U N 1 V E. R_ S ITY 
 OF ILLINOIS 
 
 9.759.2 
 
 ' BC4-3 
 
//V/ 
 
Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/bookofgemscabineOOunse 
 
THE BOOK OF GEMS 
 
 AND 
 
 CABINET OF ART: 
 
 CONTAINING A SERIES OF 
 
 FIFTY SPLENDID STEEL ENGRAVINGS, 
 
 FROM ADMIRED DRAWINGS BY THE MOST 
 
 EMINENT PAINTERS. 
 
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 PUBLISHED BY THOMAS HOLMES, 
 
 GREAT BOOK ESTABLISHMENT, 
 
 7 6, ST. PAUL’S CHURCH YARD. 
 
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 MODERN BRITISH ARTISTS. 
 
PREFACE. 
 
 A characteristic feature of the present times is the increased 
 taste for the Fine Arts; nor is its gratification any longer exclu- 
 sively confined to one peculiar class of society; but works of merit 
 are sought for with amazing avidity by all, and their circulation 
 has become universal. 
 
 Probably, nothing has contributed more to this great progres- 
 sion of taste, and at the same time tended to diffuse it so widely 
 over the community, than the improvements which have been 
 made in the art of Engraving since the commencement of the pre- 
 sent century; by which much that is beautiful in the sister arts of 
 Sculpture and Painting is rendered familiar to those, to whom it 
 would otherwise have remained totally inaccessible in consequence 
 of the great cost. 
 
 Advantage has already been taken of these circumstances to pre- 
 sent to the Public engravings from paintings by the Old Masters. 
 But it has suggested itself to the Proprietors of the present Work, 
 that, however useful or interesting these may he to the connoisseur 
 or student, they are not so well adapted to the refined taste of the 
 
IV 
 
 PREFACE. 
 
 present age as the beautiful productions of the numerous and 
 highly-talented Painters of our own- time. 
 
 They resolved, therefore, on producing a series of engravings from 
 the works of the most eminent British Artists, which, in the expec- 
 tation of a very extensive patronage, they determine to offer at a 
 much more moderate price than has been hitherto known even in 
 this age of cheapness and competition. While they have carefully 
 endeavoured to select the choicest specimens of the different Mas- 
 ters, they have not been unmindful of the interest of the subjects, 
 and have sought also to give as much variety as possible. The pre- 
 sent Volume is the first fruit of their labours ; and how far they 
 have succeeded in their plan must be left for others to decide. If 
 it meets with the encouragement they anticipate, they will pursue 
 their object with increased energy, and spare no pains or expense 
 to render its successor equally worthy of public favour. 
 
BLACK-GANG-CHINE. 
 
 45 
 
 OLD TOWER, HEIDELBERG CASTLE. 
 
 J. ARCHER. 
 
 Heidelberg Castle, one of the most romantic of the numerous castles on 
 the Rhine, presents many fine subjects for a picture. Mr. Archer has 
 chosen one of the most picturesque views. The bold antiquated tower 
 and the gloomy sky harmonize well together, and the very ruin extends 
 to the old decayed trees with which the scene is adorned. Heidelberg, 
 situated on the river Neckar, is a city of Germany, in the circle of 
 the Lower Rhine. It was once the capital of the Lower Palatinate, but 
 belongs now to the Grand Duchy of Baden. Few cities have suffered 
 more from the calamities of war than Heidelberg. It was burnt in 1278, 
 again in 1288, and in 1602 was plundered by the Bavarian army ; finally, 
 in 1 693 the town was again pillaged and burnt, and the castle ruined. 
 
 BLACK-GANG CHINE. 
 
 R. BRANDARD. 
 
 A wild scene, with the effect of a passing storm, which renders, if pos. 
 sible, the effect more desolate. Black-gang Chine is one of the lions of 
 the Isle of Wight. The cliffs here are frequented by immense numbers 
 of sea fowl, among which the most common are puffins, razor-bills, 
 gulls, cormorants, and Cornish choughs. 
 
 The artist has introduced into his picture these birds, the principal 
 inhabitants of the cliffs and shore. 
 
 s 
 
46 
 
 MODERN BRITISH ARTISTS. 
 
 GOODRICH CASTLE. 
 
 P. DEWINT. 
 
 A solemn and retired scene; the dark outline of the hills, the trees, anti 
 the central feature of the picture, Goodrich Castle, finely contrasting with 
 the sunny brilliancy of the sky. Mr. Dewint is well known to the public ; 
 and this picture, full of poetical feeling, is inferior to none of the nume- 
 rous subjects which he has already depicted. 
 
 The lofty towers of Goodrich Castle stand near the banks of the Wye, 
 on the summit of a bold promontory clothed with magnificent- woods. 
 The castle, now in ruins, was built by the Talbots, soon after the Con- 
 quest. In 1204 it was granted by King John to Marshall Earl of Pem- 
 broke. From an old tower, which is the most perfect part remaining, 
 may be obtained a fine view of this most beautiful and romantic part of 
 the county of Hereford. The view is greatly improved by the winding of 
 the Wye, which nearly encircles the parish of Goodrich. 
 
 A MILL ON THE LLANEERRIS SIDE OF SNOWDON. 
 
 C. MARSHALL. 
 
 A fine subject for the pencil of the artist. The foreground in the plain 
 is peculiarly rich and brilliant, while the mountains exhibit the mistiness 
 in which they are so frequently involved. 
 
 In the county of Csenarvon, North Wales, to the south-east of the 
 county town, stretching to the confines of Merionethshire, are a cluster 
 of lofty hills; they are called by the Welsh, Eryri. The highest summit 
 is called Y Wyddfa, or ‘The Conspicuous,’ and by the English, Snowdon. 
 This peak, though 3567 feet above the level of the sea, is not in itself 
 

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MAYENCE ON THE RHINE. 
 
 47 
 
 remarkably picturesque. The upper part of the mountain is throughout 
 the year covered with a crust of snow. 
 
 Snowdon was held as sacred by the ancient Britons as Parnassus was 
 by the Greeks, or Ida by the Cretans. The Welsh have always had the 
 strongest attachment to it, one of the titles of the prince being “ Lord of 
 Snowdon.” When Llewellin prince of Wales was defeated and reduced 
 to the last extremity, he actually rejected the offer made to him by Ed- 
 ward I. of 1000/. sterling a year, and some fine county in England, in 
 exchange for the mountain. After the English monarch had effected the 
 complete conque.st of Wales, he held a triumphal fair upon this place, 
 and adjourned to finish the joy of his victory by solemn tournaments on 
 the plains of Nevin. From this period Snowdon was annexed to the 
 crown, and continued to be a royal forest as late as the 29th of Elizabeth. 
 
 MAYENCE ON THE RHINE. 
 
 S. PROUT. 
 
 A fine picturesque view of an ancient cathedral. These are the subjects 
 for which Mr. Prout is so justly celebrated. Mayence, Mainz, or Mentz, 
 is the capital of the Duchy of Hesse Darmstadt, and is seated near the 
 confluence of the Maine and the Rhine. The population is rather above 
 27,000. Agrippa constructed here some strong works to protect the left 
 bank of the Rhine from the Barbarinas ( Germans ). Germanicus after- 
 wards erected a fortified work, to which he gave the name of Moguntia, 
 by which name Livy the historian alludes to the town. Some Roman 
 monuments still exist there. Among others, a castle, on the opposite side 
 of the river, called then Castellum, is now named Cassel. "In the year 
 70, Moguntia was garrisoned by the XXII. Roman Legion, which had 
 been with the army under Titus at the seige of Jerusalem; and the holy 
 Crescentius, who had accompanied the troop here, is supposed to have 
 
48 
 
 MODERN BRITISH ARTISTS. 
 
 been the first who, under the title of Bishop, instructed the natives of 
 this part of the Rhine in the Christian religion.” 
 
 Trajan erected a fort on a point of land formed by the Rhine and 
 Maine, which, during the reign of the Carlovingian kings, became the 
 castle of Kufstein, and is now known by the name of Gnstavsburg. 
 Hadrian strengthened the outer works of this ancient fort, which, from its 
 situation, was continually a cause of contention between the Germans 
 and Romans, and in consequence of these struggles the town was even- 
 tually destroyed. It was at length rebuilt by the Franks, and Charle- 
 magne considerably improved it by the addition of various buildings. 
 
 To the circumstance of Mayence being the seat of a metropolitan 
 church and the residence of the first Electors of Germany its rapid increase 
 is principally owing. During the 13th and 14th centuries it became the 
 great resort of the troubadours. In the 15th century the city arrived 
 at the zenith of its celebrity, and obtained a just immortality “by the 
 completion of the inestimable art of printing, by the elder Gensfleisch 
 and his brother Gutenburg.” Since this time it has suffered much, at 
 various times, from internal faction and foreign aggression. 
 
 The Cathedral, a prominent feature in the view, is a large Gothic 
 pile built of red stone, venerable on account of its antiquity, and^ dis- 
 playing various styles of architecture. The most ancient part dates from 
 900, and the more modern from 1000 to 1100. 
 
 NORNA OF THE FITFUL HEAD PREPARING A SPELL FOR 
 
 MINNA TROIL. 
 
 A. G. VICKERS. 
 
 This picture, by A. G. Vickers, represents the scene enacted in the dwell- 
 ing of Norna, the kinswoman of the Udaller, Magnus Troil. We cannot 
 give a better idea of this subject than by an extract from Sir Walter 
 Scott’s novel of ‘The Pirate’. 
 

 
 
 
 
 
 
 
 
 
 
 
FISHER BOYS. 
 
 49 
 
 After the reception of Magnus Troil by his kinswoman, Norna con- 
 cludes her address by demanding what he may require of her. 
 
 “ ‘My daughter’s health,’ replied Magnus, ‘which no remedies have 
 been able to restore.’ 
 
 “ ‘Thy daughter’s health,’ answered Norna; ‘and what is the maiden’s 
 ailment ? ’ 
 
 “ ‘The physician,’ said Troil, ‘ must name the disease. All that I can 
 tell thee of it is ’ 
 
 “‘Be silent,’ said Norna, interrupting him; ‘I know all thou canst 
 tell me, and more than thou thyself knowest. Sit down all of you ; and 
 thou, maiden,’ she said, addressing Minna, ‘sit thou in that chair,’ 
 pointing to the place she had just left, ‘ once the seat of Giervada, at 
 whose voice the stars hid their beams, and the moon herself grew pale.’” 
 
 After throwing aside her “long dark-coloured mantle,” theReimkennar 
 proceeds in the performance of the spell by which the love-sick damsel 
 Minna is to be cured. This is the moment chosen by the artist, and the 
 scene is represented with great fidelity. We must refer the reader, for 
 the denouement , to the first chapter of the third volume of Sir Walter Scott’s 
 interesting story of the Pirate. 
 
 FISHER BOYS. 
 
 R. BRANDARD. 
 
 A subject simple in itself, composed with considerable skill, and com- 
 bined with great elegance and taste ; almost an ideal subject, so seldom 
 do we meet with extreme beauty and refinement in subjects drawn from 
 rustic life. The rude hardships and privations which the sons of our 
 fishermen are early inured to, destroy, in a great measure, the elegance 
 and beauty with which Nature may have originally endowed them The 
 engraving is a spirited and vigorous work of art. 
 
 T 
 
50 
 
 MODERN BRITISH ARTISTS. 
 
 CHEPSTOW CASTLE, MONMOUTHSHIRE. 
 
 COPLEY FIELDING. 
 
 This beautiful view, after the manner of Claude, is painted with a true 
 feeling for the beauties of that inimitable master. The subject, a scene 
 from nature, is something similar in composition to the magnificent works 
 of that great master of the Italian school of landscape painting ; and, if 
 possible, surpasses those wonderful compositions, derived, like the statues 
 of antiquity, from the beauties of many parts. Mr. Fielding has done 
 ample justice to this well-known and admired view; and the great beauty 
 of his colouring is ably expressed in the harmoniously blended tints of 
 the engraving. 
 
 The ponderous remains of the castle form a grand and permanent 
 feature in the diversified surrounding scenery. The ruins cover a large 
 tract of ground, and stretch along the brow of the perpendicular cliff, 
 which forms here the bank of the Wye. 
 
 The Romans probably occupied the site of Chepstow as a position 
 commanding for many miles the only passage of the Wye ; and we may 
 infer from its name that the situation was not overlooked by the Saxons. 
 The town is seated partly in a deep hollow, and partly on the steep side 
 of a hill. It was formerly fortified ; and the ruined walls, which were 
 strengthened by round-towers, reach from the bank of the river below 
 the bridge to the castle, which at one period surpassed in extent as well 
 as importance any fortress in this part of Great Britain. The castle was 
 defended by a moat towards the land, flanked by lofty towers. A very 
 considerable space is occupied by the area, which is divided into four 
 courts : the first contains the remains of the kitchens, grand hall, and 
 numerous other apartments ; from the second, which is now a garden, a 
 passage leads into the third, which is also a garden ; this leads to the fourth, 
 to which the access is only through a sally-port. The characteristic 
 style of the architecture is Norman. That part of Monmouthshire in which 
 the castle of Chepstow stands was formerly part of the county of Glou- 
 

 
 
 
 
DON QUIXOTE AND SAMSON CARRASCO. 
 
 51 
 
 cester ; and the territory soon after the Conquest came into the posses- 
 sion of the Normans. The castle of Estrighoel, or Striguil, by which 
 name Chepstow was then known, was erected by Whilhelmus Comes 
 {Count William ), supposed to be William Fitzosborne, Earl of Hereford, 
 who was killed in 1070. 
 
 DON QUIXOTE AND SAMSON CARRASCO. 
 
 J. W. WRIGHT. 
 
 All who have read the history of Don Quixote will at once perceive that 
 our artist has fully entered into the spirit of satire which animated Cer- 
 vantes. To those who are unacquainted with the story we may briefly 
 observe that the kneeling figure is Samson Carrasco, who is about to 
 turn the credulity of Don Quixote to his own amusement. Samson Car- 
 rasco is described as having all the “signs of a malicious disposition, and 
 one that would delight in nothing more than in making sport for himself 
 by ridiculing others, as he plainly discovered when he saw Don Quixote, 
 for falling down on his knees before him, ‘Admit me to kiss your honour’s 
 hand,’ cried he, ‘ most noble Don Quixote ; for by the habit of St. Peter, 
 which I wear, though, indeed, I have as yet taken but the four first of 
 the holy orders, you are certainly one of the most renowned knights-errant 
 that ever w r as, or ever will be, through the whole extent of the habitable 
 globe. Blest may the sage Cid Hamet Benengeli be, for enriching the 
 world with the history of your mighty deeds; and more than blessed that 
 curious virtuoso who took care to have it translated out of the Arabic 
 into our vulgar tongue, for the universal entertainment of mankind.’ 
 ‘ Sir,’ said Don Quixote, making him rise, ‘is it then possible that my 
 history is extant, and that it was a Moor, and one of the sages, that 
 penned it?’ ” 
 
 ««iVtKbjrv OF M.UNOFI 
 library 
 
52 
 
 MODERN BRITISH ARTISTS. 
 
 SWANSEA HARBOUR. 
 
 J. B. PYNE. 
 
 A fine coast scene, true to nature, and rich in effect. Swansea is a 
 sea-port of considerable importance in Glamorganshire, at the distance 
 of two hundred and five miles from London. The town is on the western 
 side of the river Tawe, which is here navigable for ships of large burden, 
 and possesses extensive quays, and every convenience for trade. In the 
 summer Swansea is much frequented as a watering-place. Pottery is the 
 principal article of manufacture here. The chief article furnished for ex- 
 portation is coal. On an elevated spot in the middle of the town are the 
 remains of the castle : the parts which now remain entire consist of a lofty 
 circular tower, and a large part of the original building, surmounted by 
 a parapet. It is said to have been built in 1095, by Henry Beaumont, 
 Earl of Warwick, to secure his conquests in Gower. This individual 
 brought over a colony of English settlers, whose descendants “remain 
 here, separated by their manners and language from the native popula- 
 tion, with whom they scarcely ever intermarry.” Swansea Castle is the 
 property of the Duke of Beaufort, who is lord of the manor of Gower. 
 
 BEAUVAIS. 
 
 S. PROUT. 
 
 This is one of those complicated architectural drawings for which 
 Mr. Prout is so justly celebrated. Here is truly represented the fullest 
 and most correct detail harmoniously blended with light and shade. The 
 silvery tone of the cathedral, one of the most beautiful in France, is 
 finely expressed. Beauvais is the capital of the department of the 
 Oise. Besides the cathedral, it contains several collegiate and parish 
 
DO N 
 
1 . *. 
 

 
PLAINS OF WATERLOO. 
 
 53 
 
 churches. A beautiful tapestry is manufactured within the city. Beauvais 
 was besieged by the English in 1443, and again in 1472 by the Duke of 
 Burgundy at the head of an army of 80,000 men, hut both times was 
 vigorously defended and preserved. During the siege in 1472, the women 
 displayed great bravery under the leadership of Jane de Hatchett. The 
 portrait of this person is preserved in the Town-hall, and on the 10th of 
 July in every year the women march foremost in the ranks of a proces- 
 sion held on that day to commemorate their heroic defence. 
 
 PLAINS OF WATERLOO. 
 
 T. COOPER. 
 
 This is a highly interesting view of the scene where so many victims fell 
 in the murderous conflict which has given the place a sad celebrity. The 
 sombre effect in the sky is in true keeping with the lugubrious memory 
 of this field of slaughter, and finely relieves the conspicuous monuments 
 of the illustrious dead. In the middle distance stands preeminent the 
 great tumulus, surmounted by a colossal lion, erected as a trophy of vic- 
 tory. The foreground is beautifully painted, with an effect after the man- 
 ner of Cuyp. 
 
 In the memorable battle fought on these plains the 15th June, 1814, 
 the British forces amounted to 95,500 men ; while on the French side 
 there were numbered 130,000. The slaughter, from the confined nature of 
 the ground, was so immense that the dead could not be numbered ; and 
 the spectacle of horror which the field exhibited can never be forgotten by 
 those who visited it immediately after the victory. The road between 
 Waterloo and Brussels, which passes through the forest of Soigne, a di- 
 stance of nine miles, was so choked up with scattered baggage, broken 
 wagons, and dead horses, and at the same time almost impassable from 
 the heavy rains, that it was with the greatest difficulty the wounded could 
 be brought away. 
 
 u 
 
54 
 
 MODERN BRITISH ARTISTS. 
 
 MILL ON THE LAKE OF LUNGERN, SWITZERLAND. 
 
 F. BALMER. 
 
 A beautiful subject ! In the scenery of Switzerland are all the elements 
 of the sublime ; lofty cloud-capped mountains inclosing romantic lakes 
 which engender storms of cloud, through which the bursts of light give 
 an opportunity to the artist of acquiring a knowledge of the grand effects 
 which are constantly occurring in this picturesque country. 
 
 The lakes in Switzerland are numerous and highly interesting. Lun- 
 gern is a small but beautiful lake in the southern part of the Canton of 
 Underwalden. On the picturesque sides of this lake are many beautiful 
 subjects for the painter ; one of these has been chosen by our artist. 
 The most considerable lakes are Constance and Geneva ; Neufchatel 
 and Zurich are also large, being twenty-five miles long and four broad. 
 Lucerne is about fifteen miles by three in breadth. Next to these in 
 point of size are the lakes of Thun and Brientz, of Youx and Rouss on 
 the confines of France, Moral, Brenne, Sempach, Zug, Wallenstadt, Lu- 
 gano, and many others of inferior note. 
 
 ST. GERMAIN L’AUXERROIS. 
 
 E. H. WEHNERT. 
 
 Paris contains innumerable subjects for the painter. Mr. Wehnert has 
 selected a very striking instance of this remark. In the picture before 
 us is a very accurate representation of the ancient Church of St. Germain 
 L’Auxerrois, founded by St. Childebert in 606, which was for a long period 
 the only parish church in the northern part of Paris. Having been de- 
 stroyed by the Normans, it was afterwards rebuilt about the commence- 
 ment of the 11th century. During the occupation of Paris by the En- 
 
J .onion . Parry. Plonk am Sc C® 
 
SIElttllJ I'ABXEEE©!^ 
 
RIVAULX ABBEY. 
 
 55 
 
 glish in 1423, they caused it to be repaired and adorned. The statues 
 of the founder and his queen still remain in the porch of the church ; and 
 this edifice contained, before the revolution, many fine works of art. 
 The bell of this church was the first struck as a signal for the infamous 
 massacre of St. Bartholomew. 
 
 RIVAULX ABBEY. 
 
 J. \V. M. TURNER, R. A. 
 
 This celebrated artist stands unrivalled ; a perfect master of his art. In 
 Ids innumerable works he has produced almost every effect of light and 
 shade of which the face of landscape is susceptible. His pictures are full 
 of truth and poetry, and he seizes with a masterly hand the most sublime 
 features of nature. 
 
 There is so much genius and knowledge of art in his pictures, that 
 his engravings from them have become works of reference to many of 
 his cotemporaries. 
 
 Mr. Turner may be said to have founded a new school of landscape 
 painting; a school superior for its brilliance and originality to any other 
 in the world. 
 
 The subject of our present engraving, which Mr. Turner has furnished 
 us with expressly for this work, may be considered an excellent specimen 
 of his style. The scene represents Rivaulx Abbey, near Ripon in York- 
 shire, one of those richly endowed monastic institutions, the deposito- 
 ries of learning and science, which were formerly so numerous in this 
 country. 
 
 This Abbey, like Jedburgh and Melrose, presents a superb pile of 
 buildings in ruins, and with the surrounding landscape forms an admira- 
 ble subject for the artist ; and it has been treated with that skill for which 
 Mr. Turner is so justly celebrated. 
 
 x 
 
56 
 
 MODERN BRITISH ARTISTS. 
 
 THE RED MASK. 
 
 G. CATTERMOLE. 
 
 Our engraving, though styled the “ Red Mask,” for which perhaps it 
 would be appropriate, is in reality from a drawing the work of the ima- 
 gination alone, and not derived from the idea of any author of romance. 
 
 This picture is from the pencil of Mr. Cattermole, and appears to be 
 one of a class of subjects in which the mind of this artist particularly 
 delights. His skill and taste in depicting these Radcliffian feelings are 
 very considerable. How truly delighted would Monk Lewis have been to 
 see his unearthly horrors dimly shadowed out by such a congenial mind ! 
 
 Mr. Cattermole joins to his other pictorial powers an extensive know- 
 ledge of architecture, and to this circumstance we ascribe that exquisite 
 taste with which all his architectural details are touched. 
 
 The lovers of romance will he delighted with Cattermole’s illustra- 
 tions of the “dim caverns,” “dark dungeons,” and “ long corridors,” 
 through the gloom of which the strained eye vainly endeavours to pene- 
 trate ; and antiquarians will be highly pleased with his art displayed in 
 the 
 
 “ . . . . long-drawn aisle and fretted vault,” 
 
 and they will be almost inclined to believe that they hear the 
 
 “ .... pealing anthem swell the note of praise.” 
 
 MONKS RETURNING FROM HIGH MASS. 
 
 D. ROBERTS. 
 
 A rich architectural subject, in which a variety of styles are introduced, 
 evincing in the painter an accurate knowledge of the picturesque in 
 

 
 
 
THE CUT FOOT. CAUDEBEC. 
 
 57 
 
 Gothic architecture. Through a bold Norman arch is seen a superb en- 
 trance to the choir of a cathedral. This choir is elevated on a platform, 
 ascended by a flight of steps. Monks, with all the paraphernalia of the 
 Catholic worship, are seen issuing from the portal and descending the 
 broad stairs. 
 
 There is all that gloomy grandeur of effect in this picture which is so 
 often to be met with in the numerous antiquated Continental cathedrals. 
 
 THE CUT FOOT. 
 
 CHISHOLME. 
 
 This subject represents a scene so often to be met with in the family 
 circle, in which the principal subject of the picture is seated on his 
 mother’s knee, and from the expression of the boy’s countenance may be 
 seen the pain he is enduring, whilst the anxiety depicted on the coun- 
 tenances of the mother and the children in the foreground is finely ex- 
 pressed by the artist. In the background the grandmother is seen pre- 
 paring the remedy for the little sufferer’s foot, whilst one of the boys is 
 earnestly explaining to her the manner in which the accident occurred : 
 the whole forming a well-composed and most effective picture, in which 
 our artist, Mr. Chisholme, has displayed considerable talent. 
 
 CAUDEBEC. 
 
 C. MARSHALL. 
 
 This is an interesting part of the ancient Norman town of Caudebec. 
 The church, which is in full light, forms, with the bold foreground, an 
 extremely pleasing composition. 
 
 Y 
 
58 
 
 MODERN BRITISH ARTISTS. 
 
 Caudebec is a rich and populous trading-town in Normandy, in the 
 department of the Lower Seine: the town forms the capital of the terri- 
 tory of Caux. It is pleasantly situated near the foot of a mountain, not 
 far from the Seine, surrounded with walls having towers. The town con- 
 tains about 3000 inhabitants. Tbe principal manufacture is a kind of 
 hat made of lamb’s wool and of tbe hair or down of ostrich’s or camel’s 
 hair. 
 
 DOVER CASTLE. 
 
 R. BRANDARD. 
 
 This is a most accurate and faithfully delineated subject, and yet so 
 harmonious that the extraordinary detail never offends. Dover (or Dovor) 
 Castle is a subject which has often exercised the pencil of our native 
 artists. The bold cliff rising on the line of sea forms agreeable and cap- 
 tivating features in the landscape. 
 
 Dover Castle is situated in the fair county of Kent, opposite the French 
 coast where the British Channel is narrowest, the distance being about 
 twenty-three miles. Dover is a place which makes a considerable figure 
 in history. It is probable the ancient Britons occupied it as a military 
 post anterior to the Roman conquest. The Romans, it appears, fortified 
 it, and adapted it to their system of tactics. It is said King Arthur held 
 his residence here. The foundation of the present fortress is ascribed to 
 Julius Csesar. 
 
 In the Itinerary of Antoninus Dover is called Ad Portum Dubris. Its 
 name is supposed to be derived from the British Dwfyrrha, signifying a 
 steep place. The Saxons made themselves masters of Dover at an early 
 period. William the Conqueror esteemed the castle of great importance. 
 From Doomsday Book we learn that Dovere paid 18/. in the reign of Ed- 
 ward the Confessor, and whoever constantly resided in the town and paid 
 custom to the king was free of toll throughout England. When the Con- 
 queror came into England the town was burnt. Dover Castle was for many 
 
IT II IE CTUTT IF© © 
 

 
 
C AUJMIEBEC OM THIS SE1KE. 
 
I rg raved hy WFlayd 
 
BURLINGTON QUAY, YORKSHIRE. 
 
 59 
 
 centuries considered the key to the kingdom. Henry II. rebuilt the keep, 
 and afterwards Hubert de Burgh defended it successfully, with but one 
 hundred and forty men, against Lewis the Dauphin. 
 
 Many alterations were made in the fortifications by different sove- 
 reigns prior to the Commonwealth, when, during the civil war, it was 
 taken by surprise by Drake with only twelve men. From this time it 
 was allowed to go to decay, until the fear of a French invasion caused 
 the Government to put it in a sufficient state of repair. 
 
 The fortress occupies thirty-five acres of land, and the cliff near the 
 sea is three hundred and twenty feet in height. 
 
 BURLINGTON QUAY, YORKSHIRE. 
 
 CHAMBERS. 
 
 A beautiful picture from the able pencil of Mr. Chambers, who pos- 
 sesses great power in representing the turbulent motion of the sea agi- 
 tated by the winds. The effect of wind is very happily expressed. 
 
 Burlington, or Bridlington, is a seaport town in the East Riding of 
 Yorkshire, 208 miles from London, 37 from the city of York, and 5 from 
 Flamborough Head. A portion of the town consists of a pier, extending 
 some distance into the sea. The extremity of this pier is represented in 
 the engraving. The town is an ancient place, having a considerable 
 trade; in it are the ruins of a fine church, founded in the reign of 
 Henry I. The quay is fortified. 
 
 7 
 
60 
 
 MODERN BRITISH ARTISTS. 
 
 SORRENTO. 
 
 W. IIAVELL. 
 
 In this view the reader will be gratified with one of those luxuriant 
 scenes so frequent in the rich and fertile country of Italy. Sorrento, 
 which gives the name to the surrounding country, is a seaport in the 
 kingdom of Naples, at the foot of the mountain of Surrentum. The town 
 is situated in the peninsula which forms the southern side of the Bay of 
 Naples, and is 17 miles from that city. Sorrento is the birthplace of 
 Torquato Tasso, and the see of an archbishop. 
 
 CHURCH OF NOTRE DAME, BRUGES. 
 
 S. AUSTIN. 
 
 A pleasing, rich, and harmonious subject, in which the artistical talent 
 of the painter is ably displayed. Mr. Austin’s style, though in itself 
 original and in some points similar to that of Dewint, is well adapted 
 to pourtray the canal scenery of Belgium and Holland. 
 
 Bruges is 8 miles from Ostend, 24 from Ghent, and 46 from Ant- 
 werp, and has the advantage of numerous canals. Two hundred years 
 since Bruges was in a very flourishing condition, but on account of the 
 increase of trade to Amsterdam and Antwerp it has since much di- 
 minished. The Church of Notre Dame, rising boldly in the distance, is 
 celebrated for its elevated spire, serving as a landmark for sailors ap- 
 proaching Ostend. This city has several large open spaces, of which the 
 great market-square is the finest. The tombs of Charles the Brave and 
 Mary of Burgundy, erected in 1550, are preserved here. Here also was 
 born John of Bruges, to whom the invention of oil painting is attributed. 
 The order of the Knights of the Golden Fleece was instituted in Bruges 
 in 1430. 
 
Fry raved by FFHavelL 
 
Cl 
 
 ATTACK OF THE SMUGGLERS. 
 
 (Guy Mannering.) 
 
 F. C. ZEITER. 
 
 The fury of the battle, and the strife attendant on such contests, are 
 here depicted with a vivid reality. Such scenes, arising from the temp- 
 tation afforded to smuggling in Scotland, were of common occurrence 
 towards the close of the last century, and allusions to them frequently 
 occur in Sir Walter Scott’s novel of Guy Mannering. The engraving 
 after Mr. Zeiter’s picture represents the affray between the smugglers 
 and dragoons at Portanferry, after the burning of the Custom-houses. 
 Sir Walter thus describes the scene which the artist has depicted. 
 
 “ Sounds and signs of violence were heard in front. The press be- 
 came furiously agitated, while some endeavoured to defend themselves, 
 others to escape ; shots were tired, and the glittering broadswords began 
 to appear flashing above the heads of the rioters .” — Guy Mannering, 
 vol. iii. 
 
 VIEW NEAR ATHENS, GREECE. 
 
 G. BARRETT. 
 
 The extensive plain of Athens, with the celebrated ruins, the beautiful 
 Acropolis, the sea and the surrounding mountains, present a magnificent 
 subject for the painter. The present engraving rather represents some 
 recollections of the buildings, with a few features of the landscape com- 
 bined, than any actual scene. 
 
 The picture gives a faithful idea of the beauties of the ruined Athe- 
 nian architecture and the peculiar scenery of this classic and picturesque 
 land. 
 
 2 A 
 
62 
 
 MODERN BRITISH ARTISTS. 
 
 LAKE OF NEMI, ITALY. 
 
 J. ALLEN. 
 
 A beautiful picture of a very interesting subject. The artist has given 
 the view a warm sunny effect, so characteristic of the climate. The 
 scene is one of undisturbed repose. The Lake of Nemi, a well-known 
 and beautiful spot, is situated near the town of Guesana, and about 13 
 miles from Rome on the road to Naples. Nemi derives its name from 
 the Nemus Dianse that shaded its banks. Like the Lake of Albano, an 
 extinct crater, it occupies a deep hollow in the mountains, but it is much 
 inferior to Albano in extent, and fills only a part of the amphitheatre 
 formed by the crater: “ the remaining part with the high banks is co- 
 vered with gardens and orchards, well fenced and thickly planted, form- 
 ing an enchanting scene of fertility and cultivation.” 
 
 “ The castle and the town of Nemi stand on the eastern side of the 
 lake, on a high rock hanging over the crater.” The lake with the 
 beautiful scenery around its banks afford a constant source of study to 
 the numerous artists who frequent Rome with a view of advancing 
 themselves in their art. 
 

Jlry raved buW Hens had. 
 
63 
 
 NORTH FORELAND. 
 
 G. CHAMBERS. 
 
 A correct delineation of a well-known scene, with which many of our 
 readers are doubtless acquainted. The vessels are drawn with extraor- 
 dinary fidelity, and without being formal or stiff. The water appears 
 broken by the fresh breeze, which, having just sprung up, has set in 
 motion an outward-bound fleet. The vessel in the foreground, urged 
 by the gale, seems to be bearing down with rapidity. That part of the 
 Foreland which is visible conceals the lighthouse, the most useful fea- 
 ture of the situation. Within the line of white chalk cliffs may be just 
 perceived the pretty village of Kingsgate. 
 
 The North Foreland, in the Isle of Thanet, is about a mile and a half 
 from Ramsgate. The lighthouse stands on a point of land near the 
 extremity of a chalk cliff, supposed by some to be the Canticum of 
 Ptolemy. This spot is called the North Foreland to distinguish it from 
 the South Foreland between Dover and Deal. The North Foreland is 
 higher than most of the land hereabouts. On this point originally stood a 
 house built of timber, with a large glass lantern on the top of it, in which 
 a light was kept burning to direct ships to keep clear of the Goodwin 
 Sands, which lie off this point. This house was burnt down by accident 
 in 1683, and for some time after, a beacon, on which a light was hoisted, 
 was made use of. About the close of the 17th century the present 
 octagon building was erected ; but it was at first so clumsily lighted that 
 mariners made it a ground of complaint. This defect was soon after 
 remedied, and about fifty years since the tower was raised, and, with the 
 new lantern, was made above 100 feet in height: in each side of the 
 decagon lighthouse at the top a patent lamp is kept burning all night. 
 
 Every British ship sailing by this Foreland pays a toll of twopence, 
 and every foreign vessel fourpence, for the repair and maintenance of 
 the house. 
 
 2 B 
 
64 
 
 CHURCH OF ST. JACQUES, DIEPPE. 
 
 D. ROBERTS. 
 
 One of those beautiful delineations of architecture for which Mr. Roberts 
 is so celebrated. 
 
 Dieppe, a well-known seaport town, is situated at the mouth of the 
 river Arques, and fortified by sea and land : its shape is an irregular tri- 
 angle, with a harbour of a semicircular form. The town contains 3000 
 houses and 20,000 inhabitants. St. Jacques, the parish church, is one 
 of those elaborately carved specimens of florid Gothic architecture which 
 were executed about the reign of Henry VII. 
 
 The distance from Dieppe to Brighton is about 66, and from Paris 
 100 miles. The port is considered the principal station for packets 
 between London and Paris. 
 
 It was from Dieppe that William the Conqueror sailed with his troops 
 when he invaded England. And in 1589 a battle was fought at Arques, 
 four miles from Dieppe, between Henry IV. of France and the League, 
 under Mayenne, in which the Duke of Mayenne was defeated. 
 
 A SCENE FROM THOMSON’S SEASONS. 
 
 J. FUSSELL. 
 
 A charming rural scene, in which the painter has skilfully embodied 
 the sentiments of the poet. The landscape is well composed, and the 
 cattle are drawn with a fidelity for which this artist has earned a well- 
 merited reputation. The accuracy with which the poet has described 
 

VILLAGE GLEE-SINGERS. 
 
 65 
 
 the smiling face of nature lias been faithfully followed by the painter, who 
 has depicted the 
 
 “ brook, that purls along 
 
 The vocal grove, now fretting o'er a rock, 
 
 Now scaicely moving through a reedy pool. 
 
 Now starting to a sudden stream, and now 
 Gently diffused into a limpid plain ; 
 
 A various group the herds and flocks compose, 
 
 Rural confusion ! On the grassy bank 
 Some ruminating lie; while others stand 
 Half in the flood, and, often bending, sip 
 The circling surface. In the middle droops 
 The strong laborious ox, of honest front, 
 
 Which incomposed he shakes; and from his sides 
 The troublous insects lashes with his tail, 
 
 Returning still. Amid his subjects safe, 
 
 Slumbers the monarch-swain; his careless arm 
 Thrown round his head, on downy moss sustained.” 
 
 Thomson's Season. — Summer. 
 
 VILLAGE GLEE-SINGERS. 
 
 J. M. WRIGHT. 
 
 A Hogarth-like picture, full of truth and nature. The figures are very 
 accurately drawn, and the expression is remarkably correct; the acces- 
 sories are in harmony with the subject, and the light and shade is admi- 
 rably arranged. 
 
66 
 
 MODERN BRITISH ARTISTS. 
 
 WARWICK CASTLE. 
 
 C. MARSHALL. 
 
 A sumptuous view of this splendid baronial Castle, celebrated alike for 
 its romantic beauty and historical interest. 
 
 Warwick Castle is on the S.E. side of the town of Warwick, and is 
 built on a rock, to which it seems united rather by the hand of nature than 
 by human art. It is supposed to have been first founded by Ethelfleda, 
 daughter of King Alfred, in the year 915. 
 
 From the period when William the Conqueror gave this fortress to 
 Henry de Newburgh, it became of considerable importance in English 
 history. 
 
 For a description of this magnificent place, see page 6. 
 
 FURNESS ABBEY. 
 
 D. COX. 
 
 An agreeable subject, simple in its arrangements, but highly effective. 
 
 Furness Abbey, situated in the north-west part of Lancaster, one 
 mile and a half from the town of Dalton, was once an extensive and 
 wealthy monastery. The ruins stand on the bank of a small rivulet in a 
 narrow and fertile vale. The situation is one of deep retirement. The 
 venerable grandeur of its Gothic arches combines with the luxuriance of 
 the ancient trees which surround the ruins. The glen in which the 
 Abbey is situated is called the Yale of Nightshade, from its ancient title 
 Bekansgill. The romantic gloom and sequestered privacy of this spot 
 particularly adapted it to the austerities of monastic life ; and in the 
 
ICS 
 
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 Err proved by WEcfisTia), 
 
FURNESS ABBEY. 
 
 67 
 
 most retired part of the glen King Stephen, when Earl of Montaign and 
 Bulloign, founded, A.D. 1127, the magnificent monastery of Furness, and 
 endowed it with princely wealth and almost princely authority, in which 
 it was second only to Fountain’s Abbey in Yorkshire. The windings of 
 the glen conceal the approach to the Abbey, until a sudden bend in the 
 road brings into view the northern gate of the Abbey, a beautiful Gothic 
 arch, one side of which is covered with nightshade. 
 
 “ The principal features are the great northern window, a part of the 
 eastern choir, with glimpses of shattered arches, and stately walls beyond, 
 caught between the gasping casements. Through the gate is the entrance 
 to the immediate precincts of the Abbey. This is inclosed by a stone 
 w T all, on which the remains of many small buildings still appear, such as 
 the porter’s lodge, mills, granaries, ovens and kilns. 
 
 “The Abbey, which was formerly of such magnitude as nearly to fill 
 up the breadth of the glen, is built of a pale red stone dug from the 
 neighbouring rocks, now changed by time and weather to a tint of a 
 dusky brown, which accords well with the hues of plants and shrubs 
 that everywhere emboss the mouldering arches. The finest view of the 
 ruin is on the east side, where, beyond the vast shattered frame that once 
 contained a richly painted window, is seen a perspective of the choir and 
 of distant arches, remains of the nave of the Abbey, closed by the woods. 
 This perspective of the ruin is said to be 287 feet in length ; the walls, 
 as they now stand, are 54 feet high and 5 thick. Southwards from the 
 choir extend the still beautiful though broken pillars and arcades of some 
 chapels, now laid open to the day, the chapter-house, the cloisters, and 
 beyond these the school-house, which still possesses a roof. Of a quad- 
 rangular court on the west side of the church, 334 feet long and 106 feet 
 wide, but little now remains, except the foundation of a range of cloisters, 
 forming its western boundary, under which the monks passed in their cus- 
 tomary processions. What was the belfry is now a huge mass of detached 
 ruin, picturesque from the loftiness of its shattered arches and the high in- 
 equalities of the ground within them, where the tower that once crowned 
 this building, having fallen, lies in vast fragments, now covered with earth 
 and grass, and no longer distinguishable but by the hillock they form. 
 
68 
 
 MODERN BRITISH ARTISTS. 
 
 “These are the principal features of this once magnificent Abbey. It 
 was dedicated to St. Mary, and received a colony of monks, from the 
 monastery of Savigny in Normandy, who were called Grey monks from 
 the colour of their dress. They afterwards became Cistercians, and 
 remained of this order until the dissolution of the monastic orders.” — 
 ( Abridged from Mrs. Radclijf's Description of Furness Abbey. J 
 
 F I SH-M ARKET, ROTTERDAM. 
 
 J. W. M. TURNER, R. A. 
 
 A very beautiful view of the Fish market, Rotterdam, in this artist’s 
 best style. The architectural features are clearly delineated, and the 
 busy figures enliven the scene. 
 
 Rotterdam is a city and seaport of Holland, situated on the Rotter, 
 where it joins the Meuse. This place enjoyed the privileges of a city 
 shortly after the year 1270. It was formerly considered, next to Amster- 
 dam, the richest and most flourishing city of Holland on account of the 
 convenience of its harbour and canals. The port of Rotterdam was more 
 frequented by British traders than that of Amsterdam, because when 
 vessels weighed anchor one tide brought them out to sea. 
 
 Among the principal buildings are the Town-hall, the Bank, the East 
 and West India Houses, the Arsenal, and several churches, particularly 
 St. Lawrence, a view of which is given in this work. On the east side 
 of the city are a large basin, a dock for building and launching for the 
 service of the Admiralty and East India Company. 
 
 The city possesses an extensive market place for the sale of fish, 
 which is very abundant. Our engraving presents a view of this place. 
 Rotterdam was the birthplace of Erasmus, whose house and statue are 
 still preserved. The streets of the city are long and narrow, and the 
 foot-pavement is formed of bricks. A further description of Rotterdam 
 will be found in a former part of this work. See page 17. 
 
Published, by A.Asher.Bi'r 
 
69 
 
 THE CUT FINGER. 
 
 BY D. WILKIE. 
 
 What lover of true genius, or admirer of such master-talent as was 
 possessed by Wilkie, can hear his name mentioned, or look upon his 
 productions, without the deepest emotions of admiration and delight. 
 
 The subject before us is full of interest, and possesses much originality 
 of perception. It is almost impossible to maintain the gravity of one’s 
 countenance, even while looking at the excruciating pain which the little 
 urchin may, by the expression of his face, be supposed to suffer. The 
 cause of this sad catastrophe is to be seen in the various fragments of 
 wood which scatter the floor, and the miniature boat floating in the 
 dish ; while the fatal instrument by which the young aspirant met with 
 his sad accident, is still firmly clasped by him in his right hand, and 
 which the cautious mother is endeavouring to release from his grasp. 
 
 THE MARKET-BOAT. 
 
 BY S. AUSTIN. 
 
 The subject before us represents a party of fishermen and their wives, 
 who are just starting in the boat for the Market-town ; and our 
 Artist has here given a faithful delineation of one of those scenes, which 
 so forcibly set forth the contentment and happiness to be found among 
 the fishermen and their families at many of our water-side places. 
 
 THE TEMPTING PRESENT. 
 
 This is an incident of the simplest, yet most instructive character. It is 
 a fine realization of the baneful and powerful influence which temptation 
 exercises over the human mind ; and the artist has very strikingly pour- 
 trayed its insidious “promptings,” in the very countenance of the boy — 
 
 in which we can clearly see depicted the strugglings of conscience with 
 
 2 E 
 
70 
 
 MODERN BRITISH ARTISTS. 
 
 the force of temptation ; and the careful and timid removal of the white 
 napkin from the corner of the basket, while his fingers seem almost to 
 act in concert with the whispers of the “ monitor within,” are skilfully 
 delineated. 
 
 THE LAKE OF COMO. 
 
 BY C STANFIELD. 
 
 This Lake is upwards of thirty miles long, and between two and three 
 miles in breadth. Lofty hills, covered with vines, almond trees, &c., 
 border the lake ; and numerous villages add an enlivening and beautiful 
 effect to the whole. It is a delightful retreat not only to the inhabitants 
 of Milan, but to most strangers — particularly the English. — Pliny was 
 much attached to this place, and erected several villas on its borders ; his 
 favourite one was on the very verge of the lake, almost rising out of the 
 waters. The longing desire he often felt to escape from the bustle of 
 Rome, induced him frequently to visit this enchanting spot. Caroline, 
 wife of George IV., had a beautiful residence here. 
 
 THE HOLSTEIN GATE, LUBECK. 
 
 BY A. G. VICKERS. 
 
 The City of Lubeck is approached by the ancient gate of Holstein, 
 through a long avenue of trees. It is an object, in many respects, 
 worthy the attention of the traveller. The era of its erection was in 
 remote ages, though it was formerly more strongly fortified than it is 
 now. Although it has lately had one of its outer arches taken away, it 
 still continues to be a venerable ornament to the city. It is indebted for 
 its two towers to the liberality of Andrea Grenerade, a worthy burgo- 
 master, who built them, in some measure, as lasting memorials of his 
 patriotism — for he died in 1477, the year of their completion. It still 
 
1 
 

 MARKET BOAT 
 
i THE SEJSTT . 
 
 THE TEMPT1KC 
 

 
 
ENTRANCE TO LUBECK BY THE HOLSTEIN GATE. 
 
 71 
 
 retains the ancient grapples and spikes at which woolsacks, to deaden 
 the effects of the missiles of the besiegers, were suspended. Before this 
 gate, at a short distance from the last houses there is one of the finest 
 views over the whole city, which derives a peculiar and romantic charm 
 from the ancient buildings, which appear very conspicuously from the spot. 
 
 ENTRANCE TO LUBECK, BY THE HOLSTEIN GATE. 
 
 BY A. G. VICKERS. 
 
 This is a view of that part of the City of Lubeck, which commences 
 immediately upon passing through the Holstein gate. It is taken from 
 the river-side, and presents a pleasing and by no means uninteresting 
 picture. Mr. Vickers was most happy in the selection of his subjects, 
 and whether it is in marine or landscape painting, the versatility of his 
 talent, and the richness of his conceptions, are pre-eminently displayed. 
 
 THE OLD EXCHANGE, HAMBURG, FROM THE CANAL. 
 
 BY A. G. VICKERS. 
 
 This place was founded in 1558, but was at that time nothing more 
 than an open but enclosed space. The building was, however, subse- 
 quently considerably enlarged, and, together with an open space, inclosed 
 with an iron railing and a row of trees on one side, the doors of which 
 were closed at certain times on the ringing of a bell, in order to prevent 
 the Merchants from continuing their transactions to an unreasonable 
 hour ; — after which it was re-opened, and made a public thoroughfare. 
 Although compared with buildings erected for similar purposes in modern 
 times, it was very small, still it fully answered its purpose ; and whoever 
 visited it on matters of business, were not at a loss to obtain every infor- 
 mation which they required of a commercial character — for boards were 
 hung upon the pillars in admirable order, containing all news interesting 
 to the trading world. 
 
 The New Exchange is a very splendid building. 
 
72 
 
 MARKET-PLACE, LUBECK. 
 
 BY A. G. VICKERS. 
 
 There is, in many of the Market-places on the Continent, a degree of 
 quietness and apparent inactivity which contrasts strangely with the 
 bustle and business-like character of most of those in England. This is 
 peculiarly the case as it respects the Market-place of Lubeck. — The artist, 
 however, has displayed great judgment and talent in depicting not only 
 the numerous characters seen in the picture — but also as to the clear 
 and prominent view he has given to the Church, and adjacent buildings. 
 
 THE NEW CUSTOM HOUSE, BERLIN. 
 
 FROM THE RIVER SPREE. 
 
 BY A. G. VICKERS. 
 
 Although Berlin is of great antiquity, still we look in vain for those 
 evidences of such antiquity, as we find in other cities which were built 
 at the same time. Its modem character strikes the eye wherever we 
 look. There is much to delight and attract the visitor at Berlin, and he 
 would scarcely be conscious of the lapse of time, while occupied in seeing 
 various institutions, public buildings, &c., — such as the Royal Library, the 
 Museum of works of art, the rich zoological and anatomical collections in 
 the University of the Academy of Sciences, the Arsenal, the new Custom 
 House, and numerous other places of the like character. 
 
 THE NEW PALACE AT POTSDAM. 
 
 BY A. G. VICKERS. 
 
 The palace is situated out of the town of Potsdam, in a most delightful 
 spot. Like most of the objects of interest with which the city of Berlin 
 abounds, especially those in its immediate environs, this palace possesses 
 much that is worthy of careful and minute examination ; indeed, it is 
 

*9 
 

 
 
 
 
 
*• 
 
 
 
 
 
 . 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
FISH-MARKET, BERLIN. 
 
 73 
 
 highly necessary that the visitor should have some little time on his 
 hands when he intends viewing it — for he will find ample subjects for 
 contemplation both within and without, which cannot otherwise be 
 thoroughly enjoyed. 
 
 THE CHURCH OF ST. NICHOLAS, BERLIN. 
 
 BY A. G. VICKERS. 
 
 During the conflagration of 1380, which occasioned so much destruc- 
 tion in Berlin, this church fell a prey to the devouring flames. Some 
 short time afterwards it was rebuilt, but in so very slight a way, that it 
 was deemed advisable to rebuild it altogether in 1 460 ; at which time it 
 received its present form, with the exception of the old walls. This 
 church is rich in monuments, — those of the celebrated Samuel Von 
 Puffendorf ; of Porst, the sacred poet ; of Phil. J acob Spencer, the ta- 
 lented theologian ; and of the famous Spalding, are among the principal. 
 
 THE COURT-YARD OF THE ROYAL PALACE, BERLIN. 
 
 BY A. G. VICKERS. 
 
 The arsenal in the interior of the court-yard is adorned with the marks 
 of twenty-one heads of dying men, generally called Schluter’s masks, after 
 the name of the architect under whose superintendence the building was 
 erected. The court-yard is spacious, and the whole has a noble and 
 imposing character. 
 
 FISH MARKET, BERLIN. 
 
 BY A. G. VICKERS. 
 
 This is an interesting and pleasing subject ; the architectural features of 
 which are most admirably delineated. The effect is well managed : a 
 good idea of height and magnitude is given to the principal object, and 
 the noble pile is exhibited in its full effect of greatness. Groups of busy 
 figures enliven the scene. 
 
 g 2 
 
74 
 
 THE ROYAL OPERA HOUSE, BERLIN. 
 
 BY A. G. VICKERS. 
 
 This building is in the form of a long parallelogram : the breadth of the 
 principal front is 103 feet. 
 
 The peristyle is approached by a handsome double flight of steps. The 
 concert-room extends the whole breadth of the building, and was formerly 
 used as a banquetting-room for the court, on those days when there were 
 grand masquerades at court. The pit if necessary, can be screwed up so 
 as to be on a level with the stage ; and it is said, will afford room for 6000 
 persons. The opera-house generally contains between 1800 and 1900 
 persons. 
 
 ROYAL PALACE AT CHARLOTTENBURG. 
 
 BY A. G. VICKERS. 
 
 Sophia Charlotte, consort of Frederick I., had this palace erected. 
 Its original name was Lutzenburg, but after the death of the Queen, the 
 king gave it the name of Charlottenburg. It was much enlarged in 1706, 
 by the celebrated architect Eosander Von Goethe, who added, on each 
 side, a wing of two stories, and to the centre, a portico, with a handsome 
 cupola. Among the modern works of art in the palace, may be men- 
 tioned the statue of the empress of Russia, exquisitely executed in marble. 
 
 HIGH STREET, AND TOWN HALL, MARIENBURG. 
 
 BY A. G. VICKERS. 
 
 The style of building in the town of Marienburg, which is so celebrated 
 in Prussian history, is ancient, but not irregular ; here and there, however, 
 there are some modern edifices, which are not in strict harmony with 
 the rest. This is particularly the case in the High or principal street; in 
 
# 
 

 
 
 
 
 
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* 
 
 
 
 
 
 
THE EXCHANGE, DANTZIC. 
 
 75 
 
 which the Town Hall is situated. In the fronts of the houses on both 
 sides of the street, there is a connected line of porticos, under which the 
 passengers are perfectly dry and protected, in the most unfavourable 
 weather. 
 
 ENTRANCE TO DANTZIC, FROM THE OLIVA ROAD. 
 
 BY A. G. VICKERS. 
 
 This is a pleasing and agreeable picture ; and if much of the interest of 
 a subject depends upon the historical associations connected with it, this 
 exquisitely picturesque view of the entrance to Dantzic cannot fail to 
 produce much intellectual gratification to those who are acquainted with 
 the history of that city. 
 
 VIEW OF DANTZIC, FROM THE RIVER. 
 
 BY A. G. VICKERS. 
 
 Dantzic is a city of the middle class ; it is entirely enclosed with walls, 
 and is surrounded by a moat, from ten to fifteen rods in breadth, and 
 about thirteen feet deep. As seen from the river, it presents a some- 
 what singular appearance, from the peculiar character of the buildings ; 
 and the artist has been most felicitous in blending architectural accuracy 
 with a rich conception of the beauties of marine scenery. 
 
 THE EXCHANGE, DANTZIC. 
 
 BY A. G. VICKERS. 
 
 This building was used in the time of King Arthur Hof, for the purpose 
 of securing the principal citizens as a place of meeting for the drinking 
 feasts. In 1676 it was converted into an exchange, and has since that 
 time served the Merchants for transacting their business, and also for 
 public auctions of estates and houses. 
 
 h 2 
 
76 
 
 THE STOCK TOWER, DANTZIC. 
 
 BY A. G. VICKERS. 
 
 This is a very striking object, consisting of a lofty square brick tower. 
 It was erected in 1346, for the defence of the city, and before the building 
 of the high gate, the usual entrance into the city was through the tower, 
 to which, in 1508, a turret was added, in which the bell for giving notice 
 of the closing of the gates was hung. In this tower there are several re- 
 ceptacles for prisoners. 
 
 W e have elsewhere given another view of this beautiful city. 
 
 VIEW OF KONIGSBERG, FROM THE RIVER. 
 
 BY A. G. VICKERS. 
 
 To obtain a correct idea of the extent of Konigsberg and its environs, the 
 traveller must visit the castle, erected on an elevation in the middle of 
 the town. The present view is from the river Pregel ; and the town, 
 which lies on the banks of that river, and is surrounded with rich woods, 
 presents an extremely pleasing appearance. There are seven bridges 
 thrown across the Pregel, the Allstadt, the Lobernicht, and the Kneiphof. 
 To these towns are added eleven suburbs, and also the castle with its out- 
 buildings, called the Five Liberties. The circumference of the town is 
 about eight miles, in which space is included many gardens, the long 
 castle pond with its cheerful scenery, and several fields. 
 

 
 
 
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