cheerfulness and amusement at the ludicrous situation. Impey, with
all his villainy, had openly congratulated the midshipmen upon their
masterful control of the situation.

“It’s worth losing to have witnessed it,” he exclaimed as he read
the messages faithfully recorded by the sailormen in the wireless
room. Over a week dragged slowly by, and the anxious wait told on the
midshipmen.

The Chinese admiral came on board the yacht daily, and the more the
lads came to know him the more they respected and liked him. He was
the type of the Oriental that was fast being born out of that kingdom
of antiquity, unfettered by the prejudices of conservatism. A new and
enlightened China had been his purpose.

“Here’s what we’ve been waiting for,” O’Neil called out at last from
the wireless room, his voice joyful and triumphant, while Phil met the
boatswain’s mate in the salon waving a paper on which had been roughly
penciled a message just intercepted.

“Manila was sending it to our admiral; he is somewhere in the southern
islands of the Philippines,” the sailor exclaimed, handing Phil the
paper. “He’s looking for us, I guess,” he added with a grin.

The lad received it, his hand trembling with excitement, and read aloud
the words with a fast beating heart.

“The United States and Japan have concluded a treaty of better
understanding over affairs in the Far East. Each has disclaimed any
intention of acquiring the lost Chinese squadron.”

The paper fluttered from Phil’s hand to the deck and a faintness
suddenly came over him. But on his young face a great joy was written
as he aroused himself and actually hugged the astonished O’Neil.

Sydney and Marley stood by, their faces wreathed in happy smiles.

“Signal this to the Chinese admiral at once, Syd,” Phil cried joyfully,
“and come on, O’Neil; we’ll call up our admiral and solve the mystery
of the Chinese squadron.”

Two days afterward the new Chinese navy, with their dragon banners
fluttering in the breeze, steamed toward their own country. Admiral
Ting wrung the midshipmen’s hands warmly in parting, and heaped upon
them many handsome gifts from artistic China, declaring that his
Emperor would decorate them with the “Order of the Dragon” for their
great service to the Dragon Kingdom.

It was with hearts full of joy that they turned the bow of the
“Sylvia” northward with Yokohama as their destination. Impey and his
co-conspirators had been sent away on the Chinese ships. Randall and
Wells were truly penitent, and told O’Neil that hereafter they would
live honest lives. Impey was game to the last, only remarking as he was
bidden a cold good-bye by the Americans that “one couldn’t always win.”

Poor, disconsolate Takishima! He alone was the one thorn in the
midshipmen’s happiness.

On the way north the lads sent a long cipher message to the “Alaska,”
telling of Takishima’s loyalty in his Emperor’s cause. The message was
to Captain Inaba as the friend of all concerned.

The following morning Phil and Sydney entered Takishima’s cabin. The
lieutenant was sitting with his head in his hands, while on his face
was an expression of great sadness.

“Here’s a message for you, Taki,” Phil said, his voice trembling with
joy.

Takishima took the paper from Phil’s hand and cast his eyes listlessly
over the first line. Then his face relaxed and he drew himself up
smartly, reading now quickly and eagerly the words before him.

  “TO LIEUTENANT TAKISHIMA,
      “_via_ U. S. S. ‘ALASKA.’

  “His Majesty our Emperor has commanded me to inform you that your
  zeal, patriotism and good judgment under trying circumstances, which
  have come to his august notice, have caused him to honor you with the
  ‘Order of the Rising Sun of the First Class’ and appoint you one of
  His Majesty’s naval aides. I take pleasure in congratulating you on
  your high good fortune.

                                                     “KAMIKURA,
                                                 “_Minister of Marine_.”

Then for several minutes after he had finished, his head remained
sunk on his breast and his eyes on the floor. Phil had laid his hand
affectionately on his shoulder, while in his eyes was a slight trace of
manly tears. Takishima turned and both lads saw the joy in his face.

“I don’t deserve it,” he said humbly, “and I owe His Majesty’s clemency
to you, I feel sure.”

“To your own high sense of honor and patriotism to your Emperor,” Phil
answered earnestly.

It was fortunate that the day after the “Sylvia’s” arrival in
Yokohama, the “Alaska” was to return to Manila to rejoin the fleet,
which was under orders to return to the United States. If the “Alaska”
had stayed longer it is sure that the midshipmen’s heads would have
been completely turned by the many honors heaped upon them.

On the night before sailing there was given a large dinner by Admiral
Kamikura, the memory of which remained long in Phil’s mind.

His neighbors at the table were Helen and Takishima, and the atmosphere
was electric with good fellowship. No cloud marred the clear sky of
understanding.

After the dinner there was a small party collected at the embassy
to bid farewell to the ambassador and his daughter, and to them the
midshipmen told the full story of the cruise of the “Sylvia.”

“It wasn’t until the Japanese fleet had arrived in Singapore and
reported no trace of the Chinese squadron that we were sure that
you had been successful,” Captain Rodgers explained after Phil had
recounted the adventure.

“And then in five days more, and meanwhile nothing had been heard from
the ‘phantom fleet,’ as it was called in the American newspapers,” he
continued, “we heard that the Japanese fleet had returned to Japan.”

“Then the Minister of Marine came to me,” the ambassador took up the
thread of the story where Captain Rodgers had left off, “and asked if
Captain Rodgers and I still desired the audience with the Emperor.

“I assured him above all things it was desired, and the next day the
audience was an accomplished fact and the new treaty the outcome.”

The ambassador beamed down upon the attentive midshipmen.

“It’s a great pity our government will not allow our officials to
accept foreign orders,” he added. “I am sure if it did, the ‘Alaska’
would sail away from Japan loaded down with them.”

O’Neil and Bill Marley had returned to the armored cruiser but had been
allowed to return to Tokyo to attend a dinner given to O’Neil by his
old friend “Billy” Williams. The crowds that gathered about the little
restaurant to catch a glimpse of the two noted sailors was one of the
biggest advertisements “Billy” Williams ever had.

But all things must have an end, and the happy party at the
ambassador’s could be no exception. Good-byes were said and the
carriages were waiting.

Phil found himself alone with Helen only for the fraction of a minute,
but in that time among other favors he had been given a certain gold
locket that he valued more than any foreign decoration that might have
been bestowed upon him.

Takishima and Captain Inaba met the party at the railroad station and
escorted them to a special train, and as they pulled out from the long
platform the midshipmen’s last glimpse was of their two friends, hats
in hand above their heads, crying loudly “Banzai”--ten thousand years
of happiness!

Other Stories in this Series are:

  A U. S. MIDSHIPMAN AFLOAT
  A U. S. MIDSHIPMAN IN CHINA
  A U. S. MIDSHIPMAN IN THE PHILIPPINES

FOOTNOTES:

[1] Bushido to the code of chivalry in old Japan.

[2] The Japanese writing is backward from the end of a book or letter
to the front.

[3] Japanese term for dock.

TRANSCRIBER’S NOTES:

  Italicized text is surrounded by underscores: _italics_.

  Obvious typographical errors have been corrected.

  Inconsistencies in hyphenation have been standardized.

  Archaic or alternate spelling has been retained from the original.


Produced by Jonathan Ingram, William Flis, and the PG Online
Distributed Proofreading Team.

THE MIRROR OF LITERATURE, AMUSEMENT, AND INSTRUCTION.

Vol. 20, No. 584. (Supplement to Vol. 20)

THE

MIRROR

OF

LITERATURE, AMUSEMENT,

AND

INSTRUCTION:

CONTAINING

ORIGINAL ESSAYS;

HISTORICAL NARRATIVES; BIOGRAPHICAL MEMOIRS; SKETCHES OF SOCIETY;
TOPOGRAPHICAL DESCRIPTIONS; NOVELS AND TALES; ANECDOTES;

SELECT EXTRACTS

FROM

NEW AND EXPENSIVE WORKS;

POETRY, ORIGINAL AND SELECTED;

THE SPIRIT OF THE PUBLIC JOURNALS;

DISCOVERIES IN THE ARTS AND SCIENCES;

USEFUL DOMESTIC HINTS;

&C. &C. &C.

VOL. XX.

LONDON:

1832

PREFACE.

The completion of the Twentieth Volume of this Miscellany presents us
with another cause for self-gratulation, and thankful acknowledgement
to the reading public. This continued and unimpaired success amidst
a myriad of new-born aspirants, is the best proof of our maintenance
of public esteem; and so long as our efforts are guided by the same
singleness of purpose that first directed them we shall hope for
a continuance of such favour. A multitude of contemporaries "whet
each other;" "thinking nurseth thinking;" and, in like manner,
reading nurseth reading, and awakens a spirit of inquiry, untiring
and exhaustless, among all concerned in pursuit and wholesome
gratification.

In a retrospect of the hundreds of competitors who have started
for the prize of public patronage since our outset, we shall not,
perhaps, be accused of vanity in placing to our own account the first
appropriation of such means as may have contributed to the partial
success of our contemporaries. We owe them nothing but good will;
for we rather regard things poetically than politically, and we are
anxious to inform and amuse the reader--not to perplex, by constantly
reminding him of his uncheery lot in life.

Ten years' establishment in periodical literature may give us a
sort of patriarchal feeling towards others; for, with one exception
THE MIRROR is the oldest weekly journal of the metropolis. In this
comparatively long career, our best energies have been directed to the
progressive improvement of each department of the work. The plan of
embellishment, which may be said to have originated with THE MIRROR,
has been extended and improved, until few subjects are incapable of
successful illustration in its pages; due regard being paid to nicety
of execution, as well as attractive design. So much for the present,
state of our "representative system."

The selection of materials for each sheet of THE MIRROR has been
regulated by a desire to extend useful information, and to cultivate
healthful indications of public taste. In a journal, like the present,
mainly devoted to the accumulation of facts, errors and misstatements
are inevitable; but, our own diligence, aided by sharp-sighted
Correspondents, has, from time to time, guided us to accuracy in
most cases, and directed fruitful inquiry upon matters of no ordinary
interest or character. Scientific information, really made popular,
and of ready, practical utility, has uniformly found admission in
our pages; and, above all, subjects of natural history have received
especial attention, in graphic illustrations--which part of our plan
has been adopted by every cheap journal of the last four years; or,
from the first pictorial description of the Zoological Gardens,
before the publication of the catalogue by the Society; while it is a
source of gratification to know that within the above period, natural
history, from being almost confined to public museums and private
cabinets, has become the most popular study and amusement of the
present day.

Upon the continued cheapness of our little work, we do not intend to
touch, more than by reference to the enlargement of the letter-press
as commenced with the present volume. The alteration has, we believe,
received general approbation; and, either with regard to the extent of
the letter-press, or the condensed character of its subject-matter,
we have still the satisfaction of knowing THE MIRROR to continue,
as it has often been characterized by contemporaries, "the cheapest
publication of the day." Its other merits we are content to leave to
the discernment of each reader.

Our future volume will be conducted upon the plan of its predecessors,
with such improvements as time and occasion may suggest. To one point,
economy of space, we promise our best consideration; though we may
not succeed in rivalling Mr. Newberry, who, the good humoured Geoffrey
Crayon tells us, was the first that ever filled his mind with the idea
of a good and great man. He published all the picture books of his
day; and, out of his abundant love for children, he charged "nothing
for either paper or print, and only a half-penny for the binding."[1]
Rest unto his soul, say we.

This lengthened, but we hope not ill-timed reference to our whole
course of Twenty Volumes has left us but little occasion to speak of
the present portion, individually; although we trust this reference
would be somewhat supererogatory, from the unusual number of
Illustrations, and a copious Index to the main subjects, of the
volume.

To conclude. We thank all Correspondents for their contributions, and
invite their cordial co-operation with our ensuing efforts. So now
"_plaudite! valete!_"

_December 26, 1832._

[Footnote 1: Bracebridge Hall, vol. i.]

NOTICES

OF

WASHINGTON IRVING, ESQ.

AND HIS WORKS.

Washington Irving was born, in the State of New York, in the year
1782, and is, consequently, in his fifty-first year. His early life
cannot better be told than in his own graceful language, prefixed
to the most celebrated of his writings as "the author's account of
himself."

"I was always fond of visiting new scenes, and observing strange
characters and manners. Even when a mere child I began my travels, and
made many tours of discovery into foreign parts and unknown regions of
my native city, to the frequent alarm of my parents, and the emolument
of the town-crier. As I grew into boyhood I extended the range of my
observations. My holiday afternoons were spent in rambles about the
surrounding country. I made myself familiar with all its places famous
in history or fable. I knew every spot where a murder or robbery had
been committed, or a ghost seen. I visited the neighbouring villages,
and added greatly to my stock of knowledge, by noting their habits
and customs, and conversing with their sages and great men. I even
journeyed one long summer's day to the summit of the most distant
hill, from whence I stretched my eye over many a mile of terra
incognita, and was astonished to find how vast a globe I inhabited.

"This rambling propensity strengthened with my years. Books of voyages
and travels became my passion, and in devouring their contents, I
neglected the regular exercises of the school. How wistfully would
I wander about the pier heads in fine weather, and watch the parting
ships bound to distant climes; with what longing eyes would I gaze
after their lessening sails; and waft myself in imagination to the
ends of the earth.

"Farther reading and thinking, though they brought this vague
inclination into more reasonable bounds, only served to make it more
decided. I visited various parts of my own country; and had I been
merely influenced by a love of fine scenery, I should have felt little
desire to seek elsewhere its gratification; for on no country have
the charms of nature been more prodigally lavished. Her mighty lakes,
like oceans of liquid silver; her mountains, with their bright aërial
tints; her valleys, teeming with wild fertility; her tremendous
cataracts, thundering in their solitudes; her boundless plains, waving
with spontaneous verdure; her broad, deep rivers, rolling in solemn
silence to the ocean; her trackless forests, where vegetation puts
forth all its magnificence; her skies, kindling with the magic of
summer clouds and glorious sunshine:--no, never need an American
look beyond his own country for the sublime and beautiful of natural
scenery."[2]

[Footnote 2: Sketch Book, vol. i.]

Mr. Irving began his career, as an author, in periodical literature.
His first work was a humorous journal, entitled "Salmagundi, or the
Whim-Whams and Opinions of Launcelot Langstaff, Esq. and Others,"
originally published in numbers in New York, where it met with a very
flattering reception. The date of the first paper is Saturday, January
24, 1827.

Salmagundi has been several times reprinted in this country; and it
may be acceptable to know, that the cheapest, if not the most elegant,
edition may be purchased for twenty-pence. It would be difficult to
explain the merits of Salmagundi to the reader, as they are of the
most varied character; but, it may be remarked generally, that a vein
of quaint humour and human kindness pervades these early papers, which
will bring the reader and writer to the best possible terms.

This lively miscellany was followed by a humorous History of New York,
with the somewhat droll _nom_ of Dedrick Knickerbocker as its author.
It possesses considerable merit, with a nice perception of the
ludicrous; but, on its first appearance, this recommendation was
generally overlooked, whether from the local interest of the subject,
or the want of due judgment in its readers, it is difficult to
determine.

About this period Mr. Irvine's name was heard in England, almost for
the first time; his only claims to public notice resting entirely
on Salmagundi, and the History of New York. He was indebted for his
introduction to the acquaintance of European readers, to a young
fellow-countryman of high attainments, who alludes to the above works
and their author in the following terms:--"Mr. Irving has shown much
talent and great humour in his Salmagundi and Knickerbocker, and they
are exceedingly pleasant books, especially to one who understands the
local allusions."

A few years subsequent to the publication of Knickerbocker, Mr. Irving
visited England, or the "land of wonders," as he facetely terms
our favoured isle. During his stay, he wrote a series of papers,
illustrative of English manners, which were chiefly printed in
America. These papers were afterwards published in a collected form,
in England, under the title of "The Sketch-Book of Geoffrey Crayon,
Gent." and dedicated to Sir Walter Scott, "in testimony of the
admiration and affection of the author." In the advertisement to the
Sketch-Book, Mr. Irving thus modestly refers to its origin:

"The author is aware of the austerity with which the writings of
his countrymen have hitherto been treated by British critics: he
is conscious too, that much of the contents of his papers can be
interesting only in the eyes of American readers. It was not his
intention, therefore, to have them reprinted in this country. He
has, however, observed several of them from time to time inserted in
periodical works of merit, and has understood that it was probable
they would be republished in a collective form. He has been induced,
therefore, to revise and bring them forward himself, that they may
at least come correctly before the public. Should they be deemed of
sufficient importance to attract the attention of critics, he solicits
for them that courtesy and candour which a stranger has some right to
claim, who presents himself at the threshold of a hospitable nation."

Mr. Irving's solicitations were not made in vain, as the rapid sale
of several editions must have convinced him; while every journalist
in the empire hailed the work as the most beautiful specimen of
Transatlantic talent which had been recognised in this country.

The two volumes of the Sketch-Book appeared at different periods;
and, at the conclusion of the second, we find the following
apologetic postscript: "The author is conscious of the numerous
faults and imperfections of his work; and, well aware how little
he is disciplined and accomplished in the arts of authorship. His
deficiencies are also increased by a diffidence arising from his
peculiar situation. He finds himself writing in a strange land,
and appearing before a public, which he has been accustomed, from
childhood, to regard with the highest feelings of awe and reverence.
He is full of solicitude to secure their approbation, yet finds that
very solicitude continually embarrassing his powers, and depriving
him of that ease and confidence which are necessary to successful
exertion. Still the kindness with which he is treated encourages him
to go on, hoping that, in time, he may acquire a steadier footing; and
thus he proceeds, half venturing, half shrinking, surprised at his own
good fortune, and wondering at his own temerity."

The success of the Sketch-Book was followed by the almost equal
fortune of "Bracebridge Hall, or the Humorists;" a series of scenes
of Old English life, as displayed in one of those venerable halls,
that rise, here and there, in a British landscape, as monuments
of the hospitality of our ancestors, and better times. In the
autobiographical chapter of this work, the writer thus pleasantly
refers to his previous success, as "a matter of marvel, that a
man, from the wilds of America, should express himself in tolerable
English. I was looked upon as something new and strange in
literature,--a kind of demi-savage, with a leather in his hand,
instead of his head; and there was a curiosity to hear what such
a being had to say about civilized society." In referring the
circumstances under which he writes his second work on English
manners, he says: "Having been born and brought up in a new country,
yet educated from infancy in the literature of an old one, my mind
was filled with historical and poetical associations, connected with
places, and manners, and customs of Europe; but which could rarely
be applied to those of my own country. To a mind thus peculiarly
prepared, the most ordinary objects and scenes, on arriving in Europe,
are full of strange matter, and interesting novelty. England is as
classic ground to an American, as Italy is to an Englishman; and Old
London teems with as much historical association as mighty Rome."
There is, also, great amiability in the concluding paragraph:--"I have
always had an opinion, that much good might be done by keeping mankind
in good humour with one another. I may be wrong in my philosophy; but
I shall continue to practise it until convinced of its fallacy. When I
discover the world to be all that it has been represented by sneering
cynics and whining poets, I will turn to and abuse it also; in the
meanwhile, worthy reader, I hope you will not think lightly of me,
because I cannot believe this to be so very bad a world as it is
represented."

Soon after the publication of Bracebridge Hall, Mr. Irving left this
country, where he had passed two years with literary and pecuniary
advantage. He quitted England with a pathetic farewell; declaring that
if, as he is accused, he views it with a partial eye, he shall never
forget that it is his "fatherland." On the consanguinity of England
and America too, and the cultivation of good feeling between them, he
thus touchingly expresses himself in Bracebridge Hall: "We ask nothing
from abroad that we cannot reciprocate. But with respect to England,
we have a warm feeling of the heart, the glow of consanguinity
that still lingers in our blood. Interest apart, past differences
forgotten, we extend the hand of old relationship. We merely ask, do
not estrange us from you, do not destroy the ancient tie of blood, do
not let scoffers and slanderers drive a kindred nation from your side.
We would fain be friends, do not compel us to be enemies." There is a
manly affection in these sentiments which is truly admirable.

Mr. Irving's works, with the exception of his early efforts,[3] had
been the result of his love of travel: indeed, he describes himself
as a traveller who has "surveyed most of the terrestrial angles of the
globe." In similar vein, he next produced two volumes of "Tales of a
Traveller," narrating legends of the continent, with masterly sketches
of the scenery of the respective countries; the incidents of the Tales
being fraught with points of grotesque humour, and abounding with
pathos and poetic feeling.

[Footnote 3: Among Mr. Irving's early effusions are Lines written on
the Falls of the River Pasaic which are not printed in the author's
works, but will be found in _The Mirror_, vol. ii. p. 452.]

To these Tales succeeded a work of greater importance in literature
than either of Mr. Irving's previous undertakings. We allude to a
History of the Life and Voyages of Columbus, in four vols. 8vo., which
appeared in the year 1828. Mr. Irving, at the time this work was first
suggested to him, in the winter of 1825-6, was at Bordeaux; and, being
informed that a biography was about to appear at Madrid, containing
many important and some new documents relative to Columbus, he set off
for the Spanish capital, to undertake the translation of the work.
Mr. Irving, however, meeting with numerous aids at Madrid, resolved
on producing an original history, which he has presented to the public
with extreme diffidence: "all that I can safely claim," he observes,
"is, an earnest desire to state the truth, an absence from prejudices
respecting the nations mentioned in my history, a strong interest in
my subject, and a zeal to make up by assiduity for many deficiencies
of which I am conscious." This work has been abridged by Mr. Irving
to one of the volumes of the Family Library. As we have intimated to
the reader, it is of higher pretensions than either of the author's
previous writings: a clever critic refers to it as "a spirited and
interesting work, in which every thing is as judiciously reasoned as
it is beautifully and forcibly expressed," and as "much more grave in
its character and laborious in its execution than any of his preceding
ones."[4]

[Footnote 4: New Monthly Magazine.]

Mr. Irving's next production was "A Chronicle of the Conquest of
Granada," in which the author's knowledge of Spanish history is made
to shine in detailing the chivalrous glories of the New World.

In the spring of the present year it appears that Mr. Irving touched
"the golden shores of old romance," and published Tales of the
Alhambra; the origin of which work is thus told by the author. A few
years since, Mr. Wilkie, the distinguished R.A. and Mr. Irving were
fellow travellers on the continent. In their rambles about some of
the old cities of Spain, they were struck with scenes and incidents
which reminded them of passages in the Arabian Nights. Mr. Wilkie
urged his companion to write something that should illustrate those
peculiarities, "something in the Haroun Alraschid style" that should
have a dash of that Arabian spice which pervades everything in Spain.
Mr. Irving set about his task with enthusiasm: his study was the
spacious Alhambra itself, and the governor gave the author and his
companion, permission to occupy his vacant apartments in the Moorish
palace: Mr. Wilkie soon returned to England, leaving Mr. Irving at
the Alhambra, where he remained "for several months, spell-bound in
the old enchanted pile." The result was two volumes of legends and
traditions, which for interesting incident, and gracefulness of
narrative, have few parallels in our romance-writing.[5] They are
dedicated, in good taste, to the ingenious originator, Mr. Wilkie.

[Footnote 5: For Two Illustrations and Notice of this interesting
work, See _Mirror_, vol. xix. p. 337 to 342; whence the above origin
of the work has been quoted.]

In person, Mr. Irving is of middle height; and, according to a
contemporary, of "modest deportment and easy attitude, with all the
grace and dignity of an English gentleman."[6] Another describes
him as "a most amiable man, and great genius, but not lively in
conversation." His features have a pleasing regularity, and are lit
up, at every corner, with that delightful humour which flows in a rich
vein throughout his writings, and forms their most attractive charm.

[Footnote 6: Fraser's Magazine.]

Having noticed Mr. Irving's principal works, we have left but little
occasion to speak of his general style. A contemporary has denominated
him the "Goldsmith of the age;" and of Goldsmith we must remember
that, in his epitaph, Dr. Johnson observes: "he left no species of
writing untouched, and adorned all to which he applied himself"--a
tribute which can scarcely be appropriately paid to any writer of
our time. However, we know not any author that Mr. Irving so much
resembles as Goldsmith: although no imitator, his style and language
forcibly remind us of that easy flow so peculiar to the Citizen of
the World. But, we have higher warrant for this parallel. "It seems
probable," observes a critical writer of considerable acumen, "that
Mr. Irving might prove no contemptible rival to Goldsmith, whose turn
of mind he very much inherits, and of whose style he particularly
reminds us. Like him, too, Mr. Irving possesses the art of setting
ludicrous perplexities in the most irresistible point of view, and we
think equals him in the variety of humour."[7]

[Footnote 7: Quarterly Review.--Such is the variety displayed in
the Salmagundi; the papers were supposed to be the joint efforts of
several literati.]

To conclude, we find the literary character of Mr. Irving illustrated
in a contemporary journal, with unusual spirit. "There never was a
writer," observes the editor, "whose popularity was more matter of
feeling, or more intimate than Washington Irving, perhaps, because
he appeared at once to our simplest and kindliest emotions. His
affections were those of 'hearth and home;' the pictures he
delighted to draw were those of natural loveliness, linked with human
sympathies; and a too unusual thing with the writers of our time--he
looked upon God's works, and 'saw that they were good.' * * * With
him the wine of life is not always on the lees. An exquisite vein of
poetry runs through every page,--and of poetry, his epithets who does
not remember--'the shark, glancing like a spectre through the blue
seas.'"[8]

[Footnote 8: Literary Gazette.]

ALPHABETICAL INDEX.

  A.B.C. botanical, 336
  Abernethian, a true one, 160
  Absence, Lord Lyttleton's, 318
  Accumulation of Power, 55
  Acid, Oxalic, 207
    Tartaric, 206
  Action in forces, time of, 55
  Adam, death of, 133
  Adieu, the, by Lord Byron, 12
  Adrian and Apollodoras, the architect, 384
  Advice, by a Man of the World, 10
  Ætna, visit to the summit of, 202
  Agincourt, ballad of, 101
  Alchemy and Printing, 160
  Ale, bad Saxon, 261
    Burton, 304
  All on one side, 318
  Almanacs, Saxon, 54
  American Deer, mode of hunting them, 339
    Improvements, 102
    Navy, 102
    Newspapers, 102
    Papermaking, 103
    Prison Discipline, 286
    Wolves, 340
  Ancients and Moderns, by Voltaire, 163
  Angelica Kauffman, anecdote of, 291
  Angler, an odd one, 317
  Animal Instinct exemplified, 327
  Annuals for 1833:
    Amulet, 392--413
    Book of Beauty, 386
    Comic Offering, 389
    Forget-me-not, 282
    Friendship's Offering, 399
    Hood's Comic, 287
    Juvenile Forget-me-not, 334
    Literary Souvenir, 420
    Picturesque, 386
  Antiquities, Domestic, 337
  Antwerp, Citadel of, described, 405
    City of, described, 369
    Painters born at, 380
  Aphorisms, choice, 442
  Apologues, from the German, 403
  Ararat, Mount, described, 313--379
  Araspes and Panthea, anecdote of, 258
  Architecture, ancient domestic, 274
  Archy Armstrong, grave of, 416
  Armada, the, by T.B. Macauley, Esq. 399
  Armadillo, history of, 56
  Armour, old English, 437
  Arrogance, Feltham on, 271
  Arrow Root, preparation of, 264
  Arundel Castle, described, 157
  Asmodeus in London, 364
  Atmosphere, constitution of, 206
  Atmosphere, properties of, 134
  Auctions by the Drum, 330
  Bachelors, Laws respecting, 35--339
  Bagdad, plague at, 75
  Bailly, physician to Henry IV., 96
  Bar, anecdotes of the, 277
  Barbel, large, 96
  Bat, new species of, 408
  Bath in Persia, described, 145
  Baths, ancient and modern, 372
  Battle, fish, 354
  Beaches, sea, changes of, 79
  Bear-hunting in Canada, 91
  Beatrice Adony and Julius Alvinzi, a tale, 420
  Beauchief Abbey, described, 113
  Becket, murder of, 114
  Bede, Venerable, memoir of, 440
  Beefeaters, origin of, 80
  Bees, economy of, 38
  Beet root sugar, 88
  Beetle, ravages of, 175
  Bell, ancient, 345
  Belvoir Castle, history of, 129
  Bennett, Mr. George, visit to Rotuma, 377
  Berwick, siege of, 222
  Bewick, the engraver, birthplace of, 17
  Bibb, the engraver, 368
  Birds, bills of, 96
  Birds, how they fly, 134
  Birds, migration of, 40
  Black Lady of Brabant, 140
  Blacking, antiquity of, 192
  Blessington, lady, her conversations with Lord Byron,
    6--86--110--156--269
  Blind Seal, the, a tale, 298
  Blood, price of, 71
  Bloodless War, 336
  Boar's head at Christmas, 431
  Bolsover Castle described, 161
  Bond, Mr. Sergeant, anecdote of, 278
  Bones, waste of, 366
  Borough, origin of the term, 211
  Boy Burglars, account of, 333
  Books, new, noticed and quoted:
    Abrantes, Duchess of, her memoirs, 47--106--191
    Babbage's Economy of Machinery and Manufactures, 27--54
    Barrington's Sketches, 52
    Biblical Atlas, 44
    British Museum, 140--158
    Buccaneer, 428
    Byron's Works, 12
    Catechism of Phrenology, 45
    Characteristics of Women, 117
    Contarini Fleming, 10
    Double Trial, 125
    Elements of Chemistry, 206
    Encyclopædia Americana, 102
    Excursions in India, by Capt. Skinner, 105
    Framlingham, a Poem, 306
    Geography, Questions in, 45
    Gordon on Elemental Locomotion, 183--198
    Knowledge for the People, 77--134--429
    Life of Peter the Great, 300--308
    Laconics, 31
    Legends of the Library at Lilies, 350--403
    Legends of the Rhine, 138
    Life of Charlemagne, by G.P.R. James, 92--119
    Lives of Scottish Worthies, 221--233
    Macculloch's Dictionary of Commerce, 151--279
    Memoir of Felix Neff, 147--171
    Natural Magic, by Sir David Brewster, 72--107--191
    New Gil Blas, 186
    Numismatic Manual, 223
    Outlines of General Knowledge, 45
    Pilgrimage through Khuzistan and Persia, 73--314
    Pompeii, 412
    Popular Zoology, 57
    Private Correspondence of a Woman of Fashion, 157--165--235
    Sketches from Venetian History, 60
    Songs, by Barry Cornwall, 11--46
    Statistical Sketches of Upper Canada, 29--57--91
    Taylor's Records of his Life, 291--317
    Trials of Charles I., 41
    Wild Sports of the West, 298
  Brain of Man, 96
  Braithwaite's Steam Fire-Engine, 111
  Brass-plate Coal-merchants, 56
  Bread, legal adulteration of, 366
  Brent Tor church, 112
  Brevities, 179
  Bridewell, in the reign of Elizabeth, 357
  Bridge, stupendous, in Spain, 24
  Britain, early inhabitants of, 276--371
  British Artists' Exhibition, 330--362
  British Institution, School of Painting at, 362
  British Museum, the, 140
  Brougham, Henry, anecdote of, 182
  Brydges, Sir Egerton, 86
  Bull, national, 240
  Burnham Abbey described, 81
  Bustard, natural history of, 328
  Butterfly, Chameleon, and Serpent, 425
  Byron, Lord, conversations with, 6--86--110
    and Anastasius, 156
    early poems, by, 12
    and Earl Grey, 80
    and the English, 9
    and Mrs. Hemans, 156
    and Mr. Hope, 156
    on horseback, 110
    and Leigh Hunt, 157
    and Italian women, 117
    his love, 269
    letter of, 290
    and Moore, 7
    personal description of, 7
    and Scott, 110
    and Shelley, 9
    and Madame de Stael, 86
    and Venice, 63
  Cæsar, Julius, his superstition, 238
  Cairngorm, origin of, 77
  Caliga, origin of, 112
  Caloric, or the matter of heat, 206
  Canada, climate of, 57
    notes on, 29
  Canary Birds, breeding, 111
  Candelabra and Lamps of Pompeii, 412
  Canning, Mr., statue of, 25
  Cannon Clock, 144
  Cannon, names of, 160
  Canova, vase, containing the heart of, 169
  Caprices, national, 439
  Caps, laws relating to, 319
  Cara, lines to, 272
  Carding a Tithe-Procter, 52
  Card-playing, indifferent, 318
  Cards, second-hand, 425
  Caroline, the late Queen, 158
  Cartoons at Hampton Court, 287
  Cascades and Cataracts, origin of, 97
  Cashmere Shawl goat, 94
  Castle of Framlingham, 305
  Catacombs at Paris, lines on, 338
  Castanets, origin of, 160
  Cats horticulturists, 80
  Cedar trees, large, 341
  Chair, ancient, 344
    of St. Bede, 440
  Chairing, parliamentary, origin of, 176
  Chancellor, Lord, his office, 71
    Salary, 128
    Start in Life, 125
  Chapel on the Bridge, Wakefield, described, 401
  Chaptel, memoir of, 88
  Charlemagne, life of, 93, 128
    palace of, 119
  Charles I., Trials of, 41
    II., progress of, 261
  Charters in the British Museum, 336
  Chase, the, a sketch, 21
  Chatsworth, beauties of, 432
  Chimneys, invention of, 139
  Chlamyphorus, natural history of, 263
  Cholera, a cleanser, 432
    Mount, by Montgomery, 315
  Christmas, ancient and modern, 419
    carols, 430
    Dalmatia, 419
    Hereford, 438
    Kent, 419
    Mexico, 438
    Norfolk, 419
    Why and Because of, 429
  Church, Lestingham, described, 297
    new, St. Dunstan's, 34
  Cigar smoking, motto for, 208
  Cinnamon and Cassia, 425
  Cinque Ports, their past and present state, 299
  Climatology, notes on, 134
  Clockmaking in the 9th century, 127
  Coach, the last, 432
  Coals, high price of in London, 366
  Coffee, duty on, 80
    house, London, in 1731, 358
    on roasting, 366
  Coins, to read in the dark, 191
  Colouring Cheese, 425
  Colton, the Rev. Mr., 3
  Column of Disgrace, 69
  Comet of Biela, 185
  Comparison, all things by, 368
  Compliments, value of, 384
  Condors, a pair of living, 303
  Continence, anecdotes of, 258
  Cookery, Chinese and Russian, 48
  Cool Tankard at Newgate, 192
  Coronation, expenses of the last, 32
  Court Jester, by Fuller, 352
  Courtier, an excellent, 352
  Cowards, a warning to, 48
  Cowley, the poet, 336
  Cranmer, education of, 75
  Craven, in Yorkshire, cave at, 87
  Criminal Law, reform of, 267
  Criticism, political, 207
  Critics, warning to, 352
  Cromwell, character of, 428
  Cross Readings, from the Spanish, 144
  Crosses, curious ancient, 113--329--360--424
    Cornwall, 424
    Devon, 424
    Eyam, 113
    Holbeach, 329
    Leighton Buzzard, 329
    Neville's, 360
    in the Peak, 113
    Percy's, 361
    Wheston, 113
  Crown, British, pawned, 358
  Crucifixes, initials on, 430
  Crusader, monument of, 441
  Crusades, errors respecting, 319
  Crystal, origin of, 77
  Curran and the Mastiff, 48
  Curse of the Black Lady, a legend, 139
  Cuttle-fish, ink of, 175
    natural history of, 103
  Cuvier, memoir of, 137
  Dacre, Lady, her eccentricities, 153
  Dairyman's Daughter, 112
  Damary Oak Tree, 112
  Dante's Tomb, 168
  Deafness, convenient, 176
  Death, punishment of, 71
    the actor, epitaph on, 448
  Deepdene, notice of, 149
  Deer of North America, 339
  Dew, explanation of, 304
  Derbyshire, antiquities of, 116
  Dibdin, the song-writer, 128
  Dice, invention of, 384
  Dick's Coffee-house, 16
  Diorama, Regent's Park, 40
  Disease, causes of, 266
    effect of on the memory, 190
  Disposal of the body for dissection, 292
  Distinction and Difference, 343
  Dodo, natural history of, 311
  Dovaston, Mr., his sketches of Bewick, 18
  Dove, the River, 288
  Dover, antiquity of, 294
  Drama, essay on, 82
  Dramatis Personæ, origin of, 447
  Drawing an inference, 292
  Dream of the Beautiful, 82
  Dripping Rock in India, 160
  Drop of Dew, by Marvell, 199
  Druids and their times, 20
  Dryburgh Abbey, lines on, 268--296
  Dryden's M'Flecknoe, 208
  Ducks, wild, catching in India, 160
  Duelling, 343--416
  Eagle's Cliff, visit to, 299
  "Eclipse," the horse, 354
  Economy of Conveyance by Steam, 183
    Time and Materials, 54
  Edinburgh, by Mr. Cobbett, 287
  Egyptian Pyramids and Hindoo Temples compared, 158
  Elephant, natural history of, 66
  Elephants in the Zoological Gardens, 66
  Edmonton, Merry Devil of, 367
  Eldon, Lord, his birthplace, 193
  Elections, bribery in, 192
  Electioneering in Westminster, 351
  Electro-Magnet, the largest, 128
  Elm, prodigious, 288
  Emigration to British America, advantages and disadvantages of, 444
  Emigration to Canada, 28
  Enchantress, a tale, 386
  England and France, former junction of, 448
  Ennui, universal, 366
  Envy, Owen Feltham on, 64
  Epitaph at Bristol, 336
  Epitaphs in Cambridgeshire, 368
  Errors of the Day, 142
  Essequibo, sailing up the, 359--379
  Ethelbert and Elfrida, a tale, 323
  Euphrates, sailing up, 74
  Explosion, tremendous, 272
  Extravagance, imperial, 416
  Eyam, cross at, 113
  Eye, structure of, 72
  Eyes and Tears, by Marvell, 199
  Eyes, varieties of, 96
  Falconry Tenure, 345
  Falls of the Genesse, 97--342
    Niagara, visit to, 446
  Farewell to the Muse, by Lord Byron, 13
  Fashionable Manners, effects of, on Tradesmen and Servants, 331--348
  Fat Living, 261
  Favour, the only one, 80
  Ferdinand VII. of Spain, character of, 444
  Fern Owl, habits of the, 174
  Fielding, Sir John, anecdote of, 279
  Fish, consumption of, 415
  Fishing, expensive, 432
  Fleurus, battle of, 431
  Flour, good, economy of, 366
  Flybekins, a humorous story, 389
  Fontenelle, genius of, 111
  Food, animal and vegetable, 35
  Foot of Man, 96
  Forest Schools, 111
  Framlingham Castle, 305
  Francis, Sir Philip, epigram on, 336
  French manners, 47
  Fruit, effects of, and cholera, 79
    maturation of, 39
  Funeral garlands, 20
  Funerals, Portuguese, 70
  Garnets, varieties of, 78
  Gazel, a ballad, by Moore, 10
  Genesse, river of, 98--342
  Genius, tributes to, 168
  Geological changes by the sea, 78
  Germans, ode to the, by Campbell, 9
  Gilpin, John, popularity of, 367
  Gipsies, king of, elegy on, 285
    of old, 270
  Giulietta, a tale, 282
  Goat of Cashmere, 94
  Goethe, medal of, 143
    memoir of, 89--112
  Gold-beating, particulars of, 320
  Golden sands, 70
  Goldsmith, Oliver, brother of, 275--402
  Goose on Michaelmas Day, 208
  Grace Huntley, Trials of, 393
  Grose, Major, in Dublin, 318
  Gudiaro, bridge across the, 24
  Guides in India, 272
  Ha! Ha! Fence, origin of, 448
  Hail Storms in India, 128
  Hale, Sir Matthew, 267
  Hall, old, in Derbyshire, 273
  Hampden, John, anecdote of, 160
  Hanging, antiquity of, 192
  Harvest home custom, 368
  Hastings, antiquity of, 294
  Hawthorn well, the, 339
  Head-dress of the 14th century, 358
  Hemans, Mrs., 110
  Henry VIII. and Queen Katherine, 261
  Hereford, Cathedral of, 324
  Hoarding Money, 143
  Holland, outline of, 338
  Holy Cross, history of the, 392
  Home of Love, the, 170
  Home Truth, 64
  Homeward Voyage, the, 98
  Howard, the Hon. Charles, Lines to the memory of, 149
  Hunchback, merits of the, 365
  Huntsman, the, a tale, 67
  Hythe, antiquity of, 294
  Ignorance, imperial, 352
  Illumination, origin of, 176
  Imaum at Muscat, court of, 73
  Incident on the coast, 373
    in the life of a Rascal, 58
  Inconsolable persons, 384
  India, Letters from, 100
    hail-storms in, 128
    servants in, 105
  Inheritance, custom of, 276
  Innkeepers of former times, 79
  Irish bar, anecdotes of, 63--80
  Irish Mantle, Spencers account of, 415
  Italian, lines from, 339
  Jackalls in India, 80
  Jack Spencer, eccentricities of, 317
  James I., boyhood and education of, 233
  Jemmy Maclaine, the highwayman, 291
  Jews, persecution of, 319
  John, King, death of, 288
  Johnson, Dr., birthplace of, 257
    and George III., 318
    pun by, 272
  Jones, Sir William, his plan of study, 358
  Judas Iscariot's betrayal of Christ, 120
  Judge, upright, one, 267
  Juliet, character of, 117
    tomb of, 265
  Junot and Napoleon, anecdote of, 190
  Kemble, John anecdote of, 318
  Ken, bishop, 48--336
  Kenulph, King, his daughter, a tale, 4
  Key, ancient, 337
  King William IV., domestic habits of, 303
  Kings, poverty of, 358
  Knife-handle, antique, 345
  Knowledge, how to acquire, 416
  Korner, lines from, 38
  Laconics, 31
  La Fontaine, absence of, 111
  Land-storm, tropical, 426
  Landers' Voyage and Discoveries on the Niger, 149
  Langreish, Sir Hercules and his friend, 63
  Last of the Family, 156
  Laurencekirk Snuff-boxes, 151
  Lawrence, Mr. Justice, 277
  Laws of the Navy, ancient, 134
  Learned Ladies, 304
  Lee, church at, described, 153
  Leg, the worst, 368
  Lestingham Church described, 297
  Levee of the Sheik of Fellahi, 75
  Life, progress of, 144
  Libels on Poets, 290
  Lifting heavy persons, 73
  Lines to ----, 226
  Lion-killer, 80
  Lisbon described, 209
    dandy, 69
    dinner, 70
    dockyard, 70
    dogs, 70
    vanity, 70
    water-carrier, 70
  Lock, miniature, 352
  Locomotive Engines in America, 192
  Lord Mayors of London, 176
  Lords, house of, forms of, 325
  Lord's Prayer in Arawaak, 320
  Louis XIV., real character of, 84
  Lucretia Davidson lines on, 148
  Lucretius, extract from, 192
  Ludlow Castle, stanzas on revisiting, 67
  Lydford Bridge described, 289
  Machinery and Manufactures, economy of, 27
  Macklin's grand pause, 367
  Madonna, Italian hymn to, 34
  Magic in the East, true stories of, 26--76
  Magic, natural, 72
  Making and manufacturing, 55
  Maltese Legend, 370
  Malt Liquor, antiquity of, 227
  Manchester, public buildings of, 177
    Infirmary, 178
    Royal Institution, 179
    Town Hall, 178
  Manners, family, history of, 130
  Marriage, curious, 271
  Marriage custom, 439
  Marrying, excuses for not, 336
  Mercers and Drapers, respectability of, 320
  Merchants, opulent British, 319
  Men of no business and paper cutting, 272
  Michael Angelo, ecstasy of, 16
  Mind on the Body, influence of the, 354
  Mistletoe, origin of, 430
  Mock-heroics, 304
  Monasteries, error respecting, 265
  Money, Anne's, 224
    of Betrayal, or Price of Blood, 120
    Charles, I. and II., 224
    Cromwell, 224
    Ecclesiastic, 223
    Edward I. and IV., 223
    Henry VII., 223
    James II., 224
    Milled, 224
    Richard III., 223
    Stephen, 223
  Moody, the actor, avarice of, 367
  Mortality, comparative, in England, 152
  Mosaic Pavement described, 409
  Muscular strength, extraordinary, 432
  Mussulman and Hindoo religion, 80
  My Fatherland, 38
  Nankeen, varieties of, 416
  Napoleon's Return from Elba, 165
  National Gallery, the proposed, 64
  Natural History, errors in, 38
  Nature, luxuriance of, 175
  Necklaces, satin-stone, 342
  Nell Gwynne and Dr. Ken, 336
  Newcastle, grammar-school, 193
  Newcastle, the learned duchess of, 161
  Newcastle-under-Lyne, election at, 288
  New Year's Gifts, 439
  Niagara, recent visit to, 446
  Niger, discoveries on the, 149
  Nightingales in Essex, 144
  Norfolk, the late duke of, 86
  Norton Lees, hall at, 273
  Nugent, Lord and Lady, legends by, 350
  Nutria Fur, account of, 279--314
  O'Brien, the Irish Giant, 182
  Oil in cookery, 352
  Old Soldier, the, a sketch, 403
  Olive Oil, 79--424
  Omen, evil one, 261
  Opera and Theatres in London, 365
  Opal, beauty of, 77
  Oporto described, 49
  Oriental Smoking, 170
  Ornithorhyncus Paradoxus, the, 189
  Ostrich speed, and diet of, 262
    stomach of the, 303
  Otway's "Venice Preserved," 50
  Owen's almshouses, 143
  Paddy Fooshane's Fricassee, 108
  Painters born at Antwerp, 380
  Painter's last passion, 132
    retort, 128
  Panorama of Stirling, 410
  Parliamentary debates, origin of, 128
    forms, 326
  Parliaments, early, 211--325
  Party-spirit, Fuller on, 352
  Past, the, a song, 46
  Past Times, a song, 46
  Pastor, a faithful one, 207
  Patriotism, genuine, 438
  Peak, Antiquities of, 113
  Pearl in the Oyster, 230
  Pekin, ancient trade of, 320
  Pelican, error respecting, 96
  Pennsylvania, settlement of, 208
  Pepper, varieties of, 416
  Perrier, Casimir, memoir of, 116
  Persian Bath, 145
    Fable, 228
  Peru, discovery of, 432
  Peter the Great, anecdotes of, 300--308
    character of, 361
  Peter Pence, origin of, 343
  Peter Simple, life of, 121
  Petition to Time, 11
  Petit-or, value of, 425
  Petrarch's Tomb, 169
  Phillips, Col., recollections of, 402
  Phrenology, curiosities of, 45
  Physician's Fees, 261
  Pic Nic at Tempe, 15
  Pickpockets, qualifications of, 334
  Piracy in olden times, 26
  Pitch-in-the-hole, ancient, 320
  Pitt, Mr., statue of, 40
  Plaint of certain coral beads, 406
  Plants, light and air on, 262
    in rooms, 263
  Poets, Major and Minor, 51
  Pompadour, Madame de, her toilette, by Voltaire, 163
  Pompeii, antiquities of, 412
  Poor Laws, origin of, 327
  Popes, List of, 416
  Portdown Fair described, 121
  Portugal, antiquity of, 48
    manners and customs in, 69
  Posts for Letters, origin of, 322
  Post Office, revenue of, 440
  Potato, economy of, 127
  Poverty, Owen Feltham on, 414
  Prayer, a fragment, 179
  Precious Stones, varieties of, 77
  Preservation of the Human Body, 133
  Primrose, withered, lines on, 95
  Printer, studious, 128
  Printing, invention of, 143
    from wooden blocks, 55
  Prison Discipline in America, 286
  Psalmody, origin of, 146
  Public Credit explained, 142
  Punctuality of Colonel Boswell, 448
  Quadroon Girl, a song, 46
  Quin and Macklin, 367
  Quizzing, literary, 144
  Railway, Liverpool and Manchester, 112
  Raw Materials, 56
  Recollections of a Wanderer 21--373
  Records in the Tower of London, 279
  Regent-street, charms of, 365
  Regulating Power, 55
  Relics of Popery, 344
  Religious Fastings, 195
  Resting-place, the, 354
  Review, the first, 176
  Rhyming Ruminations on London Bridge, 26
  Rising, advantages of early, 16
  Robespierre, anecdote of, 95
    fall of, 106
  Robin Hood, history of, 180--204
  Rome, by T. Moore, 364
  Romeo and Juliet, story of, 118
  Romney, antiquity of, 294
  Rose of the Castle, 133
    of Edendale, by L.E.L., 335
    lines to, 221
  Rotuma, island of, described, 376
  Roundelaye, ancient, 16
  Royalty, freaks of, 207
  Rubens, memoir of, 381
  Ruby, beauty of, 78
  Rye, antiquity of, 295
  Salads, antiquity of, 358
  Salt, fine basket, 425
    good effects of, 265
  Saltpetre, manufacture of, 88
  Sandwich, antiquity of, 295
  Sapphires, beauty of, 77
  Sargasso Weed, account of, 136
  Satin-stone Necklaces, 342
  Saving time in natural operations, 55
  Savoyard, the, a ballad, 275
  School Building in the High Alps, 171
  Schoolmaster's experience in Newgate, 333
  Schools before the Reformation, 75
  Sciences, progress of, 266
  Scipio, continence of, 258
  Scotch "Bluid," anecdote of, 123
  Scott, Sir Walter, Memoir of:
    Abbotsford, 241--247--248--250
      Sonnet, by Wordsworth, 420
    anecdotes of, 435
    baronetcy, 250
    birth of, 241
  Scott, Sir Walter, character of, 255--256
    childhood, 242
    clerk of Sessions, 247
    death, 208--253--
      --on the, by the Author of Eugene Aram, 219
    Dryburgh Abbey, 256--436
    education, 242
    embarrassments of, 251--256
    and the Ettrick Shepherd, 335
    family, 253
    fatal illness, 252
    funeral of, 253
      by an eye-witness, 345
    Life of Napoleon, 251
    love of reading, 243
    law studies, 244
    literary attempts, 244
    marriage, 246
    medal of, 255
    memory, 245
    Melrose Abbey, 436
    parentage, 242
    portraits of, 254
    school days, 243
    Selkirk, 437
    sheriffdom, 246
    telling a story, 243
    Works of:
      Dryden and Swift, edition of, 247
      Eve of St. John, 245
      Glenfinlas, 245
      Goetz of Berlinchingen translated, 245
      Lady of the Lake, 247
      Lay of the Last Minstrel, 246
      Leonora, &c., translations of, 245
      Marmion, 247
      Miscellaneous Works, 250
      Novels, List of, 250
      Rokeby and Minor Poems, 249
      unpublished works, 255
      Waverley, 249
        Novels, 252
  Sea, depth of the, 427
  Sea-shore, changes on, 78
  Seal, a blind one, 298
  Seaman, knowing, 432
  Secret Lover, the, from the Persian, 204
  Servants affected by fashionable manners and customs, 331--348
  Servants in India, 105
  Servant, monument to a faithful one, 288
  Servants, Vails to, 318
  Shark, adventure with, 381
  Shaving or throat-cutting, 272
  Shelly, the poet, anecdote of, 407
  Sheridan's Funeral, 448
  Sheriff of London, Journal of, 196--212
  Shrewsbury, Anna Maria, Countess of, 112
  Silk Manufacture, outline of, 446
  Skeleton Dance, from Goethe, 420
  Slave Trade in England, 319
  Smoking forbidden in Parliament, 336
  Snake, anecdote of a tame one, 327
  Snuff-boxes, Laurencekirk, 151
  Snuffers, antique, 337
  Soldier, annual cost of, 176
    dress of, 448
  Solecisms in Language, 350
  Somersetshire, land-custom in, 112
  Song from the Album of a Poet, 98
  Songs, by Barry Cornwall, 46
  Song, Scottish, 317
  Song-writing, spirit of, 11
  Sounds during the night, 107
  Spain, stupendous bridge in, 24
  Spaniards and Portuguese, 69
  Spencer's account of the Irish Mantle, 415
  Spinning-wheel Song, 391
  Spirit of Despotism, by Dr. Knox, 106
  Spirit-drinking, evils of, 307
    in 1736, 133
  Spontaneous combustion, 162--211
  Spring, harbingers of, 174
  St. Cross, Church and Hospital of, 217--228
  St. Dunstan's in the West, new church of, 34
  St. Goar on the Rhine, legend of, 386
  St. Hellen's Well, Staffordshire, 228
  St. James's Park, improvement of, 418
  St. Paul's Cathedral, monuments in, 96
  Stael, Madame de, 86
  Stages, Islington, olden, 335
  Stanzas for Music, 52
  Stationers' Company, origin of, 286
  Statue of Mr. Canning, 25
    of Mr. Pitt, 40
  Steam Carriages on common roads, 183--198
    Coaches and Power, 128
    Engine simplified, 315
    Navigation, 48
    Packets, value of, 272
  Stirling, panorama of, 410
  Stork, the, 216
  Story, extraordinary one, 292
  Strand, the original, 207
  Stranger, a song, 46
  Streets, narrow, of Cairo, 80
  Success in Life, grand secret of, 85
  Suffolk-street Gallery, exhibition at, 330--362
  Sugar, improved raw, 148
  Sugar-refining, history of, 149
  Sumptuary Laws, intention of, 439
  Swampy Kingdom, 207
  Tanfield Arch described, 353
  Tea-makers, hint to, 176
  Tears, the, an apologue, 403
  Teeth of Crocodiles, 96
  Tempe, Pic Nic at, 15
  Temper, equanimity of, 99
  Tenterden Steeple and Goodwin Sands, 38
  Thebes, description of, 141
  Thou wert the Rainbow of my Dreams, 290
  Thurlow, the great Lord, 259
  Tiger, sight of, 100
  Titian, grave of, 216
  Titles, origin of, 287
  Toad-fish, economy of, 135
  Tom Cringle's Log, 381--425
  Tombs, celebrated Roman, 231
  Tomb of Caius Cestius, 233
  Tomb of Cæcilia Metella, 232
    Horatii and Curatii, 233
    Juliet, 265
  Tongue of Man, 96
  Toothache, cure for, 212
  Torchlight custom, 260
  Tornado, by T. Pringle, Esq., 400
  Tory, origin of, 144
  Towers of Tarifa, the, 186
  Trade, anti-free, 304
  Tradesmen affected by fashion, 332--349
  Tradesmen, ancient, 261
  Tragedy and Comedy, essay on, 82
  Traveller's Diary, scraps from, 219--364
  Trials of Grace Huntley, a tale, 395
  Truth, the plain, 207
  Tulip, Fanny Kemble, 272
  Tulip Tree, 38
  Tunnel, natural, in Virginia, 433
  Turkish Baths, 74
  Turncoat, 336
  Turtle Mayor, 336
  Twins, monument of, 240
  Umbrellas, invention of, 269
  Uneducated, who are? 95
  Usury in the Middle Ages, 320
  Van Dieman's Land, civilization in, 5
  Velocity, increased and diminished, 55
  Venice, by T. Moore, 219
  Vestry Dinner in Persia, 75
  Victims of Susceptibility, 154
  Vine, the, an apologue, 403
  Viper, horned, poison of, 354
  Virginia, natural tunnel in, 433
  Voice of Humanity, the, 201
  Volcanoes on the Globe, 448
  Voltaire, anecdote of, 293
  Voyage of Manufacture, 54
  Vulture, 80
  Wakefield, chapel on the bridge at, 401
  Walcot, Dr., and Shield, 448
  Walking Gallows, 52
  Walnut Water, properties of, 176
  Watching for the Soul, 368
  Waterloo, battle of, 235
    child, 128
    day after the battle, 166
    the year of, 165
  Wearied Soldier, the, 195
  Weather, journals of, 111
  Were and Werelade, 71
  Whale, gigantic, account of, 341
  What's in a name? 391
  Wheston, cross at, 113
  When wilt thou return? 290
  Wieland, on the Druids, 20
  Wight, isle of, town in, 225
  Wilks's Cottage, 225
  Wilkes's Luckiest Number, 143
  William the Conqueror, funeral of, 13
  Winchelsea, antiquity of, 295
  Windermere, scene on, 308
  Wines, German, 281
  Wingfield Manor House, described, 321
  Wit, ready, 304
  Witchcraft in 1618, 130
  Witchcraft and Spontaneous Combustion, 162
  Wolves of North America, 340
  Women alias Angels, 32
    characteristics of, 117
    heroic, 16
  Wonders of the Lane, 413
  Wordsworth, sonnet by, 420
  Worm, lines on, 201
  Worsted, origin of, 320
  Wrestling custom at Hornchurch, 319
  Writing in France, 120
  York Column and St. James's Park, 418
  Zoffany, his gratitude, 368
  Zoological Garden, natural, 101
  Zoological Gardens, Regent's Park, 66--199--281
    Armadillo House at, 200
    Aviary, 281
    Deer at, 200
    Elephants at, 200
    Fountain, 281
    Llama House, 200
    Maccaws, 281
    Ostriches, 281
    Repository, 200
  Zoological Gardens, Surrey, 1--303

INDEX TO THE EIGHTY-EIGHT ENGRAVINGS.

  ABBOTSFORD, (Armoury,) 248
    (from the Garden,) 241
    (Study,) 248
  Antique Bell, (Two Cuts,) 345
    Chair, 344
    Key, 337
    Knife-handle, 345
    Snuffers, 337
  Antwerp, (from the Tête de Flandre,) 369
  Ararat, Mount, 313
  Bat, American, 409
  Beauchief Abbey, 113
  Bede's Chair, 440
  Belvoir Castle, 129
  Birthplace of Bewick, 17
    the Earl of Eldon, 193
    Dr. Johnson, 257
  Bob in for Eels, 392
  Bolsover Castle, 161
  Bridge across the Guadiaro, in Spain, 24
  Burnham Abbey, 81
  Bustard, 328
  Chapel on the Bridge, Wakefield, 401
  Chlamyphorus, 264
  Church, (new,) St. Dunstan in the West, 33
  Cross, Cornwall, 424
    Devon, 424
    at Eyam, 113
    at Holbeach, 329
    at Leighton Buzzard, 329
    Neville's, 360
    Percy's, 361
    at Wheston, 113
  Cuttle Fish, (Three Cuts,)
  Dandy Lion, 392
  Dodo, 312
  Dryburgh Abbey, 256
  Elephant bathing in the Zoological Gardens, Regent's Park, 65
  Falls of the Genesse, 97
  Framlingham Castle, 305
  Grave of Titian, 216
  Hall at Norton Lees, 273
  Hospital of St. Cross, (the Church,) 217
  Isle of Rotuma, 376
  Isle of Wight, and Wilkes's Cottage, 225
  Lee Church, Kent, 153
  Lisbon, (general view,) 209
  Manchester Infirmary, 177
    Royal Institution, 177
    Town Hall, 177
  Money of Betrayal, (Two Cuts,)
  Monument of a Crusader, 441
  Oporto, from Villa Nova, 49
  Persian Bath, 145
  Portrait of Chaptal, 88
    Cuvier, 137
    Goethe, 89
  Pursuit of Knowledge, 392
  St. Goar, on the Rhine, 385
  Statue of Mr. Canning, 25
    Pitt, 40
  Tanfield Arch, Durham, 353
  Toad-fish, 136
  Tomb of Caius Cestius, 233
    Cæcilia Metella, 232
    Dante, 168
    Horatii and Curatii, 233
    Juliet, 265
    Petrarch, 169
  Tunnel, Natural, in Virginia, 433
  Vase containing the Heart of Canova, 169
  Wingfield Manor House, 321
  York Column, from St. James's Park, 417
  Zoological Gardens, Regent's Park:
    Aviary, 281
    Armadillo House, 200
    Deer, 200
    Elephants, 200
    Llama, 200
    Maccaws, 281
    Ostriches, 281
    Pond and Fountain, 281
    Repository, 200
  Zoological Gardens, Surrey:
    Building for large Animals, 1
    General View, 1
    Rockwork for Beavers, 1

END OF VOL. XX.


investigation, and deserves the widest circulation among readers who
possess any interest in what he succeeds in making a most interesting
subject.”--BOSTON DAILY ADVERTISER.

“While the more appreciative readers of this volume will be found among
students of architecture, no reader of taste or culture will find its
pages without interest.”--THE TRANSCRIPT, BOSTON.

“A very intelligent and sufficiently lucid discussion of fundamental
principles ... distinguished by a clear, logical precision of
statement, and by a boldness, and not unfrequently by an originality of
deduction, such as cannot be found in the works of European scholars
... lucid enough to commend themselves even to readers unfamiliar with
the technical side of the subject. To such readers, also, the orderly
development of the argument, the frequent, graphic illustrations, ...
and above all, the exhaustive index, cannot fail to serve at once as an
invitation to enter upon a charming field of study, and an inducement
to stay until the last words are said.”--THE ATLANTIC MONTHLY.

                         THE MACMILLAN COMPANY

                     64–66 Fifth Avenue, New York

                         European Architecture

                          A HISTORICAL STUDY

                                  BY
                RUSSELL STURGIS, A.M., Ph.D., F.A.I.A.

 _President of the Fine Arts Federation of New York; Post-President of
 the Architectural League of New York; Vice-President of the National
                       Sculpture Society; etc._

                        8vo. Illustrated. $4.00

                                OUTLOOK

“To the literature of architecture no American is better qualified to
make a contribution of lasting value than Mr. Russell Sturgis.”

                 THE ARCHITECTS’ AND BUILDERS’ REVIEW

“Mr. Sturgis tells his readers exactly what the purpose of his book is,
and raises no expectations that are not fully realized.... It cannot
be too widely known or too carefully studied.... Nothing Mr. Sturgis
can say on the subject of architecture can fail to be interesting and
instructive.... It is not too much to say that this single work forms
the best introduction to the serious study of European architecture
ever published.”

                            THE INDEPENDENT

“In Mr. Sturgis’s ‘European Architecture’ rare good taste, simple
truth, and great knowledge combine to satisfy eye and mind.”

                         THE MACMILLAN COMPANY

                     64–66 Fifth Avenue, New York

               A DICTIONARY OF ARCHITECTURE AND BUILDING

               Biographical, Historical, and Descriptive

                    By RUSSELL STURGIS, A.M., Ph.D.

           _Fellow of the American Institute of Architects_

  And many Architects, Painters, Engineers, and other expert Writers,
                         American and Foreign

          IN THREE OCTAVO VOLUMES--SOLD ONLY BY SUBSCRIPTION

      Cloth, $18.00 net per set Half morocco, $30.00 net per set

                        _COMMENTS OF THE PRESS_

“Ambitious in scope and ample in bulk, the present work bids for
wide acceptance among the general as well as the technical public.
It is practically the only considerable effort to supply encroaching
demands for a compendium which shall be at once convenient as
to form and complete in the matter of contents. The aim of its
compilers has evidently been to strike an average between that which
is popular and that which is for the specialist, and in this they
have shown sagacity. Edited under the direct supervision of Mr.
Russell Sturgis,--who has contributed a momentous proportion of the
material,--the work has enlisted the services of some sixty current
authorities.”--CRITIC.

“Mr. Russell Sturgis is the editor of this important work, and has had
the coöperation of such men as Dr. Cleveland Abbe, Edward Atkinson, E.
H. Blashfield, Henry Van Brunt, ... and others, each of them eminent
in some department of knowledge rendering his aid valuable. It is
somewhat remarkable that there is in English no other dictionary of
architecture, excepting a work in eight volumes said to have been begun
about 1850 and to have been completed only ten years ago. There is
room, therefore, for a modern, scholarly, and reasonably complete work
of this class.

“The present volume, the first of the three proposed, covers the
letters A to E, inclusive. It is comprehensive, concise, although
sufficiently full, untechnical, and easily used. The desirable line
between too scrupulous terseness and too much elaboration of definition
or description has been drawn ordinarily with great success. There
is no hesitation to give space for desirable comment, as in what is
written under ‘Builder,’ for instance, but brevity has been kept in
view throughout the work, and its cross-references facilitate its use.
The titles are in heavy type and at once catch the eye. Illustrations,
numerous and appropriate, some of full-page size, abound, and all in
all the work will meet very satisfactorily a real and important public
need.”--CONGREGATIONALIST.

“Thanks to Mr. Russell Sturgis and a corps of competent assistants, we
now have in ‘A Dictionary of Architecture and Building: Biographical,
Historical, and Descriptive’ a much more valuable work than could have
been hoped for.... Several things are at once noticeable about this
work--the terseness and lucidity of its articles and definitions; the
extraordinary range of its subjects, from the arch of Septimius Severus
to modern apartment houses and tenements, and from St. Paul’s, London,
and the Doge’s palace in Venice, to a crib for hay such as one finds
in rural England, and a peasant’s hut in Asia Minor; the beauty of the
illustrations, and particularly the readiness with which they elucidate
the accompanying definitions and accounts; and the elaborate system of
cross-references, through which a glance at an article on any phase of
a given subject points the way at once to accounts of other related
terms and their uses.

“Perhaps the thoroughly modern spirit which dominates and inspires the
whole work is the feature that distinguishes this book most strongly
from the works in other languages which the seeker for definitions
hitherto has perforce consulted. The writers of these articles are
scholarly men, but they are something more than scholars. They are not
living in the past; they are doing their work in the world to-day,
and their point of view and their tone is a most satisfactory and
practical mixture of culture with the recognition of the needs of
the average American. An important feature of this work will be the
series of articles on the typical architecture of different countries.
Some of those in the present volume deal with the architectures of
Australia, Denmark, and England, while, to judge from cross-references,
the one in the final volume on the architecture of the United States
will be ambitious, elaborate, and inclusive. The connection of this
work with modern building is shown by the two long articles on the
‘Apartment House’ and ‘Electrical Appliances.’ Modern edifices are as
seriously considered as the ancient monuments described and pictured
by Viollet-le-Duc.... Now that it has appeared, this dictionary, many
of whose articles extend to the dimensions of those in encyclopædias,
becomes indispensable in its field.”--BOSTON HERALD.

          THE MACMILLAN COMPANY, 64–66 Fifth Avenue, New York

FOOTNOTES:

[1] _Cronica di Giovanni Villani_, bk. 6, chap. 69.

[2] Cf. Introduction to Villari’s _Niccolo Machiavelli and his
Times_, London, 1878.

[3] Cf. Montalembert, _Les Moines d’Occident_, vol. 2, p. 488
_et seq._

[4] Cf. my _Development and Character of Gothic Architecture_, pp.
304–306.

[5] The Gothic of northern France of the twelfth and early thirteenth
centuries, the only true Gothic art, is here meant.

[6] The Viscount Delaborde, in his book _La Gravure en Italie avant
Marc-Antoine_, Paris, 1883, p. 32, remarks on this with admirable
discrimination as follows: “Certes, sous le pinceau de Botticelli,
de pareils sujets [subjects drawn from Classical Mythology] gardent
un caractère d’élégance tendre et de mélancolie presque analogue à
la physionomie des scènes où figurent l’Enfant-Dieu et la Madone. Il
y a loin de cette manière d’interpréter la Fable aux panégyriques
violemment ou galamment licencieux que les hôtes les plus mal famés
de l’Olympe obtiendront dans les siècles suivants; il y a loin des
gracieuses inventions de Botticelli aux _lascivie_ brutales de
Jules Romain et d’Augustin Carrache ou aux gamineries mythologiques
de Boucher et de ses pareils, et l’on a quelque peine aujourd’hui, en
face d’aussi chastes tableaux, à comprendre la véhémence des reproches
fulminés jadis par Savonarole.”

[7] The elevated domes of Arabian architecture are in many cases
constructed of wood and stucco. When of masonry they are, I believe,
either weighted within where the thrusts fall, or are bound with chains.

[8] I have not examined the dome of Pisa closely on the spot, but I
suppose it is bound with a chain, as we know was the custom at a later
time. Cf. Fontana, vol. 2, P. 363.

[9] There can be little doubt that the dome represented in this
fresco embodies the original project of Arnolfo, though this has been
questioned. Cf. Guasti, _Santa Maria del Fiore_, etc., Florence,
1887, pp. lx-lxi.

[10] This needs to be qualified. The thrusts of the dome being
continuous logically call for continuous abutment, as in the Pantheon,
but the intervals between the abutting members are so small that the
resistance is practically continuous.

[11] By its architectural character, I mean its character as a work of
art. By the term “architecture” we properly mean not building merely,
but the fine art of beautiful building.

[12] This has been based on the affirmations of Vasari, who states
that it was Brunelleschi’s purpose to “restore to light the good
[_i.e._ the ancient Roman] manner in architecture,” and that he
had “pondered on the difficulties” involved in vaulting the Pantheon.
Cf. _Le Opere di Giorgio Vasari_, Milanesi edition, Florence,
1880, vol. 2, p. 337.

[13] A copy of this document is said to have been preserved for some
time in the archives of the Board of Works, but it seems to have
disappeared subsequently. It is given, however, by several writers,
Vasari and Guasti among them. There are slight differences of wording
and of measurements between the transcripts of these two authors. That
of Guasti is the most intelligible, and seems to agree best with the
monument. It reads as follows: “In prima: la cupola, dallo lato di
dentro lunga a misura di quinto acuto, negli angoli sia grossa nella
mossa da piè braccia 3¾, e piramidalmente si muri; sicchè nella fine,
congiunta con l’occhio di sopra, che ha a essere fondamento e basa
della lanterna, rimanga grossa braccia 2½. Facciasi un’altra cupola di
fuori sopra questa, per conservarla dallo umido, e perchè la torni più
magnifica e gonfiata; e sia grossa nella sua mossa da piè braccia 1¼, e
piramidalmente segua, che insino all’occhio rimanga braccia ⅔.

“El vano che rimarrà da l’una cupola all’altra, sia da piè braccia 2:
nel quale vano si metta le scale per potere cercare tutto tra l’una
cupola e l’altra; e finisca ’l detto vano a l’occhio di sopra braccia
2⅓.

“Sieno fatti ventiquattro sproni, che otto ne sieno negli angoli e
sedici nelle faccie: ciascuno sprone negli angoli grosso dappiè braccia
sette. Dalla parte di dentro, e di fuori, nel mezzo di detti angoli,
in ciascuna faccia, sia due sproni; ciascuno grosso dappiè braccia
quattro; e lunghe insieme le dette due volte, piramidalmente murate
insieme insino alla sommità dell’occhio inchiuso dalla lanterna, per
iguale proporzione.

“I detti ventiquattro sproni con le dette cupole sieno cinti intorno
di sei cerchi di forti macigni, e lunghi, e bene sprangati di ferro
stagnato; e di sopra a detti macigni, catene di ferro che cingano
d’intorno la detta volta, co’ loro sproni. Hassi a murare di sodo, nel
principio braccia 5¼ per altezza; e poi seguano gli sproni, e dividansi
le volte.

“El primo e secondo cerchio, alto braccia 2; e ’l terzo e quarto, alto
braccia 1⅓; e ’l quinto e sesto cerchio, alto braccia 1: ma ’l primo
circhio dappiè sia, oltre a ciò, afforzato con macigni lunghi per lo
traverso, si che l’una volta e l’altra della cupola si posi in su detti
macigni.

“E nell’altezza d’ogni braccia 12, o circa, delle dette volte, sieno
volticciuole a botte tra l’uno sprone e l’altro, per andito alla detta
cupola; e sotto le dette volticciuole, tra l’uno sprone e l’altro,
sieno catene di quercia grosse, che leghino i detti sproni e cingano la
volta dentro; e in su detti quercie una catena di ferro.

“Gli sproni murati tutti di pietra di macigno e pietra forte, e le
facce della cupola tutte di pietra forte, legate con sprone insino
all’altezza di braccia 24: e da indi in su si muri di mattoni o di
spugna, secondo che si delibererà per chi allora l’avrà a fare, più
leggieri che pietra.

“ ... Murinsi la cupola nel modo di sopra, senz’ alcuna armadura,
massime insino a braccia 30; ma da indi in su, in quel modo che
sarà consigliato e deliberato per quei maestri che l’avranno a
murare: perchè nel murare la pratica insegna quello che si ha da
seguire.”--Guasti, _La Cupola di Santa Maria del Fiore_, Florence,
1857, pp. 28–30.

[14] Durm, _Die Dom Kuppel in Florenz_, etc., Berlin, 1887, Plate
I, gives an admirable illustration of the internal system of this
remarkable dome, and shows the masonry of the solid base with its
clamps and chains, as described in the document quoted by Guasti (note,
p. 18).

[15] This idea finds expression in the latest work that I have seen
on the subject: _Die Kuppel des Domes Santa Maria del Fiore zu
Florence_. Von Paul Wenz, Berlin, 1901, p. 52; also in Durm, _Die
Baukunst der Renaissance in Italien_, p. 406.

[16] For a full account of the deliberations held, as well as for much
else of importance relating to the building of this dome, see Professor
C. E. Norton’s _Church Building in the Middle Ages_, New York,
Harper & Brothers, 1880.

[17] But while Brunelleschi appears to have had great natural
constructive aptitude, he had not had a sound training or experience
in construction. Such training would have taught him that it would not
do, under any circumstances, to spring a vault from the top of a wall,
and he ought to have learned this from his study of the ancient Roman
monuments.

[18] Nelli, _Discorsi di Architettura_, Florence, 1753, p.
74, reproduces an old drawing which purports to show the form of
the scaffolding that Brunelleschi employed. This drawing bears the
following inscription: “Questa Dimostrazione è di Filippo Brunelleschi
Architetto fatta per e Ponti della Cupola di S. M’ra. del Fiore di
Firenze nell’Anno M.CCCCXIX e fu quella che mostrò quando fu lasciato
in libertà di dover esser solo nell’operazione di d.^a cupola senza il
Ghiberti suo compagno non avendola voluta dar fuori prima di non essere
libero Architetto di d^a Opera; come sentiranno nella sua Vita scritta
da Diversi.” Brunelleschi, in his account of his intentions before the
Board of Works (note, p. 19), would not explain his scheme for the
scaffolding. He said merely that the vault was to be raised, without
centring, to the height of 30 braccia, and from that level upwards, in
the manner that should be advised by those who might then have the work
in charge.

[19] In his explanation of his scheme before the Board of Works, as
given by Vasari, Brunelleschi begins as follows: “Considerato le
difficultà di questa fabbrica, magnifici Signori Operaj, trovo che non
si può per nessun modo volgerla tonda perfetta, atteso che sarebbe
tanto grande il piano di sopra, dove va la lanterna, che mettendovi
peso rovinerebbe presto.” _Op. cit._, vol. 2, p. 347.

[20] It may be thought that this would condemn the use of metal clamps
in masonry, such as were inserted in the walls of the Parthenon, or
the wooden ties that were, in some cases, used in parts of Gothic
buildings. But there is a wide difference between such use of clamps
and ties, and the binding chains of the great domes of the Renaissance.
In the Greek and Gothic work the masonry forms are favourable to
stability independently of the clamps and ties. These were inserted
either for security against unusual dangers, as from earthquakes,
or for temporary security against rupture while the work was in
progress, before the interaction of the parts of the system was
fully established; but a dome without abutment violates the constant
conditions of stability.

[21] _Discrizione e Studj dell’Insigne Fabbrica di S. Maria del
Fiore_, Florence, 1733, p. xxi.

[22] _Memorie degli Architette_, etc., Florence, 1785, vol. 1, p.
190.

[23] Fontana, Nelli, Cecchini, and others.

[24] These ruptures were first observed in the year 1693 (Nelli, _op.
cit._, p. 13), and it was then advised by the architect Carlo
Fontana to add a new chain of iron. Nelli, however, argued that the
fissures had not arisen from thrust, but were due to a slight yielding
of the foundations, and he urged that no chain be added, but that a bit
of marble be dove-tailed into the vault across the opening, in order
that any further movement might be detected by the breaking of this
marble. For three years no further sign of disturbance was noticed,
but a slight earthquake in 1697 broke a portion of the masonry of the
outer face of the dome opposite the fissure across which the marble
had been placed. It appears, however, to have been concluded that
there was still no danger from thrust, and no new chain was inserted.
Cecchini (_Opinione intorno lo Stato della gran Cupola del Duomo di
Firenze_, published together with Nelli’s _Discorsi_, etc., p.
82) speaks of several cracks in both the inner and the outer shells of
the vault, and also in the supporting piers, even down to the ground.
But he agrees with Nelli in attributing these to movements of the
foundations from which he concludes that no further danger is to be
apprehended, and he affirms that the structure is entirely safe.

[25] Cf. Nelli, _op. cit._, p. 73.

[26] The thrusts of a hemispherical dome are, in some degree,
restrained by the binding of its continuous courses of masonry under
compression, but this is not enough for security, as experience has
shown; and in a polygonal dome, like Brunelleschi’s, there is no such
binding force, because there are no continuous circles of masonry.

[27] The term “Byzantine” is often applied loosely to buildings in
which only the ornamental details have a Byzantine character. But the
primary and distinguishing structural feature of Byzantine architecture
is the dome on pendentives. The Byzantine features of the Pazzi are
involved with others derived from different systems, but they are very
distinct. The central vault, though of Gothic form, is supported on
pendentives, and the true dome on pendentives occurs, as we have seen,
in the sanctuary and the porch.

[28] The entablature does, however, occur under vaulting in some
provincial Roman buildings, as in the Pantheon of Baalbek, where it
forms the wall cornice from which the vaulting springs. But this,
though not defensible, is less objectionable than the Renaissance
scheme of an entablature passing through the imposts of archivolts.

[29] As in the arch of the apse of St. Paul outside the wall at Rome,
and in the Baptistery of Florence.

[30] The character of these details will be discussed in the chapter on
the carved ornament of the Renaissance.

[31] Cf. Vasari, _Opere_, vol. 2, p. 368 _et seq._, and Milanesi’s
foot-note, p. 370.

[32] _Op. cit._, vol. 1, p. 200.

[33] _Op. cit._, vol. 2, p. 541.

[34] _Op. cit._, vol. 1, p. 201.

[35] _Op. cit._, vol. 1, p. 201.

[36] Vasari, _op. cit._, vol. 4, p. 152, and Milizia, vol. 1, p.
214.

[37] Figures 21 and 22 are taken from Serlio, _D’Architettura_,
book 3, Venice, 1560, pp. 25 and 40.

[38] _Op. cit._, vol. 7, p. 163.

[39] Serlio, the architect (a younger contemporary of Bramante),
_op. cit._, p. 33, tells us that Bramante, at his death, left no
perfect model of the whole edifice, and that several ingenious persons
endeavoured to carry out the design, among whom were Raphael and
Peruzzi, whose plans he reproduces. That ascribed to Raphael has a long
nave, while that said to be by Peruzzi has the form of the Greek cross
with round apses and a square tower in each external angle. The whole
question of Bramante’s scheme, and of the successive transformations
to which the design for the edifice was subjected before its final
completion, is fully discussed in the work of Baron H. von Geymüller,
_Die ursprünglichen Entwürfe für Sanct Peter in Rom_, Wien and
Paris, 1875–1880.

[40] _Op. cit._, bk. 3, p. 37.

[41] Serlio does not state on what authority this illustration is
based, but there appears no reason to question its correctness. Its
authenticity is discussed by Baron von Geymüller (_op. cit._, p.
240 _et seq._), who accepts it as genuine.

[42] The alterations that have been made at different times since
the original completion of this interior are of no concern here. The
arrangement was practically the same in Bramante’s time as it is now.

[43] Some writers have supposed (cf. Middleton, _Ancient Rome_,
Edinburgh, 1885, pp. 338–339) that the dome of the Pantheon is entirely
of concrete, and without thrusts. We have no means of knowing its
exact internal character, but there is reason to believe that it has
some sort of an embedded skeleton of ribs and arches, with concrete
filling the intervals. But if it were wholly of concrete, as Middleton
affirms, it would not be safe without abutment; for, even supposing
that a concrete vault may be entirely free from thrust in a state of
integrity, there is always a chance of ruptures arising from unequal
settlement, which might at once create powerful thrusts. However this
may be, the fact is that the builders of the Pantheon took care to
fortify it with enormous abutment, which would seem to show that they
did not consider it free from thrust.

[44] Michael Angelo’s model, on a large scale and finished in every
detail, is preserved in an apartment of St. Peter’s.

[45] Michael Angelo’s remark, quoted by Fontana (_Tempio
Vaticano_, vol. 2, p. 315): “Imitando l’antico del Pantheon, e
la moderna di Santa Maria del Fiore, corresse i difetti dell’uno, e
dell’altro,” shows that he regarded as a defect the lowness of the
Pantheon dome, which in point of construction is its capital merit,
and that what he proposed to correct in the dome of Florence was its
octagonal form, which is essential to its peculiar structural system.

[46] A consistent exterior for such a vault would not, of course, be
an unbroken drum, though a perfectly Gothic circular vault might be
thus enclosed within a drum. A consistent external form would require
salient buttresses against the lines of thrust, and the intervals
between these buttresses would be open, as in a Gothic apse.

[47] The outside of this vault is figured in my _Development and
Character of Gothic Architecture_, 2d edition. New York and London.
The Macmillan Co., 1900, p. 287.

[48] Cf. my _Development and Character of Gothic Architecture_, p.
70 _et seq._

[49] The turrets, built upon the supporting piers of the interior, give
the outside of the drum the aspect of a massive lantern.

[50] Cf. Poleni, _Memorie Istoriche delle Gran Cupola del Tempio
Vaticano, e de’ Danni di essa, e de’ Ristoramenti loro_ (Padua,
1768), p. 29.

[51] Milizia, _op. cit._, vol. 2, p. 325.

[52] _Parere di tre Mathematici sopra i danni che si sono trovato
nella cupola di S. Pietro sul fine dell’Anno MDCCXLII. Dato per Ordine
di nostro Signore Papa Benedetto XIV_, Rome, 1742.

[53] See Appendix.

[54] “Cominciato forsi poco dopo terminata la fabrica.” _Op.
cit._, p. 13.

[55] _Ibid._, p. 14.

[56] _Ibid._, p. 15.

[57] _Ibid._, p. 19.

[58] _Op. cit._, vol. 2, pp. 327–328.

[59] It is true that fissures in a properly constructed vault are not
necessarily alarming. Any vault may crack from unequal settlement of
the supports. Gothic vaults are sometimes slightly ruptured in this
way, but they are not thus endangered, because they are effectively
buttressed. But fissures in a dome without abutments may be a sign of
impending collapse.

[60] _Ibid._, pp. 328–329.

[61] _Ibid._, p. 388.

[62] _Op. cit._, p. 399.

[63] The principal work of Bramante’s immediate successors on the
fabric itself appears to have been to strengthen the great piers, which
seem to have been built too hastily, and on insecure foundations.
Poleni tells that in order to strengthen these foundations, well-holes
were dug under them and filled with solid masonry, and that arches were
sprung between these sunken piers, consolidating the whole. _Op.
cit._, p. 19.

[64] _Ibid._, p. 19.

[65] I call the end of the sanctuary “the east end” according to the
nomenclature of the usual orientation. St. Peter’s, as is well known,
does not conform to the general rule which has prevailed since the
fifth century.

[66] These vaults may have been begun by some of his predecessors.
It is impossible to make out how far the building had been actually
advanced by them.

[67] The colossal order of the Temple of the Sun at Baalbek is so
unique in scale, and so little known, that it does not influence our
general notions of the size of a large classic order.

[68] As it actually does in the western part of the nave built by
Maderna.

[69] _Le Vite_, etc., vol. 7, p. 249.

[70] _Il Tempio Vaticano e sua Origine_, etc. Discritto dal Cav.
Carlo Fontana, Rome, 1694, vol. 2, p. 406.

[71] Letarouilly, _Edifices de Rome Moderne_, Paris, 1860, p. 350.

[72] Milizia, _op. cit._, vol. 1, p. 144, affirms that it is by
Bramante.

[73] Cf. Fontana, _op. cit._, vol. 2, p. 363.

[74] Bk. 3, p. 54.

[75] _Op. cit._, vol. 2, p. 240.

[76] _Op. cit._, vol. 2, p. 239.

[77] _Memorie_, etc., vol. 2, p. 36.

[78] _I Cinque Ordini d’Architettura._

[79] _Op. cit._, plate 32.

[80] Bk. 1, chap. 1.

[81] _Op. cit._, vol. 2, p. 30.

[82] The drawings are found in the addendum to the edition of 1617,
plates 7 and 8.

[83] Recent investigations, the results of which are set forth by
Signor Beltrami (_Il Pantheon_, Luca Beltrami, Milan, 1898),
have shown that the existing portico is of later date than either the
rotunda or the rectangular front against which it is set.

[84] “A l’intérieur, pourtourné de pilastres également Corinthiens,
deux parties de l’entablement qui n’ont pas leur raison d’être sous une
voute, c’est-à-dire la frise et la corniche, par un raffinement peu
habituel aux Italiens, ont été supprimées.” _L’Architecture de la
Renaissance_, par Leon Palustre, Paris, Quantin, p. 72.

[85] _Quatro libri dell’Architettura di Andrea Palladio_, Venice,
1581.

[86] _Le Vite_, etc., vol. 2, pp. 432–433.

[87] _Op. cit._, vol. 4, p. 444.

[88] _Op. cit._, vol. 2, p. 537.

[89] I believe I am correct in this. Photographs seem to show it
clearly, but I have not verified this point in the monuments themselves.

[90] _Op. cit_., vol. 1, p. 240.

[91] _Le Vite_, etc., vol. 2, p. 433.

[92] Cf. p. 144.

[93] These ornamental features usually have, however, in Gothic art
some real structural function.

[94] _Op. cit._, bk. 3, p. 53.

[95] _Milizia_, vol. 1, p. 346.

[96] _Milizia_, vol. 1, pp. 346–347.

[97] _Ibid_., p. 351.

[98] “Sansovino lo sciolse con allungar il fregio quanto bastasse per
supplire al difetto di quella porzione di metopa: ed il problema, e ’l
ripiego sono un’inezia.”

[99] _Memorie_, etc., vol. 2, p. 34.

[100] _I Quattro Libri dell’ Architettura_, bk. 3, p. 41.

[101] “Non dubito che questa fabrica non possa esser comparata à gli
edifici antichi e annoverata tra le maggiori, e le più belle fabriche
che siano state fatte da gli antichi in quà, si per la grandezza, e per
gli ornamenti suoi, come anco per la materia, che è tutta di pietra
viva durisima, e sono state tutte le pietre commesse e legate insieme
con somma diligenza.” _Op. cit._, bk. 3, p. 41.

[102] They were grammatical, not in the sense of using the classic
orders with correctness,--this, as we have seen, they did not do,--but
in the sense of arranging their architectural details, such as they
were, on a basis of grammatical order.

[103] Sir William Chambers, in his _Treatise on the Decorative Part
of Civil Architecture_, London, 1791, p. 121, referring to this form
of opening, says, “It is an invention of Scamozzi’s.”

[104] Cf. Casati, _I Capi d’Arte di Bramante da Urbino nel
Milanese_, Milan, 1870, p. 24 _et seq._ That the design of San
Satiro was made by Bramante, Casati gives the evidence of a document
printed in the year 1500 by the deputies of the church in which it
is said, “ ... _Come vi si diede principio dopo l’anno 1470 con
disegno del celebre Bramante_.” And he finds further confirmation of
Bramante’s authorship in a commentary on Vitruvius by Cesare Cesariano,
printed in Como in 1521, where this author states that the church
and sacristy of San Satiro were designed by his preceptor, Donato of
Urbino, called Bramante.

[105] Salient ribs of stucco are carried up in the angles of the dome
of the sacristy as they are in the vaulting of the apses of Todi.

[106] Cf. Casati, _op. cit._, p. 44.

[107] Cf., p. 134, the window sometimes called that of Scamozzi.

[108] _Op. cit._, vol. 2, p. 434.

[109] Melani, _Architettura Italiana_, vol. 2, p. 154.

[110] Cf. _Architettura Italiana_, by Alfredo Melani, Milan, 1887,
vol. 2, p. 157.

[111] Coin of Metapontum.

[112] Vitruvius, bk. 7, chap. 5, refers with disapproval to the
tasteless and meaningless monstrosities embodied in the ornamental art
of his time, and the remains of Roman reliefs offer many examples of
such design.

[113] The theory respecting the use of artificial elements in
architectural ornamentation developed by Ruskin in his well-known
chapter entitled, “The Lamp of Beauty,” in the _Seven Lamps of
Architecture_, is, I believe, entirely right in principle, though
the author is arbitrary in some of his conclusions and overemphatic in
some of his statements.

[114] The most authoritative French writers are misleading in affirming
that no radical departure from their best building traditions was
made by the French architects of the Renaissance. Thus Viollet le Duc
(Dict., vol. 3, _s. v._ _Château_, p. 174) says of these architects,
“Toujours fidèles a leurs anciens principes, ils ne sacrifièrent pas la
raison et le bon sens.” But while affirming this, these same writers
sometimes make admissions which so materially qualify the affirmation
as to deprive it of its truth; thus the same author, remarking on
the changes that were making in the character of the château, adds
(p. 185), “Nous accordons que la tentative était absurde; mais la
renaissance française est, à son début, dans les lettres, les sciences
ou les arts, pleine de ces hésitations.”

[115] Martin, _Hist. de France_, vol. 7, pp. 378–382.

[116] Cf. Viollet le Duc, _s. v._ _Château_, p. 190.

[117] I use Willis’s term, “continuous impost,” for an impost in which
the jambs pass into the arch without the interposition of a capital,
and without change of profiling.

[118] Du Cerceau’s plate (_Les Plus Excellents Bastiments de
France_, vol. 2, plate 4) is incorrect, like most of his other
plates, in giving the semicircular form to the openings of this façade.

[119] _Reigle Géneralle de Architecture_, etc., Paris, 1568.

[120] Said by Palustre, _L’Architecture de la Renaissance_, p.
176, to have been “servilement imité du temple de Jupiter Stator.”

[121] These lower arches are concealed from view on the external
façades by a basement wall.

[122] Adolphe Berty, _Les Grands Architectes Français de la
Renaissance_, Paris, 1860, p. 70.

[123] Milizia, _Memorie_, vol. 1, p. 404.

[124] Berty, _op. cit._, p. 71.

[125] _Les Plus Excellents Bastiments de France_, plate 69.

[126] The lines of this poem which relate to Lescot are quoted by M.
Berty in _op. cit._, pp. 66–68.

[127] _Regole Generale di Architettura di Sebastiano Serlio._

[128] _Op. cit._, plate 2.

[129] Viollet le Duc, in his _Entretiens sur l’Architecture_, p.
362, says, “Philibert De l’Orme était peut-être l’artiste dont le goût
était le plus sûr, le sentiment le plus vrai, les principes les plus
sévères.” This estimate appears to me singularly short-sighted, but
it is in keeping with the artistic limitations of its gifted author,
whose great abilities did not, I think, include the finest powers of
artistic judgment. Viollet le Duc’s own architectural projects, as
illustrated in the _Entretiens_, are enough to show this. A truer
estimate is given by M. Berty, in his _Life of De l’Orme_, as
follows: “Ayant absolument rompu avec la tradition Gothique, toujours
plein du souvenir des monuments romains qu’il avait étudiés en Italie,
et qui constituaient pour lui la vraie architecture, De l’Orme, visant
sans cesse à la majesté, n’atteignit souvent que la lourdeur. D’un
autre côté, trop préoccupé de la recherche d’une beauté rationnelle
qu’il demandait plutôt au calcul qu’au sentiment, procédé pernicieux
qui égare à coup sûr, il ne peut éviter les bizarreries et même les
gaucheries dans ses conceptions.... C’est sur le terrain de la science
qu’il a vraiment dominé tous ses rivaux, en acquérant des droits
incontestables à la reconnaissance de la postérité.” (_Les Grands
Architectes Français_, etc., p. 36.) It was the scientific ability
of De l’Orme that Viollet le Duc could best appreciate, his own genius
being more scientific than artistic.

[130] _Le Premier Tome de l’Architecture_, etc., Paris, 1567.

[131] _Op. cit._, p. 156.

[132] The Tuileries was designed by De l’Orme for Catherine de Médicis.

[133] _Op. cit._, facing p. 240.

[134] Assuming that De l’Orme was born in the year 1515. Cf. Berty,
_op. cit._, p. 1.

[135] _Op. cit._, bk. 4, p. 26.

[136] Cf. my _Development and Character of Gothic Architecture_,
p. 304 _et seq._

[137] _Op. cit._, p. 155. The fanciful notion that the Ionic order
was designed after female proportions is derived from Vitruvius, bk. 3.

[138] The roof is not shown in Du Cerceau’s print.

[139] Viollet le Duc, I may say again, appears to me greatly to
overestimate De l’Orme’s artistic powers when he says, “Dans les
œuvres de Philibert De l’Orme on constate une étude attentive et
soigneuse des proportions, des rapports harmonieux qui semblent les
plus simples, mais qui cependent sont le résultat d’une connaissance
parfaite de son art et des moyens mis à sa disposition,” and when he
speaks of the Tuileries as follows: “C’était bien là une architecture
de palais grande et noble par ses masses, précieuse par ses détails.”
_Entretiens sur l’Architecture_, vol. 1, p. 363.

[140] _Op. cit._, bk. 8, chap. 9. The pages here are not numbered.

[141] It need hardly he said that such variety is very different
from that which results from an active inventive spirit, as where in
Gothic art some new constructive idea gives rise to change, or where
in sculptured ornamentation a teeming fancy finds expression in varied
forms.

[142] _Entretiens_, vol. 1, p. 374.

[143] But why should an architect wish to do any such thing? The fact
that he did so shows again the factitious and unreasonable character of
this Renaissance design.

[144] _Op. cit._, p. 375.

[145] _Essay on Building._

[146] These houses are figured by Mr. Gotch in his _Architecture of
the Renaissance in England_, plates 7, 12, 20, and 66.

[147] _The Lives of the Most Eminent British Painters, Sculptors, and
Architects_, London, 1831, vol. 4, p. 85.

[148] _A History of Renaissance Architecture in England_, by
Reginald Bloomfield, M.A., London, 1897, vol. 1, p. 3.

[149] Almost nothing is known of John Thorpe beyond what may be
gathered from his numerous drawings preserved in the Soane Museum.
He was working during the latter part of the sixteenth century, and
appears to have been the original designer of some of the larger houses
of that time, the plans of which are contained in the Soane collection.

[150] These windows are said by Gotch, _op. cit._, vol. 1, p. 34,
to have been inserted by Inigo Jones. An attic over the central bay is
said to be also by him.

[151] Gotch, plate 33.

[152] Du Cerceau’s book was published in 1576, and Longford’s was begun
in 1580. It is not unlikely, therefore, that Thorpe had studied the
designs of Chambord and the Tuileries in the prints of this book.

[153] Gotch, plate 92.

[154] Gotch, plate 82.

[155] _Ibid._, plate 86.

[156] _Ibid._, plate 143.

[157] Vol. 2, p. 260.

[158] Cunningham’s _Lives of the Most Eminent British Painters,
Sculptors, and Architects_, vol. 4, p. 71.

[159] Cunningham, _op. cit._, p. 76.

[160] A work undertaken at the request of the king, in which Jones
reaches the astonishing conclusion that in Stonehenge we have the
remains of a Roman temple of the Tuscan order. Cf. Cunningham, p. 106
_et seq._

[161] Cunningham, _op. cit._, p. 115.

[162] Cunningham, _op. cit._, vol. 2, p. 266.

[163] _The Designs of Inigo Jones, consisting of Plans and Elevation
for Publick and Private Buildings_, by William Kent, London, 1727.

[164] Plates 1 to 52 inclusive.

[165] _Op. cit._, p. 265.

[166] _A History of Renaissance Architecture in England_, by
Reginald Bloomfield, London, 1897, vol. 1, p. 122.

[167] _Parentalia, or Memoir of the Family of the Wrens_, by
Christopher Wren, London, 1750, pp. 269–270.

[168] _Parentalia_, p. 142.

[169] _Parentalia_, pp. 261–262.

[170] Wren had been appointed surveyor-general and principal architect
of the city of London after the great fire.

[171] _Parentalia_, p. 335.

[172] _Ibid._, p. 273.

[173] _Ibid._, p. 277.

[174] _Parentalia_, p. 278.

[175] _Ibid._, p. 281.

[176] _Parentalia_, p. 283.

[177] W. J. Loftie, _Inigo Jones and Sir Christopher Wren_,
London, Macmillan & Co., 1893, p. 196.

[178] _A Complete Body of Architecture_, by Isaac Ware, Esq.,
London, 1768.

[179] _Op. cit._, p. 131.

[180] _Lettera di Filippo Baldinucci intorno al modo di dar
Proporzione alle Figure in Pittura e Scultura_, Leghorn, first
published in 1802.

[181] _Op. cit._, p. 10.

[182] _Architettura Italiana_, Milan, 1887, vol. 2, p. 140.

[183] The letters in this description refer to those of the
illustration (Fig. 30) in the text.

Transcriber’s Notes:

1. Obvious printers’, punctuation and spelling errors have been
corrected silently.

2. Hyphenation has been rationalised. Inconsistent spelling (including
accents) has been retained.

3. Some hyphenated and non-hyphenated versions of the same words have
been retained as in the original.

4. Superscripts are represented using the caret character, e.g. D^r. or
X^{xx}.

5. Italics are shown as _xxx_.