sents the visit of JSTiobe and her daughters to Latona. This picture 
 was found at Herculaneum, May 24, 1746. A very beautiful little 
 mosaic was inscribed with the name of Dioscorides, of Samos, as 
 the artist ; thus : 
 
 AIOSKOYPIAH2 EFtOIH^E. 
 
 There is great diversity of opinion amongst antiquarians as to 
 the meaning of some of the most important pictures discovered 
 at Pompeii and Herculaneum, which might have been obviated had 
 the names of the characters been written upon them, as we see upon 
 the ancient Greek vases, and upon the paintings of Polygnotus, and 
 the chest of Cypselus, described by Pausanias, and, to descend to 
 later and very different times, the well-known Bayeux tapestry, 
 illustrating the history of William the Conqueror. In default of 
 inscription, the Pompeian pictures can only be interpreted by 
 their similarity to the descriptions of other ancient paintings left us 
 by Pausanias, Lucian, iElian, and Philostratus. The following 
 extract from Vitruvius, book vii., chap. 5, affords a most impor- 
 tant view of what innovations took place in his time, showing also, 
 that even before the time of Augustus, mural decorations were 
 composed of extensive architectural fancies, as well as harbours, 
 landscapes, and sea-pieces. 
 
VITRUVIUS ON PAINTING. 
 
 09 
 
 EXTRACT FROM VITRUVIUS. 
 
 Book vii., Chap. 5. 
 
 " In other apartments — that is, in those of Spring, Autumn, 
 and Summer, as also in the atrium and peristylium — the ancients 
 have established certain methods of painting. A picture is the 
 representation of things that are, or may be, as men, buildings, 
 ships, and other things ; of which the copy, by having the exact 
 form and outlines of the real body, assumes the likeness. The 
 ancients, who originally instituted this manner of decoration, at 
 first imitated the varieties and marks of marble incrustation, then 
 cornices, disposing between them divers silacious and miniaceous 
 coloured ornaments. They proceeded afterwards to represent 
 edifices with columns and pediments projecting ; but in spacious 
 places, such as exedrse, on account of the amplitude of the walls, 
 they represented the fronts of scenes in the tragic, comic, or 
 satyric manner ; and ambulatories, being of a great length, they 
 ornamented with landscapes, expressing the appearance of particular 
 places, painting harbours, promontories, sea coasts, rivers, foun- 
 tains, canals, temples, groves, mountains, cattle, and shepherds ; 
 in some places, also, large paintings of figures, representing the 
 gods, or fabulous histories, the Trojan war, or the wanderings of 
 Ulysses, and other subjects of a similar kind, which are conform- 
 able to the nature of things. 
 
 " But these subjects, which our forefathers copied from nature, 
 are now, by our depraved manners, disapproved ; for monsters, 
 rather than the resemblances of natural objects, are painted on the 
 stucco, reeds are substituted for columns, and for the pediments, 
 fluted hnrpaginetuli, with curling foliage and volutes ; also cande- 
 labra supporting the forms of little buildings, their pediments 
 rising out of roots, with numerous volutes and tender stalks, 
 having, contrary to reason, images sitting on them ; so also the 
 flowers from stalks have half figures springing therefrom, with heads, 
 some like those of men, some like those of beasts, which things 
 neither are nor can be, nor ever were : and this new mode so pre- 
 vails that those who are not judges disregard the arts — for how is 
 it possible for reeds to support a roof — or candelabra buildings 
 and the ornaments of pediments — or stalks, which are so slender 
 and soft, sitting figures — or the flowers of stalks produce half 
 images ? Yet men, being accustomed to the sight of these 
 absurdities, do not censure, but are pleased with them, without 
 considering whether they be proper or not ; the judgment, depraved 
 
70 
 
 THE POMPEIAN COURT. 
 
 by habit, examines not whether they be according to propriety 
 and the rules of decor ; for pictures should not be approved unless 
 they be conformable to truth, even although they be well executed, 
 they ought, therefore, to be immediately condemned unless they can 
 bear the trial of rational examination without being disapproved. 
 
 " Thus at Tralles, when Apaturius of Alabanda had excellently 
 well painted a scene in the little theatre, which with them is called 
 the Ecclesiasterion, and instead of columns had placed statues and 
 centaurs, supporting the epistylium, the circular roof of the dome, 
 and projecting corners of the pediments, and ornamented the 
 cornice with lions' heads, all which have reference to the roofing 
 and eaves of edifices ; above these, nevertheless, in the episcene, 
 domes, porticos, semipediments, and all the various parts of 
 buildings were again painted ; wherefore upon the appearance of 
 this scene, when by reason of its enrichment it was found pleasing 
 to all, and they were ready to applaud the work, Licinius, the 
 mathematician, then advanced and said, 6 the Alabandines are 
 sufficiently intelligent in all civil affairs, but for a trifling impro- 
 priety are deemed injudicious ; for the statues in their gymnasium 
 are all in the attitude of pleading causes, while those in the forum 
 are holding the discus, or in the attitude of running or playing 
 with balls ; so that the unsuitableness of the attitudes of the 
 figures to the purposes of the places, throws a public disgrace upon 
 the city. Let us then take care that by the scene of Apaturius we 
 are not deemed Alabandines, or even Abderites ; for who among 
 you places upon the tiles of the roofs of your houses columns or 
 pediments ? These things are placed upon the floors, not upon 
 the tiles. If then we approve in painting what cannot be in fact, 
 we of this city shall be like those who, on account of the same 
 error, are deemed illiterate.' Apaturius dared not to reply, but 
 took down the scene and altered it so as to be consistent to truth ; 
 after which it was approved. I, with the immortal gods, would 
 restore Licinius to life, that he might correct this folly and 
 fashionable disfigurement of our stucco work ; but why a false 
 overcomes a just mode it will not be foreign to the purpose to 
 explain. 
 
 " The ancients, with labour and application, endeavoured to make 
 their works be approved by the excellences of art ; this is now 
 supplied by the beauty of colours, and the use of those of the most 
 costly kind ; and that value which was formerly given to works by 
 the skill of the artist, is not desired since the expense of the 
 proprietor supplies its place. Who among the ancients is known 
 
PLINY'S ACCOUNT OF LUDIUS. 
 
 71 
 
 to have used minium otherwise than sparingly and as a medicine 1 
 But now it is everywhere laid over the whole wall ; it is the same 
 with crysocolla, ostrum, and armenium, which, when laid, although 
 without any art, appear very brilliant to the sight, and they are so 
 costly, that it is usually specified in the articles of agreement that 
 they shall be purchased by the proprietor, and not by the 
 contractor. " 
 
 Pliny, also, who perished, it must be remembered, during the 
 conflagration of the cities (see page 8), affords some curious tes- 
 timony to the popularity of this mode of decoration, and of one 
 particular painter, Ludius. He says, book xxxv., chapter 10 — < 
 
 EXTRACT FROM PLINY'S NATURAL HISTORY. 
 
 " Ludius was he who first devised to beautify the walls of a 
 house with the pleasantest painting that is in all variety ; to wit, 
 with the resemblance of manors, farms, and houses of pleasure in 
 the country ; havens, vinets, flower- work in knots ; groves, woods, 
 forests, hills, fish-pools, conduits and drains, rivers, riverets, with 
 their banks, and people, some walking and going to and fro on 
 foot, others sailing and rowing up and down the stream upon the 
 water, or else riding by land to their farms, either mounted upon 
 their mules and asses, or else in waggons and coaches ; there a 
 man should see folk, in this place fishing and angling, in that 
 place hawking and fowling ; some hunting here, the hare, the fox, 
 or deer, both red and sallow ; others busy there, in harvest or 
 vintage. In this manner of painting, a man should behold of his 
 workmanship, fair houses, standing among marshes, into which all 
 the ways that lead be ticklish and full of bogs ; where you should 
 see the paths so slippery, that women as they go are afraid to let 
 one foot afore another ; some at every step ready to slide, others 
 bending forward with their heads, as though they carried some 
 burdens upon their neck and shoulders, and all for fear lest, their 
 feet sliding under them, they should catch a fall ; and a thousand 
 more devices and pretty conceits as these, full of pleasure and 
 delight. The same Ludius devised walls without doors, and 
 abroad in the open air, to paint cities standing by the sea-shore : 
 all which kind of painting pleaseth the eye exceedingly well, and 
 is besides of little or no cost. Howbeit, neither he nor any 
 artificers of this kind — howsoever otherwise respected — grew ever 
 to be famous and of great name ; that felicity attained they only 
 unto who used to paint in tables, and therefore in this regard, 
 
72 
 
 THE POMPEIAN COURT. 
 
 venerable antiquity we have in greater admiration ; for painters in 
 old time loved not to garnish walls for to pleasure the master only 
 of the house, nor yet to bedeck in houses that manner that cannot 
 stir out of the place nor shift and save themselves when fire 
 cometh, as painted tables may that are to be removed with ease." 
 
 The reconstruction of an ancient house from the descriptions of 
 ancient authors has been several times attempted. 
 
 Pirro Ligorio, a Neapolitan architect, erected the villa Pia, 1570, 
 for Pope Pius V. It was built in imitation of the houses of the 
 ancients, whose architecture he had particularly studied. Mazois, 
 whose large work on Pompeii has formed, as it were, the basis of 
 almost all Pompeian studies, wrote an elaborate essay on the 
 palaces of the ancient Romans, under the title "Le Palais de 
 Scaurus." In this all the descriptions of ancient authors were 
 supposed to be comprised. His work, however, was confined to the 
 pen ; and it is to be regretted that Mazois did not undertake an 
 architectural reproduction, as an actual copy of one of the houses he 
 explored whilst they were comparatively perfect, and for which he 
 was so thoroughly qualified. Only one undertaking of this kind 
 has preceded the Pompeian Court at Sydenham. It was prompted 
 by the taste of a monarch, remarkable for his interest in the fine 
 arts of all nations and all ages. The ex- king of Bavaria had a villa 
 built at Aschaffenburg, which was the complete restoration of an 
 ancient Roman house found at Pompeii. It was erected by the 
 celebrated architect, Gartner, and is an exact copy of the House of 
 the Dioscuri. 
 
 The visitor to Pompeii is but too frequently disappointed at the 
 crumbling condition of the disentombed city ; and the majority 
 take little trouble to trace the origin of this first and unfavourable 
 impression. They do not reflect upon the relation between different 
 portions, of the ruins, the use or particular object originally served, 
 the custom that produced it, or the former appearance of the details 
 in the harmony of their original arrangement, with the groups of gaily 
 attired inhabitants giving animation to the scene. Like the greater 
 portion of the curious who throng the Elgin Saloon of the British 
 Museum, for the purpose of taking a peep at the mutilated frag- 
 ments of the marbles contained within its walls, such visitors to 
 Pompeii look for excellencies that do not exist, and a harmony 
 incompatible with the actual condition of the remains ; and, discon- 
 tented at finding things in opposition to their own conceptions, 
 they depart with imperfect and even prejudiced ideas of what they 
 really have beheld. Few arrive at Pompeii with even a general 
 
VALUE OF THE DISCOVERIES. 
 
 73 
 
 idea of the appearance of an ancient Roman house, and are thus 
 incapable of judging of the actual importance of the crumbling 
 remains of the buried cities. 
 
 Repeated visits, and careful and laborious investigation, are 
 necessary for perfect comprehension of the value , of the ruins, in 
 guiding the observer towards an accurate idea of the state of the 
 city in its prime. To the careless and the uninitiated these few 
 scattered fragments, snatched from the very jaws of desolation, will 
 afford but a faint reflection of the glory and the triumphs that have 
 for ever passed away. 
 
 Such were the persevering studies of Cockerell, Digby Wyatt, 
 Donaldson, Falkener, Gell, Hayes, Mazois, and Zahn ; and to 
 their investigations we are indebted for all the conclusions displayed 
 in this interesting building. We behold at a glance the result of 
 the experience of many years, and the combined exertions of our 
 most distinguished architects, and may safely assert that no more 
 agreeable method than that afforded by this reconstruction could 
 be devised for making the public acquainted with the details of a 
 Pompeian house. 
 
 NOTE. 
 
 In the Atrium are placed two handsome marble benches, such as the clients 
 might have sat upon whilst waiting for audience with their patron. The ends, 
 which are elaborately carved, have been copied from an original model in the 
 Vatican Museum, and the whole has been presented to the Crystal Palace 
 Company by the London Marble Working Company, through their secretary, 
 Mr. Clare. 
 
 BltADBURY AND EVANS, PRINTERS, WHITEFRIARS. 
 
r