,,how ,,to ,,see ,,the ,,british ,,museum ,,in ,,four ,,visits by ,w4 ,,blanchard ,,jerrold ,london #aheb ,,contents ,,introduction ,,visit ,,the ,,first ,,southern ,,zoological ,,room4--,hoofed ,animals3--,giraffe2 ,walrus2 ,rhinoceros2 ,buffalo2 ,antelope4 ,,southern ,,zoological ,,gallery4--,hoofed ,animals3--,wild ,ox2 ,hippopotamus2 ,elephant2 ,llama2 ,bison2 ,armadillo2 ,deer4 ,,mammalia ,,saloon4--,bears2 ,monkeys2 ,cat ,tribe2 ,dog ,family2 ,bear ,tribe2 ,mole ,tribe2 ,marsupial ,animals2 ,seal ,tribe2 ,corals ,,eastern ,,zoological ,,gallery4--,birds of ,prey2 ,perching ,birds2 ,scraping ,birds2 ,wading ,birds2 ,web-footed ,birds4 ,,northern ,,zoological ,,gallery4--,bats2 ,reptiles2 ,serpents2 ,tortoises2 ,crocodiles2 ,frogs4 ,,british ,,zoological ,,room4--,carnivorous ,beasts2 ,glirine ,beasts2 ,hoofed ,beasts2 ,insectivorous ,beasts2 ,british ,reptiles2 ,british ,fish4 ,,northern ,,zoological ,,gallery--7continued74--,spiny-finned ,fishes2 ,soft-finned ,fishes2 ,cartilaginous ,fishes2 ,sponges2 ,shell-fish2 ,the ,beetle ,tribe2 ,butterflies and ,moths4 ,,eastern ,,zoological ,,gallery4--,star-fish2 ,sea-eggs2 ,shells4 ,,visit ,,the ,,second ,,northern ,,mineral ,,and ,,fossil ,,gallery4--,fossil ,vegetables2 ,minerals2 ,fossil ,animals2 ,fossil ,fishes2 ,fossil ,mammalia4 ,,the ,,egyptian ,,room4--,human ,mummies2 ,animal ,mummies2 ,sepulchral ,ornaments2 ,egyptian ,deities2 ,sacred ,animals2 ,household ,objects2 ,tools2 ,musical ,instruments2 ,toys2 ,textile ,fabrics4 ,,the ,,bronze ,,room4--,greek and ,roman ,bronzes4 ,,etruscan ,,room4--,etruscan ,vases ,,ethnographical ,,room4--,chinese ,curiosities2 ,indian ,curiosities2 ,african ,curiosities2 ,american ,curiosities ,,visit ,,the ,,third ,,egyptian ,,saloon4--,egyptian ,sculpture2 ,egyptian ,coffins2 ,egyptian ,tombstones2 ,sepulchral ,vases2 ,human ,statues2 ,egyptian ,sphinxes2 ,egyptian ,frescoes4 ,,the ,,lycian ,,room4--,lycian ,tombs2 ,lycian ,sculpture4 ,,the ,,nimroud ,,room4--,assyrian ,sculpture4 ,,visit ,,the ,,fourth ,townley ,sculpture2 ,antiquities of ,britain4 ,,phigaleian ,,saloon4--,battle with the ,amazons4 ,,elgin ,,saloon4--,elgin ,marbles2 ,metopes of the ,parthenon2 ,eastern ,frieze2 ,northern ,frieze2 ,western ,frieze2 ,southern ,frieze2 ,eastern ,pediment2 ,western ,pediment2 ,temple of the ,erectheum2 ,temple of ,theseus2 ,lantern of ,demosthenes4 ,,conclusion ,,introduction4 ,the money to found a ,british ,museum was raised by a lottery in the middle of the last century4 ,sir ,hans ,sloane having offered his books and museum of natural history to ,parliament1 for less than half its value 7#bj1jjj471 it was purchased1 together with the famous ,harleian and ,cottonian ,,mss41 and deposited in ,montague ,house1 ,bloomsbury1 which had been bought of the ,earl of ,halifax1 for the sum of #aj1bej4 ,of the present ,british ,museum this beginning forms a very insignificant part4 ,the nucleus was established however2 and soon eminent men1 who valued their literary and scientific collections as storehouses that should be accessible to all classes of students1 began to turn their attention to the collections in ,montague ,house4 ,foremost among the donors ,george the ,second should be mentioned1 as having made over to the nation the royal library1 together with the right of demanding a copy of every book entered at ,stationers' ,hall4 ,successively1 the libraries of ,sir ,joseph ,banks1 ,dr4 ,birch1 ,sir ,john ,hawkins1 ,dr4 ,burney and ,garrick1 and the ,royal1 ,arundel1 ,lansdowne1 ,bridgewater1 and other ,,mss4 were added to the great store4 ,captain ,cook returned home with additions to the museum of natural history2 ,sir ,william ,hamilton's collection of vases was purchased in #aggb2 the spoils of ,abercrombie's ,egyptian campaign enriched the museum with some fine ,egyptian antiquities2 grants of money secured the ,townley marbles1 the ,phigalian sculptures1 and at last the ,elgin marbles2 and of late1 the accessions to the vast collection1 including ,layard's treasures1 the ,xanthian marbles1 fossils1 birds1 curiosities1 from the frozen seas1 ,china1 the solitudes of ,central ,africa1 and other remote places1 where scientific men have been of late prosecuting their studies have been received4 ,in #ahbc it was allowed by ,parliament that the collection had grown too large for the house in which it was crammed2 and accordingly in this year it was resolved to destroy the old residence of the ,earl of ,halifax1 and build a new structure on its site4 ,sir ,robert ,smirke1 the architect of the present structure1 has certainly had good cause to complain of the niggardly supplies voted from time to time for the building1 which has been twenty-eight years in progress4 ,the regulations for the admission of the public have fairly kept pace with the progress of those liberal ideas to which the collection is greatly indebted1 and of which it is a monument4 ,it will be interesting for the visitor of to-day1 to contrast the rules by which he is admitted1 with those that fettered his ancestors of the eighteenth century4 ,in the year #agei1 the trustees of this institution published their ,statutes and ,rules relating to the ,inspection and ,use of the ,british ,museum4 ,this instructive document may now serve to illustrate the darkness from which1 even now1 we are struggling4 ,those visitors who now consider it rather an affront to be required to give up their cane or umbrella at the entrance to our museums and galleries1 will be astonished to learn1 that in the early days of the museum1 those persons who wished to inspect the national collection1 were required to make previous application to the porter1 in writing1 stating their names1 condition1 and places of abode1 as also the day and hour at which they desired to be admitted4 ,their applications were written down in a register1 which was submitted every evening to the librarian or secretary in attendance4 ,if this official1 judging from the condition and ostensible character of an applicant1 deemed him eligible for admittance1 he directed the porter to give him a ticket on the following day4 ,thus the candidate for admission was compelled to make two visits1 before he could learn whether it was the gracious will of a librarian or secretary that he should be allowed the privilege of inspecting ,sir ,hans ,sloane's curiosities4 ,if successful1 his trouble did not end when he obtained the ticket2 for it was provided by the trustees that no more than ten tickets should be given out for each hour of admittance4 ,accordingly1 every morning on which the museum was accessible1 the porter received a company of ten ticket-holders at nine o'clock1 ushered them into a waiting-room till the hour of seeing the museum had come1 to quote the words of the trustees4 ,this party was divided into two groups of five persons1 one being placed under the direction of the under-librarian1 and the other under that of the assistant in each department4 ,thus attended1 the companies traversed the galleries2 and1 on a signal being given by the tinkling of a bell1 they passed from one department of the collection into another3--an hour being the utmost time allowed for the inspection of one department4 ,this system calls to mind the dragooning practised in ,westminster ,abbey1 under the command of the gallant vergers1 to the annoyance of leisurely visitors1 and of ardent but not active archaeologists4 ,sometimes1 when public curiosity was particularly excited1 the number of respectable applicants for admission to the museum exceeded the limit of the prescribed issue4 ,in these cases1 tickets were given for remote days2 and thus1 at times1 when the lists were heavy1 it must have been impossible for a passing visitor in ,london to get within the gateway of ,montague ,house4 ,in these old regulations the trustees provided also1 that when any person1 having obtained tickets1 was prevented from making use of them at the appointed time1 he was to send them back to the porter1 in order that other persons wanting to see the museum might not be excluded4 ,three hours was the limit of the time any company might spend in the museum2 and those who were so unreasonable or inquisitive as to be desirous of visiting the museum more than once1 might apply for tickets a second time provided that no person had tickets at the same time for more than one4 ,the names of those persons who1 in the course of a visit1 wilfully transgressed any of the rules laid down by the trustees1 were written in a register1 and the porter was directed not to issue tickets to them again4 ,these regulations secured the exclusive attendance of the upper classes4 ,the libraries were hoarded for the particular enjoyment of the worm1 whose feast was only at rare intervals disturbed by some student regardless of difficulties4 ,to the poor1 worn1 unheeded authors of those days1 serenely starving in garrets1 assuredly the ,british ,museum must have been as impenetrable as a ,bastille4 ,we imagine the prim under-librarian glancing with a supercilious expression upon the names and addresses of many poor1 aspiring1 honourable men--men1 whose condition1 to use the phrase of the trustees1 bespoke not the gentility of that vulgar age4 ,in those days the weaver and the carpenter would as soon have contemplated a visit to ,st4 ,james's ,palace as have hoped for an admission ticket to the national museum4 ,these mean precautions of the last century1 contrast happily with the enlightened liberty of this4 ,crowds of all ranks and conditions besiege the doors of the ,british ,museum1 especially in holiday times1 yet the skeleton of the elephant is spotless1 and the bottled rattlesnakes continue to pickle in peace4 ,the ,elgin marbles have suffered no abatement of their marvellous beauties2 and the coat of the cameleopard is with out a blemish4 ,the ,yorkshireman has his unrestrained stare at ,sesostris2 the undertaker spends his holiday over the mummies1 and no official suppresses his professional objections to the coffins4 ,the weaver observes the looms of the olden time3 the soldier compares the ,indian's blunt instrument with his own keen and deadly bayonet4 ,the poor needlewoman enjoys her laugh at the rude sewing-instruments of barbarous tribes3 the stone-mason perhaps compares his tombs with the sarcophagi of ancient masters4 ,no attendant is deputed to dog the heels of five visitors and to watch them with the cold eye of a gaoler2 no bell warns the company from one spot to another3 all is open--free6 ,through the bright new galleries of ,sir ,robert ,smirke1 crowded with the natural productions of every clime1 the printed thoughts of the greatest and best men1 the marvellous art of forgotten ages1 and the poor barbarisms of savage life1 we propose to conduct the visitor1 in ,,four ,,distinct ,,visits4 ,,visit ,,the ,,first4 ,on arriving in front of the ,british ,museum for the first time1 the visitor will not fail to notice the ,grecian ,ionic facade1 ornamented with forty-four columns1 and rising at its extreme point to the height of sixty-six feet4 ,the sculpture which decorates the tympanum of the portico is the work of ,sir ,richard ,westmacott1 and is an allegorical representation of the progress of civilisation4 ,the spiritual influences that have successively worked upon the savage natures of the dark ages1 have here distinct types4 ,religion tames the savage2 ,paganism makes him a crouching sensualist2 the ,egyptian sees a ,god in the stars of heaven2 and then the mathematician1 the musician1 the poet1 and the painter set to work1 and these prophets of mysterious beauties realise civilised mankind4 ,the visitor enters the museum1 after ascending a noble flight of steps1 by a massive carved oak door1 into a fine entrance hall1 the ceiling of which is highly coloured1 and the general decoration of which is ,grecian ,ionic4 ,here he will observe1 in addition to one or two of the ,nineveh sculptures1 at once1 three statues3 one of the aristocratic lady sculptor1 the ,honourable ,mrs4 ,damer2 ,chantrey's statue of ,sir ,joseph ,banks2 and ,roubillac's study of ,shakspeare1 presented to the museum by ,david ,garrick4 ,before entering the galleries of the museum the visitor should observe1 that the building faces the four points of the compass1 and that the facade forms the southern line4 ,this observation will facilitate a careful and regular examination of the interior4 ,branching westward from the entrance hall1 then eastward to the gallery1 is a noble flight of seventy steps1 the walls of the staircase being richly inlaid with marble4 ,having ascended this staircase1 the visitor's attention is at once arrested by two stuffed giraffes--the giraffe of ,north ,africa1 and the giraffe of ,south ,africa1 given to the museum by the late ,earl of ,derby4 ,these striking zoological specimens at once introduce the visitor to ,,the ,,southern 7,,central7 ,,zoological ,,room1 which is devoted1 together with the next room to the east1 to ,hoofed ,animals4 ,looking eastward from the western side of the room he will observe at once that his way lies down a passage1 marked on either side by formidable zoological specimens1 which he would rather meet1 with their present anatomy of hay1 than in their natural condition4 ,in the first room1 near the giraffes1 stand the walrus of the ,north ,sea2 the ,african rhinoceros2 and the ,manilla buffalo4 ,he will next observe1 that the walls of the room are lined with glass cases1 about twelve feet in height1 and that in these cases various stuffed animals are grouped4 ,the groups in this room include the varieties of the ,antelope1 ,sheep1 and ,goats4 ,grouped together in two or three cases1 are the sable and other antelopes from the ,cape of ,good ,hope2 the algazelle1 and the addax and its young from ,north ,africa2 the sing-sing1 and the koba from ,western ,africa2 the sassaybi2 the chamois of the ,alps--the subject of many a stirring mountain song2 the goats of ,north ,africa2 the strange ,siberian ibex2 the grue and gorgon from the ,cape2 varieties of the domestic goat1 and the beautiful ,cashmere goat4 ,here also are specimens of sheep1 including the wild sheep from the ,altai2 the bearded sheep of ,north ,africa2 the ,american arguli2 the nahorr and caprine antelopes from ,nepal2 and upon the higher shelves of the cases are grouped the gazelles from ,senegal1 ,nepal1 and ,madras1 whose praises have been sung more than once4 ,the beauty and grace of these delicate creatures1 with their taper active limbs1 and the soft expression of their heads1 may be faintly gathered even from these inanimate stuffed skins with the glassy eyes instead of the soft blue celebrated by the poet4 ,grouped hereabouts are also the four-horned antelope of ,india2 the pigmy antelope from the coast of ,guinea2 and the madoka from ,abyssinia4 ,before leaving this room1 or ante-room1 to the great zoological sections of the museum1 the visitor should notice the varieties of horns1--straight and tortuous1 but all graceful1--of different kinds of hoofed animals4 ,advancing eastward the visitor arrives in ,,the ,,southern ,,zoological ,,gallery4 ,here the visitor is still in the midst of the hoofed beasts4 ,the way lies between two rows of animals4 ,of these the visitor should notice particularly the wild oxen of ,india and ,java2 compare the ,indian rhinoceros with that of ,south ,africa2 and notice the hippopotamus family1 from ,south ,africa1 as well as a diminutive specimen of the ,indian elephant1 and a half-grown elephant1 from ,africa4 ,having noticed these ponderous creatures1 the attention of the visitor will be next attracted to the ,llamas1 which are arranged in the first two wall-cases4 ,of these1 the wild are generally brown1 and the tame of mixed colours4 ,the next fourteen wall-cases are filled with specimens of the different species of ,oxen and the ,elephant tribe4 ,among the former the visitor should notice the white bulls of ,scotland and ,poland3 the splendid ,lithuanian bison1 with his shaggy throat1 a present from the ,russian ,emperor2 the bison of the ,american prairies2 and the elando4 ,the specimens of the elephant tribe1 ranged in the upper compartments of these cases1 include the tapir of ,south ,america2 the tennu1 from ,sumatra2 the ,european boar1 with its young2 the ,brazilian peccari3 and other curious animals4 ,here1 too1 are specimens of the ,armadillo tribe4 ,the attention of the visitor will1 however1 be soon riveted upon an animal which1 with the beak of a duck and the claws of a bird1 has the body of an otter4 ,in ,australia 7its native country7 this singular animal is commonly called a water mole1 but to scientific men it is known as the mullingong2 it is placed in the same order with its neighbour1 the spring-ant or echidra1 also a native of ,australia4 ,before leaving these cases1 the visitor should pause to notice the ,sloths1 and particularly the repulsive aspect of the yellow-faced sloth of ,south ,america4 ,the visitor should now pass to the cases marked from #ag to #cj4 ,these are devoted to the ,horse tribe and ,deer4 ,here the reindeer from ,hudson's ,bay1 the red fallow deer of ,europe1 the elk1 and the cheetul of ,india1 will catch the eye immediately4 ,the beautiful ,south ,african zebra is here also1 grouped near the ,asiatic wild ass1 and the ,zoological ,society's hybrids of the zebra1 wild ass1 and common donkey4 ,the upper shelves of the cases are devoted1 as usual1 to the smaller specimens of the tribe below4 ,here are the ,european roebuck1 the ,west ,african water musk1 the ,javan musk1 the white-bellied and golden-eyed musk4 ,having examined these zoological specimens1 the visitor should proceed on his way east to ,,the ,,mammalia ,,saloon4 ,this saloon is one of the most interesting parts of the exhibition to the general visitor1 as he sees here at a glance the various classes of the highest order of the animal creation1 all grouped after their kinds1 and in that gradation of development which nature has assigned them4 ,those specimens which are placed on the floor in the central space of the room include some large varieties of the ,bears1 and a few small specimens of ,seals1 including the young of the harp seal1 with the white fur1 which clothes them on their first appearance in the world1 and the young of the ,cape of ,good ,hope eared seal2 but these isolated specimens should not engage the attention of the visitor before he has followed the systematic arrangement or classification adopted with regard to the animals deposited in the wall-cases that line the saloon4 ,the first series or family of animals to which1 according to ,cuvier1 his particular attention should be attracted are ,,the ,,monkeys1 ranged in the first eleven wall-cases4 ,these cases contain the species of monkeys found in the ,old ,world4 ,the varieties in colour1 shape1 size1 and attitude1 are endless4 ,here are the green monkeys from ,western ,africa2 the white-throated monkey from ,india2 the bearded monkey1 with a republican air about him2 and the monkey who appears to have had his ears pulled1 but is in reality known to scientific men as the red-eared monkey2 both from ,fernando ,po3 the ,risley of monkeys1 called the vaulting monkey1 with his white nose2 and the talapoin1 from ,western ,africa2 the gaudy macaque1 known as the brilliant from ,japan2 that dingy gentleman1 the sooty mangabey1 from ,africa3 the ,african chimpanzee 7to whom satirical gentlemen with a turn for zoological comparisons1 are greatly indebted72 the ourang-outan1 with his young1 from ,borneo2 the presbytes1 dusky and starred1 from ,singapore1 ,malacca1 and ,borneo2 and the drill and mandrill1 from ,africa4 ,the ,monkeys of the ,new ,world are grouped in six cases 7#ab-ah74 ,herein the visitor should particularly notice the curious spider monkeys1 from ,brazil and ,bolivia3 the negro monkey2 the apes1 with large eyes1 like those of the owl1 called night apes2 the howlers1 so called from the incessant howling they maintain at night in their native forests2 the quaint marmozettes and handsome silky monkeys2 and the ,jew monkeys4 ,the next two cases contain specimens of the lemurs1 more familiarly known as ,madagascar monkies4 ,of these the flying lemur is the most remarkable species4 ,specimens of this species are grouped in the lower part of the cases2 they are from the ,indian ,archipelago2 and in the texture of their skin and the loose and light way in which it connects their limbs1 they resemble bats4 ,they nurse their young by forming a kind of couch with their body suspended downwards from the branches of a tree4 ,it now remains for the visitor to direct his attention to the fine collection of ,,rapacious ,,animals1 ranged in thirty-two distinct wall-cases in this room4 ,the first tribe1 taking the cases in their order of succession1 to which the visitor's attention will be attracted on passing from the cases of lemurs1 is ,,the ,,cat ,,tribe4 ,the animals which he will find grouped in the first seven cases 7#ba-bg7 are properly ,cats4 ,here is the ,south ,african lion1 the fine black leopard1 which is pointed out to visitors as a beast that killed its keeper2 the lynxes of ,spain1 ,sardinia1 and ,america2 the wild cats of ,europe2 the curious booted-cat1 imported from the ,cape of ,good ,hope2 the ,american ocelots2 and the ,asiatic and ,african chaus4 ,these animals are picturesquely grouped in seven cases4 ,in the next case1 in order of succession 7#bh71 are the hyaenas of ,south ,africa and ,egypt4 ,here are the spotted hyaena1 with its young2 and the striped hyaena4 ,the three following cases are filled with varieties of the civet family 7esteemed for the strong scent which some of them1 as the ,african cibet and the ,chinese and ,indian zibet1 yield71 including the hyaena civet from the ,cape of ,good ,hope3 genets and ichneumons1 which will be found on the lower shelves2 and the ,mexican house-marten4 ,the five following cases are filled with the varieties of ,,the ,,dog ,,family4 ,here the sporting visitor may amuse himself by examining the points of the ,dogs of the four quarters of the globe4 ,here are the well-known ,newfoundland dog1 the wild dogs of different climates1 the four-toed hunting dog of ,abyssinia and ,south ,africa1 the ,cape of ,good ,hope dog1 with its long ears2 the varieties of fox and wolf2 all expressing great activity and extraordinary cunning4 ,ladies will be pleased to notice a lap-dog almost hidden by his long hair1 placed under a particular glass-case3 this exclusive little aristocrat is from ,mexico4 ,in the next case to which the visitor will direct his attention 7#ch7 are grouped the varieties of the ,mustelina1 or ,martens1 of ,america and ,europe4 ,these lesser specimens of the cat tribe1 include the weasels of ,himalaya1 ,mexico1 and ,siberia2 the ,american and ,european polecats3 the lesser otters1 from the north of ,america and ,europe2 and the curious animal known as the false sable of ,america4 ,it is amusing to notice the sameness of expression--that of cunning--shown in the heads of every specimen of the cat tribe4 ,the next case 7#ci7 introduces the visitor to those mammalia which are included in ,,the ,,bear ,,tribe4 ,this tribe includes the ,racoons1 ,otters1 ,badgers1 ,skunks1 ,gluttons1 and ,bears4 ,the case to which the visitor's attention is now directed1 contains the varieties of the glutton family--the ,chinese musk weasel2 the ,european and ,north ,american badgers2 the ,javan stinkard1 and the ,american skunks and conepats4 ,the next case 7#dj7 is devoted to the otter family4 ,these ingenious animals are found in the four quarters of the world4 ,here are the common ,european otter2 the otters of ,java and ,india2 the clawless ,african otter1 from the ,cape of ,good ,hope2 and the sea and muffled otters1 from ,america4 ,next to these interesting animals1 are some of the bears1 including the savage ,arctic white bear1 the ,malay bear1 and the ,indian sloth bear4 ,next to these bears1 the racoons are grouped1 and they close the collection illustrative of the bear tribe4 ,in the case following those which contain the racoons is one 7#dc7 in which the varieties of ,,the ,,mole ,,tribe are arranged4 ,these include ,moles from the four quarters of the world4 ,there are the ,north ,american marsh moles and long-tailed star-nosed moles2 the golden moles1 from the ,cape of ,good ,hope2 the varieties of the shrew-mouse1 including the remarkable blue shrew-mouse of ,india1 the ,african elephant shrew1 and the ,russian musk shrew2 the ,javan insectivorous squirrel2 and a curious variety of hedgehogs1 from opposite quarters of the globe4 ,having examined these inferior mammalia1 the visitor will pass in direct order of succession to the cases in which ,,the ,,marsupial ,,animals are deposited4 ,these fill nine wall-cases1 and they should be carefully examined1 as exhibiting a peculiar economy of animal life4 ,the marsupial animals are placed by some zoologists in the lowest class of mammalia4 ,they include carnivorous1 herbivorous1 and insectivorous families1 and their head-quarters appear to be ,australia4 ,in the first two cases 7#dd1 #de7 which the visitor will examine1 are the varieties of ,australian phalangers2 and here also are the ,new ,holland bears1 the ,australian wombat1 the flying squirrel of ,norfolk ,island1 the flying phalangers2 and in the right corner of the case are grouped those notable animals to which public curiosity has of late years been so keenly directed--the kangaroos4 ,in the next five cases 7#df-ea7 the visitor will find more varieties of these strange1 awkward-looking creatures4 ,here amid the kangaroos of ,australia are the long-nosed1 rock1 and jerboa kangaroos1 the ,new ,guinea tree-kangaroo1 and below1 the ,australian koala4 ,the two next cases 7#eb1 #ec7 contain the varieties of ,australian opossums1 and below are the opossums of ,america4 ,these close the attractions of the wall-cases1 and the visitor should now glance round the saloon at the specimens of the varieties of ,,the ,,seal ,,tribe1 which are arranged along the tops of the wall-cases4 ,these include the leonine seal of the ,southern ,ocean1 the ,cape porpoise and dolphin1 and the long-beaked dolphin of the ,ganges4 ,having noticed these specimens1 the visitor should proceed to examine the extensive collection of ,,corals1 which are arranged upon the central tables of the saloon4 ,to explain the presence of coral in the midst of a zoological collection it is necessary to remind the visitor that this beautiful substance1 which is chiefly a deposit of carbonate of lime1 is also the fossil remains of that animal known to zoologists as the polypus4 ,these polypi put forth buds1 which remain attached to the parental polypus1 and generate other buds2 and in this way countless polypi1 linked together1 yet maintaining a separate and distinct existence1 spread themselves over miles and miles of submarine rocks1 in endless varieties of shape1 and leave their remains to be dredged by the hardy fisherman1 for the adornment of beauty4 ,these beautiful polypi skeletons cluster in curious formations1 as the visitor will perceive on examining the fine collection of corals before him4#a ,among the remarkable coral formations to which the general visitor's attention may be directed1 are the sea-mushroom1 the remains of a single polypus of great size2 the brainstone1 which presents a circular mass of long winding cells1 and altogether has the appearance of the masses and veins of the brain2 the sea-pen1 and the sea-fan4 ,in the cases1 ranged together in the saloon1 the visitor who feels interested in the infinite varieties of coral formation1 will find specimens that-will give him a full idea of the architectural abilities of the active zoophytes that carry on their operations upon the rocks that lie not far below the surface of the ocean4 ,from the coral tables1 the visitor's way lies out of the ,mammalia ,saloon to the north1 into a gallery of which all ,englishmen who understand the value of a perfect museum1 are justly proud4 ,,the ,,eastern ,,zoological ,,gallery of the ,british ,museum runs the entire length of the building4 ,it is divided into five compartments1 and its space is devoted to the display of ,birds1 ,shells1 and a few ,paintings4 ,the birds exhibited in this gallery fill no less than one hundred and sixty-six wall-cases2 and the shells which are distributed throughout the central space occupy fifty large tables3 the lesser tables which are placed here and there near the birds1 being devoted to the display of birds' eggs4 ,the pictures are hung above the wall-cases4 ,this general glance at the arrangement of the gallery1 will prevent the visitor from falling into the error of distracting his attention from one order of zoological development to another at frequent intervals4 ,already he has examined the various species of animal life which rank in the highest class--the mammalia4 ,before him now1 are ranged vast numbers of the second class of animal life2 and he will do well to pay these some attention1 and to get definite impressions regarding them1 before he turns to the other attractions which the museum offers4 ,before proceeding to examine the first order of birds which are in the first eastern room1 the visitor should glance at the historical portraits suspended above the cases4 ,among them he will find a ,mary ,queen of ,scots1 by ,cornelius ,jansen2 a ,cromwell1 presented by the ,protector to ,colonel ,rich of the parliamentary forces1 by whose great-grandson it was bequeathed to the trustees of the museum2 ,william ,duke of ,cumberland by ,morier2 ,zucchero's ,queen ,elizabeth2 ,sir ,peter ,lely's ,charles the ,second2 and the ,queen of ,george the ,second by ,jarvis4 ,having sufficiently examined these works1 the visitor should at once begin his inspection of the ,raptores or ,,birds ,,of ,,prey4 ,these include some splendid ornithological specimens4 ,they are divided into two families3 those who pursue their depredations by day2 and those which wait till night cloaks their proceedings4 ,it is almost possible to read the special instincts of the two families in their formation1 and expression4 ,the daring expressed in the fierce glances of the eagles and falcons1 bespeaks the fearless spoliator1 in broad daylight and in the face of an enemy2 whereas the large vacant eyes of the owls1 have a cruel1 coward look1 that stamps the midnight assassin4 ,in the first case the visitor will notice the strongbearded vulture of the ,alpine and ,himalayan mountains4 ,the next six cases 7#b-g7 are filled with the varieties of the ,vulture1 including the ,american1 carrion1 black1 and king vultures2 the ,south ,african sociable vulture2 the angola vulture from ,congo2 and1 towering above all1 the great condor of the ,andes1 with his immense breadth of wing4 ,the vultures1 with their fierce and cruel aspect1 are1 nevertheless1 cowardly birds1 and feed rather upon dead bodies than venture to kill for themselves4 ,next in order1 after the vultures1 the visitor will find the ,eagle branch of the falcon family distributed in ten cases 7#h-ag74 ,this family includes some handsome birds4 ,foremost amongst these the visitor will remark the athletic golden eagle of ,europe1 a frequenter of ,great ,britain4 ,this bird preys upon hares and rabbits1 and has been known to plant its claws in a young lamb with success4 ,in this vicinity are also the ,indian ,pondicherry eagle1 sacred to the ,brahmins2 the ,egyptian booted eagle2 the ,brazilian eagle2 the ,south ,american harpy eagle2 the ,european ,jean le ,blanc eagle2 the marine eagle of the ,indian ,archipelago2 the ,south ,american crested goshawk2 the varieties of the osprey2 and the short-tailed falcon from the ,cape of ,good ,hope4 ,next after the eagles1 are ranged the ,kites and ,buzzards 7#ah-bd74 ,these include the ,south ,american caracaras2 the ,european rough-legged falcon2 the ,european kite2 the ,indian colny falcon2 varieties of the honey buzzard2 and the ,north ,american spotted-tailed hobby4 ,the true falcons follow next in order of succession 7#bd-bf74 ,the courage of these birds is familiar to all who have read of the hunting days of old4 ,in the cases before the visitor1 are grouped the ,european hobby and kestrel1 and the peregrine and jet falcons4 ,many visitors from the country will be familiar with some of the sparrow-hawks in the next case 7#bg74 ,they may be often seen sweeping swiftly along near the earth1 intent upon their prey4 ,the last cases of diurnal birds of prey 7#bh-cj7 contain the ,harriers4 ,these are birds of prey that meet their victims on the ground1 and frequent bog-lands4 ,the specimens here presented1 include the secretary of the ,cape of ,good ,hope2 the chanting falcon from the same region2 the ash-coloured falcon1 hen-harrier1 and ,madagascar falcon4 ,and now1 proceeding on his easterly way1 the visitor approaches the ,birds that ,prey by ,night4 ,they are solemnly assembled in five cases4 ,their reputed wisdom has its parallel in the human family3 we also have our owls1 with their large eyes and solemn demeanour1 who cheat people into the idea that there must be something in all that solemnity and gravity of expression4 ,poets of the dismal school1 however1 owe a great debt of gratitude to these mysterious and unsociable birds4 ,the visitor will at once call to mind the usual sequel of poems that open with the hooting of the owl1 or with the intimation that it is the hour when the wise bird opens his eyes with some effect4 ,let us glance at the varieties of the dismal family before which we have brought the visitor4 ,here are the snowy owl of ,north ,america and the hawk owls4 ,in the cases 7#cb1 #cc7 are grouped the eagle owls1 including the great-eared owls1 and the ,north ,american ,virginian eared owl4 ,the next two cases contain the howlets1 including the ,tengmalm's owl of the north of ,europe2 the ,javan bay owl1 and the barn white owls of various countries4 ,these birds close the collection of birds of prey2 and the visitor1 refraining from the temptation to inspect the central tables1 for the present1 should advance into the room1 the wall-cases of which are filled with ,,perching ,,birds4 ,the perching birds are subdivided into five families3 the ,wide-gaping2 the ,slender-,beaked2 the ,toothed-,beaked2 the ,cone-,beaked2 and the ,climbers1 or ,scansores4 ,the family of wide-gaping birds1 is that ranged first in order1 occupying cases #cf to #db4 ,the visitor will first remark the goatsuckers with their wide bills and large eyes1 adapted to catch the insects on which they feed4 ,the varieties here collected1 include the great goatsucker2 the goatsuckers of ,europe1 ,new ,holland1 ,north ,america1 and ,africa2 and the wedge-tailed goatsucker4 ,the next case 7#ch7 contains specimens of the varieties of ,swallows and ,swifts1 including those of ,north ,america2 the esculent swallow of the ,indian ,archipelago2 and the sandmartin of ,europe4 ,in the two following cases 7#ci1 #dj7 are grouped the varieties of the tody and broadbills1 from the ,west ,indies1 and ,brazil2 and the curncuis from the southern parts of ,asia and ,america4 ,the visitor next arrives before two cases 7#da1 #db7 of birds of brilliant plumage1 suggestive of the regions where the humming birds float in the air like winged flowers4 ,the kingfisher at times startles the ,english pedestrian when he is sauntering near a high-banked brook2--its gaudy plumage contrasts so forcibly with the sober tints of our ,english song birds1 that he is at first inclined to take the gay fellow for a truant cage bird4 ,but the fisher is quite at home1 and is probably diving for his fish dinner4 ,the kingfishers grouped in the two cases before which the visitor now stands1 include specimens of the ,australian brown kingfisher2 the green and great jacamars of ,south ,america2 the ,european bee eater2 the ,javan night bird2 and the ,ternate kingfisher from the ,philippine ,islands4 ,having feasted his eyes upon the gaudy colours of these feathered fishermen1 the visitor will find in the next case 7#dc7 the first specimens of the slender-beaked perching birds4 ,these slender beaks are divided into sub-families of ,sun ,birds2 ,humming ,birds2 ,honey ,eaters2 and the ,creepers1 c4 ,the sun birds live upon the pollen of flowers4 ,the specimens here grouped together1 include the numerous species of ,african and ,south ,american sun birds2 the paradise birds of ,molucca2 the promerops of ,new ,guinea and ,africa2 the ,sandwich ,islands honey eater2 and the ,australian rifle bird4 ,next in order are grouped the famous ,american humming birds 7#dd74 ,these brilliant little creatures1 not larger than moths1 are famed for their beauty all over the world4 ,the delicacy of their structure1 the splendour of the colours in which they are habited1 their poetical diet1 and the impossibility of keeping them alive in a confined state1 are the attributes of delicacy and beauty which have made them objects of interest to all persons who have any insight to the mysterious graces of animal organisation4 ,so brilliant is the plumage of some of the varieties1 that they have been named after gems3 thus1 in the case before which the visitor has arrived1 he will find the garnet-throated humming bird1 and the topaz humming bird4 ,next to these brilliant creatures of the south1 in case #de are the curious ,australian honey eaters1 with their feathered tongues1 made to brush the sweet essences from flowers3 and the two following cases contain the remaining varieties of the slender-beaked family4 ,here are the ,creepers of ,europe2 the ,nuthatches of ,north ,america and ,europe2 varieties of the ,wren2 and the ,warblers of ,guiana and ,patagonia4 ,the visitor next approaches the varieties of the family known as the tooth-beaked perching birds4 ,to this family our choicest songsters belong4 ,they fill five cases 7#dh-eb74 ,the visitor will observe in the first of the four cases1 the tailor birds1 remarkable for the fantastic domes they form to their nests2 the ,australian superb warbler2 and the ,dartford warbler of ,europe4 ,the common song birds of ,europe are grouped here1 including blackcaps1 wrens1 the active little titmice1 together with the ,north ,american wood warblers4 ,next to these are cases 7#ec-ee7 of ,thrushes1 including the tropical ant thrushes2 the ,javan mountain warbler2 the ,brazilian king thrush2 the rock thrushes3 the imitative ,australian thrush2 the blackbird2 the ,north ,american mimic thrush2 the ,chinese and ,south ,american thrushes1 celebrated for their babbling2 the yellow orioles1 of ,europe and the east2 and here also are the short-legged thrushes of the tropics4 ,the two next cases 7#ef1 #eg7 contain the ,flycatchers1 which catch insects on the wing4 ,the varieties to be seen here include the ,south ,american pikas and shrikes1 with their gay plumage4 ,these shrikes#b--;better known as butcher-birds--are so called from the cruelty with which they treat their prey4 ,in the second case of flycatchers are grouped the true flycatchers1 which are mostly from the old world2 those from ,america being the solitary flycatcher1 the black-headed flycatcher1 the king and broad-billed tody1 and the white-eared thrush4 ,in the two next cases 7#eh1 #ei7 are the families of the ,chatterers1 with their resplendent plumage4 ,in the first case1 are groups of the ,asiatic and ,american thick-heads1 and the gorgeous little ,manakins of ,south ,america and ,australia4 ,they are called after their colours1 as the speckled manakin1 the white-capped ,south ,american manakin1 the purple-breasted1 variegated1 purple-throated1 and rock manakins4 ,next to the manakins1 are the ,indian1 ,african1 and ,american caterpillar eaters2 the ,malabar and ,african shrikes2 and in the two last cases of the tooth-beaked group1 are placed the true butcher-birds and bush shrikes4 ,the next group of perching birds are the cone-beaked4 ,this group includes the large family of the ,crows to which the birds of paradise of ,new ,guinea are allied2 that of the ,finches1 with their relations from every clime2 and the ,hornbills1 remarkable for the size and strength of their bills4 ,the first two cases 7#fb1 #fc7 devoted to this group1 contain the varieties of the ,crow family4 ,here the visitor should notice the finely-marked jays from various parts of the world2 the noisy and piping rollers of ,australia and ,new ,guinea2 the crows1 rooks1 and jackdaws from various parts of ,europe2 the ,new ,zealand wattle bird2 the ,african changeable crow2 and the rufous crow of ,india4 ,the next case 7#fd7 is bright with the gleaming plumage of the ,new ,guinea crows1 or birds of paradise2 and here1 too1 are the curious grakles--the foetid and the bare-necked from ,south ,america2 and the ,alpine and red-legged crows1 or choughs1 of elevated lands4 ,next in succession is a case 7#fe7 in which are grouped the shining thrushes of ,australia1 ,asia1 and ,africa1 which include the ingenious and tasteful satin bower birds1 that form decorated bowers of twigs and shells to sport in2 and here amid the grakles of the ,indian ,archipelago will be found those curious birds1 that gather their sustenance from insect larvas which secrete in the coarse skin of the rhinoceros3 these birds are known under the name of ,african beef-eaters4 ,the ,starlings1 which are also of the crow family1 are grouped in the case 7#ff7 next to that in which the visitor found the beef-eaters and shining thrushes4 ,they resemble the beef-eaters closely in their mode of life1 like them deriving their food from the insect life that congregates upon various kinds of cattle4 ,starlings are found in all the quarters of the globe1 and present many varieties1 as the observer of the case under notice will see4 ,here are the rose-coloured thrushes of ,europe2 the grakles of ,malabar1 ,india1 ,south ,africa1 and ,south ,america2 and the stares of ,america and ,europe4 ,the next case contains the varieties of the ,american ,icteric ,orioles1 which lay their eggs in the nests of other birds1 like the cuckoo4 ,among the varieties1 the visitor should notice the red-winged1 crested1 and banana orioles4 ,the ,african and ,indian ,weavers1 so called from the peculiar construction of their nests1 occupy the case 7#fh7 next to that filled by the orioles4 ,here are also the ,african1 ,european1 and ,american grosbeaks1 so christened from that strength of bill which enables them to demolish hard fruits4 ,among these are the ,african widow birds2 the ,galapagos ground sparrows4 ,the beauty of the ,tanagers of ,north and ,south ,america is well known4 ,in order of succession they here follow the grosbeaks 7#fh1 #fi71 and present a brilliant group1 including the golden tanager1 the red-breasted1 the summer1 and the bishop4 ,and then the ,finches1 in all their varieties of colour and size1 occupy two cases 7#fi1 #gj74 ,here1 among the more sober and unassuming of the numerous family1 the visitor will notice the common sparrow that chirps cheerfully through the smoke of ,london alleys2 the brown linnet with its lively notes2 the gayer goldfinches1 greenfinches1 chaffinches1 the ,north ,american songfinch1 and the many varieties of the buntings1 including the epicure's ortolans that are found in various parts of the world4 ,next in order to the finches1 the ,larks are grouped in a single case 7#ga7 with other varieties of the great finch family4 ,these birds sing as they soar into the air2 and on cloudless days1 how often do the happy notes of the skylark come down to the wanderer upon earth1 with a cheerful influence3-- 444 ,the lark that sings in heaven ,builds its nest upon the ground4 ,here1 with the larks1 are several curious birds1 including the crossbeaks of ,europe1 the grosbeak of the ,south ,sea ,islands1 the plant cutters of ,south ,america1 and the colies of ,india and the ,cape1 that sleep in companies each suspended by one foot4 ,the two last cases of the cone-beaked perching birds1 are devoted to those birds known collectively as ,hornbills1 from the size and formation of their bills4 ,these remarkable birds are said to be another off-shoot of the great corvine nest2 and the author of ,the ,vestiges of ,creation regards the hollow protuberance upon the upper mandible 7which is the distinguishing feature of the family71 as a sounding-board to increase the vociferation which these birds delight to utter4 ,the remarkable varieties in the cases1 are the helmet hornbill of ,india1 and the ,african rhinoceros hornbill4 ,these birds prey upon small birds and reptiles1 which they toss into the air and then swallow whole4 ,the ,scansores1 or ,climbers1 form the last section of the perching birds4 ,this is an interesting group1 since it includes all the varieties of the parrot1 cockatoo1 and macaw species2 the woodpeckers1 the toucans1 and the cuckoos4 ,the visitor will arrive first before the three cases 7#gd-gf7 devoted to the ,parrots1 ,cockatoos1 and ,macaws4 ,the gaudy colours which they display1 and their well-known habits and powers1 always ensure them a large circle of spectators4 ,here the visitor should notice the red-crowned parrot1 and ground parrot of ,australia2 the ,south ,american yellow-headed1 and hawk-headed parrots2 the horned parrot from ,new ,caledonia and the racket-tailed parrot of the ,philippines4 ,among the ,macaws are the hyacinthine macaw of ,south ,america1 and the blue and yellow varieties4 ,among the ,cockatoos1 the visitor should notice the great white cockatoo from the ,indian ,archipelago2 and here also are the ,alexandrine parroquet and the ,papuan lory4 ,the ,toucans1 which inhabit the deep recesses of tropical ,american forests1 here occupy the next case 7#gg74 ,they are recognised as a branch of the great corvine family4 ,their enormous beaks are peculiarly adapted for searching in quest of eggs about the crevices of trees4 ,the varieties here1 include the ,janeiro toucan1 and the yellow-breasted toucan4 ,the three next cases contain the many varieties of the ,woodpecker4 ,woodpeckers are represented by naturalists as crows with a structure adapted to an insect-eating life amidst growing timber4 ,they are to be found in all quarters of the globe1 searching out1 with their long beaks1 the minute life that gathers in the interstices of trees4 ,the first case of the series1 contains the ,south ,american and ,african barbets1 and the groove-billed barbican2 the minute woodpecker1 the ,north ,american three-toed and white-billed woodpecker1 and the spotted woodpecker common in ,europe4 ,in the second case are the larger varieties of the woodpecker1 including the well-known great black woodpecker of ,europe2 the ,north ,american red-headed woodpecker1 and the ,south ,american yellow-crested variety2 the ,carolina woodpecker2 and the ,cayenne woodpecker4 ,the third case contains the ,african and ,american ground woodpeckers2 and the ,wrynecks of ,africa1 ,europe1 and ,india4 ,the chief food of the wrynecks consists of ants1 which they pick up with their delicately tapered tongues4 ,the three last cases devoted to perching birds1 are occupied by the varieties of the ,cuckoo family4 ,in this country1 the notes of the cuckoo are hailed as the announcement of the dawning summer2 and the solitary and peculiar habits of the bird1 but particularly its custom of placing its eggs in the nests of larks1 finches1 sparrows1 c41 and so getting alien birds to bring up its young1 have always made it an object of particular curiosity to people generally4 ,this latter custom has been explained1 by a high authority1 thus3--,the fact is1 that the cuckoo is obliged by its constitutional character to stay an unusually short time in the northern regions where it produces its young4 ,in our country its normal stay is only from the middle of ,april to the beginning of ,july4 ,belated in its approach to the nursing regions1 it is obliged to make use of the nests of other birds1 which it finds ready built4 ,what is worthy of notice1 it employs the nests of its own nearest relations1 the larks1 pipits1 finches1 sparrows1 c4--an arrangement we may suppose to be connected in some way with the early history of the whole group of species--a family or clan sacrifice1 as it were1 for the benefit of a less fortunate member4#c ,in the first case of cuckoos1 are the ,african honey cuckoos1 and the ,south ,american rain cuckoos4 ,the birds of the former of these varieties are noted for guiding depredators to the wild honeycombs2 and the latter live upon insects1 snakes1 and fruits4 ,here too are the ,coucals of ,africa1 ,java1 ,south ,america1 and ,australia1 including the ,australian giant coucal1 the ,asiatic1 ,south ,american1 and ,west ,indian anis2 and the two cuckoos of the tropics1 including the gilded cuckoo1 the greatspotted cuckoo1 and white-crested cuckoo from ,africa1 and the common ,european cuckoo4 ,before leaving the region devoted to perching birds1 the visitor should glance at a few of the pictures which are suspended above the cases in this compartment4 ,they include1 amongst various portraits of ,british ,museum donors1 three of ,sir ,hans ,sloane1 one by ,murray2 ,robert ,earl of ,oxford1 by ,sir ,godfrey ,kneller2 and ,edward ,earl of ,oxford1 by ,dahl4 ,the visitor's way now lies to the north1 into the third1 or central compartment of the gallery1 the wall cases of which contain the gallinaceous1 or ,,scraping ,,birds4 ,this order is divided into four distinct families--the ,pigeons1 the ,curassows1 the ,pheasants1 and the ,grouse and ,partridge tribe4 ,of these families the museum contains a fine and complete collection4 ,the beauty of the pheasant family--its varieties ranging from the gaudy splendour of the peacock to the more modest beauty of the common hen--are here fully represented4 ,in the first case 7#hd7 of ,scraping ,birds1 are grouped the ,asiatic1 ,african1 and ,australian tree pigeons1 which inhabit the woods1 and live on berries and various kinds of seeds4 ,the collection includes the ,javan black-capped pigeon1 and the parrot and aromatic pigeons of ,india4 ,the two next cases 7#he1 #hf7 are filled with the true pigeons and turtles of various parts of the world1 in all their varieties--the ,indian nutmeg pigeon1 and the ,australian antarctic pigeon4 ,the next case is devoted to the common ,european turtle and the ,north ,american migratory pigeon4 ,the next case is filled with the varieties of the ground ,dove1 among which the visitor should notice the ground turtle1 the ,west ,indian partridge pigeon1 the great crowned pigeon of the ,indian ,isles1 and the bronze-winged pigeon of ,australia4 ,leaving the pigeons behind1 the visitor's attention is next called to the two cases of ,curassows 7#hi1 #ij71 the poultry peculiar to ,south ,america4 ,they feed on fruit1 worms1 and insects2 and live in small flocks4 ,the curassows are followed by the varieties of the pheasant tribe1 grouped in thirteen cases 7#ia-ajc74 ,the three first cases are given up to the splendid ,east ,indian ,pheasants known to ,europeans generally1 as peacocks4 ,they were brought to the west and valued for the beauty of their plumage many centuries before the ,christian era1 and no doubt helped to inflame the imagination of the ,mediterranean merchants who dreamt of the untold wealth of the ,indies4 ,the specimens of these birds here preserved1 are fine samples of the species4 ,they include the iris and crested peacocks1 the ,japan peacock1 the ,thibet crossoptilon1 and the ,argus pheasant4 ,the two following cases 7#id1 #ie7 of the pheasant family contain the varieties of true ,asiatic pheasants2 but the visitor's attention will be immediately riveted upon the specimens of the splendid ,chinese pheasant known as ,reeves' ,chinese pheasant4 ,the plumage of this pheasant is very beautiful1 the feathers of the tail measuring sometimes between five and six feet in length4 ,the three following cases 7#if-ih7 are filled with varieties of the pheasant from ,indian climes4 ,in the first case are the pheasants from the ,himalayan ,mountains1 and the pencilled variety from ,china4 ,in the third case the visitor should notice the handsome fire-backed pheasant of ,sumatra1 the superb pheasant1 ,sonnerat's wild cock1 and the cock of ,java4 ,the two following cases 7#ii1 #ajj7 contain the remainder of the pheasant varieties4 ,amongst these the visitor will find1 the horned and black-headed pheasants of ,india1 the ,american turkey1 the pintados of ,africa and ,guinea1 and the pheasants from the north of ,asia that live upon bulbous roots1 known as the ,impeyan pheasants4 ,the immediate successors of the pheasants1 in point of order1 are the ,partridges1 of which the collection contains three cases 7#aja-ajc74 ,these birds inhabit both hemispheres1 and specimens of the different varieties are grouped in the cases4 ,in the first case the visitor should notice the ,currie partridge1 from ,nepal1 the ,cape and bare-necked partridges of ,africa1 and the sanguine pheasant2 in the second case1 the common ,european partridge and quail1 the red ,european partridge1 the ,indian olive partridge1 and the ,andalusian quail2 in the third and last partridge case1 ,californian and crested quails1 and the ,indian crowned partridge4 ,next in order are the ,grouse1 grouped in two cases 7#ajd1 #aje74 ,in the first of these cases the visitor will notice the wood grouse of ,scotland1 and the ruffed and other grouse of ,america2 in the second case1 the sand-grouse of the scorching deserts4 ,the last case of the scraping birds is occupied by the ,sheathbills1 which1 as the visitor will perceive1 closely resemble grouse4 ,they are from ,south ,america2 the tinamous1 from the warmer parts of the ,continent2 and the megapodius1 of ,australia and the ,asiatic islands4 ,it now remains for the visitor to notice a few of the paintings suspended in this compartment1 above the wall cases4 ,these paintings include a copy of ,klingstad's portrait of ,peter ,i4 of ,russia1 three historical portraits1 presented to the museum by the ,rev4 ,a4 ,planta1 and a hunting scene by ,geo4 ,b4 ,weenix4 ,the visitor should now advance into the fourth compartment of the gallery1 the wall-cases of which are devoted to the specimens of ,,wading ,,birds4 ,most interesting families of birds are included in this order4 ,first1 there are the ,ostriches1 which are the envy of all people cursed with weak digestive powers2 then there is the ,dodo1 with its mysterious and half-told history2 also the ,bustards1 the ,coursers1 the ,plovers1 the ,cranes1 the ,storks1 the ,sandpipers1 the ,snipes1 c4 ,these varieties of wading birds are carefully classed1 and represented in the compartment of the gallery to which the visitor has now worked his way4 ,first in the order of arrangement stand the ostriches1 occupying the cases 7#ajg1 #aji74 ,some naturalists refuse to class ostriches with the order of wading birds1 and elevate them to the dignity of a distinct order1 ,cursores1 or runners2 but in the museum1 as the visitor will perceive1 they are at the head of the wading order4 ,unscientific people know more about the ostrich than about most other birds of foreign climes4 ,few people have not heard that the egg of the ostrich weighs three pounds--that the sun is the bird's ,cantelo--that he has only two toes to each foot--that he sometimes exceeds six feet in height--and that it would not be an act of madness to back a stout specimen1 for speed1 against an average horse4 ,the digestion of the ostrich has been considerably strengthened in the minds of unscientific persons by imaginative travellers2 the fact being that these birds live upon vegetable food1 occasionally swallowing stones1 or a bit of iron1 in aid of that digestion which has been so misrepresented4 ,in the cases before the visitor are the ,african ostrich1 and his relations1 the ,australian cassowary1 and the ,american emu--all characterised by the absence of a hind toe4 ,having noticed these fine birds1 the visitor will be anxious to learn something of the mysterious case 7#ajh71 which contains a foot1 the cast of a skull1 and a painting4 ,here he sees all that has yet been traced of the extinct dodo1 a bird which is believed to have existed in vast numbers up to a recent period1 chiefly on the ,bourbon and ,mauritius islands4 ,the painting is said to be an authentic ,dutch performance1 taken from the living bird at the time when the ,cape of ,good ,hope was doubled by adventurous men heated with exaggerated notions of the exhaustless wealth of the ,indies4 ,its precise position among birds has not been finally assigned4 ,it appears to have been incapable of flight1 to have had a vulture's head1 and the foot of a common fowl4 ,it is conjectured that the race was extinguished by the rapacity of the first settlers in the ,mauritius1 who1 finding the dodo excellent eating and an easy prey1 demolished every specimen of the species4 ,near these wrecks of the dodo1 and in the same case1 is the ,new ,zealand wingless bird1 now almost extinct1 but to scientific men an interesting link between the bird and the mammalia4 ,the ,bustards occupy the two next cases 7#aaj1 #aaa7 to which the visitor should direct his attention4 ,here are the two bustards of the eastern hemisphere1 the great ,european bustard1 the ,african ruffed and white-eared bustards1 and the ,arabian bustard4 ,the next case 7#aab7 contains the varieties of wading birds called1 from their power of running1 ,coursers4 ,these are chiefly found in ,africa2 but the varieties in the case include1 in addition to the ,north ,african cream-coloured courser1 and the double-collared courser1 the thick-kneed ,european bustard4 ,the ,plovers are arranged next in order to the coursers4 ,the varieties included in the case 7#aac7 are from ,africa1 ,north ,america1 and ,europe4 ,here are1 amongst others1 the beautiful golden-ringed and dotterel plovers of ,europe1 and the ,american noisy plover4 ,in the case which next claims attention 7#aad7 are the turnstones1 that turn stones on the sea-shore in search of food2 the oyster catchers1 that wrench shell fish from their shells2 and the ,south ,american gold-breasted and other trumpeters4 ,the ,cranes1 of which there is an extensive collection1 now claim the visitor's attention4 ,they are from all parts of the world1 and love the borders of rivers and lakes1 where they can prey upon small reptiles and fish4 ,in the first cases 7#aae-aah7 are the true cranes1 including the common ,european variety1 the ,indian crane1 the ,south ,american caurale snipe1 the common and purple-crested herons of ,europe1 the ,pacific heron1 the crowned heron1 the ,north ,american great heron1 and the ,african demoiselle heron4 ,in the two following cases 7#abj1 #aba7 the visitor will find the ,american blue heron1 and the great and little egrets2 and in the next two cases given to the crane family 7#abb1 #abc7 are the bittern and little bittern of ,europe1 the ,american lineated bittern1 the squacco and night herons of ,europe1 the ,american night heron1 the ,european spoonbill1 and the ,south ,american cinereous boatbill4 ,the examination of these varieties will give the visitor a clear idea of the peculiarities of birds that frequent marshes and the borders of streams4 ,the next case to which the visitor will direct his steps1 is that 7#abd7 in which the ,storks of ,europe and ,america1 including the white and black varieties1 are grouped4 ,in the case next in order of succession to that given to the storks 7#abe7 are some interesting branches of the crane family1 including the ,indian gigantic crane4 ,here also are the jabirus of ,america and ,senegal1 and the ,north-,american ibis1 which will introduce the spectator to the case of ibises1 among which is the sacred ibis of the ,egyptians2 the black-headed ,indian ibis2 and that of ,new ,holland4 ,next1 in order 7#abg71 are the ,godwits1 which follow the mild seasons from one country to another2 among them are the ,english red godwit2 and the ,australian terek snipe4 ,in the next case 7#abh7 the visitor should examine the varieties of ,snipes and ,sand-pipers it contains4 ,these birds hunt their food in gravel and amid stones in most localities4 ,the most remarkable of the group are the lanky avoets1 with their long legs adapted to hunt rivers for fish spawn and water insects3 among them1 the long-legged plover should be noticed4 ,the varieties of the sand-piper1 in the next case 7#abi71 now claim a careful inspection4 ,sand-pipers inhabit various parts of the world1 and1 like the ibises1 love the neighbourhood of water1 where they seek the food congenial to them4 ,the ,phalaropes1 which are also represented in this case1 are natives of the eternal ice of the arctic regions1 where they subsist upon crustacea4 ,the visitor passes from the sand-pipers to the case of ,snipes 7#acj71 including the ,british varieties1 and the snipe of ,india4 ,in the next case 7#aca7 the visitor should notice the ,chinese and ,south ,american jacanas1 that walk about unconcernedly upon the floating leaves of water plants2 with these are grouped the ,south ,american ,screamers4 ,the three last cases devoted to wading birds1 contain the varieties of the ,british and ,north ,american ,rails3 the varieties of the ,gallinule1 including the ,european purple gallinule1 the ,south ,american variety1 and the ,australian black-backed variety2 and the ,finfoots of ,africa and ,america4 ,all these birds inhabit marshy land1 or the banks of streams1 and derive their food from the insect life that swarms near the water4 ,with the finfoots the collection of wading birds closes2 but before going on his way1 the visitor should glance at the paintings which are hung about the wall cases in this room or compartment4 ,these include portraits of ,lord ,chancellor ,bacon2 ,andrew ,marvel2 a copy from the picture at ,wimpole of ,admiral ,lord ,anson2 ,camden2 ,matthew ,prior2 ,william ,cecil1 ,lord ,burghley2 ,sir ,isaac ,newton2 ,archbishop ,cranmer2 and ,george ,buchanan4 ,having examined these works1 the visitor's way lies in a direct line to the last room of the eastern gallery--to that1 the wall cases of which1 are filled with the families of ,,web ,,footed ,,birds4 ,this section of the birds includes all those which are able to support themselves upon the surface of the water4 ,the varieties include the gaudy ,flamingos2 the ,albatross that frighted the ancient mariner2 the ,pelicans with their pouches2 the impetuous ,gannets1 and the remarkable ,frigate ,bird4 ,and here1 too1 the visitor will find the varieties of ducks1 geese1 and swans1 all classed in regular order4 ,the web-footed birds occupy no less than thirty-one cases2 to each of which the visitor should pay some attention4 ,the first case of the series 7#ace7 is gay with the bright red plumage of the flamingos1 with their crooked upper mandible1 and their long legs and necks4 ,the next four cases 7#acf-aci7 of the series are occupied by the varieties of the ,goose4 ,in the first of these cases the visitor should notice the varieties of the spur-winged goose from various parts of the world2 including the black-backed goose4 ,in the three following cases the white fronted and grey-legged ,european geese2 the ,canada and ,magellanic geese2 and the ,indian barred-headed goose2 and the cereopsis from ,new ,holland4 ,the stately ,swans from various parts of the world1 all graceful2 including the handsome black-necked swan1 and the whistling swan1 occupy the three cases next in succession 7#adj-adb74 ,the ,ducks occupy no less than eight cases2 and the visitor will linger over the beautiful varieties1 without once allowing the unkind association of green peas to enter his head4 ,in the first four cases 7#adc-adf7 are the sub-families of the true duck1 collected from various parts of the world2--the teal from ,china2 the whistling duck from ,south ,america1 and the ,european varieties of the common teal1 the widgeon1 and the sheldrake4 ,three cases 7#adg-adi7 are filled with those sub-families of the duck which prefer the sea or the great lakes1 including the handsome red-crested ,european duck2 the eider duck1 which is robbed of its down for the comfort of mankind2#d the scoter and nyroca ducks2 and1 in the third case1 the spinous-tailed ducks of southern climes4 ,the arctic birds1 known as the ,mergansers1 are grouped in the next case 7#aej73 and1 proceeding on his way1 the visitor will arrive before the cases 7#aea-aeb7 of ,divers1 from the north1 so called from the strength with which they dive for the fish upon which they live2 but their powers in this respect are not equalled by those of a sub-family of web-footed birds1 which the visitor will presently reach4 ,before reaching the cases in which the interesting sub-families of the ,gulls are exhibited the visitor should remark the varieties of the ,grebes in case #aeb2 the two following cases devoted to the ,auks from the arctic regions2 and the true ,auks of ,britain2 the varieties of the ,penguins1 or marine parrots2 and the ,guillemots4 ,from these birds the visitor's way lies in the direction of the six cases 7#aee-afj7 in which the sub-families of the gulls are grouped4 ,the contents of the first cases will at once strike him3 here are the ,petrels1 and the associations of shipwreck and disaster with which they have ever been connected4 ,the group includes the stormy petrel1 and the albatross4 ,they have an altogether wild and singular appearance4 ,the true gulls of every sea are grouped in the next three cases 7#aeg-aei73 they come from the ice of the polar seas1 and from our own shores1 including the kittiwake gull1 and the ,european black-backed gull4 ,the last case of the gull family 7#afj7 is given to the ,terns1 which are caught in all parts of the world2 and the ,skimmers1 so called from the dexterity with which they skim the surface of the water1 keeping the under mandible immersed1 and the upper dry1 in search of prey4 ,next to the gulls are placed the ,tropic ,birds 7#afa71 the name of which indicates their native clime4 ,these birds prey upon fish2 some1 as the red-tailed tropic bird1 darting upon the flying-fish2 and others1 as the darters1 boldly plunging into the tide from overhanging boughs1 in search of their favourite prey2 here1 too1 is the common ,cormorant4 ,four more cases remain for examination1 and then the visitor will have closed his inspection of the museum specimens of birds4 ,these four cases contain1 however1 one or two birds1 the habits of which are singular4 ,first1 there are the ,pelicans with their capacious pouches4 ,the rapidity with which these birds swallow small fish has been witnessed by most people at our ,zoological ,gardens4 ,the visitor should notice next1 the ,european ,gannet1 of which strange stories of strength and prowess are related4 ,the velocity with which they dive in search of food has been variously estimated4 ,it is said that on the coast of ,scotland1 fishermen have found them entangled in their nets at the extraordinary depth of a hundred and twenty feet below the surface4 ,pennant relates a story of a bird1 which1 on seeing some pilchards lying upon a floating plank1 darted down with such strength1 that its bill pierced the board4 ,and now the visitor should turn to contemplate the grand and solitary ,frigate ,bird4 ,this bird appears to have the power of sustaining itself in the air for an indefinite period1 and to wander with the utmost confidence on its broad pinions1 over hundreds of miles of ocean1 now and then dipping to secure its prey4 ,this slim1 pale1 and solitary wanderer must have a noble appearance1 when calmly sailing upon its great expanse of wing1 a thousand miles from any resting-place1 its food floating in the element below1 to be taken at will4 ,before leaving the last1 or most northerly apartment of the eastern zoological gallery1 the visitor would do well to notice a few of the pictures which are suspended above the wall cases4 ,here are portraits of ,voltaire2 the hardy ,sir ,francis ,drake2 ,cosmo de ,medici and his secretary 7a copy from ,titian72 ,martin ,luther2 ,jean ,rousseau2 ,captain ,william ,dampier1 by ,murray2 ,giorgioni's ,ulysses ,aldrovandus2 ,sir ,peter ,paul ,kubens2 the inventor of moveable type1 ,john ,guttenberg 7which would be more appropriately placed in the library72 ,john ,locke2 a poor woman1 named ,mary ,davis1 who in the seventeenth century1 was celebrated for an excrescence which grew upon her head1 and finally parted into two horns2 the great ,algernon ,sidney2 ,pope2 ,ramsay's portrait of the celebrated ,earl of ,chesterfield1 who1 according to ,dr4 ,johnson1 taught the morality of a profligate1 and the manners of a dancing master1 and a landscape by ,wilson4 ,at the northern door of this gallery are1 a painting of ,stonehenge1 and one of the cromlech at ,pls ,newydd1 in ,anglesea4 ,the visitor's way now lies to the west out of the eastern zoological gallery into the most southerly of the two northern galleries4 ,this gallery1 which consists of five compartments1 or rooms1 is called ,,the ,,northern ,,zoological ,,gallery4 ,the wall cases of this gallery1 to which the visitor's attention should now be exclusively devoted1 contain various zoological families4 ,in the first eight wall cases of the room are distributed the varieties of ,bats4 ,these are placed here1 away from the mammalia1 on account of the pressure of room4 ,they are not to be mistaken as birds in any particular4 ,they are essentially mammalia1 inasmuch as they produce their young in a breathing state and suckle them4 ,the bats of ,england and other cold climates remain in a torpid condition1 and only spread their wings of stretched skin when the songbirds report the advent of the warmth of spring4 ,the visitor will notice amongst the varieties in the three first cases1 the ,brazilian bats1 including the vampire bat 7which has been known to attack a man in his sleep and suck blood from him71 the remarkable leaf-nosed bats which are ranged upon the upper shelves1 and the ,indian and ,african varieties2 and underneath are grouped the well-known horse-shoe bats of the eastern hemisphere4 ,in the next case 7#d7 are the long-eared ,european bats1 with ears like curled leaves2 and the ,american1 ,african1 and ,australian varieties4 ,the fifth case is filled with groups of the ,african and ,indian taphozous2 the ,south ,american tropical bats2 and the ,west ,indian chelonicteres and moormops4 ,the last three cases1 devoted to the varieties of the bat 7#f-h71 contain those sub-families which are known as ,flying ,foxes1 from their great size4 ,these live on fruits1 and inhabit ,australia1 and the southern countries of the eastern hemisphere4 ,the visitor's way now lies westward into the second compartment of the northern zoological gallery2 for in this room1 as in the rooms through which he has already passed1 he should confine his attention1 for the present1 to the wall cases1 reserving the examination of all table cases for his return visit1 on his way out4 ,and here the visitor may well pause to think upon the zoological travels he has already made1 from the mammalia1 which present the highest types of animal life2 through the sub-families of birds1 which form ,cuvier's secondary class of vertebrata1 or animals with a back-bone2 to the threshold of the room in which the tertiary class of back-boned animals are deposited4 ,this class includes the great families of ,,reptiles1 of which there are no less than six hundred and fifty-seven varieties4 ,reptiles are vertebrated animals belonging to ,cuvier's first great section1 but distinguished from mammalia and birds1 by their cold blood1 their oviparous generation1 and the absence of either feathers or hair from their bodies4 ,they take precedence of fish in the animal kingdom1 having lungs for aerial respiration1 and a higher circulatory organisation than the exclusive inhabitants of the water4 ,in the museum1 ,cuvier's classification has been followed1 with slight variations2 that is to say1 the reptiles have been re-divided into four classes3--the ,sauria1 or ,lizards 7in which class some modern naturalists1 as ,merrem and others1 include serpents72 the ,ophidia1 or ,serpents2 the ,testudinata1 or ,tortoises2 and the ,batrachia1 or ,frogs4 ,the lizards occupy the first ten wall cases in this room4 ,the first case contains those lizards of ,india and ,africa which have long held the regard of eastern nations1 upon the slender report that they hiss upon the approach of a crocodile1 and so warn the incautious traveller to retreat in time4 ,the truth is1 these sauria prey upon the crocodile's eggs1 no doubt to the particular annoyance of the crocodile1 who are1 therefore1 it is more than probable1 no friends of the monitors4 ,the ,egyptian would love the monitor for feeding upon the crocodile germ1 as much as for his timely warning of the approach of the uncouth enemy4 ,the curious heloderms1 from ,mexico1 with their ophidian teeth1 lie at the bottom of the fifth case3 they are supposed1 but as yet on insufficient grounds1 to be poisonous4 ,in the next case 7#f7 are the lizards of tropical ,america1 called safeguards4 ,their reputed peculiarity is that1 of beating beehives till they compel the bees to retire1 and then feasting upon the sweet booty3 in the same case with these1 is the lizard with the double-keeled tail1 known as the crocodilurus4 ,the visitor next faces a case 7#g7 of ,serpent ,lizards1 which do not deserve their reputation for poisonous properties1 being quite harmless3 here1 also1 are the ,skinks and other varieties1 including the blind worms with their hidden legs4 ,having dismissed the serpent lizards1 the visitor will notice the ,night ,lizards and ,guanas4 ,the former are inhabitants of warm climates1 and from the ease with which they can adapt themselves to any positions1 they may be troublesome visitors2 they can run with ease about the walls and ceilings of rooms1 like flies2 and their propensity is to roam abroad in the darkness of the night4 ,their broad1 ugly heads1 and repulsive general appearance1 have won for them the character of poisonous reptiles1 but the truth is they are harmless4 ,the ,crested ,lizards which the visitor will notice hereabouts1 are the ,american fruit-eating species1 celebrated for violent quarrelling among themselves1 and for their power of changing colour with great rapidity4 ,they do not crawl upon the earth1 but live on trees1 the fruits of which sustain them4 ,here1 too1 are the ,anoles1 with their distended toes1 that enable them to imitate the crawling feats of the night lizards4 ,the tenth case devoted to the lizard tribe1 is the most interesting of the series4 ,it contains the family of lizards known as the ,agama4 ,this family boasts many famous scions4 ,first1 here are the ,indian dragons2 their resemblance to the fabled monster slain by ,st4 ,george1 consists of a loose skin over the ribs1 which they can open or fold at pleasure4 ,these bat-like wings will not support them in the air1 but serve to steady their bodies when leaping from branch to branch of a tree4 ,from these lilliputian representatives of the monster of fable1 the visitor's attention will most probably be called by an important-looking lizard1 of which ,mr4 ,allan ,cunningham brought the first specimens to this country1 from ,port ,nelson1 ,australia4 ,we allude to the lizard with a frill round its neck1 which has been universally likened to that worn by ,queen ,elizabeth3 it is called the frilled agama4 ,it is supposed that this harmless sauroid extends this frill to frighten away its enemies2 as old ladies1 who can preserve their presence of mind in the neighbourhood of a bull1 open their umbrella to frighten it into an opposite direction4 ,under these interesting sub-families are grouped the varieties of a species of agama that has won for itself an imperishable reputation--having furnished imaginative minds with matter for the most extravagant speculations--and yielded to the political writer abundant sarcastic images4 ,no politician who has thought proper in the course of a long career1 to change his old principles for new ones 7as housewives exchange worn-out apparel for new gilded pottery72 no philosopher who has by turns embraced conflicting principles of human action2 no man of science who has published two opposite theories of the formation of our universe1 can pause without emotion before this case of classed ,chameleons2 for the politician1 the philosopher1 and the man of science have inevitably figured in hostile reviews under the head of colour-changing sauroids4 ,the popular notion respecting the colour-changing powers of these lizards is1 that at will the chameleon can habit itself in any colour of the rainbow2 that by turns it is a red chameleon1 a blue chameleon1 a green chameleon1 and a yellow chameleon4 ,the fact of the case is very far-from this notion4 ,chameleons are found chiefly in ,africa and ,india1 but also in some of the tropical islands4 ,in their habits they are sluggards1 lounging generally about trees1 and distending their long tongues covered with a glutinous secretion1 to secure passing insects1 upon which they subsist4 ,they have eyes of wonderful power1 and can look backwards and forwards at the same moment2 but as regards their colour1 it is well to assure the visitor1 that their usual tint when resting in the shade is a blue-grey1 which sometimes pales to a lighter grey1 turns green1 assumes a brown-grey tint1 or darkens to a decided brown4 ,these are the sober observations of observant naturalists on the subject4 ,the class of reptiles to which the visitor should next direct his attention are those classed by ,cuvier and others under the head of ,ophidia1 or ,,serpents4 ,the particulars in which1 the serpent differs from the lizard are1 that the former have no feet1 cast their bright coats annually 7like our metropolitan postmen71 and swallow their food without masticating it4 ,they occupy seven cases4 ,the upper part of the first case contains many of the most poisonous serpents4 ,among these are the well-known and formidable ,rattlesnakes of ,america1 with specimens of their rattles lying near them1 which1 as the visitor-will see1 are a succession of osseous joints4 ,here too are the terrible cobra di capello1 and other poisonous serpents of ,india2 the ,south ,american fer de lance2 the vipers of ,europe2 the ,north ,african crested viper2 and the ,cape of ,good ,hope and ,western ,african puff adder2 the ,guinea nosehorn viper1 and the common viper found in ,england--our only dangerous serpent4 ,these serpents all inflict their poisonous wounds by means of two fangs1 which they protrude from the mouth1 and from the points of which they inject the poisonous matter into the wounds they inflict4 ,on the lower shelves of this case the visitor will find some specimens of the ,sea-,serpents1 which frequent the ,east ,indian seas1 and the coast of ,new ,holland4 ,they are dangerous reptiles1 having small fangs amid their teeth1 with which they attack bathing animals or men4 ,some of them have been found sleeping on the warm bosom of a tropical ocean2 and upon the warm sands of the shore they are often found1 coiled up in a torpid state4 ,they vary greatly in size3 but the visitor will perceive none approaching in length to that remarkable reptile which artists1 despairing in their attempts to give it the proper dimensions1 lately coiled about the wide pages of pictorial papers4 ,the visitor will next have his attention drawn to that family of serpents of which the ,boa is the great representative4 ,these are all grouped together in cases 7#ab-ae74 ,this family has what naturalists call the rudiments of legs4 ,they are a nobler family than that which the rattlesnake represents1 inasmuch as they do not depend upon poison to master their enemy2 but fight legitimately1 with their muscular strength4 ,the terrible pictures which adorn the pages of eastern travels for children1 of poor ,indians with just their heads appearing above the folds of a gigantic boa1 will probably recur to the visitor1 as he surveys the tortuous folds of the placid specimens of the family that lie before him4 ,it is therefore hardly necessary to inform him that the boa family destroy their prey by coiling round it1 and having secured their tail to a tree to give themselves additional strength1 by crushing every bone in its body4 ,having thus taken the life out of the victim1 the destroyer1 with some trouble1 if the animal be large1 swallows it1 and lies down for weeks to allow the process of digestion to go on4 ,some of these boas are from ,africa1 some from ,india1 and some from ,america4 ,the last two cases of serpents 7#af1 #ag7 include many varieties4 ,here are the common water and ring snakes of ,england2 the coach whip snakes1 that live coiled about trees2 the black and red ringed snakes1 known as the coral snakes2 and the varieties of serpents with which the famed serpent charmers of ,india exhibit their skill4 ,the juggler snakes have the peculiar power of inflating the skin of the neck till it bulges over the head1 and so forms a kind of hood4 ,the ,indian varieties of these hooded snakes are poisonous1 and are distinguishable from the others by a yellow spot on the back of the neck4 ,from the serpents the visitor should turn to the families of the ,testudinata1 or ,,tortoises4 ,tortoises are broadly divided into three species1 namely1 land tortoises2 fresh water tortoises1 of which there are no less than forty-six varieties2 and marine tortoises1 well known to the citizens of ,london1 in the shape of turtle-soup4 ,the land tortoises subsist on vegetables1 and are said to live occasionally more than two hundred years4 ,the two first cases devoted to ,testudinata 7#ah1 #ai7 contain the ,american1 ,indian1 and ,african varieties of the land tortoise4 ,here is the gigantic tortoise from ,galapagos1 for the flesh of which many a sailor has been grateful4 ,the visitor will remark that the shells of some of the sub-families are handsomely marked4 ,the fresh water tortoises1 having the greatest number of sub-families1 occupy three cases 7#bj-bb74 ,this species is found in the marshes or rivers of warm climates1 where they prey upon small fishes and frogs4 ,the thurgi tortoise of ,india1 and the ,american snapping-tortoise1 grow to a great size4 ,in the lower part of case #bb are specimens of those tortoises which sleep with their heads bent under the margin of their shell4 ,in the last case devoted to tortoises1 are those hard tortoises known as the three-clawed terrapins of ,asia1 ,africa1 and ,america4 ,these are the strictly carnivorous family that feed in the water2 and may be seen preying upon the human remains that float down the ,ganges4 ,under these terrible epicures are the marine tortoises or turtles2 and among them the green turtle of the tropics4 ,shellfish and sea-weed are its chief food2 of its flesh1 all ,londoners who have not tasted it1 can speak pretty confidently from hearsay4 ,it grows occasionally to a great size2 those smaller ones which the citizens prize weighing generally about #fjj lb4 ,here too are the turtle of the ,mediterranean1 and the hawksbill turtle of ,arabia1 to which ladies are indebted for the choicest of their tortoise-shell combs4 ,having sufficiently dwelt upon the interesting histories of the tortoises1 the visitor's way lies forward in the direction of the two cases next in order of succession1 which are devoted to the ,loricata1 or ,,crocodiles4 ,the varieties of this family are not many2 they are grouped in three cases 7#bd-bf74 ,here are the terrible common crocodiles which have long been the terror of the people whose native land they inhabit2 the alligators1 which patronise ,america exclusively2 and the gavials of ,india4 ,they are said to act as orderlies1 in the rivers they frequent1 devouring all the putrid matter that would else infect the atmosphere4 ,here too are those curious snakes which are equally thick at either end--a peculiarity which has earned for them the appellation of double-headed1 and the supposed power of walking indifferently forwards or backwards4 ,the visitor now approaches the ,,frogs1 called by zoologists after the ,greek name1 ,batrachia4 ,the author of the ,vestiges of ,creation remarks1 that the frog is the only animal that1 like man1 has a calf on the hinder part of its legs4 ,the batrachian animals are here all grouped in one case 7#bf74 ,they have many peculiarities4 ,they are in the first place almost ribless2 their feet are in no way armed2 many of the toads have no teeth1 and those of the frog are insignificant for its size2 they have no tails2 neither the frogs nor the toads are venomous2 the fiery expectorations of the poor toads are matters of household fable only2 and their croaking choruses have startled many a poor traveller4 ,one variety1 in the case with which the visitor is now engaged1 is remarkable4 ,here are specimens of the tree frogs that can walk with their backs downwards on the most polished surfaces1 and can slightly change their colour2 the paradoxical frog from ,surinam1 which is larger as a tadpole than in its condition of maturity2 the ,brazilian horned toads2 the ,american bull frogs2 and the ,brazilian pipa1 the female of which deposits its eggs upon the back of the male1 who carries them about till they burst from their shells2 the repulsive siren of ,carolina1 which ,mr4 ,j4,e4 ,gray likens to an eel with fore-legs2 and lastly1 here is the blushing proteus1 which in its native subterranean caverns is of a pale pink1 but when brought to the light of day1 deepens into a crimson blush2 this is represented by a waxen model4 ,it is strange that political and controversial literature1 so rich in chameleons1 asses in lions' skins1 and other figures for human fallibility and stupidity1 should not contain a few1 just a few1 varieties of the blushing proteus4 ,the visitor has now examined all the wall cases of the second room2 and his way again lies to the west4 ,the third or central room of the gallery1 which he is now about to enter1 is to a large class of country visitors1 perhaps the most interesting apartment of the museum4 ,herein is deposited a complete museum of the animal life of ,britain1 comprehending the beasts and birds native to its soil1 and the fishes that swim in its waters4 ,,the ,,british ,,zoological ,,room4 ,in this room1 as in the previous rooms1 the vertebrated animals are grouped in the wall cases or on the top of the cases4 ,it is hardly necessary to guide the visitor systematically through the intricacies of a collection1 every beast1 bird1 fish1 and shell of which is native to his own land4 ,in the wall cases devoted to ,british vertebrate animals he will notice1 first the ,carnivorous ,beasts1 which include the foxes2 stoats2 cats2 c43--the ,glirine ,beasts1 including rabbits2 squirrels2 hares2 rats2 and mice3--the ,hoofed ,beasts1 as the fallow deer2 the stag2 and the roebuck3--and the ,insectivorous ,beasts1 including moles2 hedgehogs2 c4 ,the collection of ,british birds includes the ,birds of ,prey1 as the hawks2 the eagles2 and the owls3--the ,perching ,birds1 as the swallows2 kingfishers2 thrushes2 butcher birds2 rollers2 and wagtails3--the ,scraping ,birds1 as pheasants2 pigeons2 quails2 partridges2 and guinea-fowls3--the ,wading ,birds1 including the woodcock2 snipes2 herons2 sandpipers2 storks2 c43--and the ,web-footed ,birds1 including swans2 ducks1 and sea ducks2 grebes2 divers2 auks2 petrels2 gulls2 gannets2 cormorants2 c4 ,the eggs of the birds are in a table case 7#a7 and arranged like the birds4 ,the ,british reptiles are all collected in the upper part of one case1 including toads2 frogs2 and lizards4 ,the ,british fish occupy the remainder of the wall cases4 ,these include perch2 bream2 the john-dory2 carp2 barbel2 salmon2 pike2 trout2 sturgeon2 the shark2 thornback2 lamprey2 turbot2 plaice2 sole2 flounder2 cod2 haddock2 c4 ,,insects ,,and ,,shells4 ,three tables 7#b-d7 are devoted to insects with jaws2 the insects that are furnished with a proboscis2 and a collection of ,british ,crustacea1 including lobsters2 crabs2 woodlice2 shrimps2 c4 ,on the table upon which the ,insects with ,jaws are spread1 the visitor will notice many household torments1 including beetles2 crickets2 earwigs1 bees2 and wasps3 and in the general collection1 ants2 grasshoppers2 cockroaches2 dragon-flies2 c4 ,the ,insects with a proboscis include some beautiful butterflies with their painted wings2 gnats2 and1 to the horror of many female visitors1 bugs4 ,the three next tables are covered with specimens of the shells of ,british mollusca1 or soft-bodied animals4 ,here are the shells of snails1 cockles1 mussels1 oysters1 c4 ,the collection closes with a table case 7#h7 which is covered with specimens of those animals called by ,cuvier radiated creatures1 or creatures whose nervous force is concentrated in a central point whence it radiates1 as in the starfish2 sea eggs1 c2 corals2 sea pens2 corallines1 c4 ,having made this rapid survey of the animal life of ,great ,britain from its highest to its lowest developments1 the visitor should again resume his journey westward1 to the fourth room of the gallery1 in which the collection of ,,fishes begins4 ,here the ,osseous or bony fishes are distributed in and on the top of the wall cases4 ,while taking a general glance at the arrangement of the room1 the visitor will at once be struck by the specimens of ,sword fish--especially by the ,indian flying sword fish1 which are placed on the top of the wall cases on account of their length--and some of the pikes or swords of these fish1 one of which1 it is asserted1 was driven1 by the fish to which it belonged1 into the hull of a stout oak ship4 ,on the top of one of the cases the visitor should notice also the remarkable large head1 from ,mexico1 with a long dorsal ray4 ,there are six orders or families of osseous or bony fish2 and specimens of all these will be found in the wall cases of this room4 ,first there is the family of ,,spiny-,,finned ,,fishes4 ,this family occupies the first thirteen wall cases4 ,among the fishes in the first four cases1 the visitor should notice the flying gurnards2 the sea scorpions1 and flying sea scorpions2 the paradise fish2 and the perches1 including the fingered variety4 ,the next cases 7#d-i7 include1 amid other varieties1 the chaetodons1 or bristle-toothed fish2 mackarel1 and horse mackarel2 tunny2 scombers1 c42 john-dories2 and pilot fish4 ,then follow1 next in succession1 two cases 7#aj1 #aa7 containing the lively dolphins1 which are remarkable for the rapidity with which they change colour when they are withdrawn from the water2 the sturgeons1 with their lancet spine2 and the sea garters4 ,the next two cases include the remaining specimens of the spiny-finned fish4 ,among these are the wolf fish2 the curiously formed tobacco-pipe fish2 the big-headed dolphins or anglers2 the hand fish1 with its long fins2 and the rook fish4 ,,the ,,soft-,,finned ,,fishes are deposited in nine cases4 ,in the first two cases 7#ad1 #ae7 of the series1 are the fresh water fish of different countries1 including the voracious and long-lived pike3 these form an interesting group for the contemplation of anglers4 ,the next case is devoted to hard-coated fish1 as the ,callichthes1 which are cased with a thick scale armour2 and the hard-coated ,loricaria4 ,the fish grouped in the other cases of the series1 are mostly familiar to the general visitor4 ,here are the varieties of the salmon and the herring2 cod2 ling2 turbot2 flounders2 eels of various kinds2 whiting2 and the lump fish4 ,the remaining four cases of this room are devoted to a series of fishes including1 in cases #bc1 #bd1 the globe fish with a parrot's beak2 and the ungainly sea horses4 ,the two last cases 7#be1 #bf7 include the file fish2 the coffin fishes with their hard case of octagonal plates2 and the ,european and ,american sturgeons4 ,having examined the varieties of osseous fishes1 the visitor should continue his westerly course into the fifth and last room1 a compartment of the northern zoological gallery4 ,in this room he will find the wall cases devoted to ,,cartilaginous ,,fishes4 ,many of the specimens of this division are placed on the top of the wall cases1 being too large to be placed inside the cases4 ,the ,cartilaginous fishes here brought together include the varieties of the ray2 torpedos2 and sharks4 ,at the western extremity of this room the visitor should terminate the onward course of his first visit1 and1 remembering that the table cases of the northern and eastern galleries through which he has passed1 remain to be examined on his way back to the grand staircase1 should begin to retrace his steps1 confining his attention1 as he returns1 to the table cases placed in the central space of the rooms through which his way lies4 ,he should now therefore face the east1 and return1 in the northern zoological gallery towards its eastern extremity4 ,the table cases deposited in the room with the cartilaginous fish are covered with ,,sponges of different kinds4 ,it will be interesting to the visitor to know something of the natural history of the sponge4 ,it has been ascertained1 beyond a doubt1 that the sponge is an animal that sucks in its food and excretes its superfluities2 that certain of its pores imbibe1 while others exude2 and that according to the relative positions of the two distinct sets of pores1 is the shape of the sponge determined4 ,in a natural state1 as it is found in the ,mediterranean1 the sponge is surrounded with a thick glutinous matter1 which is its vital part2 like coral1 it is a zoophyte3 it propagates in the same manner1 and its life is indestructible till it is removed from its proper element1 and the glutinous matter which makes its vitality has been boiled out of its pores1 leaving the soft and beautiful skeletons1 of which these cases contain many specimens4 ,here also are some old sponges preserved in flint4 ,having noticed these beautiful zoophytes1 the visitor should proceed in an easterly direction into the room he recently quitted1 to examine the table cases it contains4 ,the first tables to which he should direct his attention here1 are those in which a series of ,crustacea or hard-coated animals are deposited4 ,they are of ,cuvier's order of animal life1 known as the articulata1 or animals whose bodies consist of a series of moveable joints4 ,these are mostly inhabitants of the sea1 and rank in the animal kingdom as the highest class of the ,articulata1 except the insects1 who head the order4 ,the tables upon which the ,crustacea or ,,shell ,,fish1 are deposited1 are numbered from #ac to #bd4 ,the four first cases 7#ac-af7 are covered with ,crabs of various kinds1 including the long-legged spider-crabs1 common crabs with oysters growing upon their backs1 and fin-footed swimming crabs4 ,the next case 7#ag7 contains in addition to the long-eyed or telescope crab1 varieties of the land-crab1 which is found in various parts of ,india2 one kind1 that swarms in the ,deccan1 commits great ravages in the rice-fields4 ,the two next tables are covered with ,chinese crabs1 square-bodied crabs2 those crabs with fine shells known as porcelain crabs1 and the curious death's head crab1 which seems to build a kind of nest of sponge or shells4 ,but upon the next table 7#bj7 the visitor will find the most remarkable of the crabs1 together with an astonishing lobster4 ,this crab is known as the hermit crab4 ,the visitor will perceive1 that it has a long naked tail2 and he should know that the one all-absorbing care of its life seems to be to find a place of safety in which this unprotected part may be screened from the dire mischances of war4 ,accordingly1 at an early age1 it sets out in search of a deserted shell into which it backs its tail2 or if an unoccupied shell be not at hand1 without much ceremony1 the hermit contrives a summary ejectment of the lawful tenant1 that it may shield its tail and be at rest4 ,upon the same table with this unceremonious hermit1 lies the tree-lobster1 which is believed to climb cocoa-trees in search of the nuts4 ,upon the next table 7#ba7 are the sea craw-fish and sea locusts2 and upon the succeeding table 7#bb7 the visitor will remark the destructive scorpion-lobster of ,india1 the excavations of which seriously damage the roads of that part of the world2 ,shrimps in all their varieties2 the delicate alima1 with its pale thin shell2 and the long king crab4 ,upon the last two tables devoted to shell fish1 or crustacea1 are spread the goose shells or barnacles1 whale lice1 and ,i the sea acorn4 ,having examined these crustacea1 the visitor should turn his attention to the twelve tables 7#a-ab7 upon which a fine collection of ,,insects is spread4 ,the first eight tables are covered with varieties of ,,the ,,beetle ,,tribe4 ,these include some beautiful insects4 ,the care with which the many thousand varieties have been classified by zoologists1 and the minuteness with which the habits of each variety have been traced1 have raised these insects to a conspicuous position in the great ,animal ,kingdom4 ,their beauty1 as they lie here in vast numbers before the spectator1 is dazzling4 ,every colour and every combination and shade of colour can be traced upon them2 and in these varieties of tint there appears to be a wise provision of nature1 the blue coloured beetle being the frequenter of the bark of trees1 the green beetle revelling among the leaves2 and the gay red and light beetles being the habites of flower cups4 ,upon the first table of the series 7#a7 are some curious varieties4 ,here are the remarkable burying-beetle1 that deposits its eggs in the rotting flesh of small dead animals1 and then1 with the assistance of some kindred beetles buries the body1 leaving its progeny to enjoy the carrion when they quicken2 the sacred scarabaeus of the ,egyptians1 and the ,british variety of the same beetle1 that bury their eggs in their dung4 ,upon the next table 7#b7 are the golden tropical beetles1 whose wings are used by the natives as ornaments2 the celebrated glow worms1 the females of which emit a phosphorescent light1 in order to attract the attention of the males--thus these lights are love signals2 the ,brazilian diamond-beetle1 a splendid insect1 and the harlequin beetle4 ,the third table 7#c7 is covered with varieties of the kangaroo beetles1 a brilliant collection of ladybirds1 the varieties of earwigs1 cockroaches1 originally tropical insects only2 the praying insects1 called so from their habit of erecting their fore legs and assuming a prayerful attitude1 when1 in fact1 they are preparing for an attack upon their prey3 and the insects which the uninitiated visitor has already mistaken for pieces of stick1 but which are the walking leaf-insects2 some with wings like dead leaves1 and others wingless4 ,the fourth table 7#d7 is covered with the varieties of the ,cricket1 including the great ,chinese cricket1 dragon-flies1 scorpion-flies1 the terrible tropical white ants1 caddis flies1 wasps1 saw-flies1 bees1 hornets1 and sand wasps4 ,,butterflies ,,and ,,moths4 ,then follow three tables 7#e-g7 of splendid butterflies1 with their brilliant tints4 ,the two tables 7#h1 #i7 ranged next in order to those upon which the butterflies are distributed1 are covered with varieties of the moth4 ,here are the silkworm moth and its cocoon as kept in ,siberia2 the ghost moth of our hop grounds2 the hawk moth1 the death's head moth1 and the large ,brazilian owl moth4 ,the next table 7#aj7 is covered with a great variety of flies and bugs1 including the ,chinese lantern flies4 ,the eleventh table is given up to ,spiders in all their varieties1 including the tarantula1 a formidable insect with a power of severe biting2 and the curious spider that bores a nest in the ground1 lines it sumptuously with its own silk1 and then constructs a lid that closes inevitably1 as the insect leaves its house4 ,here too are the scorpions4 ,the last table of the series 7#ab7 is covered also with varieties of the spider1 including the land and shepherd spiders2 the ,african scarlet tick1 and the centipedes4 ,the visitor has now completed his survey of the contents of this room1 and should at once pass forward in an easterly direction1 traverse the ,british zoological room1 which he has already examined throughout1 and pass into the fourth room of the gallery4 ,the table-cases in this room present nothing that can greatly interest the unscientific visitor4 ,they are covered with varieties of ,,starfish2 ,,sea-,,eggs1 ,,etc4 ,the sea-eggs are scattered over the first nine tables 7#a-i7 in the room4 ,they live on small animals and sea-weed4 ,the varieties include a flat kind1 vulgarly called sea-pancakes4 ,the remaining cases of the room are loaded with varieties of the star-fish4 ,the mouth of the star-fish is on its lower side1 through which it takes its food4 ,it has innumerable feet1 which it displays when in the water1 and by means of which it can climb rocks4 ,some of the varieties fall to pieces on being taken from their native element1 as the lizard1 or brittle star-fish4 ,the gorgon's head1 which has innumerable branches from its central part1 should be observed by the visitor2 and the sea-wigs1 which are a kind of star-fish1 somewhat resembling the gorgon's head1 with innumerable radii4 ,they are placed upon table #bd1 near a cast of a stem and flower1 that has the appearance of a fossil plant1 but is in reality a cast of a crinoid star-fish that once existed in great abundance4 ,in the most eastern room of this gallery are a few tables upon which are deposited the shells and tubes of molluscous animals1 to illustrate their changes1 and the way in which the animal adapts them to his position4 ,the third and fourth tables will1 perhaps1 interest the general visitor4 ,here he will find specimens exhibiting the growth of ,shells1 and also how the animal repairs any damage to its shell4 ,here1 too1 are the shells upon which the modern cameo-cutters of ,rome1 work4 ,as the visitor will perceive1 the design is engraved in relief upon the light outer layers of the shell1 leaving the darker under part exposed1 as a back-ground4 ,the visitor's way now lies out of the northern gallery1 by its eastern door1 near which he should notice a remarkable sun fish1 of a bulky and squat appearance4 ,having regained the first1 or most northerly room of the great eastern zoological gallery1 the visitor should turn to the south1 examining the table cases of this gallery as he returns through its spacious rooms4 ,all the table cases of this gallery1 with the exception of a few small side tables1 are covered with the vast varieties of the ,,shells of molluscous or soft animals4 ,these shells1 scattered over no less than forty-nine tables1 represent the architectural capacities of the great order of soft-bodied animals1 only inferior in rank1 in ,cuvier's ,animal ,kingdom1 to the ,vertebrate animals4 ,upon the first table1 before which the visitor will find himself 7#di71 are some interesting specimens of the well-known ,cuttle fish1 exhibiting its varieties1 including the common cuttle fish found upon our coasts2 those which have the power of secreting a dark fluid1 and those from ,india1 whose ink-bags furnish artists with that valuable brown called sepia4 ,here1 too1 are the skeletons of the slender loligos1 or sea leaves1 known also as sea-pens2 and the crozier shell4 ,upon the next six tables 7#dh-ec71 proceeding southward1 are the varieties of the ,oyster1 the ,mussel1 and beautiful ,mother-of-pearl shells4 ,but hence the visitor will probably proceed rapidly to the south2 inasmuch as the varieties of the mussel family1 including the ,chinese pearl mussel and ,scotch pearl mussel1 the borers1 the club shell1 and the cockle family1 are not generally interesting2 but he will probably linger for a few moments near the pond mussels placed upon some of the tables 7#ch-da74 ,the tables numbered from #bd to #cj are covered with the varieties of hard shells1 which1 however1 present no points of interest to the general visitor1 who may at once pass on to the varieties of the ,nautilus and ,argonaut1 7tables #bc1 #bd74 ,and here1 too1 we must entreat the visitor to forget the poetic history of the inhabitants of those beautiful shells1 and learn that the extended arms of the nautilus are used only to clasp its shell2 that it has no sails of any kind4 ,the varieties of the paper nautilus1 or argonaut1 are the most delicate and beautiful4 ,the next table 7#bb7 displays the shell of the curious carrier1 that embodies all kinds of foreign substances with its shell2 the slipper shell1 and the rose bud4 ,upon the next table 7#ba7 are the ,screws2 the curious ladder shells from ,china2 and upon table #bj1 are the varieties of fresh water ,clubs4 ,the next two tables 7#ah1 #ai7 display some curious and beautiful shells1 including ,venus's ear1 the pagoda shell1 and varieties of ,snails1 including the apple snails4 ,proceeding on his southern way1 the visitor should pause to notice the ear shells1 placed upon tables #ah1 #ag1 including the beautiful rainbow2 the button shells1 the rainbow eardrop1 and the pyramid upon table #af2 the pomegranate from the ,cape of ,good ,hope1 ,new ,zealand imperial1 and pheasant1 and the ,west ,indian golden sun1 upon table #ae2 the weaver's shuttle and pig cowries1 including the ,chinese variety1 highly valued by the ,chinese1 as an ornament2 also upon table #ae1 more varieties of cowries1 including the money cowry of ,africa1 used there as money1 and the orange cowry from the ,friendly ,islands1 where it is worn as an ornament2 the five varieties of the ,volutes1 including the red clouded volute1 the ,chinese imperial volute1 the bishop's mitre1 and the papal crown1 distributed upon tables #ab and #ac4 ,the ,melons1 the large varieties of which are put to domestic uses by the ,chinese1 the olives1 and butter shells1 upon table #aa2 the magilus1 whelks1 and the needle shell upon table #aj2 the purple shell that emits the colour from which it is named1 the mulberry shell1 and the unicorn shell1 distributed upon table #i2 the tun shell1 the harps1 the harp helmets1 and the helmets upon which cameos are carved1 distributed about tables #h and #g2 the spindle shells1 including the great tulip shells1 and the turnip shells1 occasionally used as oil-vessels in ,indian temples1 distributed about the tables #e1 #f1 and #g are all worth examination4 ,the splendid cone shells1 which include the king of the collection1 pointed out to visitors as the glory of the sea1 from the ,philippine ,islands1 and the ,african setting sun cone1 upon tables #e and #d2 the rock shells upon table #d3 the trumpet shells upon table #c1 so called after the large kinds which savage tribes have been known to use as horns2 and upon the last two tables1 the stombs1 including the beautiful varieties from the ,west ,indies and ,china1 close the list4 99 99 99 99 99 ,the visitor has now reached the ,southern ,extremity of the ,eastern ,zoological ,gallery1 and brought his first visit to a conclusion4 ,he may well pause1 however1 before dismissing from his mind the objects which have engaged his attention4 ,first1 then1 he examined the varieties of ,,mammalia4 ,the mammalia1 of which man himself is the highest type1 are the leading class of the great order of vertebrate1 or back-boned animals1 and fishes are the lowest1 the intermediate classes being birds and reptiles4 ,,vertebrata are of higher rank in the animal kingdom than the mollusca1 or soft-bodied animals1 those having red blood and a double-chambered heart4 ,the mammalia are the class which suckle their young2 second to them are the ,,birds2 and then the blood cools1 the organisation is inferior1 and the ,,reptiles are produced2 and lastly come the ,,fishes1 with cold blood1 and wanting aerial lungs4 ,philosophers1 who have settled the scheme of the world as one of progression1 complication1 or development1 trace animal life from the polypus1 7which belongs to the order of ,radiata1 or animals that have a central point in which the vital force of the animal appears to preside1 diverging in radii1 as in the sea-eggs1 starfishes1 coral1 sponges72 the polypus advances to the ,articulata1 or jointed animals1 including all kinds of worms1 leeches1 or ringed animals1 of which insects are the most highly organised developments2 next to the ,mollusca1 or soft-bodied animals2 and then from these1 which include the shell-fish1 the scheme gradually progresses to the fish with backbones2 and here the lowest order of ,vertebrata is developed3 the fish merges into the reptile1 the reptile into the bird2 the bird1 as in the ornithorhyncus1 into the ,mammalia4 ,thus the gradations of life may be clearly apprehended by the visitor4 ,the highest development of animal life he has seen in the ,,mammalia ,,saloon1 all the animals of which produce their young alive and suckle them2 the order of life immediately below the mammalia1 he has examined in the marvellous varieties of birds arranged in the ,,northern ,,gallery2 then he turned to the west1 and examined the third order of animal life in the ,,reptiles2 then the fourth order represented by ,,fish2 and so on till he watched the simpler forms of life in the ,,star-,,fish and the ,,sponge4 ,the history of this marvellous progress of animal life1 so far as scientific men have gazed into its deep mysteries1 is surely worth attention4 ,few have the courage and the enthusiasm to follow each footstep of the tiny ant at his complex labours1--few are the ,hubers that dwell among us2 but to us all is given the love of that knowledge which opens our eyes to a few of the mysteries that lie thickly on our path1 in the formation of the gravel upon which we tread1 the clouds that grandly glide above us1 and the leaves that gather upon the trees4 ,after all the labours of our learned men1 we are only now pressing1 with trembling footsteps1 the avenue to the endless schemes1 and systems1 and wonders1 that lie buried in and about our world4 ,still let all who enter our museum1 go there with the resolve to accomplish something by their visit4 ,even in the common concerns of life2 in the petty matters that wear away the brain at last2 in the market-places of the world1 this insight is not without its effect4 ,the heart is humbled as the eyes open to the grandeur of the scheme1 and to the consequent littleness of individual manhood2 but again1 the breast swells with the purest of all pride1 when the thinker says to himself3 ,i am the ,king--because the hero or highest type of the ,articulata1 ,radiata1 ,mammalia1 or any order of vegetable or animal life4 ,all these great and complicated developments are the beautiful works of the ,great ,unseen1 but ,i am ,his masterpiece4 ,one may well dream in this zoological museum1 amid the staring glass-eyed skins of an inferior brotherhood--of the long1 long time ago when the fossils1 which are now scattered here and there1 to assure us of their former vitality1 moved about the world1 before they were stricken with universal death1 and buried by nature1 deep in her teeming bosom1 to flourish presently in the veins of plants--the plants to die again1 and be dug1 long ages after1 from our deep coal-fields4 ,these thoughts towards nature1 towards the marvellous records of an antiquity1 the remoteness of which we cannot realise1 will rise to the minds of all visitors who can see in the vast collection of animal life through which we have guided them1 revelations of the endless forms and the endless beauties that pass often unnoticed1 because not understood1 under every step that man takes in the many journeys that lie between his hopeful cradle and his inevitable grave4 ,,end ,,of ,,the ,,first ,,visit4 ,,visit ,,the ,,second4 ,on entering the ,british ,museum for the second time1 the visitor should ascend the great staircase1 pass through the south1 central1 and mammalia saloons2 traverse the eastern zoological gallery1 and continue north1 direct into the first room of the most northern gallery of the northern wing2--where the studies of his second visit should begin4 ,his first visit was occupied in the examination of the varieties of animal life distributed throughout the surface of the globe4 ,the greater part of his time on this occasion will be devoted to the study of the wonders that lie under the surface of the earth2 of the revelations of extinct animal life made by impressible rocks2 and of the metallic wealth which human ingenuity has adapted to the wants and luxuries of mankind4 ,in the fossil remains he will be able to recognise traces of an animal life1 of which we have no living specimens2 of trees1 the like of which never rise from the bosom of the soil at the present time4 ,the lessons that lie in these indistinct1 disjointed revelations of the remote past1 are pregnant with matter for earnest thought to all men4 ,they are part of our history--links that hold us to the sources of things1 and recall us again and again to the condition of our universe1 as it trembled into space1 and as now we inhabit it--a great and marvellous globe1 every grain of which has an unfathomable story in it4 ,philosophers have laboured long at the story of the earth2 and their revelations have tended to settle it1 in a form not unlike the following3-- ,originally1 within the space bounded by the orbit of ,uranus1 a gaseous matter was diffused at a high temperature4 ,by laws1 the origin of which we have not yet traced1 the condition of the diffused heat was changed1 and the particles of the gaseous matter1 condensed and agglomerated by attraction1 into a series of planets1 of which our earth is the third in point of size4 ,that the earth has undergone vast changes1 is evident to the most superficial geological student4 ,we are only able to investigate the crust of the earth1 with all our ingenious boring instruments3 but even in this crust we may trace a gradual change1 and recognise the silent operations of nature in ages never counted by man4 ,according to the popular theory1 the earth must have been sixty times as large as its present size1 and have cooled to its present dimensions1 retaining still1 in its unfathomable bowels1 a burning heat4 ,the conclusions of geologists1 after long and patient examination1 are1 that certain rocks mark the age of the world--that1 in fact1 the crust of the globe consists of a certain number of strata1 each belonging to a certain era1 as the rings of a tree tell its years of growth4 ,the more they test this theory1 the more certain are they that the history of our globe may be accurately read in the strata which compose its crust4 ,a granitic crust1 containing vast and profound oceans1 as is proved by the extent and thickness of the earliest strata1 was the infant condition of the earth4 ,points of unconformableness in the overlying aqueous rocks1 connected with protrusions of granites1 and other similar presentments of the internal igneous mass1 such as trap and basalt1 mark the conclusions of subsequent sections in this grand tale4 ,dates1 such as chronologists never dreamed of--compared with which1 those of ,egypt's dynasties are as the latter to a child's reckoning of its birthdays--have thus been presented to the now living generation1 in connexion with the history of our planet4#e ,these changing masses have been discovered with remains of organic life wrapped in their particles1 each mass enclosing a petrified museum of the life that flourished while it was in course of formation3 thus not only have we distinct proof of extinct forms of animal and vegetable life1 but we are also able to assign the dates of their existence4 ,the ,,most ,,easterly ,,room of the ,,northern ,,mineral and ,,fossil ,,gallery1 is that to which the visitor's attention will be first directed4 ,in this room1 as in the next three1 the table cases are devoted to the minerals2 and the wall cases1 along the southern side of the gallery1 are filled with ,,fossil ,,vegetables4 ,the wall cases of this room contain the various strata which have traces of vegetable life4 ,the earliest vegetable life of which the geologist has found fossil remains is in the form of sea-weeds1 specimens of which the visitor will notice in case #a4 ,the grand harmony of the world's development is shown in this adaptation of the earliest vegetable life to that of the earliest animal life--the polypus drawing its sustenance from the sea-weed4 ,in the next three cases the visitor will notice various remains of fossil ferns 7in clay slate7 and horse-tails1 all indicating the former high temperature and moisture of the localities in which they are found1 since they are of large proportions1 and it is observable that these plants grow in bulk according as they near the tropics4 ,that the ferns and club mosses have diminished with the decrease of temperature of the earth1 is proved by comparing the fossil club mosses1 which have been found as large as beech trees1 whereas at the present time the most gigantic club moss rarely exceeds three feet in height4 ,in the lower sections of the third1 fourth1 and fifth cases1 the visitor may notice some fine specimens of polished fossil woods2 but the varieties of vegetable fossils can hardly engage his serious attention for any length of time1 unless he have some real knowledge of botany and geology2 yet he may gather the solemn teaching that lies in those dark masses of early coal formation and clay slate1 even though he be unable to explain the first principles of botanical science4 ,he may notice1 however1 in the fifth and sixth wall cases1 fossil specimens of extinct plants1 including the sigillaria1 which1 when living1 is supposed to have attained often to the height of seventy feet4 ,having noticed these vegetable remains1 the visitor should cross to the northern wall of the room1 and examine the sandstones upon which the tracks of an extinct animal called the chirotherium--and footprints1 supposed to be of birds1 are distinguishable4 ,the central object in the room is a tortoise found in ,hindostan1 near ,allahabad4 ,it is carved out of nephrite or jade1 and is deposited upon a curious table of inlaid ancient marbles4 ,against the eastern wall are deposited some beautiful varieties of branched native silver from ,norway2 ,lady ,chantrey's specimen of part of a coniferous tree1 semi-opalised2 and a mass of websterite from ,newhaven1 ,sussex4 ,the table cases now remain for examination4 ,these are devoted to varieties of ,,minerals4 and their combinations4 ,the visitor should examine the cases in the order in which they are arranged1 beginning with the cases marked #a and #a;,a4 ,these two cases contain specimens of native ,iron4 ,native iron has nearly always proved to be of meteoric origin2 and the specimens are here arranged in the order in which they have been found4 ,they have fallen from the heavens at different places1 and at different periods4 ,the largest known aerolite is that which fell in ,brazil1 and was no less than eight feet in length4 ,these huge solid masses of iron1 discharged from the clouds in a burning state1 may well set the brains of philosophic men to work1 to unravel the splendid mystery that contrives laboratories high up in the air1 from which dense tons of pure iron are discharged upon our earth4 ,humboldt1 discarding the ,laplaceian theory that aerolites were detached masses of the moon1 which ignited on reaching the oxygen that surrounds our globe1 asserts that they are ,lilliputian planets1 having their system as we have ours2 that they are identical with shooting stars1 and that they occasionally fall to the earth by coming within the attraction of a body of overpowering magnitude4 ,in the case with these meteoric specimens of native iron are specimens of native ,copper--not often found in a pure state2 native ,lead1 of meteoric origin2 one specimen1 exhibited in the form of a medal1 having been cast out of the crater of ,vesuvius about two hundred years ago2 and native ,bismuth1 which expands as it cools4 ,in the second case the visitor will particularly notice the beautiful threads of native ,silver from the ,hartz ,mountains2 and the various forms in which pure silver is found2 native ,mercury1 and combinations of mercury and silver called native amalgam1 some moulded into figures by ,mexican miners2 native ,platinum from ,siberia2 and ,palladium4 ,the third case of the series is resplendent with samples of native ,gold--a metal that plays so powerful a part in the affairs of men--that has roused the fiercest passions of mankind1 and been coveted by human beings from the remote times when the ,phoenicians dreamt of golden lands in the east4 ,half of this table case is covered with native gold and alloys4 ,pure gold is generally found in separate crystals or grains1 but the metal is mostly found combined with other substances4 ,it is alloyed1 for manufacturing purposes1 with copper and silver4 ,half of the third case1 and cases #d1 #e1 and #f in this room1 are covered with various electro-negative metals and metalloids1 classed according to the system laid down by ,berzelius4 ,in the third case are ,tellurium and ,tellurets4 ,in the fourth are samples of native ,arsenic1 and its combinations with nickel and cobalt2 ,carbon in its various forms1 pure as in the diamonds1 which the visitor will notice attentively1 some imbedded in the earth in which they were discovered1 and models of celebrated diamonds2 ,black ,lead in porcelain earth1 for which ,cumberland is celebrated2 ,selenium in its combinations with lead1 mercury1 sulphur1 and other metals2 and a medallion1 in selenium1 of ,berzelius1 who discovered this metal in #ahah4 ,the sixth case is covered with ,sulphurets1 chiefly of iron1 these being commonly known as iron pyrites4 ,these specimens of the commonest of metallic ores are from various parts of the world4 ,upon this table also are deposited ,lord ,greenock's sulphuret of cadmium1 commonly called greenockite2 and sulphurets of nickel4 ,having examined the first six cases of the series ranged along the southern side of the room1 the visitor should turn to the six last cases of the series 7#ee-fj74 ,the first northern case 7#ee7 is covered with various ,sulphates1 or metals in combination with sulphuric acid1 exhibiting beautiful crystals and colours1 including sulphate of magnesia from ,oregon2 sulphate of zinc1 or white vitriol2 sulphate of iron1 or green vitriol2 and the splendid blue sulphates of copper from ,hungary2 beautiful sulphates of lead from ,anglesea2 sulphates of alumina2 common alum2 and the splendid specimens of lazurite1 or lapis-lazuli1-- ,blue as the veins o'er the ,madonna's breast1 from which the beautiful pigment called ultramarine is extracted4 ,in #ahbh ,m4 ,guimet succeeded in making an artificial ultramarine1 known now extensively as ,french ultramarine1 which is little1 if at all1 inferior in beauty to lazurite4 ,the next case 7#ef7 contains the ,arseniates1 including arseniate of lime1 crystallised2 arseniates of copper2 arseniate of nickel2 and red cobalt1 or arseniate of cobalt4 ,the next case is devoted to the ,phosphates1 or metals mixed with phosphoric acid1 including crystals of the phosphate of iron from ,fernando ,po1 ,bavaria1 and ,cornwall2 phosphates of manganese2 phosphate of copper2 yellow and green uranite2 phosphates of alumina1 including the blue spar1 which has been mistaken for lapis-lazuli1 and the phosphate of alumina known as turquois1 found only in ,persia1 and esteemed as an ornament4 ,in the two supplemental table cases1 #eg ,a and ,b1 the visitor may notice specimens of ,pyromorphite1 a combination of phosphate and chloride of lead1 and a combination of chloride of calcium with phosphate of lime4 ,these combinations1 however1 cannot interest the general visitor4 ,the case marked #eh contains the varieties of ,fluorides1 or combinations of fluorine and the metals4 ,these include the fluoride of calcium1 of which the most familiar variety to ,englishmen is that known as ,derbyshire spar1 of which many useful articles are manufactured in this country4 ,ladies particularly will halt with interest before the case marked #eh ,a1 where the fluorides1 better known as the topaz1 are deposited4 ,these include a fine series of crystals from the ,brazils1 ,siberia1 and ,saxony4 ,the #eith case is covered with ,chlorides1 or combinations of chlorine with other substances1 including rock salt1 or chloride of sodium2 sal-ammoniac from ,vesuvius2 fine chloride of copper1 exhibiting beautiful crystals2 and chlorides of silver and mercury4 ,the two last cases in the room 7#fj and #fj ,a7 contain samples of coal1 bitumen1 resins1 and salts4 ,here will be found the honey-stone of ,thuringia2 crystals of phosphate of magnesia and ammonia called struvite2 beautiful specimens of amber1 some pieces of which inclose insects2 and copal1 also containing insects2 fossil copal2 mineral pitch1 from naphtha to asphalt2 the elastic bitumen of ,derbyshire1 exhibiting its different degrees of softness2 ,humboldt's dapche1 an inflammable fossil of ,south ,america2 and brown and black coal4 ,having noticed all these varieties1 the visitor should advance at once westward into the second room of the mineralogical gallery4 ,here1 against the southern wall1 are groups of ,,fossil ,,animals ranged inside and upon the top of the wall cases4 ,the most remarkable of the remains inclosed in the wall cases of this room are the remains of the carapace and other portions of the gigantic ,fossil ,tortoise from the ,sewalik ,hills1 ,bengal1 discovered by the enterprising ,major ,cautley2 and the gigantic fossil bones of an extinct genus of birds that inhabited ,new ,zealand in the remote past4 ,but these wall cases are mainly devoted to the exhibition of chelonian1 or tortoise fossils1 which are the highest class of fossil reptiles1 except the serpents1 and found only in the later or oolite formations of the earth4 ,the regularity with which the various families of reptiles are discovered in the earth's strata1 according to their order1 is remarkable4 ,first the ,lizards are found in the magnesian limestone1 immediately above the coal deposit1 indicating their early appearance on the earth2 the next deposit1 or new red sandstone1 introduces us to the ,frogs2 the oolite to the ,tortoises2 and the recent tertiary strata to the ,serpents4 ,the bones of the tremendous wingless birds1 which are deposited in the third case of this room1 have been recognised by ,professor ,owen as the remains of an animal that must1 when living1 have stood eleven feet high4 ,by the windows in the northern wall of the room are deposited the beautiful crystallised mass of ,selenite1 or sulphate of lime1 found in the duchy of ,saxe ,coburg1 and presented to the museum by ,prince ,albert2 and a mass of carbonate of lime1 presented by ,sir ,thomas ,baring4 ,having noticed these prominent attractions of the room1 the visitor should direct his attention to the table cases1 and first to those ranged along the southern half of the room 7#g-ac74 ,five of the tables are loaded with further specimens of the ,sulphurets1 or metals in combination with sulphuric acid4 ,in the first case 7#g7 are sulphurets of copper1 and copper iron2 in the second case 7#h7 are the series of sulphurets of lead1 or galena1 from various parts of the world2 in the third case 7#i7 are specimens of sulphuret of bismuth1 needle ore1 or sulphuret of bismuth1 copper1 and lead1 and sulphurets of mercury1 or cinnabar1 chiefly from ,spain1 the light variety of which is the bright vermilion used by artists2 in the fourth case 7#aj7 are the sulphurets of silver1 the beautiful crystallised sulphurets of antimony1 chiefly from ,transylvania1 and the delicate plumose antimony1 or feather ore2 in the fifth case 7#aa7 are the sulphur salts1 including the ruby1 silver1 c42 and in the sixth case 7#ab7 are the sulphurets of ,arsenic1 red orpiment1 of which the best comes from ,persia1 cobalt glance1 c41 bringing the series of sulphurets to a conclusion4 ,in the next case 7#ac7 the series of ,oxides begins4 ,herein are the oxides and hydrous oxides of manganese4#f ,having examined the sulphurets and oxides1 the visitor should cross to the northern suite of tables marked from #dh to #ed4 ,here are arranged a series of the ,carbonates1 or combinations of carbonic acid with earths1 metallic oxides or alkalis4 ,in the first case 7#dh7 are some specimens of brown spar from ,hungary1 fibrous and crystallised carbonates of iron1 and manganese spar2 in the second case 7#di7 are the varieties of zinc spar1 or carbonates of zinc1 lead spar1 or carbonates of lead1 and carbonates of bismuth and cerium2 in the third and fourth cases 7#ej1 #ea7 are the carbonates of copper1 the #east case containing those splendid green carbonates of copper from the mines in the ,uralian ,mountains1 known commonly as ,malachite1 and when in a polished state vulgarly mistaken for a green and beautifully veined marble4 ,most visitors on examining these lumps of malachite will think of the beautiful colossal furniture manufactured of it by the ,russians1 and exhibited by them in their department of the ,great ,exhibition4 ,the next three cases 7#eb-ed7 are filled with series of sulphates1 and some nitrates1 including native nitre1 or saltpetre4 ,the ,sulphates in the cases include glauber salt1 or sulphate of soda2 heavy spar or sulphates of baryta1 among which are some splendid crystallisations from ,piedmont1 ,hungary1 ,spain1 and other countries2 sulphate of strontia1 known also as celestine1 among which are some delicate blue crystals from ,sicily2 sulphates of lime1 as gypsum1 including some fine specimens of alabaster1 and the fibrous sulphate known vulgarly as tripe-stone4 ,the visitor has now examined the contents of the second room2 the fossil tortoises and great wingless birds2 the mineral combinations--nearly all of which are useful to man2 and the way westward may be resumed to the third department of the northern mineralogical gallery4 ,in the wall cases of this room are deposited some of the most interesting ,,fossil ,,animals4 ,of these the celebrated fossil ,salamander 7which a ,german enthusiast mistook for a fossil human skeleton71 deposited in the first case1 will probably be most attractive to the general visitor4 ,the first three wall cases are devoted to the batrachian or ,frog fossils2 some of the chelonian or ,tortoise fossils2 and the fossil crocodiles4 ,fossil lizards are the most numerous of all fossil remains4 ,of these1 including the fossil crocodiles1 the visitor will notice specimens in the wall cases of this room1 indicating the enormous size to which these extinct reptiles must have grown4 ,one1 the ,iguanodon 7case #c7 was an animal that measured seventy feet in length4 ,it existed in this country2 various bones of it are in this case4 ,the remains of the fossil ,alligator1 known as the mosasaurus1 are also here1 together with the wealden lizard of ,kent1 which was about twenty-five feet in length1 and part of ,cuvier's wonderful fossil ,flying ,lizard1 or sterodactylus1 which is described as a reptile having mammalian characteristics1 a bat's wings1 enormous eyes1 and a bird's neck4 ,in the westerly cases of the room the visitor should notice the fossil sea lizards divided into two families--the ,plesiosaurus1 and the ,ichthyosaurus4 ,the plesiosaurus was an extraordinary reptile1 of gigantic size1 the length of whose neck exceeded that of its body and tail4 ,it had ribs like a chameleon1 and the body of a whale3 it chiefly inhabited the water2 but as the visitor will find the chief types of these extraordinary extinct reptiles in the next room1 he may at once1 with the comfortable assurance that the ,weald of ,kent yields nothing in the present day like the wealden lizard1 turn to the table cases of the room1 in which he-will find further varieties of ,,minerals4 ,the southern range of tables is numbered from #ad to #bc2 and the northern range from #ch to #dg4 ,the first three tables of the southern range 7#ad-af7 are covered with the varieties of ,oxides of ,iron1 including magnetic iron ore2 natural magnets2 the salam-stell of the ,east ,indies2 iron glance from ,elba1 ,vesuvius1 and ,stromboli1 some of which are very beautiful2 brown iron stones1 including the variety used as hair powder by natives of ,south ,africa2 and the pea ores that fell in a shower1 on the #ajth of ,august1 #ahda1 in ,hungary4 ,in the next case 7#ag7 are the ,oxides of ,copper2 bismuth2 red oxide of zinc2 cobalt ochres2 oxide of uranium2 and pitch ore4 ,in the nineteenth case are the ,oxides of ,lead2 and in the twentieth are the first of the oxides of electro-negative substances4 ,this case contains the valuable alumina known as noble corundite1 and to jewellers in its formations of ruby1 sapphire1 and the oriental emerald1 topaz1 and amethyst4 ,herein also is the kind of corundum known as emery1 and esteemed for its polishing properties4 ,in this case also are the ,aluminates of ,magnesia1 including the sapphirine2 the chrysoberyls from ,brazil1 and those inclosed in quartz and felspar with garnets4 ,the next four cases 7#bj-bc7 are loaded with the varieties of the ,acid of ,silicium or silica1 which constitutes the greater part of hard stones and minerals with which the earth is encrusted4 ,it is nearly pure in the rock crystal1 of which there are many specimens in the first case 7#bj71 including those crystals called ,bristol and ,gibraltar diamonds1 cairngorms1 the smoky topaz2 rock crystals inclosing foreign substances1 and in a wrought state3 of these ,dr4 ,dee's snow-stone is one4 ,the next two cases 7#ba1 #bb7 are devoted to the varieties of common quartz1 including the flexible sandstones of ,brazil 7of which there are some larger specimens upon a separate table7 and to those of the east2 milk quartz2 the ,salzburg blue quartz1 c42 some varieties of the cat's eye2 hornstones1 including wood changed into hornstone3 and herein begin the flints1 including some specimens changing into calcedony1 smalt blue calcedony from ,transylvania2 the ,icelandic stalactical calcedony2 and the fine ,cornish calcedony4 ,upon the last southern table 7#bc7 are ranged further varieties of calcedony4 ,these include the blood stone2 the curious ,mocha stones2 and agates1 including the agate nodule from central ,asia4 ,having sufficiently examined these beautiful varieties of calcedony1 the visitor should pass at once to the northern range of tables4 ,upon the first of these tables 7#ch7 are some new scientific varieties of mineral substances1 in which the unscientific visitor will not take any interest2 herein also are ,oxides of ,antimony1 including white antimony from ,bohemia2 red antimony1 or kermes1 not to be mistaken for the ancient dye used by the old ,greek and ,roman dyers1 which was obtained from the female coccus illicis2 and tungstates of lime1 lead1 and of iron and manganese4 ,in the second case 7#ci7 are the ,molybdates and molybdic acid2 the ,chromates1 including red lead ore from the ,siberian gold mines of ,beresof2 chromate of lead and copper1 and crome iron from ,var1 in ,france2--the ,borates1 including borates of magnesia1 and borate of soda1 or borax4 ,in the third case 7#dj7 are some remarkable varieties of silicates1 which contain borates from ,norway and other countries2 and in the fourth case 7#da7 are the first in order1 of the carbonates1 including carbonates of soda1 the beautiful crystals of carbonate of baryta1 carbonate of strontia and aragonites1 from ,aragon1 ,hungary1 ,bohemia1 and ,vesuvius2 and in the next case 7#db7 are deposited further varieties of aragonite1 and some remarkable varieties of calcite1 or carbonate of lime4 ,the next three cases 7#dc-de7 are chiefly devoted to the various crystallisations of calcite1 including that generally known as the ,fontainbleau crystallised sandstone1 and the stalactic and fibrous varieties from ,africa1 ,sweden1 and ,cumberland2 while the two cases marked #de ,a and ,b are covered with polished samples1 known to people generally as marbles1 including the beautiful fire marble4 ,the forty-sixth case is also covered with calcites1 including the reastone1 the limestone incrusted upon a human skull1 found in the ,tiber at ,rome4 ,in the #dgth case are varieties of carbonate of magnesia1 and magnesian limestone1 including a remarkable one from ,massachusetts4 ,some marble tables are also in this room1 placed here to exhibit the beauties of various calcites4 ,the table of ,serpentine is here3 also the table inlaid with porphyries2 one with a series of bivalve shells 7#be72 and in the centre of the room is the stalagmitic table1 from the ,blythe lead mine1 ,derbyshire1 with black marble legs from ,bakewell1 given to the trustees of the ,museum by the ,duke of ,rutland4 ,before leaving this room the visitor should not fail to notice the ,maidstone ,iguanodon deposited in a bed of sandstone1 and placed beneath the central north window of the room4 ,the bones are disjointed1 but the general form of the reptile may be more perfectly seen here than in any other fossil remains of the iguanodon4 ,having noticed this fossil1 and remarked the classed groups of gigantic dark fossil bones1 which cover the southern wall1 the fossil turtles from ,sussex and other parts1 and the great fossil thigh bones of reptiles that have passed long since from the face of the earth1 the visitor should once more advance into the fourth room of the gallery4 ,in this room the wall cases are devoted to ,,fossil ,,animals4 ,of these the most interesting specimens are the remains of the ,marine ,lizards known as ichthyosauri from the ,english lias formation4 ,to the right on entering1 against the eastern wall of the room1 the visitor should first notice the fossil remains of various carnivorous animals1 including the skulls and other osseous wrecks of hyenas1 bears1 c41 and also1 carefully screened in an additional glass case1 hereabouts1 the lower jaw of a marsupial animal on a slab of oolitic limestone--an early deposit1 in which the highest class fossils generally found are the tortoises4 ,in this room1 however1 the visitor will notice the progress of early creation--first1 the zoophytes2 then the fish lizards2 then the fossil ruminants2 then the fossil carnivora4 ,examples of these fossil remains are all included in the room which the visitor has now reached4 ,first1 he should examine the fossil remains of the ichthyosauri1 or fish lizards1 ranged in the first three wall cases1 particularly that eighteen feet in length1 deposited in the third case1 one on the upper shelf of the fourth case1 and another on the upper shelf of the fifth case4 ,the case marked ,f contains fossils of a higher order than the reptiles1 as the bones and antlers of deer1 found in later strata of the earth's crust2 and on the top of the case are the horn and skull of a species of ,texan bos4 ,having noticed these curious remains1 principally of extinct species of animal life1 the visitor should at once turn to the table cases which contain the last of the illustrations of the mineral kingdom4 ,,minerals4 ,the southern tables include the numbers #bd to #cj4 ,the first table contains a very attractive collection of minerals1 including the varieties of jasper2 all kinds of opals--the sun opal1 the semi-opal1 wood opal1 and wood partially opalised4 ,the second table 7#be7 is covered with varieties of ,silicates of ,lime1 magnesia1 and alumina2 also soapstone1 keffekil1 or the meerschaum1 highly esteemed by smokers1 serpentine1 chrysolite1 c4 ,the third case 7#bf7 is devoted to ,silicates of ,zinc1 magnesia1 serium1 copper1 iron1 bismuth1 and other minerals2 the fourth and fifth cases 7#bg1 #bh7 to zoolitic substances2 the sixth case 7#bi7 to various minerals including samples of jade or nephrite1 of which the tortoise1 in the first room of this gallery1 is manufactured2 and the seventh case 7#cj7 to felspathic substances1 including amazon stone from the ,urals1 and ,labrador felspar4 ,the northern cases are numbered from #ca to #cg4 ,in the first case 7#ca7 are varieties of felspar2 in the second case 7#cb7 are micaceous and other mineral substances2 in the third case 7#cc7 are basaltic hornblende1 tremolite1 c42 in the fourth case 7#cd7 are varieties of asbestus1 which defies the action of fire2 jeffersonite2 jenite from the ,elba1 c42 in the fifth case 7#ce7 are various pyroxenic minerals2 in the sixth case 7#cf7 are various kinds of garnets1 including the lime and chrome varieties2 and in the #cgth case are the silicates1 including beryls1 and the emerald4 ,having brought his examination of the mineral kingdom to a conclusion1 the visitor should notice the fossil zoophytes and shells from various deposits1 arranged upon the other tables of the room4 ,he will now leave the mineral kingdom1 and advancing once more westward1 will reach the fifth room of the gallery1 which is entirely given up to various fossil remains4 ,,fossil ,,fishes ,the first object that will arrest the visitor's attention on entering this fine apartment is the gigantic skeleton of the extinct elk of ,ireland1 which towers above every other object1 from its pedestal1 placed in the centre of the room4 ,it is seven feet in height1 and eight feet in length4 ,the southern wall cases and the southern table cases of this room are covered with the fossil remains of various fishes4 ,these are important to the student as exhibiting high forms of animal life that existed at the time of the formation of the most ancient strata in which organic remains have been discovered4 ,the visitor will notice the perfect forms imprinted upon the various strata here exhibited4 ,in case #g he will be struck with the fossil remains of some of the sauroids or lizard-like fishes1 only two species of which survive to the present day1 but which1 in remote ages1 abounded in the seas1 and were particularly voracious4 ,on the middle shelf of the wall case marked ,b the visitor should notice the fossil remains of the enormous and powerful carnivorous fish called the rhizodus2 also the macropoma1 like a carp in shape1 in wall cases #ac1 #ad2 the fossil bremus in case #ai2 the extinct species of fossil carps1 in cases #bd1 #be2 the fossil pikes in cases #bd-bg2 and the fossil herrings in the middle of cases #be-bg4 ,having noticed these fossils the visitor should examine the wall case in the north-eastern corner of the room in which are deposited many bones of mammalia from the ,sewalik ,hills1 including the teeth and jaws of an extinct species of camel2 and the skull of the remarkable livatherium2 and on the top of the case are various bones of the same extinct monster4 ,the tops of the southern cases display various fossil remains1 including the head-bones of the asterolepis2 the skull and antlers of the ,irish elk2 and various skulls of different kinds of oxen4 ,the western wall case is filled with a curious collection of various fossil parts of an extinct species of rhinoceros found in this country1 also skulls of the rhinoceros dug up in ,siberia4 ,there is something impressive in the effect--the atmosphere of this and the sixth rooms4 ,as crowds of holiday people1 inhabitants of an island in which no dangerous living animals now abide1 wander amid the fossil remnants of ages when the most terrible monsters must have lived in ,british waters and crawled upon ,british ground1 curious contrasts rise in the brains of contemplative men4 ,the mind wanders back to the age of reptiles--to times when no human footprint had sunk into the earth--and the great agents of nature were silently depositing in the congregating and shifting earths dead images of the prevailing life4 ,ages roll on as the reptiles give place to higher animal organisation developed in carnivora1 the quickening blood warms1 and then as the sovereign of all the grades of life1 erect and gifted with reason1 comes man4 ,something of this vast and half-told progress is shown in the range of fossil cases with which the visitor is engaged4 ,he has passed the era of reptiles and fishes1 and on entering the sixth and last room of the gallery1 he will notice the higher series of fossils4 ,the distribution of the ,,fossil ,,mammalia in this room is very striking2 the central space being fully occupied by the cast of the wonderful megatherium of the ,pampas1 and the skeleton of the ,north ,american mastodon4 ,the megatherium is described zoologically as having combined the characteristics of the armadillo1 sloth1 and ant-eater4 ,in height it averaged eight feet2 its feet were a yard in length2 and its claws were of terrible strength2 it was encased in an impenetrable scaly armour2 and it lived upon roots4 ,the mastodon was of the elephant kind4 ,but the gigantic tapir described by ,baron ,cuvier1 or the dinotherium1 supposed by the ,baron to have reached the extraordinary height of eighteen feet1 of which only partial remains have been found1 and are here deposited1 is the largest fossil mammalia yet discovered4 ,it is said to have had the habits of the walrus4 ,the southern wall cases of the room contain a fine collection of the fossil remains of elephants and mastodons1 chiefly from the ,sewalik ,hills of northern ,india4 ,the third case 7c7 is filled with ,brazilian fossils of varieties of the megatherium1 monkeys1 c4 ,on the right of the entrance from the fifth room are some fossil mammalia from ,montmartre arranged by ,cuvier4 ,having wandered about amid these suggestive wrecks of the remote past1 the visitor should approach the central upright case placed against the western wall of this noble room4 ,here is a fossil of part of a human skeleton1 the possession of which our geologists owe to the fortune of war--it having been found on board a ,french ship captured by an ,english cruiser4 ,as the visitor will perceive1 the skull is wanting1 but this important part is said to lie in an ,american museum4 ,however1 the spine1 the thigh bones1 and the ribs are distinctly visible4 ,this precious relic was extracted1 with other human fossils1 from the cliffs of ,guadaloupe1 about forty years ago4 ,it is the skeleton of a savage slaughtered about one hundred and fifty years ago1 and buried in the spot where it was found4 ,as yet1 the period when man first appeared upon the face of the earth is not told in geology4 ,no fossil human remains have been found even in the ancient tertiary strata4 ,the story of human life is revealed in other records1 if not in the sepulchral strata of the earth's crust4 ,in this very ,museum1 which the visitor now treads--in these cases of fossil bones which in themselves are common material enough1 the lordly intellect that has traced their deep significance1 proves that1 of all animal types1 man is the highest and the strongest--removed from the most powerful mammoth and megatherium--the bones of which he has re-fixed1 that they may1 as stones1 tell the story of their wonderful characters when alive4 ,a curious resurrection this1 by ,cuvier and others1 of long ages ago1 to be pondered well4 ,not a holiday matter1 to be stared at--an hour's wonder--and then forgotten1 as of no value in the markets of the living world2 but a great and a serious science1 with more romances in it than shelves of novels4 ,to know something of the early state of the world which we enjoy--to have some evidences given to us that before human animals began to play their part here1 wonderful monsters1 part mammalia1 part birds1 part reptiles1 gambolled upon the scene2 that wingless birds stalked upon marshy grounds2 that strange and ghastly lizards crawled upon our fruitful ,kent2 and gigantic fish floated in our tranquil waters1 but no beautiful humming birds1 majestic lions1 and graceful horses--only crawling and swimming life1 everywhere preying1 and the early sea-weed rising in the sea because the polypus wanted its food3 to think of these things is to have some knowledge4 ,in these dim regions of the past1 what glimpses are there of the great eternal laws1 the natural progresses1 the continual upward tendency of all things6 ,and then1 taking this revealed book of the past in his hand1 how a man may sit and ponder on all that is to be--dream of times when some future geological hammer will be rapping at the clay about the stone relics of his bones1 and a man will gaze upon his hardened anatomy with a mild and holy joy--when all that breathes and moves to-day will be entombed in ancient strata of the earth1 and busy life will be carried on a hundred feet above the ruins of the present4 ,these thoughts dwell happily with good men4 ,hence1 proceeding on his way1 the visitor returns east from the sixth room into the fifth1 and turns thence south1 into the passage which leads into the western gallery of the ,museum1 and immediately into ,,the ,,egyptian ,,room4 ,this room is always an attractive part of the ,museum to the majority of visitors4 ,here are arranged illustrative specimens of the arts and customs of people who lived two thousand years before our era2 and the preserved bodies of men and women who trod the streets of ,thebes and ,memphis1 partakers of an advanced civilisation1 when the inhabitants of ,europe were roaming about uncultivated wastes1 in a state of barbarism4 ,here are graceful household vessels1 compared with the art of which the willow pattern of the nineteenth century is a barbarism1 and fabrics of which modern ,manchester would not be ashamed4 ,into this room a vast collection of ,egyptian curiosities is crowded2 and1 with patience1 the visitor may glean from an examination of its contents a vivid general idea of the arts and social comforts of the ancient people who built the ,pyramids1 and were in the height of their prosperity centuries before the ,christian era4 ,the cases are so divided and sub-divided that it is only by paying particular attention to the numbers marked upon them that the visitor can hope to follow our directions with ease4 ,he will see1 however1 on first entering the room1 that the mummies are placed in cases occupying the central space of the room2 and that huge and gaudily painted coffins1 having a somewhat ghastly effect1 are placed perpendicularly here and there on the top of the wall cases4 ,but the attention of the visitor on entering this room is usually rivetted at once upon the human remains of people that flourished more than two thousand years before our era4 ,the first thought that rises in the mind of the spectator on beholding these wrecks of the human form1 is1--why all this trouble1 these bandages1 these scents1 and these ornaments8 ,it is as well1 therefore1 to explain that the ancient ,egyptians believed that there would be a resurrection of the body hereafter4 ,they believed that these poor mummies would issue from these waxen bandages1 and once more walk and talk as of old2 hence their gigantic excavations at ,thebes for secure tombs2 hence the great ,pyramids built to preserve the sacred forms of their ,pharaohs4 ,some of the ancient ,egyptians retained the embalmed bodies of their relations in their houses1 enclosed in coffins1 upon which the face of the deceased was faithfully pourtrayed4 ,some specimens of these representations are in the room1 and some in the ,egyptian saloon below4 ,the mummies of the poorer classes were not so well preserved as those of the rich2 therefore1 remains of the plebs have crumbled to dust1 while those of the sacerdotal class1 having been deprived of the intestines1 and the brain having been drawn through the nose1 having been filled with myrrh1 cassia1 c41 soaked in natron1#g and then securely bandaged1 have remained in a comparatively sound state to the present time1 and may be found in every museum of any note4 ,,human ,,mummies4 ,the first five cases to which the visitor would do well to direct his attention are those marked from #df to #ej4 ,in the first division is deposited the mummy of a female1 with a gilt mask over the head and an oskh or collar about the neck2 and mummies of children1 and fragments of coffins1 with paintings of ,egyptian deities upon them4 ,in the second division of the cases1 lies some of the kingly dust of the builder of the third pyramid1 ,king ,mencheres2 also1 part of his coffin2 the sides of a coffin decorated with drawings of deities2 clumps of mummied hair2 and mummies of children4 ,in the third division are tesserae from ,egyptian mummies of the ,grecian period1 with various figures1 including one of ,anubis1 the embalmer of the dead2 a mummy of ,amounirion covered with a curious network of bugles in blue porcelain2 the upper part of a coffin with dedications to the ,egyptian god ,osiris2 a small coffin containing the mummy of a child2 the mummy of a female1 ,auch-sen-nefer1 upon which is a scarabaeus1 the sacred beetle of the ,egyptians4 ,in the fourth division the principal object is the coffin of the last-named mummy1 with representations of various deities1 including ,nutpe1 or the ,abyss of ,heaven1 a female figure with a vase on her head2 and linen wrappers from mummies of the ,greek period4 ,having examined these human relics of remote antiquity1 the visitor should pass at once to cases #fc1 #fd1 leaving the intermediate cases for future examination1 where he will find scraps and fragments of the coffins1 wrappers1 and ornaments of various mummies4 ,in the first division are fragments of the mask of mummy coffins2 fragments from the lower end of coffins with the ,egyptian bull ,apis carrying a mummy upon it2 and hands 7one holding a roll7 from mummy coffins2 sepulchral sandals1 one with a foreign figure bandaged1 in token of the enemies of the deceased being at his feet4 ,in the second division are a variety of sepulchral tablets to ,osiris1 ,isis1 ,anubis1 and other ,egyptian deities4 ,the next twelve cases are filled with human mummies and their coffins4 ,in the first case is a mummy 7#a7 of ,pefaakhons1 an auditor of the royal palace during the twenty-sixth dynasty4 ,this mummy is about two thousand two hundred years old4 ,upon it the visitor may notice the representation of ,egyptian deities ,osiris1 the ,hawk of ,ra1 ,isis1 the embalmer ,anubis1 and the bull ,apis4 ,mummy number two1 in this case1 is that of a priest of ,amoun1 ,penamoun1 swathed in its bandages1 and here also is the outer linen case of the mummy of ,harononkh4 ,the next case 7#ff7 is devoted to the mummy and coffin of ,tatshbapem3 the figures here represented are the deceased praying to ,osiris1 the usual figure of the embalmer of the dead1 ,anubis1 and a scarabaeus1 or sacred beetle1 made of beads4 ,the next case contains the coffin and mummy of a priestess of ,amoun1 named ,kotbti4 ,the hair is attached to the mask of the face1 as the visitor will observe1 by two ivory studs3 there are wooden models of the hands and arms decorated with bracelets and rings2 each hand upon the coffin holds a nosegay1 and here again the black ,anubis with1 his golden face appears in company with ,thoth 7a figure of a man with the head of an ibis71 the ,mercury of the ,egyptians1 god of the moon and inventor of speech1 ,isis1 the ,egyptian ,ceres1 and ,nutpe1 the ,abyss of ,heaven4 ,the next case 7#fh7 is the highly decorated coffin of the incense-bearer of the abode of ,noumra4 ,here the judgment scene of the ,amenti is pourtrayed2 ,osiris1 in the shape of a sphinx2 and other sacred figures4 ,the following case 7#fi7 contains a mummy 7l7 of a ,theban priest of ,amoun1 swathed in its outer linen coverings1 which are decorated with various ,egyptian divinities1 and with ,asiatic captives at the feet3 the second object in this case is the coffin of an incense-bearer of the temple of ,khons1 with the usual representations of the sepulchral deities4 ,advancing in the regular order in which the cases are numbered1 the visitor will next notice in case #gj the inner coffin of a supposed ,egyptian king1 with the bandages with inscriptions at the side4 ,three mummies are placed in the next case 7#ga7 the first of which is crumbling rapidly1 the feet being already gone3 and the bandages of the second present pictures of ,anubis embalming the deceased1 and ,isis mourning over the ceremony4 ,the next four cases 7#gb-ge7 are also filled with mummies and their appendages1 of which the mummy and coffin of a sacred functionary with a gilded face1 and a picture of the deceased adoring ,king ,amenophis the ,first1 in the #gcrd case1 and the mummy and coffin of a musician of the ,roman era of ,egypt in case #gd are the most remarkable4 ,the last case of mummies 7#gf7 contains three mummies4 ,the first is that of a priestess of ,amoun1 whose form is discernible through the bandages1 the feet of which are visible1 and the third is that of a woman named ,cleopatra1 of the family of ,soter1 ,archon of ,thebes1 with a comb in the hair1 and upon the bandages the usual sepulchral deities1 including the black ,anubis1 and in the next case is her coffin4 ,the visitor having completed his survey of the human mummies should return to the series of cases marked from #eb to #eh1 in which he will find a curious assortment of ,,animal ,,mummies4 ,animal life was venerated by the ,egyptians4 ,certain animals were sacred in certain parts of the country2 but the ibis and the hawk were generally worshipped4 ,the sacred birds were attended to by the priests4 ,seven cases in this room are entirely filled with the mummies of these sacred birds4 ,here are mummies of dog-headed baboons1 worshipped at ,hermopolis1 and sacred to ,thoth2 a head of the cynocephalus from ,thebes2 mummies of jackals1 sacred to the sepulchral ,anubis2 the head of a dog in bandages1 and one with the bandages unrolled4 ,mummies of oats1 the female being sacred to the goddess ,pasht1 or ,diana1 and the male to the sun2 a wooden figure of a cat containing the mummy of one2 and bronze cats from the cat mummy pits of ,abouseir4 ,in the fifty-fourth and fifty-fifth cases are mummies of parts of bulls2 gazelles2 unrolled heads of rams2 and the mummy of a lamb4 ,in the two following cases 7#ef1 #eg7 are a variety of mummies of the ibis1 perhaps1 the most sacred bird of the ,egyptians1 and the emblem of ,thoth3 these include ,sir ,j4 ,g4 ,wilkinson's present of the black ibis and two eggs2 and conical pots containing mummies of the ibis4 ,the last case 7#eh7 contains some strange mummies1 including those of crocodiles1 emblematic of the ,egyptian ,sevek1 the subduer2 mummies of snakes sacred to ,isis1 in the shape of circular cakes2 and in case #fj1 the visitor may notice more specimens of mummy snakes and fish4 ,the next two cases are filled with the specimens of some dried birds of ancient ,egypt1 some stamped with the names of ,sesostris1 ,amenophis1 and ,thothmes2 and some from the ,pyramids of ,illahoun1 ,howara1 and ,dashour4 ,the visitor should now direct his attention to the large collection of ,,egyptian ,,sepulchral ,,and ,,other ,,ornaments4 ,these are interesting as illustrative of the ,egyptian art of remote period4 ,these fragments occupy no less than twenty-four cases 7#gg-ajb74 ,in the first case 7#gg7 the visitor should notice the coffin of the mummy ,cleopatra1 ornamented on the outside with ordinary emblematical drawings and on the inside with a ,greek zodiac4 ,the three next cases 7#gh-hj7 are filled with sepulchral tablets representing various ,egyptian divinities1 among which the embalmer of the dead1 ,anubis1 ever figures prominently4 ,the cases marked #ha1 #hb1 are filled with a collection of rings of ivory1 jasper1 and cornelian2 gold1 silver1 and porcelain earrings and bracelets2 signets with scarabaei1 or sacred beetles1 in gold1 silver1 bronze1 and some of the ,graeco-,egyptian period1 in iron2 necklaces1 ornamented with various religious symbols1 in gold1 jasper1 amethyst2 and in the #hcrd case are some specimens of old ,egyptian glass4 ,the next six cases 7#hd-hi7 are entirely devoted to sepulchral ornaments1 including sepulchral tablets showing priests adoring the sun1 scenes of the embalmment of the dead1 and devotees adoring their favourite deities2 pectoral plates2 patches from the network outer coverings of mummies1 including the popular scarabaei1 wings1 sceptres headed with1 the lotus flower1 and the crowns of upper and lower ,egypt1 all in porcelain--all taken from the coffins of various mummies4 ,case #ij contains the coffin of the archon of ,thebes1 ,soter1 with the hawk of the sun on the top1 and the judgment scenes of the ,amenti on the sides4 ,the next three cases 7#ia-ic7 are filled with more specimens of ,egyptian ornaments1 including four sides of a sepulchral box in wood 7#ib71 and sepulchral tablets4 ,the three cases next in succession 7#id-if7 are filled with amulets of all kinds1 chiefly in the form of the scarabaeus1 cut in stone4 ,the scarabaeus of the ,egyptians was an emblem of the ,divinity1 which the devout wore about their necks1 and hung round the necks of their dead relatives1 as in the present day an effigy of the ,virgin rests often upon the cold breast of a ,catholic corpse4 ,as the visitor will perceive1 the collection of amulets comprehends representations of various sacred animals1 including the hedgehog4 ,they are1 in some cases1 nearly four thousand years old4 ,the collection of scarabaei includes one recording the marriage of ,amenophis ,,iii4 to ,queen ,taia1 and several bearing the name of ,rameses1 or ,sesostris1 according to the ,greeks4 ,these ornaments are in various substances2 the more valuable being in cornelian1 and basalt4 ,the following three cases 7#ig-ii7 contain sepulchral tablets in wood1 with various sacred drawings upon them2 and in the #ajjth case are inclosed the sepulchral scarabaei1 usually engraved with a prayer1 and found inserted in the folds of mummy bandages4 ,several are costly1 as for instance that marked #ghge of green jaspyr1 said to have been extracted from the coffin of ,king ,enantef4 ,the next two cases 7#aja1 #ajb7 contain various interesting fragments from mummies1 including plain scarabaei and other symbolic amulets1 and ornaments inscribed with the names of early ,egyptian kings4 ,having noticed these revelations of ,egypt's sepulchres1 the visitor should turn at once to the eastern wall cases in which he will find a vast collection of ,,egyptian ,,deities4 ,the innumerable little figures scattered throughout the first seven cases are all ,egyptian deities with their appropriate symbols1 including those in porcelain and stone with holes bored in them for the purpose of attaching them to mummy bandages2 those in wood which were carved generally to decorate tombs1 and those in bronze which were the household gods4 ,it would be impossible for the general visitor to examine this collection in detail1 but he may notice the chief deities with the extraordinary jumble of human and brute life which they present4 ,first of all the visitor will remark1 in the first division of the first case1 a sandstone figure1 seven inches high1 seated upon a throne with lotus sceptres1 and attendant deities2 this is ,amenra1 the ,jupiter of the ,egyptians2 and in the same case ,phtah1 the ,vulcan of the ,egyptians1 with a gour1 or animal-headed sceptre in both hands1 and an oskh1 or semi-circular collar1 about his neck2 the ,egyptian ,saturn1 ,sabak1 with the head of a crocodile1 with the shenti about his loins2 and ,thoth1 the ,egyptian ,mercury1 with an ibis head surmounted by a crescent moon4 ,in the second division1 or case1 amid the strange figures1 the visitor should remark the ,egyptian ,juno1 ,mout1 or mother1 represented in the act of suckling1 and wearing the pschent1 or cap1 worn only by deities and ,pharaohs2 the ,egyptian ,minerva1 ,nepth1 on a throne1 with the teshr1 or inferior cap on her head2 a human form with a goat's head1 wearing a conical cap ornamented with two ostrich feathers1 and disk on goat's horns1 representing ,num1 or water1 called ,jupiter ,chnumis by the ,greeks2 ,khem1 the ,egyptian ,pan1 standing on nine bows2 a youthful figure with one lock of hair1 and supporting the lunar disk1 representing ,chons1 or the ,egyptian ,hercules2 an ,egyptian ,venus1 ,athor1 in gold1 cow-headed2 ,ra1 the sun1 seated1 and hawk-headed2 ,nefer ,atum1 with the lotus flower and plumes for head ornaments1 from ,memphis1 and reverenced as the guardian of the sun's nostril2 and the ,egyptian ,diana1 ,pasht1 or ,bubastis1 a bronze female figure with the head of a cat4 ,the third division includes a group1 in vitrified earth1 representing ,amenra seated on a feathered throne2 a triad1 in blue porcelain1 of ,amoun ,mout1 the mother1 and ,chons1 or ,hercules2 a figure in lapis-lazuli of the ,egyptian ,minerva1 ,nepth2 ,num1 ram-headed1 walking2 ,ptah-,socharis standing upon two crocodiles1 and supporting two hawks on his shoulders2 and ,pasht1 the ,egyptian ,diana1 lion-headed4 ,the third and fourth cases are filled with more specimens of ancient ,egyptian deities4 ,in the first division the visitor should remark a stone figure of the ,egyptian ,pluto1 ,osiris ,pethempamentes1 with the atf1 or conical cap1 on his head1 and the curved sceptre1 and three-thonged whip in his hand2 a figure in stone1 seated1 wearing a conical cap1 and holding the sceptre called a gom1 which represents the ,egyptian ,bacchus1 ,osiris ,ounophris2 and a painted wooden figure1 kneeling1 and supporting a building and a basket1 representing the ,egyptian ,proserpine1 ,nepththys1 mistress of the palace4 ,the second and third divisions contain some remarkable figures1 including bronze groups of ,osiris-ioh1 or the moon1 with the lunar disk2 a walking figure of ,anubis1 with a jackal's head2 the ibis-headed ,thoth1 and ,har-si-esi with a hawk's head1 each pouring a flood of water upon the earth2 various hawk-headed and other deities1 in the beautiful lapis lazuli1 blue porcelain1 and green felspar1 including ,isis suckling her son ,horus1 and walking with a throne on her head2 ,nephthys walking2 a porcelain ,horus with the mystic lock2 a blue porcelain plate1 representing a procession of female deities2 a snake-headed deity1 also in blue porcelain2 and a porcelain ,thoth carrying a scarabaeus4 ,in the fourth division the visitor will at once notice a small monument in calcareous stone1 about one foot two inches in height1 with various deities represented upon it2 also other monuments1 one decorated with a flying scarabaeus2 ,horus seated upon a throne flanked with lions2 and ,pasht upon a throne supported by two negroes and two ,asiatics4 ,the fifth case is devoted also to deities1 which the visitor will recognise1 and here he should notice the terra-cotta figure1 with a buckler and sword1 which represents the ,mars of the ,egyptians1 known as ,onouris4 ,the principal object in the sixth case is the mummy-shaped coffin of a ,theban priest1 called ,penamen1 and grouped near it are offering stands and fragments4 ,the seventh case contains one or two remarkable groups1 including some sacred animals2 statues of ,horns and the son of ,horus supporting three vases upon goat's horns2 various figures of ,khons1 one standing on a lotus flower2 an extraordinary figure of ,phtah-,socharis upon two crocodiles2 ,ta-ur1 an erect hippopotamus1 with human breasts1 and the back covered by a crocodile's tail2 ,typhon1 ass-headed2 and the tortoise-headed guardian of the third hall of the ,amenti1 recovered from the tombs of the kings at ,thebes4 ,having noticed these remarkable combinations and symbols of the religious idea of ancient ,egypt1 the visitor should rapidly examine the extraordinary collection of ,,sacred ,,animals1 which exhibit1 in their infinite variety1 a confusion of species so ingenious and astonishing1 that the spectator who has the least zoological enthusiasm is utterly confounded by the strange sights that are here4 ,these animals are collected into four cases 7#h-aa71 the two first of which are chiefly devoted to the quadrupeds2 and the two last to the birds4 ,among the former1 or quadrupeds1 the visitor will particularly remark the cynocephali1 or dog-headed baboons1 in bronze and stone2 various lions2 cats1 with bored ears2 jackals2 shrew mice bearing the winged world2 bulls2 gazelles2 a kneeling ibex2 a ram walking with the conical cap on its head2 a sow with pigs1 in bronze2 a quadruped with a viper's head2 sphinxes1 one covered with a lotus2 and various models of hares1 ram's heads1 c4 ,these animals1 that is to say the sacred animals that actually had life1 were waited upon by the priests1 and the pain of death was inflicted upon any person who killed them4 ,among the birds are many figures of hawks1 some with human faces1 others with the solar disk on the head1 or the conical cap2 the ibis1 variously decorated2 snakes and fishes2 uraei2 wooden fragments of vipers2 frogs2 scorpions2 a bronze crocodile2 scarabaei1 in lapis-lazuli and other substances2 emblems of stability2 a wooden head of the hippopotamus from the ,tombs of the ,kings at ,thebes2 vultures2 and snakes4 ,next to the cases of sacred animals are two 7#ab1 #ac7 devoted to small statues of various kinds1 in various substances4 ,in the first division of these cases are stone heads of priests1 and officers of state with long hair2 and in the second1 many curious objects are arranged1 including figures of men seated on thrones2 a standing figure of a ,pharaoh2 a long haired officer of state carved in ebony2 rowers1 with moveable arms1 taken from the models of boats4 ,the third division includes a dark green figure of a royal scribe1 kneeling and holding a tablet on which the prenomen of ,rameses is visible2 kings in various attitudes2 the bronze figure of a kneeling priest supporting a bowl containing loaves2 an altar of libation1 with sacred animals1 and vases1 cakes1 c42 various figures of scribes and others2 a female figure with a calf suspended about the neck by its legs1 and the hand resting upon the horns of a gazelle2 reclining female figures2 parts of two females supporting monkeys2 a seated female with blue hair2 and fragments of figures4 ,the fourth division contains other ,egyptian figures4 ,having examined these two cases the visitor should approach those in which the larger ,,egyptian ,,household ,,objects and other curiosities are deposited4 ,these cases are six in number 7#ad-ai74 ,from these cases the visitor will have an opportunity of gathering a general idea of the domestic comforts of the ancient ,egyptians4 ,here are arranged their chairs1 stools1 and head-rests1 as they were used three thousand years ago4 ,in the first division are1 an inlaid stool from ,thebes1 with a maroon-coloured seat2 and a high-backed chair1 inlaid with ivory and dark woods1 and a seat of cordage1 also from ,thebes2 but the most curious objects in this division are the ,egyptian pillows or head-rests1 called uls4 ,these are hollowed clumps of wood or metallic substance1 supported upon a column1 and used by the hardy ancients as rests for the head4 ,in the present day the poorest beggar would think one of these uls a sorry rest for his weary head3 yet some of the specimens have the titles of men of distinction engraved upon them4 ,pillows1 however1 were not unknown luxuries to the ,egyptians1 as a pillow of linen1 stuffed with water-fowl feathers1 and deposited in the second division of the cases under notice1 testifies4 ,in this second division are fragments of couches1 the decorations chiefly representing animals2 fragments1 in calcareous stone1 from the propylon of the brick pyramid of ,dashour2 cramps1 from ,thebes and the temple of ,berenice2 iron keys from ,thebes2 bronze hinges2 porcelain tiles from the door of a pyramid2 an interesting stone model of a house2 a model from ,upper ,egypt of a granary1 with a covered shed at one corner from which a man apparently surveyed the operations of the workmen below4 ,a ,leghorn mouse1 setting aside the feelings of enthusiastic antiquaries ,,the ,,egyptian ,,room consumed the grain that lay in the model granaries4 ,from this curious relic the visitor will turn with some astonishment to an ancient ,egyptian wig3 it is curled on the top and plaited at the sides1 and is in all respects a well manufactured article4 ,it is a state wig1 worn only on great occasions--the ,egyptians going habitually closely shaven4 ,in the third division of the cases are assembled various bulky figures1 which the visitor will recognise as various ,egyptian deities3 there is ,pasht with his lion's head2 ,num1 ram-headed2 ,thoth1 ibis-headed1 and others2 also the figure of a ,pharaoh1 or ,egyptian king1 with the teshr1 a royal cap1 all taken from the tombs of the kings at ,thebes4 ,in the two next cases 7#bj1 #ba7 the visitor will find various specimens of the dresses and personal ornaments of the ancient ,egyptians4 ,in the first division are a leather cap1 cut into net-work from a single piece1 the ordinary male head-dress2 a leather workman's apron3 a palm-leaf basket1 and a linen cloth tunic that was found in it at ,thebes4 ,the toilet vessels of various substances and shapes1 used to contain the metallic dye for the eye-lids1 called sthem1 worn by the ancient ,egyptians1 including the cylindrical case1 bearing the royal names1 are arranged in the second division1 together with ivory1 porcelain1 and other hair studs1 and a pair of cord sandals from ,memphis4 ,the third division is filled with varieties of ,egyptian mirrors1 pins1 combs1 and sandals4 ,the mirrors of the ,egyptians consisted of circular metallic plates1 with variously ornamented handles4 ,the specimens in this case1 which have lost their lustre under centuries of rust1 include one with a lotus handle1 ornamented with the ,egyptian goddess of beauty1 ,athor2 one with a tress of hair as a design for the handle3 and others ornamented with the head of the much reverenced hawk4 ,the pins are in bronze and wood1 and were used by the ,egyptian ladies either to bind the hair or to apply the sthem to the eyelids4 ,the combs show a double row of teeth1 and are of wood4 ,the shoes and sandals are of various kinds1 but the greatest variety of these articles is deposited in the fourth division of the cases4 ,these are made of palm leaves1 wood1 and papyrus3 those with high-peaked toes are the most ancient1 having been worn in the eighteenth dynasty1 about fourteen centuries before our era4 ,the nine following cases 7#bb-cb7 are devoted to the vases and other domestic vessels of the ,egyptians2 an intervening case 7#bg7 being filled with the cedar coffin of a prophet priest of ,amoun in ,thebes1 elaborately ornamented with various religious symbols4 ,some of the vases are inscribed with royal names of early dynasties1 proving their great antiquity3 some of the most elegant dating so far back as fourteen centuries before our era4 ,these specimens of ancient ,egyptian workmanship suggest a state of high artistic refinement of a remoter antiquity than the ,grecian1 wrecks of which lie in the ,elgin and other saloons on the basement of the museum4 ,of the large collection here arranged the visitor will only care to notice the more remarkable specimens4 ,the uses to which these cups and bowls and vases were put1 may be inferred partly from their shapes1 and partly from the material of which they were made2 those of a costly kind being probably the receptacles of the unguents with which the ancient ,egyptians of both sexes anointed their persons after the bath2 and the larger and less costly varieties being the wine vases1 c1 in common use4 ,two ancient vases are in the first division of the case 7#bb1 #bc7 one with the name of a king before the twelfth dynasty1 and the more modern one of the twenty-fifth dynasty4 ,in the second division the visitor should notice the small aragonite vases1 resembling wine-glasses2 in the third case a slab1 upon which are six vases of various shapes in calcareous stone2 in the fourth a vase from ,lower ,egypt1 with the quantity it holds inscribed upon it4 ,in the next five cases1 #bd-bg are filled with cups1 and bowls1 small vases1 and lamps1 including pottery vases shaped like the pine cone2 blue porcelain vase with a pattern2 a highly ornamented porcelain jug2 vases in the shape of the hedgehog and the ibis2 glass1 long-necked vases2 a large blue bowl1 ornamented with leaves2 a porcelain vase of the time of ,sesostris1 ornamented with petals of the lotus flower2 polished terra-cotta vases2 double vases2 a lamp shaped like a bottle3 a vase for libations in terra-cotta1 with a spout shaped like a bird's beak2 bottle-shaped vase in painted pottery1 with three handles1 and symbolic decorations2 and curious perforated cups on feet4 ,the three cases marked #cj-cb contain also some curious vases and lamps1 including a vase shaped like a woman playing a guitar1 from ,thebes2 a vase issuing from a flower1 in red pottery2 a1 lamb reclining as a vase2 gourd-shaped vases2 earthenware bowls covered with various deities2 and lamps ornamented with toads1 boars' heads1 children1 and leaves1 in relief4 ,other vases are arranged here and there about the five next cases 7#cc-cg7 together with agricultural implements2 and1 strange to say1 viands prepared perhaps for some of the mummies that lie in the immediate neighbourhood1 together with odd bits and fragments1 all illustrative of times before ,alexander had bequeathed the ,ptolemies to ,egypt4 ,in the first two divisions1 the remarkable objects are various1 bronze buckets with ornamental outlines of various deities and sacred animals2 a rectangular bronze table1 perforated to receive vessels2 bronze lamps1 c42 and in the third division the visitor should certainly notice the two-staged stand of papyrus and cane from a private tomb at ,thebes1 with trussed ducks and cakes of bread upon it2 baskets containing fruits1 as figs1 pomegranates1 dates1 cakes of barley1 e4 ,the fourth division contains some old agricultural implements1 including the fragments of a sickle found by ,belzoni under a statue at ,karnak2 a wooden pick-axe2 an ,egyptian hoe2 a yoke of acacia wood2 eight steps of wood from a rope-ladder1 and specimens of palm-fibre rope4 ,passing from these interesting relics of ancient manufacturing skill1 the visitor will next arrive before two cases 7#cf1 #cg7 of ,egyptian fragments of tombs1 and weapons of war1 illustrating the means of killing and the fashion of burial4 ,in the first division are various goms1 or ,egyptian sceptres and staffs1 some of ebony and some of wood2 and the blade of a war-axe1 with the name of ,thothmes ,,iii4 inscribed upon it4 ,a variety of offensive weapons are arranged in the second division1 including bronze war-axes1 one with a hollow silver handle2 daggers2 bows and arrows1 the arrows pointed with triangular bronze heads1 and fragments of flint-arrow-heads2 fowling-sticks2 handsome bronze bladed knives1 with agate and other handles1 some worked with gold1 c4 ,the fragments in the third division include a knotted rope2 a piked club2 wooden fan handles2 wooden paddles carved with heads of jackals2 a mast for the model of a boat2 and in the fourth division are a curious cuirass and helmet1 from the tombs of ,manfaloot1 fashioned from a crocodile skin4 ,at this point is another intermediate case containing a mummy1 coffin1 and boards4 ,the coffin is shaped like a mummy1 with a green face1 and ,netpe1 between ,isis and ,nephthys on the breast1 with the deceased being introduced to the deities1 among whom he is to be divided by ,thoth4 ,this coffin was presented to the ,museum by ,george ,,iii4 ,having peered into the fragmentary establishments of ancient ,egypt1 followed the contemporaries of ,sesostris into their dining-rooms1 even noticed specimens of their dishes1 and seen them in their waxen winding-sheets1 the visitor may now pass to the next case 7#ci7 and notice some of the remains of the materials by the means of which they recorded their actions1 and traced their lineaments4 ,here are displayed the ancient ,egyptian pens and pencils1 colours and ink1 all shrivelled and discoloured with the mould of centuries1 but remaining still to bear witness to the early love of knowledge and of art1 that urged the ,egyptian scribe and the ,egyptian artist to fashion them4 ,in the first division are the rectangular pallets1 with grooves for the wooden pens or reeds1 and hollows for the colour or ink2 and here1 too1 are the kash1 or pens used by the ancient scribes4 ,the pallets have inscriptions upon them2 on one there is an invocation to the goddess of writing4 ,fragments of one or two colours1 with the palm-leaf baskets in which they were deposited are also in this case2 together with stands with small colour vases2 slabs with colour jars2 mullets for grinding1 a basket with paint-brushes made of palm-fibres2 and upon a thin piece of cedar wood is a portrait of an ,egyptian female of the ,greek period4 ,amidst other minute objects lie ,egyptian folding wax tablets for writing2 a cylindrical ink-box1 with a chain attached to hold the pen case2 seals of various kinds with impressions of bulls1 jackals1 and hieroglyphics2 portion of a calendar on stone2 and fragments of ,egyptian writing on stone1 and chiefly from tombs4 ,these fragments illustrative of the ,egyptian character are continued in the first two divisions of the cases marked #dj1 #da1 including a panel and stud from an ebony box inscribed with the titles of ,amenophis ,,iii4 and his daughter2 and a fragment in ebony1 with an inscribed dedication to ,anubis4 ,among the miscellaneous objects also in these divisions are various boxes in wood1 papyrus1 one veneered with white and red ivory1 some inscribed with names2 and one with a pyramidal cover1 veneered with ivory and ornamented with figures and birds4 ,the next or third division is filled with varieties of ,egyptian spoons4 ,some of these are curious4 ,they are chiefly of wood2 but some are of ivory4 ,among them are wooden spoons1 shovel1 egg and cartouche-shaped2 one with the handle carved in the shape of lotus flowers2 one with a moveable cover from ,memphis2 one with the handle representing a gazelle1 and within fish demolishing a water plant1 from ,thebes2 one in the shape of a fish2 one circular1 with a lotus handle and a hawk cynocephalus on its edge2 one with the form of a fish for a bowl1 and a fox seizing the fish for a handle2 and others equally curious in point of design4 ,the last1 or fourth division of the case is full of ancient ,egyptian building materials1 including fragments of painted plaster2 stamps for bricks2 palm-fibre brushes for colouring walls1 and smoothing tools4 ,,egyptian ,,tools are disposed through the two cases 7#db1 #dc7 which the visitor should now examine4 ,in the first division are some palm-leaf baskets2 wooden mallets1 one found in the masonry of the great pyramid at ,abooseir2 and staves2 in the second division a large variety of curious tools is exhibited1 including ,egyptian saws1 bradawls1 chisels1 an adze1 axe blades1 knives of bronze1 generally inscribed with hieroglyphics1 hones1 bronze nails2 mysterious bronze tools1 the use of which is unknown1 all interesting to those who are in any way interested in the history of the wonderful people who inhabited the valley of the ,nile1 and wielded these tools there1 when our island was an untilled desert4 ,the third division of the case contains strange handles decorated with the popular lotus flower1 fragments of an ivory gorget1 with figures of various animals oddly grouped upon it2 various fragments of carving1 and pedestals bearing inscriptions2 and in the fourth1 or last1 division of the case are various baskets1 coloured and plain4 ,the first division of the next case 7#dd1 #de7 is also given up to palm-leaf baskets of various descriptions1 which the visitor should examine as illustrating the perfection to which the workers of the palm-leaf brought their handicraft4 ,leaving the tools and baskets behind1 the visitor will now approach the ,,egyptian ,,musical ,,instruments1 which occupy the second division of the case4 ,it is well known that music was generally cultivated by the ancient ,egyptians1 even before ,terpander had devised a system of musical notation3 and that in their religious ceremonies music was much used4 ,the sistrum1 of which the visitor will notice one or two samples in the division1 was the instrument most generally used4 ,it consisted of wires suspended through the sides of an arch1 to which a handle1 generally highly ornamented with the head of ,athor1 as in the one in the case1 is fixed3--the wires terminating with heads of sacred animals1 upon which rings were suspended that produced sounds by being shaken backwards and forwards4 ,there are also some ,egyptian harps2 portions of flutes found in the northern brick pyramids at ,dashour2 a pipe with seven burnt holes in it2 and a pair of bronze cymbals tied together by a band of linen4 ,the division next to that in which the musical instruments are arranged1 is filled with ,,egyptian ,,toys4 ,perhaps1 no portion of this interesting ,egyptian room so forcibly impresses the spectator with the truth and reality of its revelations1 as these rude toys1 that must have been handled by prattling ,egyptian children1 when all was dark throughout ,europe1 save on the shore of the southern sea1 where glimmered fitful lights of awakening civilisation1 and ,homer was enshrining the poor knowledge of his period in the splendid fancies of his poet soul4 ,not vastly different from the rude dolls of the present century must these of ,egypt have been when fresh from the workman's hand4 ,they are in a very disabled state now1 however2 one being a rude representation of an ,egyptian ,miss ,biffen1 altogether guiltless of legs2 and others1 the flat variety1 having hair made of clay beads4 ,in the case with these relics are porcelain models of eggs1 balls1 fruit2 wooden fish2 leather and palm-leaf balls1 stuffed2 dice1 and various draughtsmen1 with the heads of cats2 and one with the figure of a jackal4 ,the last two divisions of the case under notice are entirely filled with a variety of specimens of ,,ancient ,,egyptian ,,fabrics4 ,this division is always interesting to visitors who have any knowledge of the essential excellences of textile fabrics4 ,there can be no doubt of the high repute in which the linens of ancient ,egypt were held of old2 but the samples which have remained in a state of preservation up to the present day1 being mostly bandages of the coarse cloths from mummies1 it is hardly possible to estimate fairly the excellence of the fabrics with which1 the great men of ancient ,egypt adorned their persons and those of their wives4 ,however1 one or two samples of linen1 as fine as the celebrated muslins of ,india1 remain1 and the visitor should notice particularly those clothes in the case with fine blue selvage4 ,in the case also are part of the bandages of an ,egyptian mummy of the ,greek period1 and a sample of ancient ,egyptian linen bleached by the modern process4 ,with these specimens are skeins of thread1 spindles1 and knitting-needles2 bronze sewing needles2 and a hackle for flax-dressing4 ,with this case the visitor closes his examination of the wall cases of the ,egyptian room4 ,on taking a general survey of the room1 the objects that will first attract his attention are the casts of the remarkable sculptures from the entrance to the temple at ,beit-onally near ,kalabshe1 placed over the wall-cases against the eastern and western walls4 ,these are faithful representations of the painted sculpture for which the ancient ,egyptians were famous1 about thirteen centuries before our era4 ,the specimens in the room represent the triumphs of the second ,rameses4 ,the cast against the eastern wall is in two distinct compartments4 ,in the first1 ,rameses1 accompanied by his sons1 is driving his vanquished ,ethiopian enemies into a wood3 in the second part the conqueror is investing the vanquished ,ethiopian prince with a gold chain1 and behind are the spoils of war1 and ,ethiopians leading strange oxen to the victor2 while1 in the lower division1 the vanquished prince is presenting a load of tributary treasure to the king1 followed by a crowd of ,ethiopians1 leading all kinds of animals4 ,these paintings1 as the visitor will observe1 are painted without regard to light and shade1 the figures are huddled together1 and the drawing is of the most rigid description4 ,the casts against the western wall are in five compartments1 and celebrate the victories of ,rameses over the ,asiatic nations4 ,in the first compartment ,rameses is receiving his ,asiatic captives2 in the second he is about to decapitate a prisoner2 in the third1 in his kingly cap1 he is defeating an ,asiatic army1 who are represented in active flight2 in the fourth he is attacking an ,asiatic fortress2 and in the fifth the king is again receiving ,asiatic prisoners4 ,having noticed these remarkable antiquities1 the visitor should examine the plaster models1 placed upon the central table of the room1 of the obelisks of ,karnak and ,heliopolis4 ,above the door is a leather cross1 from the dress of a ,copt priest1 supposed to be about twelve hundred years old4 ,above various cases are placed mummy coffins1 and figures of deities too large for the cases2 but the mummy-case deposited over case #ca is worth special attention4 ,it is scooped out of the trunk of a tree1 has the face painted black1 a vulture on the chest1 and other ornaments and symbols4 ,near it1 over cases #cj-cb1 are deposited four sepulchral vases of a military officer1 containing the parts removed from the body in the process of embalming4 ,each vase was sacred to a deity2 the first1 containing the stomach and appendages1 was sacred to ,amset the first genius of the dead2 the second1 containing the lesser intestines1 was presided over by the second genius of the dead1 ,hapi2 the lungs and heart1 deposited in the third vase1 were sacred to ,siumutf1 the third genius2 and to the fourth genius the vase containing the liver and gall-bladder was dedicated4 ,the visitor having noticed these objects has done with the ,egyptian room4 ,it is well1 however1 to pause upon the threshold1 and before dismissing these interesting glimpses into the life1 long since scattered as dust1 upon the soil of ,egypt1 to call to mind the prominent points of the impressive story that may be read in the room he is about to quit4 ,he may wander back through the histories of ages upon ages2 pause before the revelations of ,herodotus2 and recall the mighty romances of ,homer2 and1 pausing even there1 where all is so dim1 and little understood1 turn once more to these fragmentary monuments of a civilisation that existed even centuries before the great ,greek poet4 ,so silently1 for us of the present hour1 time rolled by in those days1 that we fail to grasp the measure of the distance which separates our fret and toil of the nineteenth century1 from that busy valley of the ,nile2 when the second ,rameses reigned in all his glory2 when precise artists were ruling geometrical lines upon stones to make their careful drawings2 and painters1 with their palm-fibre brushes1 all unconscious of the critics that lay yet silently in the womb of time1 who would shovel the dust and dirt of centuries from before their works1 and tell the story of ,rameses from these rude revelations4 ,curious thoughts crowd in every busy brain1 before these strange relics4 ,lost in the depths of the past1 the mind1 with a leap1 often grasps at the future2 and men will be found seriously saying to themselves1 as they notice how we depend for our knowledge of ancient ,egyptian fabrics upon the shrouds of ancient ,egyptians1--what1 if we looked forward1 and in the remote centuries that are rolling toward us1 see all our vast and busy ,lancashire some layers underground1 and archaeologists busy with our winding sheet6 ,well1 at the least1 these thoughts are not idle4 ,it does all of us good to think often of what has been1 and to dream of the future to which we are driving down the ringing grooves of time--to think sometimes of the fine people who had their glorious days1 when ,london was distributed1 untouched by human hands1 in clayey strata1 and remote stone quarries2 and hereabouts1 to the minds of the ,greeks1 lay the islands of the blessed4 ,the visitor should now proceed southward into the room called ,the ,bronze ,room4 ,here are collected the ancient bronzes of which the ,museum trustees are in possession2 including specimens of the fine castings of ancient ,greece1 which1 with all our modern contrivances1 we cannot surpass in the present day4 ,the cases to the left are filled with a supplementary collection of the remains of ancient ,egyptian art1 for which space could not be found in the ,egyptian room4 ,these occupy no less than twenty-six cases4 ,the first eleven cases 7#a-aa7 are filled with various sepulchral fragments in various substances1 and porcelain and terra-cotta figures1 which the visitor who has just emerged from the ,egyptian room will again recognise4 ,here the strange figures of the ,egyptian deities occur again and again2 but the visitor should pause before the case #aj1 #aa1 in which are deposited models of the ,egyptian funeral boats1 in stone and wood1 from ,thebes1 and on the fourth shelf a ,roman caricature on papyrus1 representing lions and goats playing at dice1 and foxes driving geese4 ,in the ,egyptian cases are more specimens of cynocephali1 jackal1 and hawks' heads1 models of the four sepulchral vases1 in pottery and wood2 more mummy coffins1 fragments of inscribed pottery1 large ,egyptian terra-cotta vases1 and in cases #bd1 #be1 are deposited some fragments in terra-cotta1 and bronze excavated by ,mr4 ,layard1 in ancient ,assyria4 ,having glanced at these ,egyptian cases the visitor should turn at once to the collection of ,,greek ,,and ,,roman ,,bronzes1 which fill the cases numbered from #bi to #aab4 ,the visitor particularly interested in ,greek and ,roman art1 might here spend an entire day4 ,bronze1 a mixture of copper and tin1 was used by the ancients for the manufacture of all kinds of edge-tools1 long before iron was smelted from the earth in which it is invariably found2 and mineralogists of the present day are surprised to see the works which the ancients executed with a material1 that no modern workmen could use as a cutting medium4 ,stone masons' chisels1 and fine edged weapons of war1 were made of bronze in those days4 ,the collection of bronzes which the visitor is now about to examine1 cannot be said to be a perfect collection2 yet it contains some beautiful specimens1 and one that is said to be the finest bronze in ,europe4 ,the antiquarian pauses with delight before these marvellous specimens of ancient skill2 and reflecting upon the difficulties which beset the caster in bronze1 it is astonishing to see the precision and the exquisite finish with which the artists of ancient ,greece and ,rome performed their labours4 ,some of their bronze manufacture were hammered1 but most of those works from which we derive a knowledge of their greatness as artists were cast4 ,of those colossal bronzes which were studded about ,rome1 ,athens1 and ,delphos1 few remain at the present day4 ,the material of which they were composed was too valuable to escape the clutch of barbaric conquerors2 therefore the bronzes which remain are chiefly of a small size1 but still sufficiently perfect to assure us of the great works that filled every open place in the towns of ancient ,greece and ,rome4 ,in these cases the visitor will find a great number of bronze utensils and personal ornaments3 metal mirrors2 lamps2 incense vessels1 or thuribula2 the saucers for pouring libations1 called paterae2 tripods of all kinds and variously ornamented2 candelabra2 and the clasps of the ,romans called fibulae4 ,beginning with the first case1 #bi1 #cj1 the visitor will first remark three ancient vases or amphorae1 and five jugs1 from ,corfu1 aged about five centuries before our era2 and in the same cases1 on the third and fourth shelves1 ,athenian vases1 variously ornamented with geometrical designs1 animals1 and birds1 in the most ancient style4 ,the next case also contains vases of the most ancient style1 from ,athens1 including a fine specimen surmounted by two horses4 ,in cases #cc1 #cd1 are further specimens of the vases of ancient ,greece1 on some of which red figures are traced upon a black ground1 and on others a red ground is adopted1 with the ornamental figures in black3 among the ornaments on those vases the visitor should notice the cupids represented in blue and white on one of these vases1 and on another the figure of a crawling boy1 with a low stool and an apple before him4 ,the vases in the next cases 7#ce1 #cf7 contain some fine specimens of ,athenian art about the time of ,pericles1 with figures traced red and black1 representing ,orestes and ,electra at the tomb of ,agamemnon4 ,in these cases also are some ,athenian glass vases1 and opaque glass vessels from ,melos2 terra-cotta bas-reliefs1 representing ,bellerophon destroying the ,chimera2 ,perseus destroying the gorgon ,medusa1 and other classical subjects2 and upon the third shelf1 amid unguent boxes1 terra-cotta lamps1 and a terra-cotta doll1 is a curious vase containing bones1 with a silver ,athenian coin1 attached to the jar by careful relatives1 to pay for the deceased's transit across the ,styx4 ,a collection of terra-cotta figures are arranged upon the four shelves of case #cg4 ,these include an ancient comic actor as ,hercules2 ,athenian ladies bearing water jugs1 called ,hydriophorae2 ,ceres2 a dancing group from ,athens2 animals2 stools2 and dancing figures from the south of ,italy4 ,no less than three hundred and thirty-three handles from the wine vessels or amphorae of ancient ,rhodes are deposited in cases #ch1 #ci4 ,some are inscribed with the names of the chief magistrate4 ,varieties of vessels in terra-cotta fill the two first shelves of the cases #dj1 #da1 from ,etruria2 upon the third shelf are fragments of large bronzes1 including the staff of ,a,esculapius with the serpent2 and the bronze groups distributed upon the fourth shelf include three figures of ,hercules2 and two figures supposed to be a ,ptolemy and his queen arrayed as ,fortune4 ,the cases #db-de are filled with bronze weapons1 including spear-heads from the sepulchres of ,etruria2 arrow-heads and bronze swords of the ,roman time2 standards with the famous ,roman eagles2 helmets1 including a famous one dedicated to ,jupiter ,olympius1 by ,hiero ,i4 on the occasion of gaining a victory over the ,tuscans at ,cumae1 upwards of four centuries before our era2 and one found at ,olympia1 dedicated by the ,argives2 bronze plates1 and military belts1 from ,vulci4 ,the next six cases 7#df-ea7 are filled with various ,grecian and ,roman antiquities1 of which the visitor should particularly notice amid bronze amphorae1 tripods1 glass beads1 weights in the shape of busts1 sacrificial knives1 and bronze hatchet heads1 three cistae or boxes1 with classical groups in relief upon them1 the subject of one being ,hercules grasping serpents4 ,these cistae were the toilette boxes of the ancients4 ,here too the visitor should remark the hearth 7a tripod7 with charcoal still upon it1 with fire-irons and cooking utensils2 and a variety of tripods variously ornamented with sphinxes1 ,boreas carrying away ,orithyia2 and leaden vases from ,delos1 holding the ashes of the dead4 ,an interesting collection of candelabra1 from the ,etruscan sepulchres1 is arranged in the next cases 7#eb1 #ec74 ,these candelabra were highly esteemed throughout ancient ,greece4 ,they are decorated chiefly with mythological subjects1 and have1 attached to them1 vessels for dipping into larger vessels4 ,those in the next case 7#ed7 are of the ,roman period4 ,having glanced at the censers and bronze lamps in the next cases 7#ef-eg7 the visitor may pass on to the case numbered #eh-fd1 in which is a large collection of bronze vessels1 including unguent vases1 which are the most highly decorated1 braziers1 cauldrons1 and jugs4 ,the two next cases contain a great number of bronze figures of various heathen deities1 representations of mythological events4 ,here are1 a winged ,victory holding an egg2 figures of ,juno ,sospita2 figures for mirrors2 ,apollos2 a giant hurling a rock2 one of the ,gorgons2 figures of ,mars1 in the old grotesque style2 a reclining ,dionysus1 drinking2 satyrs2 ,aphrodite2 ,aurora bearing off ,tithonus or ,cephalus2 ,hercules2 ,ariadne playing on the lyre2 ,hercules killing the ,maenalian stag2 ,minerva2 and other figures1 all drawn from ,grecian mythology4 ,these cases present1 at a glance1 more than any other in the collection1 the various excellences of ancient bronzes4 ,the ancient mirrors are arranged in the next two cases 7#fh1 #fi7--one polished to show their old effect2 and in the #gjth case are ,etruscan and ,roman fibulae or clasps in general use in the olden time1 in lieu of buttons or hooks4 ,the drainings of the lake of ,monte ,falterona brought to light the most attractive objects of the next three cases 7#ga-gc71 including the fine ,etruscan statue of ,mars1 the large statue of a youth2 and here also are a group of ,aurora bearing off ,memnon2 and a satyr and a bacchante for the top of a candelabrum4 ,finely ornamented mirrors1 with figures chased1 bas-relief1 representing1 among other subjects1 ,minerva before ,paris2 ,achilles arming before ,thetis2 a winged ,hercules killing the ,lernean ,hydra2 ,juno and her rivals preparing for the judgment of ,paris2 ,hercules bearing off a female figure2 ,venus holding a dove1 as a mirror handle2 the ,dioscuri1 ,clytemnestra and ,helen2 ,aphrodite nursing ,eros2 and ,dolon1 ,ulysses1 and ,diomed4 ,bronze figures of ,greek and ,roman divinities fill the next case1 including a silver group of ,saturn devouring his children2 no less than nineteen ,jupiters1 one in silver with a goat at his side4 ,these are continued in the following case 7#gh71 including ,isis2 ,ganymede and the eagle2 ,terpsichore2 ,apollos2 ,junos2 a fine ,apollo from ,paramythia2 a ,triton1 with crab's claws1 and a face turning into sea weed2 ,dianas1 one1 in silver1 holding a crescent2 and ,neptune1 distinguishable by his trident4 ,three cases1 next in order of number 7#hj-hb71 are devoted to ancient ,roman horse-trappings4 ,busts of ,minerva occupy the most prominent positions in the #hcrd case2 and in the next case 7#hd7 are no less than twenty-one figures of ,mercury1 one of which1 distinguishable by the gold collar about the neck1 is reputed the most beautiful bronze in ,europe4 ,these figures of ,mercury are in various attitudes4 ,here the cocks1 emblematic of the athletic games1 are before him--there he is flying on ,jupiter's eagle2 and near these figures are arranged twenty-eight figures of ,venus2 in one place the goddess is rising from the sea1 in another she is arranging her sandal1 or riding her swan4 ,playful ,cupids1 thirty-five in number1 and gambolling variously1 occupy the position next in order to the figures of ,venus4 ,here the little god is running1 there he bears the anointing-box of ,venus--there he is laughing1 in another corner his laughter is turned to tears1 and in another he is ingloriously intoxicated4 ,in another direction he is exhibited in his amiable moods1 feeding a hare with grapes1 or toying with a swan4 ,the next case 7#hf7 contains an assortment of ancient glazed articles including glass studs1 buttons1 c41 from the sepulchres of ,etruria2 bronze sandals from ,armentum2 and glazed ware of various shapes4 ,in the #hgth case are deposited four curious fragments from ,perugia1 of chariot chasings1 representing various warlike emblems and doings2 and an ancient scabbard engraved with an outline of ,briseis led by ,achilles4 ,deities fill the next case 7#hi71 including fourteen figures of ,harpocrates2 a ,pan2 and figures of ,bacchus4 ,silenus1 with silver eyes and a crown set with garnets1 will be found in the next case 7#ij7 where ,hercules is strangling the ,nemean lion2 and another ,silenus kneeling on a wine-skin4 ,cupid is seizing the weapons of the strong ,hercules while the latter sleeps2 in the next case 7#ia71 here also he is grappling with the ,maenalian stag1 and ,pan shows his goat's legs4 ,the #ibnd1 #icrd and #idth cases are filled with various mirrors from ,athens2 the anciently prized knuckle bones of a small animal2 bronze earrings from a tomb in ,cephalonia2 sling bullets found at ,saguntum2 part of a lyre1 and wooden flutes discovered near ,athens2 a gilt myrtle crown2 glass mosaics from the ,parthenon2 iron knives and fetters from ,athens2 a jar that once held the famed ,lycian eye ointment2 one of the bronze tickets of a judge2 and leaden weights4 ,hercules is vigorously at work in the groups of the next case 7#ie71 and herein are figures of ,victory and ,fortune2 two sphinxes1 and other groups4 ,the head of ,polyphemus appears prominently in the #ifth case2 and in the remaining cases miscellaneously grouped1 are ancient dice1 some of which have been loaded1 suggesting the antiquity of roguery2 ivory hair pins2 bronze needles2 glass beads2 fragments of cornelian and other cups1 and glass2 bronze figures of animals2 inlaid and enamel work2 styli for writing upon wax2 ancient medical instruments2 and old ,roman finger-rings4 ,over the ,egyptian cases are deposited fac-similes of paintings of a tomb at ,vulci1 discovered in the year #ahcb4 ,these represent various ancient games of racing and leaping4 ,over the cases #ch-eh are other fac-similes from a tomb1 also at ,vulci1 in a mutilated condition2 and against the southern wall are the ceilings of the tomb4 ,having examined these things the visitor should proceed on his southward course1 and1 passing through the southern entrance of the bronze room1 enter the fine apartment1 known as the ,etruscan room1 in which the ,,etruscan ,,vases are arranged4 ,these are a series of earthen vases discovered in ,italy4 ,these painted vases are the spoil from the tombs of the ancient ,etruscans4 ,the ,etruscans inhabited the northern parts of ,italy1 and flourished there in a state of comparative civilisation1 when the rest of the ,peninsula1 save where the ,greeks were busy on its southern shore1 was in a barbarous state4 ,the ,etruscan tombs present various degrees of ornament according to the wealth of their occupant1 but in all of them painted vases of some description are found4 ,it is maintained by many learned men that these beautiful vases were not a native manufacture1 but were bought by the ,etruscans of the ,greeks of ,southern ,italy1 who imported them from the famous potteries of ,athens4 ,the ,greek inscriptions on some of these vases1 and the ,greek subjects from which the decorations are taken1 tend strongly to confirm this hypothesis4 ,it is1 however1 altogether a mystery why the ,etruscans surrounded their dead with these vases4 ,they were not used to hold human bones1 nor to contain food for the deceased2 but that the ,etruscans held them in high estimation as sepulchral ornaments is certain from the fact that they are found universally in their tombs1 the finer and more elaborate in the sepulchres of the rich1 and the coarser and plainer kinds in the graves of the poor4 ,the visitor will do well to walk carefully round this room in which the ,etruscan vases belonging to the ,museum are deposited4 ,they are arranged in the supposed chronological order in which they were manufactured2 the clumsy and coarse ware being placed in the first case1 as exhibiting the dawn of the potter's art1 and the more elaborate and highly-wrought specimens being arranged in regular order of improvement in the succeeding cases4 ,the first five cases are filled with clumsy black ware1 ornamented in some cases with figures in relief1 and extracted from tombs discovered on the site of the oldest ,etruscan towns1 which circumstance has led antiquaries to allow the ,etruscans the honour of having fashioned these rude specimens of pottery2 but as the samples display a higher degree of skill they refuse to allow the ,etruscans the merit of having improved the clumsiness of their early handiwork4 ,in the sixth and seventh cases are pale vases with deep red figures1 chiefly of animals upon them1 chiefly from ,canino and ,vulci4 ,the exertions of the ,prince of ,canino in excavating on his estate in search of ,etruscan tombs and their treasures are well known2 and the enthusiasm with which ,sir ,william ,hamilton1 while on his embassy at ,naples1 bought the curiosities of ,etruscan tombs1 should be remembered4 ,few ,englishmen1 however1 can think pleasantly of those times when the ,hamiltons were at ,naples1 when ,lady ,hamilton did her country great services2 then recall the picture of the poor woman fed by a charitable neighbour at ,calais1 think of ,horatio's last words1 and then of the country that forgets the woman's service1 and the hero's dying words4 ,well1 the visitor may pass on his way amidst these spoils from ,etruscan tombs1 and forgetting the family to whom we owe many of them1 serenely watch the gradual improvement in the manufacture4 ,the best have black figures upon a dark ground4 ,the glass cases in the centre of the room contain those vases which are painted on both sides4 ,on the walls of the room above the cases are fac-similes of paintings from some of the ,etruscan tombs4 ,some of them represent dances and games2 but one represents a female in the act of covering the head of a man who has just expired1 while a male figure is drawing a covering over the feet1 and two spectators are in attitudes of grief in the neighbourhood4 ,having roamed amid the spoils of ,etruscan tombs1 the search after which is now a settled business in parts of ,italy1 the visitor may take a southerly direction through two empty rooms into that at the southern extremity of the western wing4 ,here a few miscellaneous objects are deposited1 amongst which in the eastern cases he should notice some curious old enamels1 and the frescoes from ,st4 ,stephen's ,chapel1 ,westminster1 and on the floor1 a model of the ,victory4 ,he should then turn in an easternly direction into the ,ethnographical room1 which1 to the visitor without a guide has very much the appearance of a confined curiosity shop2 but on inspection proves to be an interesting compartment of the ,museum1 in which curiosities illustrative of the civilisation of various countries and continents are arranged4 ,before applying himself to the wall cases1 however1 the visitor would do well to advance to the eastern extremity of the room1 noticing the objects deposited in the central space by the way4 ,these consist of ,flaxman's cast of the shield of ,achilles2 a model of the ,thugs fashioned at ,madras by a native artist2 a model of a moveable temple2 her ,majesty's present to the museum of a great ,chinese bell1 surmounted by the ,chinese national dragon1 and decorated with figures of ,buddh1 from a temple near ,ningpo2 and various cromlechs or sepulchres of the ancient ,britons1 ruder in their construction than those with which the visitor has lately busied himself4 ,having arrived at the eastern end of the room1 the visitor should advance to the northern wall cases1 and begin his inspection4 ,he will at once remark that the first five cases 7#a-e7 are devoted to ,,chinese ,,curiosities4 ,these are distributed with particular regard to the economy of space1 and accordingly the visitor may see at a glance objects huddled together1 the uses of which are of the most opposite nature4 ,on the first shelf of cases #a1 #b1 are distributed the tally of a ,chinese soldier describing his age and place of residence2 ladies' gloves2 military boots2 bows and arrows2 and the mock spears shown above the walls of ,woosang in #ahdb to intimidate the ,british forces4 ,the second shelf exhibits the grotesque varieties of ,chinese deities and leaders of sects2 and in other parts of the cases are endless ,chinese curiosities1 including ,chinese scales and weights2 padlocks2 mirrors2 a pair of ,chinese spectacles in a leather case2 shoe brushes from ,shanghai2 chopsticks2 a brass pipe2 ,chinese mariners' compasses2 a ,chinese bank-note1 value one dollar2 ,chinese needles2 agricultural implements2 joss sticks2 the sea-weed eaten by the ,chinese2 ancient bronze bell2 vase in shape of a lotus leaf2 and an advertisement for quack pills4 ,the visitor should remark the great royal wicker shield that is on the top of the case1 ornamented with the head of a tiger2 and the model of a junk4 ,the third case contains ,chinese divinities1 of which the goddess of ,mercy1 ,kwan-yin1 on the first shelf1 is the most noticeable figure4 ,the two last cases #d and #e given up to ,chinese1 are filled chiefly with ,chinese musical instruments1 including the pair of sticks used by ,chinese beggars as castanets to attract attention to their petitions2 ,chinese shuttlecocks1 made of feathers and lead1 the ,chinese battledores being the soles of their feet1 suggestive of vigorous exercise2 fly-flaps2 surgical instruments2 paints2 boxes2 and ,japanese shoes4 ,over these cases is a circular stand1 in twenty-two parts1 representing1 in relief1 the chief deities of the ,hindoo mythology4 ,the four next cases 7#f-i7 are given up to ,,indian ,,curiosities4 ,among the miscellaneous collection of objects crowded into these four cases are many figures of ,buddha in earthenware1 wood1 alabaster and ivory2 bronze divinities of the ,hindoo ,pantheon2 ,hindoo playing cards2 copper-plates containing grants of land2 a ,hindoo mathematical instrument2 a powder-horn from ,burtpoor2 ,affghan cloak and pistol2 bows and arrows2 baggage and accommodation boats2 and early ,arabian bronze water ewers inlaid with silver4 ,over the ,indian cases are figures of ,hindoo deities1 including a bronze figure of ,siva with four arms1 and ,lakshmi1 the wife of ,vishnu4 ,the four following cases 7#aj-ac7 are chiefly filled with ,,african ,,curiosities of a miscellaneous description1 and from various parts of the continent4 ,these include1 in cases #aj1 #aa1 ,nubian and ,abyssinian baskets2 ,arabic quadrants2 ,egyptian water-bottles2 sandals1 and a variety of other manufactures from ,ashantee1 including a shuttle1 and specimens of native cotton cloth2 an iron bar used as a medium of exchange1 and worth about one shilling on the ,african coast2 gourd boxes and calabashes2 cloths and other curiosities collected on the ,niger ,expedition2 specimens of native silk from ,egga2 a skin bottle for holding galena to colour the eyelids2 opaque glass beads from ,abyssinia2 all kinds of arms from ,french ,guiana1 ,fernando ,po1 ,abyssinia1 and ,nubia1 including a ,nubian spear1 enveloped with a snake's skin from ,thebes4 ,over the cases an ,ashantee loom for weaving narrow cloth1 and ,abyssinian baskets1 and at the side an ,indian inlaid cabinet4 ,passing from these cases1 the visitor at once reaches those devoted to ,,american ,,curiosities4 ,the cases numbered from #ad-ba are filled with articles illustrative of the life and climate of the ,esquimaux1 and the extreme northern regions of ,america1 including the native fishing-hooks and lines2 models of canoes2 skin dresses1 men's boots from ,kotzebue's ,sound2 ,lapland trousers2 utensils made of the horn of the musk ox2 ,esquimaux woman's hair ornaments2 over the cases hereabouts the sledge which ,sir ,e4 ,parry brought from ,baffin's ,bay1 and a canoe from ,behring's ,straits2 waterproof fishing jackets1 made from the intestines of the whale2 harpoons of bone tipped with meteoric iron2 specimens of rude sculpture from these northern regions2 clubs2 hatchets2 the magic dome of an ,iceland witch2 baskets and mats2 calumets of peace2 scalps2 a model of a cradle1 showing the method adopted by the ,indians of the ,columbia ,river to flatten their children's heads4 ,the cases #bc1 #bd1 are filled with curiosities from more southernly parts of the ,north ,american continent2 and chiefly with various objects from the most interesting of the old inhabitants of ,america--the ,mexicans4 ,the collection from ,mexico1 including their divinities1 specimens of their arts1 c41 are arranged in seven cases 7#bd-cj74 ,the objects from ,guiana occupy the greater part of cases #ca-cd2 and the remarkable objects in the #ceth case are the dried body of a female1 from ,new ,granada2 a mummy from ,new ,granada wrapped in cotton cloths2 a curious ,peruvian mummy of a child1 the legs curiously bound up2 and silver and gold ,peruvian sepulchral ornaments4 ,the cases marked #cf1 #cg1 are devoted to objects from ,south ,america1 including black earthern vessels from cemeteries in ,peru2 bows and poisoned arrows2 and a sacrificial bason1 ornamented with serpents1 supposed to be one from the temple of the ,sun at ,cuzco4 ,the rest of the cases contain miscellaneous objects from groups of islands4 ,the contributions from the ,marquesas and ,sandwich ,islands are in cases #ec-ef2 the war dresses1 of feathers1 c41 from ,tahiti1 in case #eg2 and the nets and baskets1 clubs and tatooing instruments from the ,friendly ,islands will be found arranged in cases #fe1 #ff4 ,on the second shelf of cases #ff1 #fg1 is deposited a tortoise-shell bonnet1 made in imitation of an ,european bonnet from ,navigator's ,island4 ,cases #fh1 #fi1 are devoted to objects from ,new ,zealand2 and those marked #gj1 #ga1 were collected during an exploring expedition into ,central ,australia4 ,the last cases are devoted to miscellaneous objects from the ,fiji ,islands1 ,borneo1 and other localities2 and with these the visitor should close his second visit to the ,museum2 regaining the ante-room to the ,southern ,zoological gallery1 by passing out of the ,ethnographical room through its eastern opening4 ,he has now completed the examination of the galleries of the ,museum with the exception of the print and medal rooms1 which are not open to the public generally1 but are reserved for the use of artists and antiquarians4 ,he has dipped into many sciences on his two journeys2 made some acquaintance with the history of the animals that frequent the different parts of the world2 dwelt amid the fossil fragments of long ages past2 examined the elementary substances of which the earth's crust is composed2 been with the dust of men that lived before ,jerusalem was made for ever memorable2 surveyed the spoils of ,etruscan tombs2 and lingered amid the varieties of household things from the barbarous nations of the present hour2 and not wholly profitless have the journeys been1 even if the scientific mysticism be not mastered1 so that there remains in the mind a general impression of the time that has gone by1 the great laws that govern the universe1 and the humility that becomes man1 when he sees his individuality1 in relation with the mighty past1 and the great progresses of ,nature4 ,,end ,,of ,,the ,,second ,,visit4 ,,visit ,,the ,,third4 ,the visitor1 on entering the ,british ,museum for the third time1 will commence his examination of the massive ,antiquities1 which are scattered throughout the noble galleries that stretch along the western basement of the building4 ,his spirit must again wander to the remote past4 ,again must he recur to the ancient civilisation of southern ,europe1 and the busy people that covered the valley of the ,nile before ,alexander breathed4 ,he has already examined the household utensils1 the bodies1 the ornaments1 and the food of the ancient ,egyptians1 and has had more than a glimpse of the artistic excellence to which they attained long before our ,christian era4 ,of the sepulchral caves of ,thebes1 of the massive pyramids sacred to the ancient ,pharaohs1 of the strange images of beasts and men1 of the sacred beetles1 and the universal ,ibis1 he has already examined minute specimens arranged in the cases of the ,egyptian ,room2 but he has yet to witness those evidences of power1 and scorn of difficulties1 exhibited in the colossal works of the ,egyptian people4 ,on entering the ,museum for the third time1 the visitor should turn to the left1 and passing under the staircase1 enter the galleries devoted to ,ancient ,sculpture4 ,he will at once be struck with the strange allegorical figures clustered on all sides1 the broken bodies1 the fragments of arms and legs1 the corners of slabs1 and other dilapidations4 ,here a fine figure is without a nose1 there ,theseus holds aloft two handless arms1 and legs without feet4 ,the visitor who has not the least insight into the heart of all these collections of fragments from tombs1 and temples1 and neglected ruins1 is perhaps inclined to laugh at the enthusiasm with which they are generally examined1 and the rapturous strains in which the greatest critics have written of them4 ,not to all people is the enthusiasm of ,lord ,elgin comprehensible4 ,why not allow the fragments of the ,parthenon to be ground into fine white mortar1 and the busts of ancient heroes to be targets for the weapons of ,turkish youths8 are questions which a few utilitarians may be inclined to ask2 and it would certainly be difficult to show1 for instance in figures1 the gain the country has made by expending #ce1jjj4 on the ,elgin marbles3 in the same way that it is difficult to appraise the beneficial influence of beauty1 or to test the developments of the universe by double entry4 ,but let the visitor pace these noble galleries of his national museum with a reverent heart1 let him learn from these beautiful labours of long ago1 that not only to him and his fellows of the proud nineteenth century1 when fiery words are flashing through the seas1 and steam fights like a demon with time1 were the living years pregnant with the glories of art2 but that the ,egyptian1 with his rude bronze chisel1 cut his native rocks with no unskilful hand1 before the ,son of ,god lay cradled in a manger4 ,past the bewildering fragments of art in the south-western gallery to the south-western corner of the building1 then south like an arrow to the northern end of the sculpture rooms1 should the visitor at once proceed4 ,he will pass by fragments of ,assyrian1 ,greek1 and ,roman art1 but to these he should now pay little heed1 as his immediate business is with the fine gallery of ,,egyptian ,,sculpture1 which is the most northernly apartment or gallery of the western wing4 ,here he will at once notice the rows of ,sarcophagi1 which are ranged on either side of the central passage of the gallery4 ,these colossal outer-coffins contained the mummies of distinguished ,egyptians4 ,along the walls of the room are ranged the sepulchral tablets1 or tombstones of ancient ,egyptians1 and the inscriptions generally record the name and age of a deceased person2 and in some cases1 points of domestic history and pious sentences4 ,their dates range over a space of time amounting to more than twenty centuries4 ,interspersed with these are other sculptures1 chiefly of ,egyptian deities2 but the attention of the visitor will be probably attracted first to the ,,egyptian ,,outer ,,coffins4 ,the visitor1 having reached the northern end of the ,egyptian ,saloon1 should turn to the south1 and begin a minute examination of its contents4 ,the sarcophagi1 or outer coffins of stone1 in which the rich ancient ,egyptians deposited the embalmed bodies of their relations1 occupy the greater part of the ground space of the saloon4 ,they are massive shells1 hewn from the solid rock1 polished and engraved skilfully with hieroglyphics1 which1 so far as the learned have been able to decipher1 record the exploits of the great men they contained4 ,some of them are in the shape of common boxes with raised lids2 while in others1 attempts to represent the features of the deceased1 and a rough outline of a mummy are apparent4 ,these massive coffins1 which are upwards of three thousand years old1 and are eloquent with the mystic written language of that remote antiquity1 deserve more than a transient notice even from the unscientific visitor4 ,mummies were found in most of these1 proving their use4 ,some were discovered placed in an erect1 and others in a recumbent posture1 in the tombs of ,thebes1 or on the sites of ancient cities4 ,of the sarcophagi or coffins1 fashioned in the shape of a mummy1 the visitor should notice that in calcareous stone1 numbered #dg1 which was discovered at ,tana2 another1 with the paintings restored1 marked #ci2 another in green basalt1 marked #cc1 known to be that of a female called ,auch1 decorated with the embalming deities1 and inscribed with a prayer on behalf of the deceased woman2 and one of later date which has held the remains of a member of the priestly class1 numbered #ag4 ,to arrive at a fair estimate of the average art displayed in these ancient sepulchral remains1 it is worth the trouble of the visitor to wander a little about the saloon from one specimen to the next immediately connected with1 or proximately resembling it4 ,having examined the coffins shaped like mummies1 the visitor should next direct his attention to the massive oblong cases which lie upon the ground on either side of him4 ,the first of these which he may examine is that marked #cb4 ,this sarcophagus was excavated from the back of the palace of ,sesostris1 near ,thebes4 ,athor appears in bas-relief upon the lid2 the sun is represented in the interior1 together with ,heaven represented as a female1 and a repetition of the goddess ,athor4 ,the names of several royal ladies have been deciphered from the inscriptions1 which are the addresses of deities4 ,the black granite chest of a sarcophagus1 numbered #bc1 is that of a royal scribe named ,hapimen4 ,here the well-known figures of the ,amenti1 the embalmer ,anubis1 and other deities and symbols1 will remind the visitor of the ,egyptian room up stairs1 with its strange green little images of figures half human and half bestial4 ,round the interior are the deities to whom the various parts of the human body were severally dedicated4 ,since this massive granite was the coffin of ,hapimen1 it has been known to the ,turks as the ,lover's ,fountain1 and used by them as a cistern4 ,the ,syenite sarcophagus of a standard-bearer1 is marked #ah4 ,the chest of a royal sarcophagus that was taken from the mosque of ,st4 ,athanasius at ,alexandria1 and which contained the mummy of a king of the twenty-eighth dynasty1 is marked number #aj4 ,on the exterior1 the ,sun is represented1 attended by appropriate deities travelling through the hours of the day2 and on the interior the visitor will recognise the quaint symbolic forms of the usual sepulchral gods and goddesses4 ,the two remaining sarcophagi are those of a scribe and priest of the acropolis of ,memphis1 and a bard4 ,that of the former1 marked #c1 is covered with the figures of ,egyptian divinities and inscriptions to the deceased2 that of the latter1 in arragonite1 is in the form of a mummy1 like those first examined by the visitor4 ,this coffin has five distinct lines of hieroglyphics engraved down the front1 expressing a chapter of the funeral ritual3 and the face bears evidence of having been gilt4 ,having sufficiently examined these massive coffins1 upon which the proudest undertaker of modern times must look humbly1 and deplore the decline of his business as an art1 the visitor should at once turn to other specimens of the sepulchral art of the ancient ,egyptians4 ,of these1 the most interesting are the sepulchral tablets1 which are literally ,,ancient ,,egyptian ,,tombstones4 ,our modern tombstones record only the virtues of the dead4 ,if future generations have to rely upon the revelations of our churchyards for facts connected with the people of modern times1 they will write that we were all of us faultless as fathers1 irreproachable as husbands1 and devoted and self-sacrificial as children4 ,every tombstone is engraved with a catalogue of human virtues2 and idlers wandering round about our country churches1 find themselves surrounded by the ashes of fond husbands1 innocent angels1 and adored wives4 ,these prattlings of sorrow have their happy significance1 since they show the universal forgiveness that follows even the worst and basest of mankind to the grave4 ,but viewed as historical records1 tombstones are sadly erring guides4 ,they tell histories of men1 written by their mistresses or their children4 ,the sculpture which adorns the graves of modern races in this country1 generally represents urns1 or weeping cherubims1 broken flowers1 or fractured columns1 or grieving angels4 ,these symbols of death and grief contrast often oddly with the hopeful scriptural sentences which they surmount4 ,in some instances the occupation or calling of the deceased is typified on his tomb--the unstrung lyre telling the whereabouts of a dead musician2 and a palette indicating the resting-place of a defunct painter4 ,little that is great in sculpture has of late marked burial-places4 ,the ,egyptians1 on the contrary1 employed their choicest workmen to decorate their tombs4 ,the visitor may1 gathering together the scattered fragments from this saloon1 picture to himself one of the massive solemn vaults of the old ,egyptians--the walls decorated with sepulchral tablets1 and beneath each tablet a massive sarcophagus1 containing the mummy of the deceased whose actions the tablet records4 ,not altogether unlike the vaults of the present day1 save that perishable materials suffice for modern notions2 whereas the ,egyptian provided comforts for the long1 long rest1 that1 according to his creed1 would elapse1 before the mummy would shake off its bandages1 and walk forth bodily once more4 ,the ,egyptian tablets1 of which there are a great number scattered about the saloon1 are1 as the visitor will perceive1 of small dimensions1 but crowded with mystic hieroglyphics1 and ornamental groups of the funereal deities and other subjects4 ,the writing records the actions and the name of the deceased1 together with various religious sentiments2 and is therefore1 in form and spirit1 not unlike the modern epitaph4 ,this resemblance is not so wonderful as it at first appears1 seeing that the same circumstances acted upon the dictator of the old ,egyptian epitaph1 as those which make the modern widow eloquent4 ,the most modern of the tablets in the present collection are those executed while ,egypt was a ,roman state1 many are of the time of the ,ptolemies1 and one is believed to be of a date before the time of ,abraham4 ,this tablet is to the memory of a state officer3 it is marked #bab4 ,the examination of the sarcophagi1 will have led the visitor to the southern end of the saloon2 and from this point he should once more turn to the north1 and examine the sepulchral tablets on the eastern and western walls4 ,he will notice that numbers of them exactly resemble one another in certain forms2 that certain sepulchral scenes are frequently repeated1 and that therefore the tablets cannot be said in many cases with certainty1 to represent either passages in the life of the deceased1 or symbolic images of his career4 ,first let the visitor remark1 numbered #ij1 a basalt slab1 presented to the museum by the ,lords of the ,admiralty4 ,it is supposed to have been originally the cover of a stone coffin1 in the time of the ,ptolemies4 ,it is remarkable for a ,graeco-,egyptian recumbent figure1 executed in bas-relief4 ,the sepulchral tablets marked #abh-i-ca-cb1 are in calcareous stone4 ,the first is that of a scribe1 who is receiving a funeral offering from his son2 the second is that of ,akar-se1 who is receiving the offerings of his bereaved family2 the third1 from ,abydos1 has similar representations of family offerings1 and the fourth is that of the chief keeper of the cattle of ,rameses ,,ii41 named ,hara1 who prays to ,horus1 ,isis1 ,nephthys1 and ,osiris4 ,the first three tablets are dedicated to ,isis4 ,the visitor may also remark in this neighbourhood a fragment in bas-relief from the tomb near ,gizeh1 of ,afa4 ,afa was a palace officer1 who is supposed to have flourished about the period of the fourth dynasty4 ,he is here represented1 in company with various members of his family4 ,the next tablet to which the visitor should direct his attention is from ,thebes1 and is marked #aci4 ,it is that of a priest named ,rames1 who flourished during the reign of ,king ,menephtah4 ,here the priest is represented in the act of adoring various deities1 and accepting funeral honours from his family4 ,the tablet marked #adb is of the time of the nineteenth dynasty4 ,it bears an inscription referring to a governor of the ,ramesseium1 named ,amen-mes4 ,the next tablet that deserves particular remark is one in calcareous stone1 from ,abydos4 ,it is in honour of a military chief of the twelfth dynasty1 named ,nechta4 ,the pictorial embellishments represent the chief before a table of offerings1 with his wife1 mother1 and nurse1 seated before him4 ,on the next tablet 7#add7 a judge named ,kaha1 is adoring funeral deities1 and receiving the usual honours from his family4 ,passing the tablet of the commander of the troops of the palace of ,sethos ,i4 7#adf7 the visitor should pause before the interesting tablet marked #adg4 ,this tablet records the date of the birth and marriage of a female named ,tai-em-hept1 of the advent of her son ,tmouth1 and of her death which took place in the tenth year of the reign of ,cleopatra4 ,as the visitor progresses with his inspection of these tablets1 he will be more and more struck with the minute revelations they afford of the subdivision of labour among the ancient ,egyptians4 ,for instance1 one tablet 7#adh7 is that of a superintendent of the builders of the palaces of ,thothmes ,,iv4 in ,abydos2 another 7#adi7 is that of a scribe of the royal quarries2 a third 7#aej7 is that of a ,theban judge1 on the lower part of which are representations in yellow1 in the style of the nineteenth dynasty1 of the transport of the corpse1 and other funeral ceremonies2 a fourth 7#aed7 is that of a royal usher2 a fifth is that of ,pai1 a queen's officer1 among the illustrations of which a tame cynocephalus may be noticed4 ,the tablet marked #aei is a very ancient specimen4 ,it is that of ,rutkar a priest1 who is represented1 in company with his wife1 surveying the domestic occupations of his dependents4 ,the tablet from ,thebes1 of ,baknaa1 a master of the horse in the reign of ,sesostris is marked #afd4 ,here the deceased is represented adoring a group of deities4 ,the other tablets in this vicinity are chiefly of the time of ,rameses ,,ii4 or ,,iii1 and are in honour of scribes and other functionaries immediately connected with the court4 ,two sepulchral tablets from ,sakkara are interesting4 ,that marked #ahd is in honour of a priestess of ,phtha named ,tanefer-ho4 ,the pictorial embellishments represent the priestess about to be introduced to ,osiris and other deities by ,anubis and other presiding spirits of the tomb4 ,this specimen bears the date of the nineteenth year of the reign of ,ptolemy ,auletes4 ,the second tablet from ,sakkara 7#ahh7 is that of an ancient pluralist named ,i-em-hept1 who is represented introduced to ,osiris and other deities by ,anubis and his brother spirits or genii4 ,the inscription below1 in the vulgar character of the ancient ,egyptians1 is supposed to begin with the sixth year of ,cleopatra4 ,near these tablets is one in dark granite1 of a date before the twelfth dynasty 7#ahg7 in honour of ,mentu-hept1 a superintendent of granaries and wardrobes4 ,the next tablet to which the visitor's attention should be directed1 is one crowded with symbolic animals and deities 7#aia74 ,it is that of a functionary named ,kaha1 who is adoring ,chiun1 standing on a lion1 and grasping snakes1 with ,horus and other deities4 ,asi1 a military chief and priest of a very remote period1 is represented on the next tablet 7#aib71 with food before him1 and the next 7#aic7 is that found before the great sphinx at ,gizeh4 ,on it the sun is represented1 and a ,greek inscription tells that it was erected in the time of ,nero1 by the inhabitants of ,busiris to the ,roman governor of ,egypt1 ,tiberius ,claudius ,balbillus4 ,the next tablet 7#aid7 is that discovered by ,belzoni1 near the temple of ,karnak1 on which a line of adoring deities are represented4 ,the tablets marked #edh1 #i1 #ea have no particular points of interest2 the visitor may therefore at once pass to the group1 most of which are coloured yellow1 and are elaborately embellished1 marked from #eee to #eih4 ,the first of these worth especial notice is that 7#eee7 of a ,theban judge of the eighteenth dynasty4 ,it is coloured yellow and the deceased is represented with the boat and the sun's disc above1 and in company with his sister adoring the cow of ,athor2 the second 7#eff7 is in the form of a doorway1 is of the nineteenth dynasty1 is coloured1 and is in honour of a conductor of the festival of ,amen-ra2 the third and fourth 7#eeg-h7 are of earlier date1 or the twelfth dynasty1 and represent the deceased before tables of viands2 the fifth tablet 7#efj7 is in honour of ,her-chen1 who is represented with his relations1 and ,phtah-kan1 a scribe1 also represented and similarly attended1 all well finished and coloured2 the three following tablets represent the deceased before tables of viands1 coloured2 the next 7#efd7 is that of the keeper of the treasury1 or silver abode1 in the twelfth dynasty--he too is before a table of food in company with his relations2 the next remarkable specimen is that marked #efi1 which is in honour of ,athor-si1 a functionary supposed to have been the superintendent of mines in the twelfth dynasty1 who is here represented in one part before a table loaded with food1 and in another part seated1 with his hands humbly crossed upon his breast2 the next tablets presenting particular points for remark are those of ,eun-necht1 7#ege7 a superintendent of corn and clothing1 of the twelfth dynasty4 ,senatef1 chief of the palace to ,amen-emha ,,ii41 who is represented receiving a goose1 a haunch1 and other food from his relations4 ,eunentef1 a chief and his son standing face to face1 bearing wands and sceptres--a sculptor named ,user-ur1 who is represented with his wives and parents1 and upon which the square red lines used by the precise ,egyptian artists are still visible on the unfinished parts4 ,after several other tablets of the twelfth dynasty1 is placed 7#ehd7 a small square one of an earlier date in honour of ,chen-bak1 an architect1 who is seated with his wife1 receiving the duty of his children4 ,near this is a good specimen of old ,egyptian bas-relief on calcareous stone1 in honour of a palace officer named ,amen-ha 7#ehf72 and next to it 7#ehg7 is a tablet in honour of a superintendent of all the gods1 named ,seraunut4 ,hereabouts also is the tablet from ,thebes in honour of ,hera1 a royal scribe 7#ehh74 ,on this tablet the deceased is represented bearing an appropriate feather sceptre before ,nameses the ninth of the twentieth dynasty1 who is seated on his throne1 under the particular guardianship of the ,god of truth4 ,the tablet from ,thebes marked #eic is that of a judge and his wife1 and is dedicated to ,osiris and ,anup4 ,hereon1 the lotus flower is represented1 with corn and bread4 ,the next tablet 7#eid7 is one in the shape of an altar of libations1 and is dedicated to ,amenophis ,i4 and the queen ,aahmes-,nefer-,ari4 ,it is ornamented with representations of various foods1 including vases of figs4 ,in this neighbourhood are a few more tablets1 including one on which are jars1 water-fowl1 and bread cakes1 7#eif7 and a fragment upon which the head of a king is traceable1 marked #eie4 ,the visitor should also notice now the two early ,saracenic tombstones presented by ,dr4 ,bowring4 ,having examined these1 the more remarkable of the sepulchral tablets1 or tombstones of the ancient ,egyptians1 the visitor1 still lingering amid the funereal relics of long ages ago1 should turn to the ,,egyptian ,,sepulchral ,,vases4 ,as we explained when the visitor was in the ,egyptian room1 better known as the ,mummy room1 up stairs1 in the course of his second visit1 the ancient ,egyptians1 when they embalmed their dead1 extracted the viscera1 and deposited them1 apart from the body1 in four vases1 over which the genii of the dead severally presided4 ,thus every mummy had1 properly1 four sepulchral vases2 and the collection arranged in the saloon amply illustrates the varieties of ornament expended upon them4 ,as the visitor has probably forgotten the particular parts assigned separately to the genii1 it may be well to repeat here that ,amset 7who is human-headed17 had the stomach and large intestines under his especial protection ,tuautmutf with his jackal-head presided over the heart and lungs2 ,kebhsnuf1 with the fierce head of the widely worshipped hawk1 took the gall1 bladder1 and liver1 in charge2 while the baboon-headed ,hapi reserved to himself the care of the small intestines4 ,there does not appear to have been any supernatural protector of the brains1 which1 as we have noticed1 were drawn through the nose by the embalmer4 ,these vases are of the most ancient times1 chiefly before the advent of ,alexander1 after which event the people began to enclose the entrails of their dead in wax cloths1 and fastening to the various parts the appropriate genius1 to have been content to deposit them in the same case with the body4 ,the vases which the visitor is about to examine are carved in different materials1 the more costly and highly finished being of arragonite1 and the less important1 in wood1 stone1 or clay4 ,they are all ornamented with appropriate inscriptions1 consisting of exhortations of the deities to the dead1 or comforting syllables from the genii of the intestines to the departed4 ,the visitor will not care to examine all these vases in detail1 nor would any purpose be served were the unscientific spectator to hover in this corner for a whole day2 it is sufficient for him to understand the passage these vases occupy in the ancient history of ,egypt1 and to notice cursorily the degree of excellence displayed in the manufacture of them4 ,he will find the hawk-head of ,kebhsnuf in one direction1 and the baboon-head of ,hapi in another1 and from these pictorial revelations he will know what part of a deceased ,egyptian was deposited in each vase4 ,with these preliminary words we may leave him to examine the collection1 reserving to ourselves the task of pointing his attention to one or two of the more remarkable specimens4 ,first let the visitor notice the complete set of four1 in arragonite1 marked #fad-ag4 ,these were for the internal parts of prince ,amen-em-api1 the eldest son of ,rameses ,,ii41 and as the visitor will notice1 have severally their presiding genius1 with sacred inscriptions4 ,another remarkable vase is that in arragonite marked #fji1 with its cover fashioned in the form of a human head1 and the remains of an inscription which had been laid on with a thick kind of colour4 ,that marked #fbi with the jackal-head of ,tuantmutf1 bears an inscription in which the standard-bearer of ,plato named ,hara1 part of whose body was inclosed1 is reminded that the genius attends him4 ,one 7#fce7 of arragonite has a green waxy paint1 and belonged to a royal bow-bearer of the nineteenth dynasty1 named ,renfu4 ,there is another complete set1 which do not appear to have been opened1 marked #fcf-ci4 ,the arragonite vases are the most expensive1 and1 as we have remarked the most highly finished2 but the visitor may notice also those in coarser material4 ,having sufficiently examined these vases1 the visitor may take a general glance at the contents of the saloon1 and prepare to examine the ,sphinxes1 and colossal figures that are crowded into it4 ,in these he will recognise only colossal copies of many of the little figures he saw in the ,mummy room up stairs4 ,he will see huge granite representations of the strange gods and goddesses to which the ancients devoutly knelt2 and in many of these forms he will trace a placid beauty that reveals often the soul of the sculptor fettered by the strange formulas of his religion4 ,the visitor having examined the high reliefs on the tablets and sepulchral monuments of the ancient ,egyptians1 has now to examine the specimens that remain of their statuary4 ,but first of ,,egyptian ,,human ,,statues4 ,in viewing cursorily the statuary of the ancient ,egyptians1 the investigator is first struck with the colossal proportions adopted by their sculptors4 ,in those days1 when iron was unknown1 and when bronze was the manufactured metal1 men contrived without the use of gunpowder1 to remove vast masses of granite from their quarries1 and to shape these masses into the form they chose4 ,had they a hero to whom they would pay honour8 ,forthwith his figure was immortalised in colossal granite4 ,how these vast masses1 when separated from the rock1 and chiselled into statues1 were removed to their destination in the court1 or at the entrance of a temple1 is a point not satisfactorily determined4 ,that thousands of lives were spent1 year after year1 in the production of the vast monuments which now lie scattered in confusion about the valley of the ,nile is certain2 and some men contemplate this large expenditure of human muscle upon these rude masses1 with a gentle melancholy that is not altogether called for4 ,there was a spirit in the work that made it noble4 ,and here it is well that the visitor shall see the opinion of a man whose conclusions were based upon profound erudition in his art1 on the subject of ancient ,egyptian art1 artistically viewed4 ,in his lectures on sculpture1 ,flaxman says1 ,their 7the ,egyptian7 statues are divided into seven heads and a half1 the whole weight of the figure is divided into two equal parts at the ospubis1 the rest of the proportions are natural and not disagreeable4 ,the principal forms of the body and limbs1 as the breasts1 belly1 shoulders1 biceps of the arm1 knees1 shin-bones1 and feet1 are expressed with a fleshy roundness1 although without anatomical knowledge of detail2 and in the female figures these parts often possess considerable elegance and beauty4 ,the forms of the female face have much the same outline and progression towards beauty in the features as we see in some of the early ,greek statues1 and1 like them1 without variety of character2 for little difference can be traced in the faces of ,isis1 in her representations of ,diana1 ,venus1 or ,terra1 or indeed in ,osiris1 although sometimes understood to be ,jupiter himself1 excepting that in some instances he has a very small beard1 in form resembling a peg4 ,the hands and feet1 like the rest of the figure1 have general forms only1 without particular detail2 the fingers and toes are flat1 of equal thickness1 little separated1 and without distinction of the knuckles2 yet1 altogether1 their simplicity of idea1 breadths of parts1 and occasional beauty of form1 strike the skilful beholder1 and have been highly praised by the best judges1 ancient and modern4 ,in their basso-relievos and paintings1 which require variety of action and situation1 are demonstrated their want of anatomical1 mechanical1 and geometrical science1 relating to the arts of painting and sculpture4 ,the king1 or hero1 is three times larger than the other figures2 whatever is the action1 whether a siege1 a battle1 or taking a town by storm1 there is not the smallest idea of perspective in the place1 or magnitude of figures or buildings4 ,figures intended to be in violent action are equally destitute of joints1 and other anatomical form1 as they are of the balance and spring of motion1 the force of a blow1 or the just variety of line in the turning figure4 ,in a word1 their historical art was informing the beholder in the best manner they could1 according to the rude characters they were able to make4 ,from such a description it is easy to understand how much their attempts at historical representation were inferior to their single statues4 ,what has been hitherto said of ,egyptian sculpture1 describes the ancient native sculpture of that people4 ,after the ,ptolemies1 successors of ,alexander the ,great1 were kings of ,egypt1 their sculpture was enlivened by ,grecian animation1 and refined by the standard of ,grecian beauty in proportions1 attitude1 character1 and dress4 ,osiris1 ,isis1 and ,orus1 their three great divinities1 put on the ,macedonian costume2 and new divinities appeared amongst them in ,grecian forms1 whose characteristics were compounded from materials of ,egyptian1 ,eastern1 and ,grecian theology and philosophy4 ,first1 to give the visitor an idea of the magnitude of the colossi of the ancient ,egyptians1 let him notice from the southern extremity of the saloon the gigantic cast of the face of ,sesostris1 placed against the southern wall of the central saloon4 ,this face is a cast from a colossal statue of that great king of the ,egyptians1 which was one of four discovered by the energetic ,belzoni1 in front of the great temple of ,ibsamboul in ,nubia4 ,it is a sitting figure1 fifty feet high4 ,these colossal figures of the great ,egyptian monarch were plentiful throughout ,egypt4 ,as the visitor stands before this fragment of a stupendous piece of sculpture1 he may recall to mind the points in the career of ,giovanni ,battista ,belzoni4 ,first1 the boy helping his father to shave the beards of the ,paduans2 then the young adventurer flushed with hope1 jogging on his way to ,rome2 then the grave young man1 with his vast physical development shrouded in the monkish habit2 then1 in #ahjj1 when ,napoleon was busy in ,italy1 the monkish garments thrown aside1 he wanders about the continent1 stared at everywhere for his size and strength of limb2 then as lecturer on hydraulic machinery1 and exhibitor of feats of strength at ,astley's ,theatre2 then1 under the patronage of the ,pasha1 constructing a machine to water some gardens on the banks of the ,nile2 then engaged by the ,english ,consul in ,egypt1 ,mr4 ,salt1 to prosecute some of the investigations into the monuments of antiquity1 upon which that gentleman was expending much time and money2 and here he is for the first time recognised in his true position4 ,of his labours as explorer of the tombs and temples of ancient ,egypt few people are ignorant4 ,how1 dressed as a ,turk1 he transported the colossal granite bust of ,memnon to ,alexandria1 and saw it safely on its way to ,england2 how he penetrated into the ,temple of ,ibsamboul2 how he patiently explored the rocks of the valley of ,beban-el-,malouk1 beyond ,thebes to discover the entrances to tombs1 and took exact copies of the thousands of figures he discovered upon sepulchral walls2 how he penetrated into the bowels of the pyramid of ,cephrenes1 and found in the inmost chamber only the bones of a sacred bull2 how he was honoured on his return to his native city2 and how a desolate grave on an ,african shore was the end of his chapter--are matters of exciting adventure that are read by thousands of young people in the present day4 ,the visitor will see a strong family likeness in the colossal heads that are in the saloon4 ,proceeding northward from the southern end of the saloon1 the visitor may rapidly notice the colossal fragments of the statues of kings and high officers1 which are all distinctly marked4 ,first1 let the visitor examine two colossal heads 7#d-f71 wearing the kingly head-covering1 and said to resemble the features of ,amenophis ,,iii41 which were excavated under the superintendence of ,mr4 ,salt1 at ,gournah2 and then the visitor may turn to a fragment marked #i1 which is a colossal fist1 found among the ruins of ,memphis by the ,french1 and which fell1 together with other valuable relics1 into the possession of the ,english on the capitulation of ,alexandria in #ahja4 ,this fist may well excite the admiration and respect of the most determined pugilist of the present day4 ,hereabouts also are a remarkable monument 7#ab7 found in the ruins of ,karnak under the superintendence of ,mr4 ,salt1 placed upon a white stone pedestal in an angle of the wall of the great temple1 and showing on each of its sides representations of ,thothmes ,,iii4 of the #ahth dynasty1 holding the hands of deities1 said by some to be the moat curious specimen of ,egyptian bas-relief in the ,museum2 a fractured colossus 7#ad7 in black granite1 from ,thebes1 supposed to be part of a statue of ,amenophis ,,iii42 the colossal head 7#ae7 discovered at ,karnak by ,belzoni in #ahah1 supposed to represent the features of ,thothmes ,,iii42 the head and upper part of a statue of ,sesostris1 known as the ,young ,memnon4 ,before this1 the most celebrated of the ,egyptian specimens in the saloon1 the visitor should pause to learn something of it1 and notice its peculiarities for himself4 ,its name1 ',memnon1' is that given by the ,greeks to many of the colossi which they saw scattered about the country when they made their way into ,egypt4 ,memnon was the name given by the ancient ,greek writers to an ,egyptian hero who had a great reputation for his conquests1 and was said to have done his share of work in the famous ,trojan war4 ,this name having been given indiscriminately to various statues1 conveys no proof of their identity1 since it represents only a mythical hero1 whose fame reached ,greece many centuries before our hero4 ,generally1 this young ,memnon is held to be a portrait of the great ,sesostris1 who was either the first or second ,rameses2 but some authorities declare that the weight of evidence goes in favour of ,amenophis ,,iii41 who was a pharaoh1 or monarch1 flourishing more than fourteen centuries before ,christ4 ,it is certain1 however1 that we have here a carefully-elaborated portrait of an ,egyptian hero who flourished many centuries before our era4 ,the features have all the prominent parts noticed by writers on ,egyptian sculpture as characteristic of the ,egyptian style4 ,here are the wonderfully high and prominent ears 7which must have been invaluable peculiarities to ,egyptian wits71 the thick ,ethiopian lips1 the coarse nose1 and the full eyes1 all carefully and skilfully chiselled4 ,certainly1 when we recall the time1 realise fully the antiquity and the social state in which this great work was performed1 we may see the sculptor's dawning soul in the majestic repose of this head4 ,the lines are hard and stiff--have not the flow of the ,parthenon decorations2 but here is nothing mean or poor1--all large1 solid1 and carved with the force of a giant4 ,the picturesque accounts of its transmission from the ,memnonium at ,thebes to ,alexandria are familiar to the majority of readers1 with the great ,belzoni1 with his marvellous strength and energy1 urging on the workmen4 ,i cannot help observing1 he tells us1 that it was no easy undertaking to put a piece of granite of such bulk and weight on board a boat that1 if it received the weight on one side1 would immediately upset2 and1 what is more1 this was to be done without the smallest help of any mechanical contrivance1 even a single tackle1 and only with four poles and ropes1 as the water was about eighteen feet below the bank where the head was to descend4 ,the causeway ,i had made gradually sloped to the edge of the water1 close to the boat1 and with the four poles ,i formed a bridge from the bank into the centre of the boat1 so that when the weight bore on the bridge it pressed only on the centre of the boat4 ,the bridge rested partly on the causeway1 partly on the side of the boat1 and partly on the centre of it4 ,on the opposite side of the boat ,i put some mats well filled with straw4 ,i necessarily stationed a few ,arabs in the boat1 and some at each side1 with a lever of palm-wood1 as ,i had nothing else4 ,at the middle of the bridge ,i put a sack filled with sand1 that1 if the ,colossus should run too fast into the boat1 it might be stopped4 ,in the ground behind the ,colossus ,i had a piece of a palm-tree planted1 round which a rope was twisted1 and then fastened to its ear1 to let it descend gradually4 ,i set a lever at work on each side2 at the same time that the men in the boat were pulling1 others were slackening the ropes1 and others shifting the rollers as the ,colossus advanced4 ,thus it descended gradually from the mainland to the causeway1 when it sunk a good deal1 as the causeway was made of fresh earth4 ,this1 however1 ,i did not regret1 as it was better that it should be so1 than that it should run too fast towards the water2 for ,i had to consider that if this piece of antiquity should fall into the ,nile1 my return to ,europe would not be very welcome1 particularly to the antiquaries2 though ,i have reason to believe that some among the great body of its scientific men would rather have seen it sunk in the ,nile than where it is now deposited4 ,however1 it went smoothly on board4 ,the ,arabs1 who were unanimously of opinion that it would go to the bottom of the river1 or crush the boat1 were all attention1 as if anxious to know the result1 as well as to know how the operation was to be performed3 and when the owner of the boat1 who considered it as consigned to perdition1 witnessed my success1 and saw the huge piece of stone1 as he called it1 safely on board1 he came and squeezed me heartily by the hand4 ,on the back of the statue are hieroglyphics describing the titles of ,rameses4 ,marked #ba1 is a colossal black granite statue of the third ,amenophis1 also called ,memnon1 found also at ,thebes in the year #ahah4 ,the next remarkable object to which the visitor's attention may be drawn is the sandstone statue of a monarch of the #aith dynasty1 known as ,leti ,menephta ,,ii4 7#bf71 found at ,karnak by ,mrs4 ,belzoni4 ,here the characteristics of ancient ,egyptian sculpture are strictly preserved1 the figure having the arms close to the body1 the hands resting upon the knees1 and in the hands an altar1 upon which is a ram's head4 ,hereabouts1 also1 is the lower part of a kneeling statue of ,sesostris1 supporting an altar1 with the scarabaeus1 or sacred beetle4 ,of the age of the #ahth dynasty 7of which ,amenophis ,,iii4 was the most notable monarch7 is the restored group marked #bi1 which represents a guardian of the temple of ,amenra and his wife1 seated upon a throne ornamented with dedications to various deities4 ,having glanced at the limestone bust 7#cj71 from ,gournah1 of a statue to a king1 the visitor may turn to a group 7#ca7 which represents an ecclesiastic1 with his sister 7who is a priestess71 and his little son1 a priest to ,amenophis ,,ii4--the sister holding a bunch of lotus flowers4 ,this group was found in a tomb near ,thebes4 ,a headless statue1 marked #ce1 with red colouring matter upon it1 extracted from a sepulchre in the neighbourhood of the pyramids of ,gizeh1 is the next remarkable object deserving the general visitor's notice2 and hereabouts1 also1 is another group1 in the old ,egyptian style 7#cf71 of an officer seated beside a female relation4 ,passing some remarkable objects which remain for notice under a separate head1 and the lower part of a statue of ,sesostris from ,abydos 7#db71 the visitor should next pause before a figure marked #dc4 ,this black granite statue is that of a queen of the #ahth dynasty1 and mother of the great ,amenophis ,,iii4 ,she is represented1 as the visitor will perceive1 seated upon a throne4 ,a vulture1 in an ,athor-headed boat1 hovers over her2 and upon the boat the learned may read her name and dignities4 ,passing the upper part of a grey granite statue1 representing a king1 probably of the #abth dynasty 7#dd71 which was found in the neighbourhood of ,gizeh1 the visitor should halt before the statue of an ,egyptian scribe1 marked #df4 ,this sitting figure is loaded with symbols4 ,the pectoral plate suspended from his neck describes the dignities of the great ,sesostris2 in his right hand is a symbol of life1 and in his left he holds a blade of corn4 ,near the scribe the visitor will notice a heavily-draped figure of black basalt1 with the arms solemnly crossed1 which was excavated from behind the ,memnon at ,thebes4 ,this statue represents a military chief of the early part of the #ahth dynasty1 named ,banofre4 ,the figure numbered #ea is that of a prince named ,anebta1 who lived in the #ahth dynasty3 it is of calcareous stone1 and was found at ,thebes4 ,the two next statues are those of a royal scribe of the #aith dynasty1 and an officer connected with the libations to the god ,amen-ra1 both from ,thebes4 ,two fragments1 marked respectively #ed and #ee1 are the feet of a statue1 and a colossal arm in red granite belonging to the colossal head1 conjectured to be that of ,thothmes ,,iii41 found in the sand in the ,karnak part of ,thebes4 ,having examined these ponderous fragments1 the visitor should next notice the colossal red granite statue of ,sesostris found at ,karnak 7#fa71 the kingly rank of the monarch being marked by the hat and the royal apron2 and the upper part of a statue of the same monarch wearing the ,pschent or crown of the ,pharaohs1 and holding a crook and whip4 ,the small statue of ,bet-mes1 a state officer of the sixth dynasty1 found in a tomb at ,gizeh1 is remarkable for its extraordinary antiquity2 and in this neighbourhood1 also1 is a statue of an ,ethiopian prince of the time of the great ,rameses1 named ,pah-ur1 which was found by ,belzoni in ,nubia4 ,the figure is kneeling1 and holding an altar4 ,passing the fragment1 in grey granite1 of a monarch of the #ahth dynasty 7#ge71 the visitor may pause before another object taken from the ,french 7#ha74 ,it is the statue1 from ,karnak1 of a high priest of ,amen-ra1 seated1 holding an ear of corn1 and1 like his companions in stone1 resting his arms upon his knees4 ,another fragment1 of green basalt1 may be passed 7#hc71 which is from a comparatively modern statue--that of a chamberlain in the reign of ,apries1 of the #bfth dynasty2 and then the visitor should pause before a white stone statue of the ,ptolemaic period 7#ib71 which represents a priest of the god ,chons1 or ,hercules1 holding an altar upon which is a figure of the god2 and hereabouts1 also1 he may remark another specimen of white stone sculpture1 being the colossal bust of a queen of the #ahth or #aith dynasty 7#ic74 ,passing another fragment of a statue of the great ,rameses1 the visitor should next direct his attention to a dark granite statue1 mutilated1 of a high military officer1 supposed to have flourished about the #abth dynasty4 ,among other fragments hereabouts1 the visitor should not fail to examine the fragment 7#ajd7 found in ,alexandria1 at the base of ,pompey's ,pillar1 upon which are clearly traceable the figure of the great ,rameses1 being crowned by divinities1 and a list of his dignities2 the red granite colossal fist 7#ajf71 presented to the ,museum by ,earl ,spencer2 and a curious fragment1 which represents parts of a royal scribe1 with his writing slab attached to his leg 7#ajc74 ,passing the curious double statue 7#aaj71 of a ,state officer of the time of the eleventh ,rameses1 the visitor should once more halt before a basalt statue of a functionary 7#aaa71 of the #bfth dynasty1 found in #aghe1 in the ,natron ,lakes1 near ,rosetta1 and a granite group 7#aac71 representing1 side by side1 a chief1 and a royal nurse1 with the chief's daughter4 ,amid another group of fragments1 the visitor should remark particularly an arragonite torso 7#aba72 the upper part of an officer1 holding a standard 7#abb72 and a red granite bust of a monarch wearing the neumis 7#abe74 ,a small black basalt statue1 of the period of the #bfth dynasty 7#acd7 should be noticed4 ,the figure1 that of a palace officer1 is kneeling1 and has dedications to the deities4 ,further on is a statue of the third ,thothmes1 of the #ahth dynasty 7#afh71 the head of which has been restored4 ,here the visitor should remark the nine bows which symbolise the enemies of the ,egyptians4 ,having thus far noticed the collection of statuary which represent human beings1 the visitor will gladly turn to those strange revelations of the ancient ,egyptian mind developed in the ,,egyptian ,,sphinxes4 ,in these strange conglomerations of various races of animals--the lions with human heads and hawks' heads--there is generally preserved that majestic repose1 and that mighty force of execution1 which rescue the most incomprehensible of the ancient ,egyptian monuments from contempt4 ,not at all farcical or barbarous could the effect have been1 when the ,egyptian approached his place of worship through an avenue formed by rows of these colossal sphinxes--all grandly fashioned and full of majesty4 ,mr4 ,long says3 ,most speculations on the origin of the compound figure1 called a sphinx1 appear unsatisfactory2 nor1 indeed1 is it an easy matter for the modern inhabitants of ,western ,europe to conceive what is meant by the symbolical forms which enter so largely into the ancient religious systems of the ,eastern world4 ,it seems to us altogether an assumption without proof1 that either the andro-sphinx1 or the sphinx with the female head1 ought to be considered as the original type of this compound figure4 ,the sphinx differs from other compound figures1 which occur very often in the ,egyptian pictorial representations1 in always having the body of a lion1 or1 it may be1 a panther1 or some such animal as might be considered a symbol of strength and courage4 ,the whole history of our species bears testimony to that tendency of the human mind1 when not restrained and guided by better knowledge1 to pourtray in some visible form its conceptions of ,deity4 ,however far many superior minds of the heathen world might advance1 in deducing from the contemplation of all around them more correct views of the goodness and wisdom of an all-ruling power1 these were ideas far too refined for the mass1 who felt the want of something more apparent to the senses--something on which the mind could repose from vain imaginings and real fears4 ,hence the ,deity was invested with various forms of familiar objects1 under which he was venerated as a protector and friend1 or feared as an avenging and angry power4 ,under the form of a ram1 and the name of ,ammon1 we find a deity worshipped along the banks of the ,nile1 from the temple of the ancient ,meroe to the sand-girt oasis of ,siwah4 ,the mild and benignant expression of the sacred ram would indicate the diffusion of tranquillity and peace1 nor would the essential value of the symbol be changed by finding the head of the ram placed on human shoulders1 or attached to the body of a lion4 ,in the first case it would1 in accordance with the ,egyptian tradition of gods having assumed the forms of animals1 commemorate1 as in the ,hindoo mythology1 an incarnation of the superior power2 and in the second1 the union of strength and courage with mildness and the arts of peace4 ,the crio-sphinx1 then1 belongs to the ,ammonian mythology1 and is a distinct symbol from the andro-sphinx and female sphinx1 which1 probably1 are connected with the worship of ,osiris and ,isis4 ,something of the effect may be comprehended from the two large red granite lions which mark the southern boundary of the saloon 7#a-cd47 ,they are of the time of the third ,amenophis1 and were discovered at ,mount ,barkal by ,lord ,prudhoe1 in #ahbi4 ,as specimens of the mechanical skill of ancient ,egyptian sculptors1 they are worth particular remark4 ,here there is little of that angular stiffness characteristic of the statues the visitor has already examined4 ,and now1 making one more progress through the saloon1 the visitor may rapidly notice the varieties of strange animal forms--all of which1 in ancient ,egypt1 had their religious meaning4 ,they were1 at all events1 symbols of divine instincts1 and for this reason a deep interest rises in the modern mind in the contemplation of their proportions and expression4 ,the figure numbered #g is a colossal head of a ram1 emblematic of ,amen-ra2 that numbered #h1 is ,hapi1 the god of the ,nile of the period of the #bbnd dynasty1 with allegorical waterfowl and plants hanging from the altar he is holding2 two strange figures of gryphons1 or hawk-headed sphinxes1 found by ,belzoni in the great temple of ,ibsamboul 7#aa-ac71 and emblematic or ,munt-ra1 will next engage the visitor's attention2 and from these specimens the visitor should turn to a black granite fragment of the ,egyptian ,diana--,pasht1 of the time of ,amenophis2 but as he will have an opportunity of observing more finished representations of this popular divinity1 he may at once pause before a second statue of this goddess1 also of the time of the third ,amenophis 7#cg71 where ,pasht is represented in black granite1 upon a throne1 with the head of a lion1 and in her hand the emblem of life4 ,hereabouts1 also1 are two specimens of the strange cynocephalus1 or dog-headed baboon 7#ch-dj71 sacred to the ,hercules and ,mercury of the ,egyptian ,pantheon4 ,the figures marked #da-de are two more specimens of ,pasht1 who appears to have been the most popular subject for the ,egyptian sculptor's chisel2 these are erect figures1 holding lotus sceptres1 and are both from ,karnak4 ,the figures marked #di1 #ej1 #eb1 #ec1 #eg1 are all representations of the popular ,pasht2 in #eb she wears the disk of the sun4 ,and now the visitor may well pause before a fragment marked #eh4 ,this is a piece of the beard of the ,great ,sphinx4 ,peeping above the sands which surround the famous pyramids of ,gizeh1 is the upper part of a man-headed sphinx4 ,this sphinx is said to measure no less than #fb feet in height1 and #adc feet in length2 this ,colossus has been plucked by the beard1 and the result lies before the visitor4 ,hereabouts1 in passing1 the visitor may glance at another object wrested from the hands of the ,french 7#ei74 ,it is a fragment of a column in porphyry1 supporting a colossal areonite hawk1 sacred to the sun4 ,more statues of ,pasht6 7#fj1 #fb1 #fc1 of the #bbnd dynasty2 #fe1 #fh1 #fi74 ,a column found in a house at ,cairo1 the capital of which is formed in the shape of a lotus flower 7#fd71 deserves notice2 also 7#gj71 the basalt statue of a god1 conjectured to be ,amen-ra1 holding a small figure of a monarch of the #bhth dynasty4 ,more statues of ,pasht 7#ga1 #b1 #c1 #f1 #g1 #i2 #hj1 #d1 #e1 #g1 #h1 #i72 and then the visitor may pause before the colossal scarabaeus1 emblematic of the world and creation 7#gd72 and a broken sphinx1 of ,roman work 7#hb74 ,not far off are deposited the legs of ,truth 7#ia71 the goddess ,ma of the ,egyptians2 some altars from ,aboukir and ,sais1 that marked #ace1 from the ,temple of ,berenice1 having steps leading to it2 entrances to tombs 7#aeg71 ornamented with figures2 and more statues of ,pasht1 amongst them a colossal bust from a statue 7#eba74 ,having noticed these specimens1 the visitor should pass into the lobby at the northern end of the saloon1 to notice the two small obelisks placed here1 brought from ,cairo2 they stood before a temple to ,thoth4 ,the hieroglyphics upon them are carefully executed1 but these specimens give the spectator no idea of the colossal obelisks of ancient ,egypt1 of which that of ,alexandria1 #fc feet high1 is a fair specimen4 ,these obelisks were generally in pairs1 and were placed on each side of the great entrance to ,egyptian temples4 ,having returned to the saloon1 the visitor should1 before finally passing from it1 notice the famous tablet of ,abydos 7#aag71 found by ,mr4 ,banks1 in #ahah1 in the ,temple of ,abydos4 ,it is the work of the great ,sesostris1 and the inscription on it is a record of his predecessors in the kingly office3 hence it has been long an attractive object to chronologists4 ,also1 before glancing at the few paintings1 and closing the examination of this interesting saloon1 the visitor should inspect the ,rosetta stone 7#bd71 inscribed in three characters 7of which one is ,greek71 by order of the high priests1 recording the services of the fifth ,ptolemy4 ,and now1 with a glance at the ,,egyptian ,,frescoes1 the visitor should rapidly close his survey of this chamber4 ,these are rude performances enough1 and1 as the visitor will see1 bear a close resemblance to those we introduced to him in the ,egyptian rooms up stairs4 ,mr4 ,long1 while on the subject of ,egyptian art1 thus mentions their paintings3--,sculpture and painting were closely allied1 both among the ,egyptians and in the old schools of ,greece2 and both arts were intimately associated with architecture4 ,sculptured and coloured figures formed in ancient ,egyptian edifices the decoration and the finish of the larger masses of the architecture which served as a framework within which they were placed4 ,the edifices1 from their massy forms and the magnitude of their component parts1 were well calculated to produce a general impression of grandeur2 and this was not destroyed by the smaller decorated parts1 which were always strictly subordinate to the general design1 and were not1 like it1 comprehended at a glance1 but required to be studied in detail4 ,painting1 in the proper sense of the term1 that of the representations of objects by colours on the flat surface1 appears to be an art of less antiquity than that of sculpture4 ,the ,egyptians probably first coloured their reliefs and statues before they attempted to represent objects with colours on a flat ground4 ,but1 however this may be1 paint was most extensively used by them1 not only in making pictures1 properly so called1 but in painting the surfaces of tablets and temples1 as well as colossal statues and sculptured figures of all kinds and sizes4 ,indeed1 an ,egyptian temple1 in its complete state1 bedizened with so many bright unmixed colours1 must have been rather a curious object1 and would hardly1 perhaps1 have pleased the taste of modern times2 though1 it must be admitted1 that the effect of these colours under a brilliant sun would be very different from their appearance in such a climate as this4 ,the pureness1 permanence1 and brilliancy of ,egyptian colouring are the only qualities that we can admire2 for they never1 apparently1 compounded colours so as to produce a greater variety from the simple colours4 ,it has also been frequently remarked that they did not soften them off so as to form various degrees of intensity1 or to make any attempt at contrasts of light and shade4 ,this is probably true as to the representation of human figures1 which are coloured pretty much in the same style that a child paints uncoloured engravings1 making one part all red1 another all blue1 and so on1 without any softening of the colours at their common boundary4 ,but in the representation of animals1 as we shall afterwards observe1 more care was taken in softening and blenching the colours1 so as to produce a better representation of nature4 ,the colours used in the painted relief1 and on the stuccoes are black1 blue1 red1 green1 and yellow2 these are always kept distinct and never blended4 ,of blue1 they used both a darker and a lighter shade4 ,red was used to represent the human flesh1 apparently from its being nearer the natural tint than any other simple colour2 but many of their colours were evidently applied with a conventional meaning1 for the representation of different races4 ,the conquered people represented in the great temple of ,abonsambel1 or ,ipsambul1 have yellow bodies and black beards4 ,in the grottoes of ,el ,cab1 the men are red1 and the women yellow4 ,black men also sometimes appear in the paintings4 ,the five colours above enumerated seldom occur all in one piece or picture2 but in this matter there is perhaps no general rule4 ,the ,nubian temples have often a very rich colouring1 as in the case of one at ,kalapsch1 where yellow1 green1 red1 and blue1 have all been used in painting the reliefs in one of the inner chambers2 and in some single figures in this temple we may observe all these four colours4 ,the materials of which the colours were made would no doubt change with the improvements in the arts2 and after the ,macedonian occupation of the country1 new colours1 both vegetable and mineral1 may have been introduced4 ,but the tombs of the kings at ,thebes may undoubtedly be considered as containing specimens of ancient ,egyptian colouring1 as well as the painted reliefs in the oldest temples1 and the colourings about the ancient mummies4 ,by a careful examination of these specimens1 we may attain a very adequate knowledge of the materials used1 and of the mode of applying them4 ,the first of these frescoes 7#afi-agj-a7 are from the walls of a tomb of the western ,hills of ,thebes4 ,the tomb is that of a scribe of the royal granaries and wardrobe1 and the pictures represent the inspection of oxen by scribes1 a scribe standing in a boat1 the registration of the delivering of ducks and geese and their eggs4 ,the fragment marked #age represents an entertainment1 with female instrumental performers2 here 7#agf7 an old man is leaning upon a staff near a cornfield2 there 7#agg7 is the square fish-pond woefully deficient in prospective2 there is a second entertainment 7#agi71 where the wine is freely circulating2 dancing is going on to music--the picture of a social evening enjoyed thousands of years ago2 and here1 at a third entertainment 7#aha71 servants are bringing in wine and necklaces--a kind of hospitality to which1 as regards the latter object1 modern ladies would in no way object4 ,the ancient ,egyptian ladies had their bouquets1 their ornaments1 and their couches1 and exacted a plainness of costume from their servants1 as in the present time4 ,on passing south from the ,egyptian ,saloon1 between the two great lions1 the visitor at once gains the central saloon1 but without pausing here1 or turning to the right into the tempting ,phigalian and ,elgin ,saloons1 he should proceed rapidly on his way to the south-western extremity of the building1 at which point he will find himself at the entrance to the ,,lycian ,,room4 ,in a few preliminary words we may indicate the points of ,lycian history4 ,situated in ,asia ,minor1 ,lycia is said to have taken its name from the ,athenian prince ,lycus1 who conquered it1 and laid it open to his countrymen4 ,this ,greek period of its history was interrupted by ,cyrus1 who added it to the ,persian empire about five centuries and a half before our era2 it was only regained about two centuries after by ,alexander the ,great4 ,it subsequently became a ,roman province1 then yielded to the ,byzantine empire1 and now owns the rule of the ,turk4 ,this eventful history gives an interest to the country that has excited the curiosity of the learned for ages4 ,the period of its greatest prosperity ensued upon its being reconquered by ,alexander1 when it included no less than seventy cities1 of which ,xanthus was the capital4 ,of all these cities1 only scattered ruins under ,turkish villages now remain4 ,of ,lycian remains it may be said nothing was known before ,sir ,charles ,fellows started on his exploring expedition in #ahch4 ,one or two travellers had made some scattered observations with regard to the sites of ancient ,lycian towns before that time1 and their hints first drew the attention of the learned in this direction2 but1 we repeat1 it cannot be said that anything was known of ,lycian remains before ,sir ,charles pressed the soil of ,asia ,minor1 and looked about for the sites of some of the seventy towns mentioned in ancient history4 ,he succeeding in fixing the sites of many of the cities1 including ,xanthus1 and on his return to ,england prevailed upon the government to send out vessels to bring home the remains he saw scattered about the rocky site of the ancient ,lycian metropolis4 ,messrs4 ,spratt and ,forbes subsequently added eighteen sites of towns to the list made by ,sir ,charles4 ,the collection of sculpture now popularly known as the ,xanthian marbles1 are a few ruins gleaned from the rocky eminence which is the site of ancient ,xanthus4 ,these fragmentary remains of an ancient people consist chiefly of sculptures from their temples and their tombs2 upon which1 like the ,egyptians1 they appear to have expended a vast amount of labour1 and to have employed their greatest artists4 ,the ,greek mind is clearly traceable in these ,xanthian marbles1--the ,greek imbued with local traditions and feelings4 ,the first object that will attract the visitor's attention on entering the room1 is the most remarkable of ,,lycian ,,tombs1 called the ,harpy ,tomb4 ,this tomb1 which occupied the highest point of the hill on which ,xanthus stood1 is described by ,sir ,charles ,fellows in his account of the ,xanthian marbles1 published in #ahdc4 ,the tomb was a square shaft1 in one solid block1 weighing no less than eighty tons4 ,its height1 says ,sir ,charles1 was seventeen feet1 placed upon a base1 rising on one side six feet from the ground1 on the other but little above the present level of the earth4 ,around the sides of the top of the shaft were ranged bas-reliefs in white marble1 about three feet three inches high2 upon these rested a capstone1 apparently a series of stones1 one projecting over the other2 but these are cut in one block1 probably fifteen or twenty tons in weight4 ,within the top of the shaft was hollowed out a chamber1 which1 with the bas-relief sides1 was seven feet six inches high1 and seven feet square4 ,this singular chamber had probably been1 in the early ages of ,christianity1 the cell of an anchorite1 perhaps a disciple of ,simeon ,stylites1 whose name was derived from his habitation1 which1 ,i believe1 we have generally translated as meaning a column1 but which was more probably a stele like this4 ,the traces of the religious paintings and monograms of this holy man still remain upon the backs of the marble of the bas-reliefs4 ,by reference to the model of the tomb1 of which the bas-reliefs are in the room 7#a71 the visitor may verify the remarks of ,sir ,charles1 who goes on to say that the monument was never finished1 having been only half polished1 and that it bears the traces of a shake from an earthquake4 ,the general conjecture is that the tomb is the labour of a ,lycian ,greek sculptor4 ,the subjects of the bas-reliefs have been variously interpreted3 they decorated1 as the visitor will perceive by reference to the model1 the four sides of a square shaft4 ,first1 let the visitor turn to the western face1 marked 7,b74 ,here the scene represented is supposed to be ,juno holding a cup before the sacred cow ,io1 and ,epaphus1 ,aphrodite1 and the three ,charites1 which have been interpreted also as the three ,seasons1 and the ,erinnyes or ,furies4 ,the eastern side marked 7,a71 is supposed to represent ,tantalus1 bringing the golden dog stolen from ,crete to ,pandarus in ,lycia3 ,neptune seated1 with a man leaning on a crutch1 and a boy offering a bird before him1 and ,amymone and ,amphitrite behind him2 and ,a,esculapius seated with ,telesphorus in front1 and two of the ,graces behind him4 ,the northern side 7,c71 shows at the corners1 two ,harpies making off with two of the daughters of ,pandarus1 while their sister ,aedon1 on her knees1 is deploring their abduction4 ,here1 too1 is a god seated1 conjectured to be ,pluto1 holding a helmet with the help of another figure1 and having a wild animal under his chair4 ,the south side 7,d71 discloses two ,harpies bearing off the daughters of ,pandarus2 and in the centre is a god1 to whom a female figure is offering a dove4 ,by the side of these bas-reliefs1 the visitor cannot fail to remark the tomb of a ,satrap of ,lycia from ,xanthus4 ,from the fact of horses being clearly traceable among the figures sculptured upon this interesting relic1 ,sir ,charles ,fellows christened it the ,horse ,tomb1 and by this appellation it is popularly known4 ,its strange shape1 with its highly decorated roof and plain base1 makes it an object of curiosity to most visitors4 ,it appears to be of the time of the ,persian dominion in ,lycia1 and was1 as two inscriptions record1 erected by the satrap ,paiafa4 ,upon the roof are groups of fighting warriors1 and at each side are figures in chariots and four4 ,sphinxes occur in the lower sculptures1 and on the north side below1 is a mixed combat of foot and horse soldiers2 and the ,satrap ,paiafa himself1 attended by four figures1 is here represented4 ,the roof is drained by water-spouts in the shape of lion's heads4 ,the visitor1 having now examined the two most remarkable remains of ,lycian tombs in the room1 should rapidly notice the fragments of sepulchres placed here and there1 but legibly numbered4 ,first1 let him remark 7#ag-ba71 a frieze conjectured to be from a tomb found inserted in the wall of the ,acropolis of ,xanthus4 ,here he will find in bas-relief a procession consisting of a horse and horseman1 priest and priestesses with wands1 an armed female figure1 and two chariots1 with youthful charioteers and old men4 ,a triangular fragment of a tomb will next occupy his attention 7#bc72 this has distinct vestiges of colour1 and represents a male and female figure separated by an ,ionic column1 surmounted by an harpy1 and other fragments in the immediate neighbourhood2 7#bd-bg7 have representations of the ,sphinx1 with a woman's head1 wings1 and the body of a lion1 as the daughter of the ,chimaera1 from the ,xanthian ,acropolis4 ,a curious relic is the ,soros1 discovered placed on the top of one of the ,xanthian pillar tombs4 ,here1 amongst the bas-reliefs1 the visitor will notice a man stabbing an erect lion2 a lion playing with its young2 and a figure on horseback followed by a pedestrian2 and on the next fragment 7#cb71 a lioness is again represented fondling her progeny4 ,the roof of a tomb 7#adc71 closely resembling that which covers the ,horse ,tomb1 is worth observing4 ,it is part of the tomb of an individual named ,merewe1 from ,xanthus1 and the scenes represented include that of an entertainment1 divinities1 and sphinxes1 warlike encounters1 and on the sides ,bellerophon attacking the ,chimaera4 ,those casts marked 7#ade-adi71 may next engage the visitor's attention4 ,they were taken from a tomb carved in solid rock at ,pinara1 and include the frieze1 upon which warriors are carved leading captives1 the walls representing a walled city1 and the ,gorgons' heads which decorated the extremities of the dentals4 ,the three next casts that demand particular remark 7#aej-aeb71 were taken from the decorations of a rock tomb at ,cadyanda4 ,to the learned these groups are particularly interesting1 because the figures are accompanied with inscriptions in the ,greek1 as well as the pure ,lycian language4 ,the first cast is that from the panel of the tomb door1 upon which ,talas is represented standing3 the second represents a group of females2 and the third an ancient entertainment with figures reclining on couches with children2 a figure playing the double flute1 and to the right a nude figure called ,hecatomnas4 ,six casts from tombs hereabouts 7#aec-f71 exhibit inscriptions1 two of which are in two languages--the ,lycian and the ,greek1 declaring that the owners have built the tombs for themselves and their relations2 the second marked #aef1 in the ,lycian language1 expresses a threat that a fine will be imposed on any person who may violate the tomb4 ,bellerophon1 riding on ,pegasus1 may be remarked launching his dart at the ,chimaera1 upon the cast 7#aeh72 nymphs are dancing upon the gable end marked 7#afj72 and upon that marked 7#afa71 which is a cast from the gable end of a tomb discovered at ,xanthus1 near the ,chimaera tomb1 two lions are represented devouring a bull4 ,the casts of the sculptures which decorate an ancient rock tomb at ,myra1 are interesting4 ,here a young man1 attended by a boy1 is offering a flower to a veiled woman1 attended by two women2 in another part a boy attends with wine upon a figure1 conjectured to be that of ,pluto1 and a veiled female form1 supposed to be either ,proserpine or ,venus1 is draped by an attendant1 in the vicinity of a nude youth4 ,the remains of sarcophagi are marked 7#afh-aga74 ,the first of these are the relics of a ,roman sarcophagus1 discovered in a mausoleum1 containing three other sarcophagi1 at ,xanthus4 ,on the top have been reclining figures of a male and female1 and at the sides combats of warriors4 ,the next relic is a fragment of a sarcophagus1 amongst the ornaments of which boys are shown at play2 and the third fragment discovers the lower part of the representation of a hunt4 ,an exceedingly explicit inscription is that marked 7#agf17 and found at ,uslann1 near the mouth of the ,xanthus1 which informs modern generations that some two thousand years ago1 ,aurelius ,jason1 son of ,alaimis1 and ,chrysion1 daughter of ,eleutherus1 purchased a tomb for themselves1 in the thirteenth month ,artemisios1 during the priesthood of ,callistratus1 and dwelling upon this piece of information1 which is striking as a voice from the tomb of unknown people speaking to us of the present century1 not from any remarkable deed achieved by ,aurelius ,jason1 but simply because his name occurs upon his tomb1 plainly written in his own language4 ,a strange immortality6 ,having examined these relics of the ancient tombs of ,lycia1 the visitor should take a general glance at ,,lycian ,,sculpture4 ,the time during which the ,lycians may be said to have enjoyed their highest civilisation dates from about five centuries before our era1 up to the period of the ,byzantine empire4 ,during this long interval1 most of the monuments of which this room contains some remarkable specimens were conceived and executed4 ,of the sculpture1 not immediately illustrative of tombs1 in the ,lycian room1 the most interesting1 undoubtedly1 is that gleaned from the site of an ancient building on the ,acropolis of ancient ,xanthus1 by ,sir ,charles ,fellows4 ,passing a few fragments1 including that marked 7#cc71 from ,xanthus1 which represents the foreparts of two lions issuing from a square block1 the visitor should pass at once to the model of a ,xanthian ,ionic peristyle building1 surrounded by fourteen columns and ornamented with statues1 made under the direction of ,sir ,charles ,fellows1 from the remains found on the site of the original building1 which lie about the room1 and which the visitor is about to examine4 ,the original building was thirty-five feet in height1 measuring from the pediment to the base4 ,its object has been variously stated1 but cannot be said to be clearly and satisfactorily known4 ,of the conjectures which have obtained certain credit1 we may mention that which described it as a trophy raised1 in #dgf ,b4,c41 to celebrate the subjugation of ,lycia by the ,persians2 and that which describes the subject of the decorative sculptures as that of the suppression of the revolt of the ,cilicians by the ,persian ,satrap of ,lycia4 ,the remains of this mysterious building are ranged in groups about the room2 and the visitor will observe indications of the flow of the lines1 and the artistic grace1 which subsequently marked ,grecian sculpture from every other on the face of the earth4 ,here it is not impossible to recognise the ,greek mind3 far below that of the decoration of the ,parthenon1 it is true2 but yet elegant and thoughtful4 ,the groups of sculpture marked 7#cd-di7 are the sculptures of the broader frieze which1 it is conjectured1 surrounded the base of the building4 ,here are represented a series of warlike encounters in which the ,greek arms are prominent--their helmets1 crests1 and ,argolic bucklers2 while other soldiers are represented nearly nude1 and in some instances wearing the ,asiatic pointed cap4 ,this frieze undoubtedly represents the ,greeks at war with ,asiatic tribes4 ,the fragments of the narrow frieze which bordered the upper part of the frieze are marked from #ej to #fh4 ,the first four fragments represent the attack of a town1 supposed to be the ,lycian town ,xanthus4 ,here the besiegers may be observed scaling the wall1 and the officers cheering on the men4 ,the five following fragments represent various scenes of warfare between ,greeks and ,asiatics4 ,then a walled city is represented1 with the heads of a besieged party looking over the ramparts2 then a figure of a ,satrap occurs 7#fb71 supposed to be that of the ,persian conqueror of ,lycia1 ,harpagus1 who is screened with an umbrella held by a slave1 which is the emblem of his sovereignty1 and is in the act of receiving a deputation from the besieged city4 ,the next two fragments represent a sally from the besieged town2 and upon the #fgth fragment is some carving supposed to illustrate the retreat of the besieged to their city4 ,the groups marked 7#fi1gj1gd7 are fragments of the capping-stones of the east front of the base1 and columns and fragments of columns from the peristyle4 ,those groups1 however1 marked 7#ge-hd71 which consist of the statues originally placed in the intercolumniations of the building1 are figures of divinities1 with various symbols at their feet1 as the dolphin1 the halcyon1 c41 and are meant to represent1 by the flow of the drapery1 that they are flying through the air4 ,they have been variously interpreted1 but never satisfactorily2 some authorities asserting that they were meant to celebrate the arrival of ,latona at ,xanthus1 and others that they symbolise the great naval victory over ,evagoras4 ,passing over one or two unimportant groups of fragments1 the visitor should next examine the remains of the narrow frieze 7#ie-aji71 upon which an entertainment is represented--the guests1 perfectly used to luxuries1 reclining upon couches1 and taking wine to the strains of female musicians2 also1 a sacrifice of various animals4 ,passing the coffers of the ceiling 7#ajf-aji71 the visitor should next examine the remains of another narrow frieze1 where a ,satrap is represented receiving presents2 and bear and boar hunting scenes occur4 ,the fragment marked 7#abe7 is the eastern pediment1 sculptured in relief with various figures2 and that marked 7#abf7 is half of the western pediment sculptured with figures of six foot-soldiers4 ,the groups numbered 7#acb-ace7 are fine specimens of ,lycian sculpture3 on the first a draped female figure is shown in rapid flight2 and on the second1 youths are shown bearing off women4 ,the group marked 7#ach7 is one of the samples of the roof-tiles with which the building was covered in4 ,two crouching lions 7#aci1 #adj71 supposed to have occupied intercolumnar space in the building1 are the last of the fragments4 ,these fragments1 however1 together with ,sir ,charles's interesting model1 and the landscape 7also in the room71 realise more vividly to the mind of the general spectator the ancient ,xanthus1 than all the other detached and solitary fragments4 ,near the two lions just mentioned are the paws of another lion1 and a fragment1 found near the ,harpy ,tomb1 of a crouching warrior and bull4 ,having noticed these1 the visitor may occupy himself for a few minutes with the fragments of ,byzantine architecture 7#agg-ahc74 ,these remains were discovered amidst the ruins of a ,christian village2 and1 it is conjectured1 were buried by an earthquake4 ,these objects being discussed1 the visitor should repair to the glass case at the end of the room1 and examine some small curiosities from the ,xanthian ,acropolis1 which are placed therein4 ,these consist chiefly of a ,parian-marble torso of a ,venus2 the left elbow of a female1 and the left side of a female head1 in ,parian marble1 found built into the walls of the ,acropolis2 leaden and iron cramps found in the oldest sculptures of the ,acropolis2 four small lamps2 vases2 a cup2 fragments of glass vessels2 fragment of a vase of the ,byzantine period1 stamped with a cross2 bronze vessels2 lead grating for a drain pipe2 a fragment of a terra cotta amphora1 inscribed1 in the ,doric dialect1 with the name of ,hippocrates2 fragments of painted cement from early ,christian buildings--all found in the excavations made for the ruins of the building of which the model and fragments have lately been noticed4 ,some sickles1 a leaden weight1 fragments of glass windows1 and terra cotta fragments1 also included in the glass-case1 were discovered among the ruins of the houses1 buried by the fall of the great building4 ,and in this case1 also1 are some curiosities from ,pinara1 including fragments of human bones1 tiles1 and cement1 all amalgamated by a deposit of lime filtering through the rock of a tomb2 cement used to line a water cistern1 and to block up the door of a rock-tomb4 ,with an examination of these relics1 the visitor will close his inspection of the ,lycian remains1 and proceed at once to the ,,assyrian ,,remains4 ,having examined the monumental remains of the ,egyptians and the ancient inhabitants of ,persia1 the visitor1 in order to complete a general impression of the sculptures of remote antiquity1 should now direct his attention to the remains recently discovered on the site of ancient ,nineveh and ,nimroud4 ,most readers have read something of the history of ,assyria1 of the effeminate ,sardanapalus1 of ,semiramis1 and of the more fabulous ,ninus4 ,these three names are the three landmarks of ,assyrian history2 and the long lapses of time which separate them are shrouded in mystery1 and up to late years have been filled up only by fanciful histories but slenderly based on fact4 ,men have written confidently on the fall of the ,assyrian empire1 and of its invasion by the ,medes2 but the discrepancies of rival authorities1 who differ as much as ten centuries in their dates according to ,mr4 ,layard1 show how insufficient were the materials upon which they pretended to found histories4 ,where was the site of ,babylon8 where that of the renowned ,nineveh8 ,these questions were often mooted by antiquaries4 ,mounds of earth were long observed by travellers in ,assyria and ,babylonia2 and one of these1 which was formed by a mass of ruined brickwork1 was heralded to the world as the remains of the tower of ,babel6 ,but the ruins of the great ,assyrian capital were for a long time unobserved4 ,for many years had travellers to modern ,mosul looked with wondering eyes at gigantic mounds of earth that lay opposite the city4 ,the first traveller who did more than take a cursory view of these mysterious hillocks was ,mr4 ,rich1 who1 on his way from ,kurdistan to ,baghdad in #ahbj1 crossed the river1 and arrived at the mounds2 visited what the inhabitants asserted to be ,jonah's tomb on the summit of one of them2 saw inscribed relics in the houses of the adjacent village4 ,among the fragments on the largest mound he picked up some bricks with cuneiform#h characters upon them1 and fragments of pottery2 and on a subsequent occasion he found a small stone chair4 ,he left these mounds without suspecting that he had been treading above the palaces of the ancient ,assyrian monarchs--that he had been over ancient ,nineveh4 ,but the ground was too fruitful in remote traditions to remain altogether unexplored in this century4 ,the lands watered by the ,tigris and the ,euphrates1 where the early ,asiatic colonies of ,scripture were founded1 and where ,nimrod1 the grandson of ,ham1 flourished and founded ,babel1 and whence1 according to ,scripture1 ,asshur went forth to build ,nineveh1 are interesting ground4 ,of these great ,assyrian towns it was natural to seek some ruins4 ,of all these cities1 however1 founded so far back before authentic history begins1 only ,nineveh1 which flourished many centuries later1 and of which we have always had more authentic histories than those of any other ,assyrian city1 attained to a comparatively modern prosperity and renown4 ,the records of this magnificent city1 from which historians have derived their information1 describe its walls as reaching no less than two hundred feet in height1 and broad enough to be a chariot-way4 ,these walls were sixty miles in circumference1 and guarded by fifteen hundred towers2 and in the eighth century before the ,christian era the city is estimated to have included a population of more than half a million souls4 ,but many centuries before this1 ,nineveh was a wonderful city1 of which the great monarch ,ninus was king1 and of which his celebrated wife1 ,semiramis1 was afterwards queen4 ,ninus is the reputed founder of the ,assyrian empire1 and to him the magnificence of the capital is chiefly attributed4 ,he is the ,sesostris of ,assyrian history1 and is supposed to have flourished about twelve centuries before our era4 ,the names of many ,assyrian monarchs occur in the ,sacred ,writings3 ,sennacherib1 who1 seven centuries before our era1 besieged ,jerusalem and invaded ,judea2 and ,shalmanasaar1 who carried away the ten tribes of ,israel4 ,later1 the sovereignty of the ,assyrian nation was transferred to ,babylon by ,nebuchadonosor2 and afterwards the ,medes and ,babylonians laid the magnificent ,nineveh in ruins1 over which1 many centuries afterwards1 ,herodotus wandered wonderingly1 and endeavoured to glean from the pitiful wreck an idea of the bygone glory4 ,the centre of the ancient ,assyrian empire was the present ,turkish province of ,mosul2 and hereabouts the researches of travellers have therefore been concentrated4 ,opposite ,mosul1 the capital of the province1 are the two mounds which ,mr4 ,rich hastily explored in #ahbj4 ,these mounds have long formed the subject of animated controversies2 but it was not before the year #ahdb that any serious attempt was made to penetrate beneath the grass that covered them4 ,in this year ,m4 ,botta1 the ,french consul at ,mosul1 made some insignificant opening1 but without discovering any remarkable remains2 and rumours having reached him from ,khorsabad1 a few miles off1 of some remains there1 he caused some vigorous excavations to be made there1 and1 aided by his government1 contrived to lodge an excellent collection of ,assyrian sculptures in the ,louvre4 ,about this time ,mr4 ,layard was travelling through the ,turkish ,asiatic provinces2 and in the course of his wanderings paid considerable attention to the mounds situated at ,nimroud and near ,mosul4 ,convinced that under these hillocks lay precious relics of antiquity1 he procured an official letter to the ,pasha of ,mosul1 and in #ahde repaired to ,nimroud1 and hired ,arabs to make excavations in the mounds there4 ,even the first day's search disclosed valuable slabs ornamented with bas-reliefs and inscriptions in the cuneiform character1 of the remotest antiquity1 dating so far back as nineteen centuries before our era1 and conjectured to be part of the ruins of the chief palace of ,nimroud1 destroyed about twelve centuries before our era4 ,if so1 this point was the original centre of the great city of ,nineveh--that part said to have been built by ,asshur2 while the surrounding mounds of ,mosul1 ,khorsabad1 and ,kouyunjik1 cover ruins of a later date4 ,of ,mr4 ,layard's discoveries in ,assyria1 that room1 which the visitor should now enter 7called the ,,nimroud ,,room71 is full4 ,the room1 as the visitor will at once perceive1 is divided into eleven compartments--the first being that to the left on entering4 ,here he will begin his inspection of ,,ancient ,,assyrian ,,sculpture4 ,the first slabs to which the visitor will direct his attention in the compartment 7#a71 are from the north-west edifice1 excavated from the ,nimroud ,mound1 which ,mr4 ,layard conjectures to be the most ancient of all the ,assyrian ruins1 dating1 as we have stated1 so far back as nineteen centuries before our era4 ,on one slab the visitor will notice two standing draped figures1 divided by the sacred tree1 or tree of life1 generally worshipped in the ,east1 and adhered to in the religious systems of the ,persians1 here more like trellice-work than a tree1 holding chaplets in their hands2 on two other slabs figures with the sacred tree2 and on a fourth we recognise the symbol of royalty among the ancient nations of ,asia ,minor1 the umbrella borne by an eunuch over a monarch1 who is represented returning from the chase1 to the airs played by two musicians4 ,five figures are respectfully meeting him1 and a dead animal lies at his feet4 ,these specimens of the state of art in ,asia1 twenty-seven centuries ago1 may well excite the curiosity of all classes of spectators4 ,proceeding to the second compartment1 the visitor will find eight more slabs1 the first of which from the north-west edifice1 represents a battle-piece4 ,here warriors are discharging their arrows1 the king with the winged symbol of divinity in a circle above him is proceeding at full gallop1 and a dead figure lies near him pierced with arrows4 ,this scene is continued on the second slab1 where there are two chariots1 each containing two figures1 and one decorated with the ferouher1 or divine symbol4 ,a siege is represented upon the third slab4 ,here the besiegers are applying the battering ram2 figures are falling from the walls1 while from the three tiers of battlements the besieged are vigorously discharging arrows4 ,the visitor will notice the figures of two bow-men on the fourth slab1 before a lake1 with part of a tower in the distance1 and the next three slabs have representations of the fall of the city1 picturesquely indicated4 ,the deserted battering rams stand near the walls2 female prisoners are leaving the town1 drawn by three oxen2 eunuchs are driving away the cattle of the vanquished1 and conducting prisoners with their hands bound4 ,the third compartment is occupied with slabs1 the sculptured subjects of which closely resemble those just described1 except that marked #g1 where the king1 in his chariot1 is hunting the lion4 ,he has had some success1 as one royal beast lies dead under his horse's feet1 and another is pierced by four arrows4 ,the fourth compartment contains some interesting slabs4 ,the first two represent one continuous subject4 ,first1 the visitor will notice the figure of an ,assyrian monarch1 with his chariots and attendants behind him1 holding up arrows in token of peace to an advancing group1 the first figure of which is addressing the king1 while on one side a eunuch is introducing four captives4 ,the two following slabs present illustrations of the crossing of a river4 ,a boat1 in which the royal chariot containing the king is deposited1 is being dragged by two men ahead1 while others are rowing1 and behind follow horses and smaller boats4 ,in their delineations of battles1 the ,assyrians were sagacious1 since they vividly pourtrayed the horrors of war1 by carving dead figures in the back ground1 with birds preying upon them1 even before the fray is over4 ,of this kind of vivid representation the visitor has a specimen on the next slab2 where1 while warriors are discharging their arrows1 a dead soldier is being devoured by a bird in the back-ground1 while another1 as a pleasant suggestion of the impending fate of the survivors1 hovers above their heads4 ,the passage of troops over mountainous country1 or through jungle1 is the subject illustrated in the two following slabs 7#f1g72 these are from ,khorsabad1 and include an inscription with the name of the monarch of that locality4 ,two slingers appear on the eighth slab1 with archers attacking4 ,on the next slab 7#i7 enemies are represented in full flight1 with a chariot containing two figures in hot pursuit3 and on the last slab in this compartment1 a city1 with four battlemented towers is represented1 with women standing between the towers1 and chariots outside the walls4 ,some curious fragments of large figures are included in the fifth compartment4 ,first1 there is a bearded head covered with a horned cap2 also1 the bust of a figure with the conical cap of the ,assyrians3 then the head of a figure1 with traces of paint yet upon it1 crowned with a tiara of rosettes4 ,here also is a fragment representing a king attended by a strange symbolical winged figure holding the popular fir-cone in his right hand1 and in his left a basket1 of which the visitor will remark a perfect specimen presently4 ,the examination of these fragments will conduct the visitor to the end of the room1 and before turning to examine the contents of the opposite compartments1 he should pause to notice an obelisk placed hereabouts1 which was dug from the centre of the great mound at ,nimroud4 ,it is seven feet in height1 and is inscribed elaborately in the cuneiform character4 ,on its surface are also engraved representations of various animals bearing presents4 ,the visitor will now turn and proceed back towards the door1 examining1 by the way1 the compartments on his left hand4 ,the first of these1 or the sixth compartment1 contains1 in addition to the fragments of figures including the head and shoulders of a king1 and the upper part of an eunuch1 two slabs 7#a1b7 upon which is represented that fruitful subject of the ,assyrian sculptor's chisel1 the siege of a castle4 ,the castle1 which is represented in the middle of the battle-piece1 and at the water's edge1 is attacked by soldiers on all sides4 ,the vigour of the assailants is well described4 ,on the left the king directs the attack1 with weeping women behind him2 the walls are being scaled by ladders2 the besieged are hurling stones from the ramparts1 and casting fire upon a tower and ram1 while the assailants are quenching the flames with water1 and two figures are quietly picking holes in the walls in another direction4 ,hereabouts the visitor should notice1 placed against the window1 a pastoral subject--a man driving cattle4 ,upon the next slab1 a war chariot in full speed1 passing over a dead lion1 is represented2 and on the sixth and last slab of the compartment is another battlepiece4 ,here the besieged castle is surrounded by water2 one of the besieged is holding arrows aloft in token of peace1 while figures1 on inflated skins1 swim towards the walls1 and soldiers from the banks are aiming arrows at them4 ,the fragments in the seventh compartment may be easily understood from the descriptions of previous slabs4 ,the eighth compartment contains some remains which demand particular notice4 ,the first slab introduces us to a knowledge of the interiors of ,assyrian dwellings4 ,here the interior of a building is represented divided into four distinct compartments1 and exhibiting various people at their several household duties4 ,we have even a glimpse at an ,assyrian groom1 who1 in an adjoining building1 is cleaning a horse4 ,prisoners are introduced even here1 in this domestic scene1 conducted by a warrior to an eunuch2 and in the distance are soldiers1 with lions' skins1 dancing to the vibrations of a guitar4 ,the second slab is a continuation of the first4 ,here men are mounted in war chariots1 while others holding the heads of their enemies in their hands are on foot3 and a bird1 grasping in its claws a human head1 soars above4 ,that slab marked #c1 and placed against the window hereabouts1 was extracted from the centre of the great mound of ,nimroud4 ,here camels1 preceded by a woman1 are pourtrayed4 ,the slab marked #e bears the representation of an ,assyrian divinity1 with four wings1 the head surmounted by the conical cap with two horns1 and the left hand holding a circlet of beads4 ,a winged figure occurs also on the sixth slab of this compartment1 holding a bearded ear of corn in one hand1 and a goat in the other4 ,the slabs of the ninth compartment have also representations of winged figures4 ,the fourth1 with the eagle head1 and holding a fir-cone and a basket4 ,this figure is thus described by ,mr4 ,layard3 ,a human body1 clothed in robes similar to those of the winged men already described1 was surmounted by the head of an eagle or of a vulture4 ,the curved beak1 of considerable length1 was half open1 and displayed a narrow-pointed tongue1 on which were still the remains of red paint4 ,on the shoulders fell the usual curled and bushy hair of the ,assyrian images1 and a comb of feathers rose on the top of the head4 ,two wings sprang from the back1 and in either hand was the square vessel and fir-cone4 ,in a kind of girdle were three daggers1 the handle of one being in the form of the head of a bull4 ,they may have been of precious metal1 but more probably of copper1 inlaid with ivory or enamel1 as a few days before a copper dagger-handle1 precisely similar in form to one of those carried by this figure1 hollowed to receive an ornament of some such material1 had been discovered in the ,s4,w4 ruins1 and is now preserved in the ,british ,museum4 ,this effigy1 which probably typified by its mythic form the union of certain divine attributes1 may perhaps be identified with the god ,nisroch1 in whose temple ,sennacherib was slain by his sons after his return from his unsuccessful expedition against ,jerusalem2 the word ,nisr signifying1 in all ,semitic languages1 'an eagle4' ,the slabs arranged in the tenth compartment are interesting4 ,on the first1 two horsemen1 whose peaked helmets suggest that they are ,assyrians1 are charging another horseman with their spears4 ,behind is a bird carrying off the entrails of the killed4 ,the second slab1 covered with an inscription1 formed part of the northwest palace4 ,winged figures are traceable on other slabs in this compartment2 and in the centre the visitor should remark the only ,assyrian statue yet discovered4 ,it is a seated figure1 headless4 ,between the tenth and eleventh compartments are placed some painted bricks1 used in adorning the interior of ,assyrian edifices4 ,the eleventh and last compartment contains two slabs1 on the first of which is a monarch holding two arrows in token of peace4 ,having fully examined these objects1 the visitor has done with the ,nimroud room4 ,of the romantic stories connected with the researches for the invaluable fragments it contains1 we should be glad to give the reader a faint sketch4 ,how ,mr4 ,layard struggled against all kinds of difficulties2 slept in hovels not sheltered from the rain2 used his table as his roof by night2 rode backwards and forwards from ,nimroud to ,mosul to expostulate with the vexatious interferences of a tyrannical old pasha2 cheered the labours of his superstitious workmen2 celebrated the discovery of certain remains with substantial feastings and music3 made peace with a wandering ,arab who threatened to rob him3 these1 and a thousand other adventures1 recorded in his narrative of his discoveries1 give an additional zest to the curiosity with which visitors enter this ,nimroud room4 ,and now the visitor may make his way back to the great entrance-hall of the ,museum1 where his third visit should close4 ,in the hall are deposited four colossal specimens of sculpture from ,nimroud4 ,the first of these1 to which the visitor should direct his attention1 is a colossal figure of a winged human-headed bull1 found by ,mr4 ,layard at the portal of a door at ,nimroud4 ,of the discovery of this marvellous specimen of ancient ,assyrian art1 ,mr4 ,layard gives a graphic account3--,i was returning to the mound1 when ,i saw two ,arabs urging their mares to the top of their speed4 ,on approaching me1 they stopped4 ',hasten1 ,o ,bey6' exclaimed one of them1 'hasten to the diggers2 for they have found ,nimrod himself4 ,wallah6 it is wonderful1 but it is true6 we have seen him with our eyes4 ,there is no god but ,god6' and both joining in this pious exclamation1 they galloped off1 without further words1 in the direction of their tents4 ,on reaching the ruins ,i descended into the new trench1 and found the workmen1 who had already seen me as ,i approached1 standing near a heap of baskets and cloaks4 ,whilst ,awad advanced and asked for a present to celebrate the occasion1 the ,arabs withdrew the screen they had hastily constructed1 and disclosed an enormous human head1 sculptured in full out of the alabaster of the country4 ,they had uncovered the upper part of a figure1 the remainder of which was still buried in the earth4 ,i saw at once that the head must belong to a winged lion or bull1 similar to those of ,khorsabad and ,persepolis4 ,it was in admirable preservation4 ,the expression was calm1 yet majestic2 and the outline of the features showed a freedom and knowledge of art scarcely to be looked for in works of so remote a period4 ,i was not surprised that the ,arabs had been amazed and terrified at this apparition4 ,it required no stretch of imagination to conjure up the most strange fancies4 ,this gigantic head1 blanched with age1 thus rising from the bowels of the earth1 might well have belonged to one of those fearful beings which are pictured in the traditions of the country as appearing to mortals1 slowly ascending from the regions below4 ,one of the workmen1 on catching the first glimpse of the monster1 had thrown down his basket1 and had run off towards ,mosul as fast as his legs could carry him4 ,the marvellous fidelity and power with which this1 and the colossal human-headed bull are executed1 must astonish the most uninstructed observer4 ,for an account of the marvellous labour at the cost of which these colossal ,assyrian works were conveyed from ,asia ,minor to the ,british ,museum1 we must refer the reader to ,mr4 ,layard's excellent condensed account of his researches1 published by ,mr4 ,murray4 ,and with the contemplation of these mysterious monuments of the past1 the visitor should close his third visit to the national ,museum4 ,he may usefully recapitulate the points of his present visit4 ,he has been travelling for hours amongst the wrecks of the remote past4 ,over vast tracts of land1 where now the ,turk lazily dreams away the hours1 or moves only to destroy the remains of the ancient civilisation of his ,asiatic provinces4 ,throughout this1 his third visit1 the visitor has been exploring the revelations of the past1 written upon the face of ,turkish provinces4 ,the bigotry with which the explorers of ,thebes1 ,nimroud1 and ,xanthus had to contend1 is written in their histories of their labours4 ,how when the human-headed bull was disclosed by the pick-axes of the ,chaldaeans1 the ,arabs scampered off1 and how all the natives thought that ,nimroud himself--the mighty hunter--was rising grimly from the earth1 are points in the discovery of this treasure which all should read4 ,the vigour with which ,english and ,french explorers have possessed themselves of the treasures of ancient ,egypt1 the master-pieces from the ,parthenon1 the strange stone revelations of ,lycia1 and the majestic colossi of ancient ,assyria1 contrasts forcibly with the indolence of the ,turk1 who sat at hand to wonder at the enthusiasm of his ,christian visitors4 ,no more pitiful exhibition of a national character could be furnished by any passage in the history of the world than that which describes the ignorant and superstitious ,turk grinding the sculpture of the ,parthenon into mortar for his dwelling house4 ,truly1 in all respects1 is this a matter to be pondered by the general visitor1 as he retreats from the national ,museum for the third time4 ,he has not passed an idle day here1 wandering amid sphinxes1 and tombs1 and temples1 and ancient gods4 ,from the confusion he may gather something that shall not be altogether a useless subject for reflection as he wanders homewards4 ,he may link himself with the remote past1 recognise the elements of modern society in these stone revelations of the remote history of the world1 feel the vibration of the great human heart coming to him even from the bowels of ,egypt's pyramids4 ,there he has their family histories written on their tombstones by weeping relatives2 their religion1 with all its debasing idolatry1 strong in death1 exhibiting pleasantly the firmness of their faith2 splendid sarcophagi tardily wrought from massive rock1 yet perseveringly accomplished in the strong conviction that the dead would shake off the mummy bandages1 discharge the natron from their pores1 reclaim their scattered intestines1 pass the brain back through the nose into the skull1 and once more feel quickening blood in the veins4 ,proudly men of the passing century look back upon all this worship of animals1 upon the ,egyptian ,anubis1 and the intestine genii with their animal heads2 but even here1 in this field of speculation1 where the historian's hand wanders unsteadily about his page1 and all wears a mythical air1 pulses of human emotion are felt that assure us of the remote past4 ,strange that the chief chapters of ancient ,egypt's history should have been written for moderns by her undertakers6 ,,end ,,of ,,third ,,visit4 ,,visit ,,the ,,fourth4 ,the visitor will now enter the museum to complete his inspection of its contents4 ,his way lies once more to the west on entering the great hall1 into the first ,sculpture ,gallery1 or that which he will recognise as leading into the great central saloon4 ,here1 as he pauses on the threshold of a noble room filled with splendid specimens of ,greek art1 he may recur to the historical points which these works illustrate4 ,throughout this1 his last visit1 he will be occupied with the examination of the works of the ancient ,greeks4 ,these works1 as he will notice1 are of various degrees of excellence4 ,already has he examined the rude labours of the ,greek sculptors of ,xanthus2 and to-day his journey will be amid those more modern and perfect labours1 performed when the talent of the ,greeks was chiefly concentrated upon ,european ground4 ,although these glories of remote antiquity are here mostly in an admirable state of preservation1 historians are generally lost in contradictions when they attempt to point to any particular piece of statuary as the labour of any known sculptor4 ,the sculptor of the ,venus de ,medici is not known2 and the ,apollo ,belvedere is a masterpiece1 the author of which lies shrouded in the depths of the past4 ,rude and harsh were the early performances of the ,greeks4 ,we have histories of ,greek sculptors who flourished many hundred years before our era2 and of these the mythical ,daedalus is the oldest and most renowned4 ,this sculptor is reported to have flourished fourteen centuries before the ,christian era4 ,he is said to have fashioned colossal wooden statues2 and ,pausanias mentions his statue of ,hercules in the possession of the ,thebans1 and his wooden ,venus in the possession of the ,delians4 ,his ,hercules1 however1 appears to have been considered his masterpiece2 and ,flaxman1 commenting upon the antiquity of the figures of ,hercules found on some coins1 seems to think that we may not unreasonably conjecture that these are copies from the masterpiece of ,daedalus4 ,other sculptors of the same name1 appear to have flourished in the ,achaic period of ,grecian history4 ,indeed it is shrewdly conjectured that ,daedalus derived his name from wooden statues called ,daedala2 and that amongst the ancient ,greeks1 ,daedalus meant nothing more than one skilled in making ,daedala4 ,the earliest sculptures of the ,greeks were fashioned of materials easily worked1 as plaster1 clay1 and wood4 ,later they worked ivory1 and began to understand the value of metals in statuary2 and about five centuries before the ,christian era1 marble was used by sculptors for detached figures4 ,in the infancy of ,greek art1 when sculptors were gradually acquiring the skill to fashion their creations out of the most durable material1 many combinations of wood1 stone1 and metal were used1 which would sadly shock the modern sculptor's eye2--wooden figures burnished with gold1 and with painted vermilion faces1 were fashioned in the age of ,phidias2 and it is believed by some1 that this immortal sculptor helped to produce a statue of ,jupiter1 the face of which was of ivory and gold1 and the body of gypsum and clay4 ,phidias may be fairly acknowledged as the first great ,greek sculptor1 of whose career and whose works we have indisputable accounts4 ,he founded1 and represents all the excellencies of the highest school of ,greek art4 ,the sculptors who came after him1 as ,lysippus the favourite of the great ,alexander1 paid greater regard to graces of detail and to finish2 but of those sublime effects1 those forms of gods in human shape which really impress the modern spectator with their almost superhuman beauty1 ,phidias was the creator4 ,the sculptures known to the public as the ,townley collection1 are sculptures generally of a more modern date than those in the ,elgin and ,phigaleian ,saloons4 ,the collection has undoubtedly many specimens of the rudest eras of ,greek art3 but its most striking groups1 to the general visitor1 will be undoubtedly those finished statues and compositions which represent the ages when ,greece was a great ,european power1 and that subsequent period when the ,greek sculptors plied their chisels under the patronage of ,roman conquerors4 ,in this room the visitor will once more remark1 how large a proportion of these priceless relics have been gleaned from ancient sepulchres4 ,even as he enters the room1 he may perceive on the right1 the front of a tomb from ,athens1 carved in high relief2 and on the left1 the front of another tomb1 also sculptured1 from ,delos4 ,the room is divided into compartments which the visitor should examine in their regular order of rotation4 ,he will begin therefore1 of course with the ,,first ,,division4 ,before the first pilaster let the visitor notice at once a small seated statue of ,cybele or ,fortune1 from ,athens1 presented to the nation by ,j4,s4 ,gaskoin1 ,esq4 ,other remarkable objects to be examined before the visitor fixes his attention upon the contents of the case deposited here1 are a bust of ,demosthenes2 a sepulchral altar or cippus1 ornamented with sphinxes1 etc42 and a sepulchral stle1 inscribed with the name of the son of ,artemidorus1 who is reclining upon a couch1 and crowning himself4 ,over the case are deposited the end of a sarcophagus ornamented with a ,bacchus reclining on a satyr2 a bust of ,julius ,csar2 a sepulchral cippus2 and a ,greek stle4 ,on the case are a head found near ,rome1 probably of ,mercury3 and the bust of a ,muse crowned with a laurel wreath4 ,having examined these objects1 the visitor should occupy himself with the contents of the case4 ,here are some beautiful specimens of ,greek art--some mere fragments1 others in a wonderful state of preservation4 ,here are one of those funeral masks anciently used to cover the face of a corpse2 the votive mask of a bearded satyr2 a votive patera with bas-reliefs representing ,silenus and a satyr1 another with the head of a bearded ,bacchus1 and a panther2 various heads of ,hercules2 a ,venus attended by two ,cupids2 a bust of ,vitellius2 a head of ,vulcan2 a bust of ,caracalla2 a head of ,juno2 a head of the daughter of ,titus1 ,julia2 a mutilated figure1 about the neck of which a scarabaeus is suspended2 the torso of a satyr2 a variety of fragments1 here an arm holding a butterfly--there two lions' paws--there a gladiator's foot--there the fragment of a serpent4 ,having noticed these scraps of ancient art1 the visitor may direct his attention to the lower shelf1 where he will observe some beautiful busts4 ,these include one supposed to be of ,sappho2 a ,minerva with a ,corinthian helmet found at ,rome2 ,bacchus2 ,apollo2 a ,parian marble bust of ,diana from ,rome2 a queenly ,juno wearing the splendone2 terminal busts1 joined back to back1 of ,hercules and ,omphale4 ,the upper shelf now remains for inspection4 ,here are three sepulchral tablets1 and the fronts of two sarcophagi4 ,the tablet from ,crete1 within a wreath1 contains an inscription descriptive of honour conferred by the inhabitants of ,crete upon an individual named ,alexander1 the gift to him being a golden crown4 ,having noticed the gay ,cupids enacting ,bacchanalians upon the first front of a sarcophagus1 the visitor should pass on at once to the ,,second ,,division4 ,here1 in front of the pilaster1 the visitor should remark a curious square altar1 with ,silvanus1 to whom the altar is dedicated by the farm servant of ,caius ,coelius ,heliodorus1 ,callistus2 and a trophy discovered on the plains of ,marathon4 ,grouped in this division1 are some fine works4 ,first let the visitor remark two white marble ,victories discovered in the ruins of the villa of ,antoninus ,pius1 at ,monte ,cagnuolo4 ,the first ,victory is kneeling upon a bull which she is about to sacrifice2 and the second also is kneeling upon1 and about to stab1 a bull4 ,then a fine bust of a laughing satyr will arrest the attention of the visitor2 then a colossal foot in a sandal1 under the front of a sarcophagus2 then the votive torso1 supposed to be that of an ,athelete2 then a red marble swan found in a vineyard near the ,villa ,pinciana2 then a terminal statue of a satyr2 then a bust of ,diogenes2 then a bust1 conjectured to be part of the figure of a dying ,amazon2 then a bust of ,atys4 ,turning to the upper shelf of this division1 the visitor should notice the front and ends of a sarcophagus deposited there4 ,upon these ,bacchus and ,ariadne are represented in a chariot1 heralded by ,bacchanals1 and drawn by ,centaurs2 and in other parts ,pan is being castigated by a satyr1 and carried off by two ,cupids aided by a satyr4 ,turning to the lower shelf the visitor should examine several antique busts4 ,first there is a bust1 conjectured to be that of ,achilles2 then there is an old ,hercules2 then a ,bacchante2 then a bust of ,aratus2 a female head2 and a tragic mask from the lid of a sarcophagus4 ,with the examination of this shelf the visitor closes his inspection of the second division1 and should at once advance into the ,,third ,,division4 ,first1 let the visitor notice1 placed in front of the third pilaster1 a celebrated copy of the statue of ,praxiteles1 of ,cupid bending his bow4 ,this celebrated copy is four feet1 three and a half inches1 in height4 ,it arrived in this country originally as a present to ,edmund ,burke1 from ,rome1 by ,barry1 the painter4 ,numerous copies of this ,cupid exist1 and the one before the visitor is not the best4 ,in this compartment or division1 the visitor should also remark several sepulchral urns with figures in relief4 ,amid other sepulchral monuments are1 an altar inscribed by ,annia ,augustalis1 to the manes of ,m4 ,clodius1 his brother ,felix1 and to ,tyrannus2 and a bas-relief discovered near the mausoleum of ,augustus1 representing a ,muse standing before a dramatic poet4 ,hereabouts also the visitor should notice an altar1 ornamented with bas-reliefs1 dedicated by ,aurelius ,timotheus to ,diana2 a small figure of ,neptune from ,athens2 a veiled ,ceres bearing a torch1 from ,athens2 a draped ,muse in terra cotta holding a lyre2 and a cippus1 with a representation of ,silenus riding a panther4 ,on turning to the lower shelf1 the visitor will at once be struck with the sarcophagi4 ,here are three ,etruscan sarcophagi1 two of alabaster1 and one in peperino4 ,on all three are recumbent female figures1 and in front of the first the hunt of the ,calydonian boar2 of the second1 ,scylla2 and of the third1 a bas-relief representing ,achilles dragging ,penthesilea from her chariot4 ,on this shelf also are1 a bas-relief showing ,luna encompassed by the signs of the ,zodiac1 and a sun-dial supported by the claws and heads of lions4 ,turning now to the upper shelf1 the visitor should examine the bas-reliefs deposited thereon4 ,upon the first1 the visitor will notice a funeral car1 shaped like a temple drawn by four horses1 with ,jupiter and the ,dioscuri on the sides of the car2 upon the second1 the bas-relief represents ,ulysses and ,diomedes detecting ,achilles disguised as a female among the daughters of ,lycomedes2 and the subject of the third relief is a marriage in the presence of ,juno ,pronuba1 showing the bridegroom taking the bride's hand1 and holding the marriage contract4 ,having glanced at these objects1 the visitor's way lies forward to the ,,fourth ,,division4 ,here1 in front of the pilaster1 the visitor must at once examine the torso of a statue1 supposed to be of ,mercury2 and a curious ,greek circular altar1 ornamented with the heads and fillets of bulls and stags1 and inscribed with the names of ,agathemeris and her son ,sosicles of ,tlos4 ,having examined these two prominently placed objects1 the visitor should proceed at once to the general contents of the division4 ,he will be probably attracted first to two terminal statues2 or statues1 of which the lower parts are not developed4 ,they occur frequently among the remains of ,greek sculpture4 ,these terminal statues were held in great veneration2 and they were found placed at the corners of streets1 at the doors of private dwellings1 and before temples4 ,the custom of representing ,mercury with a head upon a plain column1 appears to have been the origin of a fashion which the ,greeks subsequently extended to their representations of other deities4 ,the terminal figure in this division1 with the winged cap1 illustrates the generality of these ,hermae2 it was found near ,frascati1 in the year #aggj4 ,the next remarkable object that will probably attract the visitor's attention is the figure1 found at ,rome1 of an ,egyptian tumbler1 going through his performances on the back of a tame crocodile1 a barbarous species of entertainment undoubtedly1 but not more repulsive than that of the ,french aernaut of last year1 floating over ,paris on the back of an ostrich4 ,hereabouts are placed also a small statue of the three-fold ,hecate1 a ,diana found in the ,giustiniani ,palace at ,rome2 a bust of ,jupiter1 conjectured to be a copy from the work of the celebrated sculptor ,polycletus1 and a sphinx4 ,here1 too1 are some interesting bas-reliefs4 ,upon one a ,bacchante 7supposed to be a copy from ,scopas71 is represented with a knife in her hand1 and holding part of a kid2 upon another 7part of a sarcophagus71 ,priam is represented praying to ,achilles to give up ,hector's body2 upon a third 7a cippus7 birds are drinking2 and upon a fourth 7a fountain7 are ,pans and satyrs4 ,before turning to the lower shelf1 the visitor should also notice in this neighbourhood a beautiful group of two dogs1 found on the ,monte ,cagnuolo2 a votive foot1 with a coiling serpent1 and one or two sepulcral urns with inscriptions4 ,upon the lower shelf are deposited an interesting series of busts1 including one of the ,emperor ,septimius ,severus1 found on the ,palatine ,hill2 one of ,hadrian1 found at ,tivoli1 on the site of ,hadrian's ,villa2 one from ,athens1 of the ,emperor ,nero2 and one of ,caracalla1 found in the ,nunnery ,gardens at the ,quatro ,fontane1 on the ,esquiline ,hill4 ,upon the upper shelf are two busts in relief1 and the front of a sarcophagus1 with elaborate representations of the ,muses4 ,here is ,terpsichore with the lyre of dancing1 ,thalia with the mask of comedy4 ,and now the way lies once more forward1 into the ,,fifth ,,division4 ,before the fifth pilaster is a notable piece of sculpture found in the villa of ,antoninus ,pius--an erect figure of the youthful ,bacchus clothed in the skin of a panther2 and here also is a square altar ornamented with sphinxes in bas-relief1 ,apollo1 ,diana1 and various religious symbols4 ,a colossal toe attracts considerable attention in this division4 ,it may have been an ornament in the rooms of an ,eisenberg of the ancients1 but more probably has been lost by a god4 ,let the visitor pause here before the terminal bust of ,aeschines the orator1 who impeached ,demosthenes out of jealousy for his popularity with the people of ,athens1 and sullenly retired1 after losing his cause and being mulcted of a thousand drachmas as the accuser1 to ,rhodes1 where he occupied himself in teaching rhetoric4 ,other terminal statues occur in this division4 ,among these1 in a glass1 are small terminal busts1 joined back to back1 of ,bacchus and ,libera2 three yellow and red marble heads of ,libera2 a yellow marble bearded ,bacchus2 and the bust of a ,greek poet discovered at ,bitolia4 ,hereabouts also are1 a female head1 the eyes of which have traces of inlaying2 a bas-relief of ,antinous2 a curious female head1 with the hair of a distinct block of marble1 fitted upon it2 the head of a child from ,rome2 the head of ,jupiter from the corner of a sarcophagus2 busts of ,hercules and ,serapis2 a remarkable altar in the ,egyptian style1 curiously carved with the bull ,apis1 and ,harpocrates drawn in a car by a hippopotamus4 ,turning to the upper shelf1 the visitor will notice a satyr playing on a flute2 six ,amazons carved upon the fragment of a sarcophagus2 and a sarcophagus found at ,tusculum1 with representations of ,cupids bearing away the arms of ,mars4 ,a series of busts are deposited upon the lower shelf4 ,these include busts of the wife of the ,emperor ,domitian2 bust of ,olympia2 bust of the wife of ,hadrian1 ,julia ,sabina2 bust of ,tiberius2 and a bust of ,augustus4 ,before leaving this room the visitor should not fail to notice a few antiquities which should particularly interest him4 ,these form a group of relics found in this country4 ,they illustrate the doings of the ,romans in this country4 ,,antiquities ,,of ,,britain4 ,the first of these objects which the visitor will remark1 is a curious cylindrical sarcophagus1 discovered in the neighbourhood of ,st4 ,alban's1 so lately as the year #ahca4 ,it contained some ,roman vases4 ,another sarcophagus found at ,southfleet1 in ,kent1 is also included in the collection4 ,in this sarcophagus several interesting relics were discovered1 including a vessel containing burnt bones2 and purple leather shoes embroidered with gold1 and in the same neighbourhood other relics1 including an earthern vessel1 also containing bones1 were found4 ,the next object to which the visitor should direct his attention is the old cistern of a blacksmith1 which had been found at ,chesterford1 in ,essex1 which turned out to be an ancient relic sculptured in high relief with figures of ,jupiter1 ,mercury1 ,mars1 and ,venus4 ,three or four ,roman altars found in various parts of the country1 one to ,a,esculapius2 a bas-relief of a ,roman standard of the second legion2 and pigs of lead inscribed with the names of ,roman emperors4 ,having examined these objects1 the visitor should pass at once westward into the ,,phigaleian ,,saloon4 ,he may here take a seat for a few moments and read the points of history which belong to this saloon1 before he commences his examination of it4 ,one year1 while the present century was young1 fifteen gentlemen encamped round about the ruins of a temple1 known to the neighbouring inhabitants as the columns4 ,these columns were those believed to be the ruins of a temple of ,apollo ,epicurius1 built by the citizens of ancient ,phigaleia1 in ,arcadia4 ,these columns were situated upon a shelf of land1 high up the side of ,mount ,cotilium1 and surrounded by a rich and various landscape4 ,lying scattered about were the shattered fragments of the sculptured frieze of the temple2 and1 with infinite labour the camp of explorers succeeded in gathering together and arranging the slabs which are now deposited in this1 the ,phigaleian saloon4 ,to the sound of ,arcadian music1 workmen excavated in the neighbourhood of these ruins2 and in #ahad the ,prince ,regent obtained a grant of #ae1jjj4 to purchase them for the ,british ,museum4 ,the subjects represented by these sculptures are1 the battle of the ,centaurs and the ,lapithae1 and the war between the ,amazons and ,athenians--mythical struggles upon which ,greek sculptors were fond of exercising their imagination4 ,,the ,,battle ,,of ,,the ,,centaurs is the first to which the visitor should direct his attention4 ,the origin of this myth is thus described by ,sir ,henry ,ellis3 ,the story of the ,centaurs1 it is remarked1 is of ,thessalian origin4 ,the people of ,thessaly were remarkably expert in horsemanship1 and were supposed to be the first in ,greece who practised the art of riding on horseback4 ,pelion1 and other mountains in this part of ,greece1 abounding in wild bulls1 these ferocious animals were frequently hunted by the people of the country on horseback1 and when overtaken were seized by their pursuers1 who caught hold of them by the horns1 in a manner not less dexterous than daring4 ,hence1 these hunters acquired the name of ,centauri and ,hippocentauri4 ,the novel sight of a man seated on a horse1 and galloping over the plains with more than human velocity1 might easily suggest to the minds of an ignorant peasantry1 the idea of an animal composed partly of a man and partly of a horse2 and it was from this simple origin1 according to some explanations1 that the fable of the ,centaurs sprung4 ,we must remark1 that we place no confidence in the proposed etymology of the word ,centauros1 and almost as little in the explanation of the story4 ,the centaur ,chiron in ,homer was a model of justice1 and the poet appears to have had no idea of the monstrous combination of two animals4 ,pindar1 in his second ,pythian ,ode1 first makes us acquainted with the ,hippocentaur1 or half horse and half man4 ,though it cannot be imagined that the ,greeks ever regarded this tradition otherwise than as a fable1 so far as the double nature of the animal was concerned1 yet it is curious1 to observe1 with what care and devotion they recorded the particulars of this fiction in their poems1 sculpture1 paintings1 and other monuments of art4 ,the ,centaurs were invited to the nuptials of ,pirithous1 king of the ,lapithae4 ,during the marriage feast1 one of the ,centaurs1 named ,eurytion1 or ,eurytus1 with the characteristic brutality of his nature1 and elated by the effects of wine1 offered violence to the person of ,hippodamia1 the bride4 ,this outrageous act was immediately resented by ,theseus1 the friend of ,pirhitous1 who hurled a large vessel of wine at the head of the offender1 which brought him lifeless to the ground4 ,a general engagement then ensued between the two parties2 and the ,centaurs not only sought to revenge the death of their companion1 ,eurytus1 but likewise attempted to carry off the females who were guests at the nuptials4 ,in this conflict1 sustained on both sides with great fury1 the ,centaurs were finally vanquished1 and driven out of ,thessaly2 after which they took up their abode in ,arcadia1 where they provoked the anger of ,hercules1 who completely destroyed the whole of their race4 ,such is the general outline of the mythic history of the ,centaurs4 ,bearing this outline of the classical story in his mind1 the visitor may at once proceed to examine the first eleven slabs upon which the incidents in the story of the ,centaurs and the ,lapithae are elaborated4 ,the visitor will1 of course1 begin with tablet ,no4 #a1 and proceed to the others in the regular order in which they are marked4 ,on approaching the first slab 7#a7 the visitor will perceive a ,centaur overcome by two ,lapithae1 and about to be dispatched4 ,another ,centaur from behind1 however1 arrests the uplifted arm of one ,lapitha4 ,the battle proceeds fiercely on the second slab 7#b74 ,a ,centaur is tearing the shoulder of a ,lapitha with his teeth1 while the ,lapitha drives a stout sword direct into his assailant's body4 ,a dead ,centaur lies in the foreground1 and the heels of the stabbed ,centaur strike against the shield of a second ,lapitha4 ,the origin of the battle begins to appear on the third slab 7#c71 where a woman is represented with a child in her arms resisting the violence of a ,centaur1 while another ,centaur at the further end of the slab is getting the better of a kneeling ,lapitha4 ,the fourth tablet would be probably unintelligible to the general visitor without special explanation4 ,here the ,centaurs are endeavouring to crush an enemy with huge blocks of stone4 ,this particular enemy is the ,caeneus of ,greek fable1 whom ,neptune had rendered invulnerable to the effect of swords and clubs1 and whom ,centaurs are endeavouring to overcome by crushing his body with masses of rock4 ,the fifth slab 7#e7 presents a more cheerful view of the battle for the ,lapithae2 here two ,centaurs are being overcome by two of their enemies in revenge for their brutal conduct at the bridal banquet4 ,the sixth tablet 7#f7 again illustrates the hazards of war4 ,here a female is between two of the brutal ,centaurs1 one of whom has felled a ,lapitha to the ground2 but the left hand part of the slab is so mutilated that the merits of the sculpture are here hardly appreciable4 ,the seventh 7#g7 slab also represents the ,lapithae losing ground4 ,here1 it has been shrewdly conjectured the chief personages of the battle are represented4 ,the female in the arms of the ,centaur is supposed to be ,hippodamia2 and the figure struggling from the grasp of another ,centaur1 that of ,king ,pirithous fighting for his outraged bride4 ,the next tablet 7#h7 is in a very dilapidated condition4 ,the central figure is that of a muscular ,centaur1 with his mantle flowing from his neck1 in the act of hurling something at a ,lapitha who stands stoutly on the defensive1 while in the further corner a female with her child is flying from pursuers4 ,the ninth tablet 7#i7 discovers two vanquished ,centaurs1 and ,lapithae in the act of dispatching their mongrel enemies4 ,the battle is represented at its climax on the next slab 7#aj74 ,here1 as the wicked ,centaur1 ,eurytion1 is disrobing the ,king's bride1 and her bridesmaid is indulging in exaggerated attitudes of despair1 a figure supposed to be that of the renowned founder of ,athens1 ,theseus1 springs upon the ,centaur's shoulders1 and drags back his head1 that the brute may not gaze upon the charms he would pollute4 ,the figure behind the bride is supposed to represent ,diana1 the goddess of ,chastity4 ,it is a pity that the leg and arm of the ,theseus1 and one arm of the bridesmaid are fractured4 ,the last slab of those sculptured with the battle of the ,centaurs1 represents ,apollo and ,diana in a car--,apollo the deliverer2 ,diana the guardian of female chastity4 ,having fully examined these beautiful specimens of ,greek art of the time of ,pericles1 the visitor should turn at once to the remaining slabs1 which are devoted to the illustration of ,a ,,battle ,,with ,,the ,,amazons4 ,plutarch gives a graphic account of those dissensions between ,theseus and the ,amazons1 which terminated in the famous war here celebrated4 ,philochorus1 he says1 and some others relate1 that he 7,theseus7 sailed in company with ,hercules into the ,euxine ,sea1 to wage war with the ,amazons1 and that he received ,antiope as the reward of his valour1 but the greater number1 7among whom are ,pherecydes1 ,hellanicus1 and ,herodotus17 tell us1 that ,theseus made the voyage with his own fleet alone1 some time after ,hercules1 and took that ,amazon captive1 which is indeed the more probable account2 for we do not read that any other of his fellow-warriors made any ,amazon prisoner4 ,but ,bion says1 he took and carried her off by a stratagem4 ,the ,amazons 7he informs us7 being naturally lovers of men1 were so far from avoiding ,theseus when he touched upon their coasts1 that they sent him presents4 ,theseus invited ,antiope1 who brought them1 into his ship1 and1 as soon as she was aboard1 set sail4 ,but the account of one ,menecrates1 who published a history of ,nice in ,bithynia1 is that ,theseus1 having ,antiope aboard his vessel1 remained in those parts some time2 and that he was attended in this expedition by three young men of ,athens1 who were brothers1 ,enneos1 ,thoas1 and ,solon4 ,the last of these1 unknown to the rest1 fell in love with ,antiope1 and communicated his passion to one of his companions1 who applied to ,antiope about the affair4 ,she firmly rejected his pretensions1 but treated him with civility1 and prudently concealed the matter from ,theseus4 ,but ,solon1 in despair1 having leaped into a river and drowned himself1 ,theseus1 then sensible of the cause1 and the young man's passion1 lamented his fate1 and in his sorrow recollected an order of the priestess1 which he had formerly received at ,delphi2 that when1 in some foreign country1 he should labour under the greatest affliction1 he should build a city there1 and leave some of his followers to govern it4 ,hence1 he called the city which he built ,pythopolis1 after the ,pythian god1 and the neighbouring river1 in honour of the young man1 ,solon4 ,he left the two surviving brothers to govern it1 and give it laws2 and along with them ,hermus1 who was of one of the best families in ,athens4 ,from him the inhabitants of ,pythopolis call a certain place in their city ,hermus's ,house1 and1 by exchanging an accent1 transfer the honour from the hero to the god 7,mercury74 ,hence the war with the ,amazons took its rise3 and it appears to have been no slight or womanish enterprise1 for they could not have encamped in the town1 or joined battle on the ground about the ,pnyx and the ,museum1 or fallen in so intrepid a manner upon the city of ,athens1 unless they had first reduced the country about it4 ,it is difficult1 indeed1 to believe 7though the story is told by ,hellanicus7 that they crossed the ,cimmerian ,bosphorus upon the ice1 but that they encamped almost in the heart of the city1 is confirmed by the names of places1 and by the tombs of those that perished there4 ,the ,amazons1 according to fabulous history1 were a warlike race of women1 who reared only their female children1 and lived as a nation apart from the male sex4 ,they are said to have founded many cities in ,asia ,minor1 to have been expert horsewomen1 and to have amputated their left breast the more easily to use their bows4 ,greek sculptors delighted to avail themselves of this mythic war between men and women1 in which the heroes do not appear to have used their weapons lightly1 in consideration of the sex of their opponents4 ,the splendid group by ,kiss1 casts of which are now in many ,english homes1 shows that the capacity to deal with the classic subject has not altogether faded from the world4 ,the ,amazons themselves bid fair to accomplish a resurrection across the ,atlantic4 ,rumours reach us here in ,england of female societies associated to make war upon the tyranny of the opposite sex1 and to adopt certain eccentricities of costume4 ,it is not improbable that these agitators will soon constitute themselves into a distinct nation1 and defy the valour of the masculine ,yankee4 ,the visitor1 on turning1 thus far informed1 to the slabs upon which the war with the ,amazons is represented1 will notice that these mythic females present no appearance of the rumoured amputation4 ,the weapons that should be in the hands of most of the figures are lost1 but it is believed that they were of bronze1 and the holes by which they were fastened to the hands of the figures may yet be traced4 ,on presenting himself before the first slab 7#ab71 the visitor will see the figure of an ,athenian dragging an ,amazon to the ground by her hair1 while another ,amazon is protecting a fallen sister in the corner4 ,this scene will shock the gallantry of the unprepared visitor1 who should1 nevertheless1 compose himself to explain to his partner the kind of women with whom the ,athenians had to deal4 ,the second slab 7#ac71 represents a wounded ,amazon sinking to the earth1 and an ,athenian and an ,amazon in full combat1 but upon the third 7#ad71 the visitor will remark the havoc which the ,amazons could make4 ,here1 on the right1 an ,athenian protecting himself from attack with his shield1 is leading a wounded man from the field1 and to the right a male figure is bearing off a body1 from which a central ,amazon is snatching a shield4 ,on the next slab 7#ae71 two ,amazons are engaged with two ,athenians4 ,to the left1 where the head of the vanquished ,amazon remains1 the slab is much injured2 but to the right the ,athenian felled by the ,amazon is clearly distinguishable4 ,a wounded ,athenian lies in the left corner of the next slab 7#af71 supported by a companion2 while another ,athenian is endeavouring to beat off a lusty ,amazon1 who appears determined to fight for every inch of the ground4 ,for the first time an ,amazon occurs on horseback on the next slab 7#ag74 ,here a sturdy ,athenian is dragging her from her seat1 while another ,amazon is warding off a blow1 and preparing to strike one at the same time1 in the right corner4 ,the central figure of the next slab 7#ah71 7the longest in the collection17 is the hero ,theseus1 recognisable by the lion's skin about him1 the huge paw of which lies against his left leg4 ,theseus1 who is about to deal a deadly blow at a mounted ,amazon 7whose body is effaced71 is prevented by an interposing ,amazon1 while an ,athenian1 who is trampled upon by the horse1 is preparing to do severe work with his sword4 ,to the right1 an ,athenian is unceremoniously removing a wounded ,amazon from her fallen horse4 ,the next group 7#ai7 represents two couples fighting3 an ,athenian1 protected by a helmet and cuirass1 has thrown an ,amazon1 and on the right of the slab an ,amazon has thrown an ,athenian4 ,the next slab 7#bj7 is severely mutilated2 but an ,amazon attending to a wounded companion1 and others fighting in the left corner are distinguishable4 ,the next tablet represents two ,athenians and two ,amazons2 the central figure 7an ,athenian7 has his foot upon the knee of a fallen ,amazon1 who appears to be asking mercy4 ,the last slab but one 7#bb7 represents an ,athenian dragging an ,amazon from an altar1 while to the right an ,amazon is vigorously assailing another ,athenian4 ,upon the last slab 7#bc7 are four ,amazons and one wounded ,athenian1 who is endeavouring to ward off an impending blow from the central figure4 ,having noticed these slabs1 the wondrous workmanship of which must surprise the most indifferent and ill-informed observer1 the visitor should at once turn to the other fragments arranged and numbered in the saloon4 ,the fragments marked successively from #bd to #dj1 are parts of the temple to ,apollo1 from which the ,phigaleian slabs were taken4 ,having cursorily examined these1 the visitor should at once turn to the fragment of a bas-relief1 marked #da1 which properly belongs to the ,elgin collection4 ,here ,hercules is represented holding ,diomed1 ,king of ,thrace1 by the head1 and is about to strike him4 ,further on are some interesting relics1 collected by ,colonel ,leake4 ,first1 there is a headless female statue1 draped1 from ,sparta 7#dc72 then the torso of a naked ,apollo from the ,peloponnese2 then a small1 shattered ,hercules1 without head1 arms1 or feet1 found on the coast of ,laconia4 ,proceeding with his examination of the miscellaneous objects in the saloon1 he may notice successively1 the head of ,jupiter1 from ,phrygia 7#dg72 a curious sepulchral inscription from ,halicarnassus 7#dh71 forbidding any one1 except relations1 from occupying the tomb to which it belonged2 a bas-relief from ,thessaly 7#ea7 representing a dedication of hair to ,poseidon3 an alto-relievo torso of ,triton 7#ef72 and the pedestal of the statue of ,jupiter ,urius 7#ee71 which stood in the temple of that god1 at the mouth of the ,euxine4 ,directing his attention to the fragments which occupy the wall space below the ,phigaleian frieze1 he will find eleven fine bas-reliefs from the celebrated tomb erected at ,halicarnassus1 in the year #cec ,b4,c41 in honour of ,mausolus1 ,king of ,caria1 by ,artemisia1 his wife4 ,here the power of the later ,greek sculptors is employed upon the battles of the ,athenians with the ,amazons4 ,above the ,phigaleian frieze1 against the walls are placed two pediments1 copied from those which ornamented the western and eastern ends of the temple of ,jupiter ,panhellenius1 in ,a,egina4 ,among the miscellaneous fragments in the saloon1 the visitor has yet to notice a fine torso of a nude ,venus2 a statue of ,discobolus1 who is throwing a quoit1 found in ,hadrian's ,villa ,tiburtina2 part of a statue of ,hymen2 and at the ends of the saloon the visitor should notice some specimens from the old temple of ,selinus1 which are valued as probably representing some of the earliest extant specimens of ,greek art4 ,among the subjects represented are ,perseus killing the ,gorgon ,medusa1 and ,hercules and the ,cecrops4 ,having examined these objects1 the visitor has brought his examination of the ,phigaleian ,saloon to a close1 and he should forthwith enter upon the great labour of his fourth visit1 by proceeding to the west into the noble room devoted to the ,,elgin ,,marbles4 ,these marbles have become celebrated throughout the civilised world1 and the name of ,elgin is inseparably connected henceforth with the finest extant specimens of the power of ,phidias4 ,the artistic excellencies of these relics of a remote civilisation have been so frequently explained to the public1 and their beauties are so generally felt1 that it suffices to introduce the general visitor to the room1 and to guide him about it1 without bidding him halt to learn the estimation set upon these works by great art authorities4 ,after he has received the natural impression which these works cannot fail to produce on his mind1 he may wish to know something of the times and men which these represent2 he may be glad to learn so much as is known of ,phidias4 ,no man even with the poorest sense of the beautiful can1 we apprehend1 wander about this saloon without being touched4 ,therefore we proceed at once to guide the visitor on his journey4 ,but it is necessary that he should know something of the building1 of which these fragments formed parts3--,the ,parthenon1 says ,colonel ,leake1 was constructed entirely of white marble1 from ,mount ,pentelicus4 ,it consisted of a cell1 surrounded with a peristyle1 which had eight ,doric columns in the fronts1 and seventeen in the sides4 ,these forty-six columns were six feet two inches in diameter at the base1 and thirty-four feet in height1 standing upon a pavement1 to which there was an ascent of three steps4 ,the total height of the temple above its platform was about sixty-five feet4 ,within the peristyle at either end1 there was an interior range of six columns1 of five feet and a half in diameter1 standing before the end of the cell1 and forming a vestibule to its door4 ,there was an ascent of two steps into these vestibules from the peristyle4 ,the cell1 which was sixty-two feet and a half broad within1 was divided into two unequal chambers1 of which the western was forty-three feet ten inches long1 and the eastern ninety-eight feet seven inches4 ,the ceiling of the former was supported by four columns1 of about four feet in diameter1 and that of the latter by sixteen columns of about three feet4 ,it is not known of what order were the interior columns of either chamber4 ,those of the western having been thirty-six feet in height1 their proportion must have been nearly the same as that of the ,ionic columns of the vestibule of the ,propylaea1 whence it seems highly probable that the same order was used in the interior of both those contemporary buildings4 ,in the eastern chamber of the ,parthenon1 the smallness of the diameter of the columns leaves little doubt that there was an upper range1 as in the temples of ,paestum and ,a,egina4 ,it is to be lamented that no remains of any of them have been found1 as they might have presented some new proofs of the taste and invention of the architects of the time of ,pericles4 ,such was the simple construction of this magnificent building1 which1 by the united excellencies of materials1 design1 and decorations1 was the most perfect ever executed4 ,its dimensions of two hundred and twenty-eight feet by a hundred and two1 with a height of sixty-six feet to the top of the pediment1 were sufficiently great to give an impression of grandeur and sublimity1 which was not disturbed by any obtrusive subdivision of parts1 such as is found to diminish the effects of some larger modern buildings1 where the same singleness of design is not observed4 ,in the ,parthenon1 whether viewed at a small or at a great distance1 there was nothing to divert the spectator's contemplation from the simplicity and majesty of mass and outline1 which forms the first and most remarkable object of admiration in a ,greek temple2 and it was not until the eye was satiated with the contemplation of the entire edifice1 that the spectator was tempted to examine the decorations with which this building was so profusely adorned2 for the statues of the pediments1 the only decoration which was very conspicuous by its magnitude and position1 being enclosed within frames1 which formed an essential part of the design of either front1 had no more obtrusive effect than an ornamented capital to a single column4 ,bearing this outline of the building in mind1 the visitor may at once proceed to examine the ruins of this fine monument of ancient genius1 which are deposited in the ,elgin ,saloon of our ,national ,museum4 ,first1 he may notice those alto-relievos1 known as the ,,metopes#i ,,of ,,the ,,parthenon4 ,the subject of these sculptures has been familiarised to the visitor in the ,phigaleian marbles4 ,here1 again1 is the war of the ,athenians1 on behalf of the ,lapithae1 with the ,centaurs1 the sculptor's subject4 ,on entering the room1 the visitor will notice various numbers on each marble3 ,,the ,,red ,,numbers are those to which we refer throughout4 ,the first metope to which the visitor will1 in natural order1 direct his attention1 is that marked #a4 ,here an ,athenian has his knee upon the back of a ,centaur and one arm round his neck1 while the other 7which is broken off7 was evidently represented raised to strike a fatal blow into the ,centaur's body4 ,the second metope 7#b7 also represents an ,athenian subduing a ,centaur4 ,this group is much injured1 the head of the ,athenian and that of the ,centaur being missing2 but the ,athenian has his knee firmly planted upon his brutal enemy's hind quarters1 and his arm 7strongly developed7 was evidently firmly clutching the ,centaur's hair4 ,the third metope 7#c7 shows an ,athenian under very disadvantageous circumstances4 ,here a ,centaur is about to deal a tremendous blow with a wine vessel at the head of his crouching enemy1 who is endeavouring to ward off its effects with his ample shield4 ,the heads of these figures are casts from the originals1 which are in the ,royal ,museum at ,copenhagen4 ,the fourth metope 7#d7 has been so mutilated that the figure of the ,athenian1 which was once upon it1 is wholly effaced1 and the ,centaur has the head1 part of two legs1 and both arms1 wanting4 ,originally the ,centaur was holding an ,athenian by his hair4 ,the fifth metope 7#e7 is also much mutilated2 but here both figures were evidently represented mutually confident of victory4 ,a vigorous action is represented upon the sixth metope 7#f71 where an ,athenian is seizing a ,centaur by the throat1 while1 with the right hand1 he is prepared to deal a fatal stroke4 ,the seventh metope 7#g7 is much mutilated2 but the figure of an ,athenian thrown1 and a ,centaur trampling upon him1 are clearly discernible4 ,there is fine action in the eighth metope 7#h71 where the ,centaur has seized his adversary by the foot1 and is hurling him backwards to the earth4 ,under the ,athenian the visitor will notice a circular drinking vessel1 indicative of the revel at which the cause of quarrel originated4 ,the next metope 7#i7 7or rather a cast from the metope in the ,louvre at ,paris7 represents a ,centaur in the act of seizing a female1 who is resisting him3 both heads are wanted4 ,the drapery about the female is beautifully executed4 ,matters have arrived at a desperate pitch with the combatants represented on the tenth metope 7#aj71 where the ,centaur1 with starting eyes and uplifted arms1 is about to strike a determined ,athenian1 who has planted his foot against the ,centaur's breast1 and is determined to do his work4 ,the next metope 7#aa7 is a fine specimen of sculpture4 ,here an ,athenian has seized a ,centaur by the jaw1 from behind4 ,the drapery that falls from the fine form of the ,greek is exquisitely folded1 and the figure itself is finished with masterly skill4 ,a victorious ,centaur holding forth a mantle of lion's skin1 is the central figure of the next metope 7#ab74 ,below lies the dead body of an ,athenian3 all the muscles marked and rigid4 ,it is supposed that the following metope 7#ac7 represents the ,centaur ,eurytion carrying off ,hippodamia4 ,the drapery of the female figure is exquisite4 ,the fourteenth metope 7#ad7 represents an ,athenian thrown by a ,centaur4 ,the ,athenian1 however1 is not idle1 having buried a weapon in the left side of his adversary1 and attempting to seize a stone with his left hand4 ,the fifteenth metope 7#ae7 represents a ,centaur holding an ,athenian2 while the ,athenian has revenged himself by planting that decisive kind of blow known in pugilistic circles as a bruiser upon the ,centaur's cheek4 ,this metope is more angular in execution than the other metopes2 and was probably executed1 under the guidance of ,phidias1 by one of the old school of ,greek sculptors4 ,the last1 or sixteenth metope 7#af71 is supposed to have been executed by the same inferior hand as that employed upon the fifteenth4 ,here the contest between the ,centaur and the ,athenian is undecided4 ,metope #af;c has been recently discovered at ,athens4 ,having fully examined these fine specimens of ,greek sculpture1 the visitor may at once turn to other parts of the great temple1 examining now and then1 to guide his impressions1 the restored model which stands near the south-east corner of the room4 ,his business is now with the frieze that ran round the building behind the columns1 and upon which a series of bas-reliefs were sculptured2 of which ,sir ,henry ,ellis gives the following clear outline3-- ,,the ,,frieze ,,of ,,the ,,parthenon4 ,one of the richest objects with which ,phidias embellished the outside of the temple of the ,parthenon1 was1 without doubt1 that uninterrupted series of bas-reliefs which occupied the upper part of the walls within the colonnade1 at the height of the frieze of the ,pronaos1 and which was continued entirely round the building4 ,the situation afforded to the work only a secondary light1 and1 so far1 prescribed to ,phidias the manner in which he was to direct the execution of the figures4 ,from the position intended for it1 it was evident that the direct rays of the sun could never reach the ,panathenaic frieze4 ,being placed immediately below the soffit1 it received all its light from between the columns1 and by reflection from the pavement below4 ,the flatness of the sculpture is thus sufficiently accounted for2 had the relief been prominent1 the upper parts could not have been seen2 the shade projected by the sculpture would have rendered it dark1 and the parts would have been reduced by their shadows4 ,the frieze could only be seen in an angle of forty-two degrees and a half4 ,the subject represented the sacred procession which was celebrated every fifth year in honour of ,minerva1 the guardian goddess of the city1 and embraced in its composition all the external observances of the highest festival of the ,athenians4 ,the blocks of marble of which the frieze was composed were three feet four inches high2 they were placed about nine feet within the external row of columns2 and occupied1 slab after slab1 a space of five hundred and twenty-four feet in length4 ,as a connected subject1 this was the most extensive piece of sculpture ever made in ,greece4 ,the images of the gods1 deified heroes1 basket bearers1 bearers of libatory vessels1 trains of females1 persons of every age and sex1 men on horseback1 victims1 charioteers--in short1 the whole people were represented in it conveying1 in solemn pomp1 to this very temple of the ,parthenon1 the sacred veil which was to be suspended before the statue of the goddess within4 ,meursius1 in his ,panathenaea and ,reliquiae ,atticae1 has collected from ancient authors many particulars concerning this ,peplus4 ,it was the work of young virgins selected from the best families in ,athens1 over whom two of the principal1 called ,arrephorae1 were superintendents4 ,on it was embroidered the battle of the gods and giants2 amongst the gods was ,jupiter hurling his thunderbolts against the rebellious crew1 and ,minerva1 seated in her chariot1 appeared as the vanquisher of ,typhon or ,enceladus4 ,in the ,hecuba of ,euripides1 the chorus of captive ,trojan females are lamenting1 in anticipation1 the evils which they will suffer in the land of the ,greeks4 ',in the city of ,pallas1 of ,athena1 on the beautiful seat in the woven peplus ,i shall yoke colts to a chariot1 painting them in various different coloured threads1 or else the races of the ,titans1 whom ,zeus1 the son of ,kronos1 puts to sleep in fiery all-surrounding flame4' ,the names of those ,athenians who had been eminent for military virtue1 were also embroidered on it4 ,this will explain the following allusion in the ,knights of ,aristophanes1 where the chorus says--',we wish to praise our fathers1 because they were an honour to this country and worthy of the peplus3 in battles by land and in the ship-girt armament conquering on all occasions they exalted this city4' ,when the festival was celebrated1 this peplus was brought from the ,acropolis1 where it had been worked1 down into the city2 it was then displayed and suspended as a sail to the ship1 which on that day1 attended by a numerous and splendid procession1 was conducted through the ,ceramicus and other principal parts1 till it had made the circuit of the ,acropolis2 it was then carried up to the ,parthenon1 and there consecrated to ,minerva4 ,this splendid series of sculptures forms the gem of the ,elgin collection4 ,the museum possesses no less than two hundred feet of the original frieze1 in addition to upwards of seventy feet in casts4 ,the wonderful variety1 the perfect drawing1 the classic grace1 and the unity of conception displayed in this work1 entitle it to rank as the most precious relic of antiquity saved to moderns from the wrecks of time4 ,starting from the left side of the entrance door to the south1 the visitor begins his inspections of ,,the ,,eastern ,,frieze1 or those portions which decorated the eastern end of the ,parthenon4 ,these are marked from #ag to #bd4 ,the introductory slab 7#ag7 represents a procession of ,greek virgins1 with their long flowing draperies beautifully modelled1 as the visitor will at once perceive4 ,some are carrying vessels for the libations4 ,the next slab 7#ah7 has some interesting figures4 ,the four standing figures1 which are to the left of the two1 supposed to represent ,castor and ,pollux1 are supposed to represent ,hierophants explaining away mysteries1 while the others are students of the doctrines taught at the festival4 ,the next slab1 which is the longest in the collection 7#ai71 is said to have been originally placed above the eastern gate of the temple4 ,here are females delivering offerings in baskets to one who appears to preside4 ,on the left1 a man of dignified bearing is receiving a large roll from a youth1 which ,visconti supposed to be the embroidered veil4 ,here seated on a throne is ,jupiter1 with the arms supported by two sphinxes4 ,here1 too1 is a goddess removing her veil1 supposed by some to be ,juno1 and by others ,mercury4 ,at the end of the slab the visitor will remark old ,a,esculapius1 and the figure of his daughter with a serpent twined about her left arm1 as ,hygieia1 or ,health4 ,the marble let into the wall below the frieze1 and marked #bj1 is a perfect cast from a marble partly in that marked #ba and partly in that marked #bb4 ,slabs #bc1 #bd have continuations of the procession1 consisting of females draped1 bearing vessels and torches4 ,these women were selected from the noblest families of ,athens4 ,the fragment marked #be closes those which adorn the eastern front4 ,it represents a mutilated figure of one of the ,metoeci1 or strangers1 bearing a tray filled originally with provisions4 ,from the eastern the visitor should proceed to the slabs of the ,,northern ,,frieze4 ,these are marked from #bf to #df4 ,on the first of this series a youth was originally represented receiving a crown of honour in a chariot race4 ,then follow successively five slabs1 all bearing bas-reliefs of chariots and charioteers4 ,these slabs are greatly admired by artists1 and are said1 at the present day1 to be perhaps the finest specimens of bas-relief extant4 ,after the chariots with more notable people forming the procession1 the successive marbles marked #cb to #dc are filled up with the groups of horsemen who followed the chariots4 ,the forms of the animals are beautifully grouped and executed2 and may1 after the many centuries of time that have elapsed since they were placed behind the ,parthenon columns1 be consulted by the modern artist as the finest extant models upon which he can exercise his student's hand4 ,on the slabs #cf1 #g1 how finely are the horses and riders grouped1 and how firmly and gracefully is the rude figure upon the central horse of the second slab posed6 ,having sufficiently admired these fine groups1 the visitor should at once turn to the slab marked #df4 ,here1 a young man standing near his horse is about to crown himself2 while a standing figure to the right appears to have dismounted1 and to be suffering some adjustment of dress by a servant behind him4 ,at the right end of this slab is a figure seen sideways1 and representing the first part of the decoration of the ,,western ,,frieze4 ,only one of the fifteen slabs of the western frieze is the original marble3--the rest are casts from the frieze still adorning the ruins of the temple4 ,the western frieze is included in the slabs marked from #dg to #fa4 ,the marble in the possession of the museum from the western frieze is1 however1 one of great value4 ,it represents two mounted horsemen--the whole exquisitely carved4 ,passing forward from this1 the forty-eighth slab 7#dh7 represents a horse to which three men are attending4 ,mounted horsemen also fill up the next two slabs 7#di1 #ej74 ,on the fifty-first a rider is represented habited in full armour1 with another rider1 dismounted1 who appears to be rubbing a hurt on his left leg4 ,the two following slabs 7#eb1c7 are horses and men2--on the latter1 a dismounted man in a flowing robe endeavouring to curb a rearing steed4 ,on the next slab 7#ed7 are two horsemen mounted1 the one to the right wearing a hat that has a modern appearance1 and is similar to those worn by dignitaries of the ,greek church at the present time4 ,a fine horse and graceful horseman occur in the right corner of the slab #ee1--the action of the horse is finely sculptured4 ,the remaining sculptures of the western frieze represent figures of mounted and dismounted horsemen1 of which the visitor may notice the graceful figures on slab #eg 7where the horse is rubbing his leg71 and slab #fj1 where the figure to the right appears to be only preparing to join the procession4 ,having examined these1 the visitor should at once proceed to examine the remarkable points of the ,,southern ,,frieze4 ,these are numbered from #fb to #ij1 and reach back to the northern side of the entrance to the saloon4 ,the slabs marked from #fb to #gg consist of horsemen1 galloping1 often two or three abreast3 some with helmets and armour1 and others nude2 and the slabs marked from #gh to #hb have sculptures of chariots drawn by four horses 7mostly7 abreast4 ,these1 however1 present no new points to which it is necessary to draw the visitor's particular attention4 ,the business of the festival1 c41 begins to be apparent in the seven last slabs 7#hd-ij74 ,here the victims appear4 ,in the first 7#he7 a bull appears to be giving no little trouble to some attendants1 and to be utterly regardless of the solemnity of the occasion4 ,a bull1 full of action1 is the principal object on the next slab 7#hf73 and on the next 7#hg71 one appears calmly walking to his doom4 ,upon the return of the slab 7#ij7 is a figure finely executed1 supposed to be that of a magistrate surveying the progress of the procession4 ,the sacrificial oxen are said to be masterly representations of the finest specimens of these animals4 ,having examined these bas-reliefs1 the visitor should at once turn to the groups which occupied central space in the saloon1 and which originally adorned the eastern and western pediments of the ,parthenon4 ,,sculptures ,,from ,,the ,,eastern ,,pediment4 ,these occupy the central space towards the southern end of the saloon4 ,the group on the eastern pediment originally represented the birth of ,minerva4 ,the visitor will probably be first attracted to the great recumbent figure marked #ic1 generally believed to have represented ,theseus1 the ,athenian hero1 whose biography opens the series of ,plutarch's ,lives4 ,the figure is now much mutilated2 the nose has been chipped1 and the feet are wanting1 but still the form reclining on a rock is majestic4 ,mr4 ,westmacott1 in a lecture1 gave his reasons for believing that this statue was meant for ,cephalus1 of whom ,aurora was enamoured1 and not ,theseus4 ,this work the pediment it must be observed1 related to the most remarkable event in ,athenian mythology1 and was confined only to that event4 ,all the gods of ,olympus were present at the birth of ,minerva4 ,now ,theseus was not only not in existence1 but was patronised and protected by ,minerva2 it would seem1 therefore1 extraordinary that he should be admitted as a witness of her birth4 ,if it is really ,theseus1 he could only have been introduced by ,phidias in compliment to the ,athenians2 but whether this could on so very sacred an occasion have been allowed1 may very reasonably be doubted4 ,hercules1 even the older1 or ,idaean ,hercules1 was1 upon the same principle1 equally inadmissible1 the ,athenians acknowledging or worshipping no ,hercules prior to the son of ,alcmene1 who was contemporaneous with ,theseus1 and consequently posterior also to ,minerva4 ,now the mythology of ,cephalus is not only in unison with ,pausanias1 but the admission of that person would in no degree affect the harmony of the ,attic types1 or principles of ,athenian worship4 ,cephalus was as celebrated for heroic virtues as for his beauty4 ,the fragment numbered #ia is part of a figure of ,hyperion rising out of the sea4 ,it marked that angle of the pediment to the left of the spectator1 and the arms are stretched forward urging his coursers4 ,near him are1 alas1 only the heads of two of his horses 7#ib74 ,the next group that presents itself for notice is that of two sitting figures 7#id71 the one to the left leaning on the right shoulder of the other4 ,this is a wreck of a group that represented ,ceres and her daughter ,proserpine on the pediment4 ,next in succession is a figure full of action 7#ie73 this is ,iris1 the messenger of the gods1 but the particular property of ,juno1 on her way to carry to remote parts the interesting intelligence of the birth of ,minerva4 ,a torso of ,victory is placed next in order of succession 7#if74 ,the figure is now wingless1 but holes can be seen which once attached them to the statue4 ,three ,fates1 beautifully draped 7#ig71 and a head of one of the horses 7#ih7 of the chariot of ,night which occupied the angle of the pediment on the spectator's right1 complete the recovered fragments of the eastern pediment4 ,hence the visitor should turn to the fragments from the ,,western ,,pediment4 ,the subject illustrated on the western pediment was the contest between ,minerva and ,neptune for the honour of giving a name to ,athens4 ,the relics of these sculptures will now engage the visitor's attention4 ,undoubtedly the first object that will attract his notice will be that numbered #ii4 ,this recumbent figure has a noble presence even now1 headless and otherwise mutilated as it is4 ,canova stood undecided between this figure and that of ,theseus 7or ,cephalus1 according to ,mr4 ,westmacott7 as to which was pre-eminently beautiful4 ,the figure before which the visitor now stands is generally received as the statue of ,ilissus1 who was the ,athenian god of the river ,ilissus1 which watered the southern side of the ,athenian plain4 ,others have declared it to be ,theseus reposing after his herculean labours1 and contemplating the contest between the two deities4 ,having fully examined this fine sculpture1 the visitor should turn to the fragments of the ,minerva4 ,a small fragment of the upper part of a face 7#aja7 is all that remains of ,minerva's head1 the holes being still visible by which the goddess's bronze helmet was fastened to the statue4 ,hereabouts1 also1 is a fragment of the statue 7#ajb71 and a coil of the serpent that was about the figure 7#ajd74 ,the torso marked #ajj1 from the western pediment1 is conjectured to be part of a statue that represented ,cecrops1 the founder of ,athens1 at the contest4 ,the next fragment is the torso of ,neptune 7#ajc72 and hereabouts is the cast of the group supposed to have originally represented ,hercules and ,hebe4 ,the second object1 marked #ajd1 is the cast1 presented by ,m4 ,charles ,lenormand1 of a head in the ,bibliothque ,nationale at ,paris1 supposed to belong to one of the statues of the western pediment4 ,a torso of a wingless or ,athenian ,victory is the next object that demands notice 7#aje73 the figure was represented without wings1 in token of the inseparability of the goddess from the ,greek capital4 ,another object is marked #aje3 this is the head of the ,victory2 or rather a cast from the original head presented to the trustees by ,count de ,laborde4 ,lastly1 of the western pediment sculptures1 the visitor will remark the lap of a figure1 with a portion of an infant remaining3 this ruin is all that is left of ,latona and her two children1 ,diana and ,apollo4 ,having fully examined these ruins of the ,parthenon1 the visitor must direct his immediate attention to the remains collected from the ruins of the celebrated ,,double ,,temple ,,of ,,the ,,erectheum ,,and ,,pandrosus4 ,the temple of the ,erectheum was situated at ,athens1 less than two hundred feet distant from the ,parthenon4 ,it was the temple of ,athene ,polias1 or ,minerva and ,erectheus2 and adjoining it was the chapel of ,pandrosus4 ,philocles of ,acharnae was the architect of the building1 which ,lord ,aberdeen1 reiterating the opinion of many great authorities1 in his ,inquiry into the ,principles of ,beauty in ,grecian ,architecture1 styles the most perfect known specimen of the ,ionic order of architecture4 ,it was built on the spot where ,neptune and ,minerva are supposed to have contested the honour of naming ,athens4 ,when ,lord ,elgin visited ,athens1 the vestibule of the temple was a ,turkish powder magazine4 ,before examining the few relics from this fine building in the saloon1 the visitor should notice the second object1 marked #ajf1 which is the cast of a head found during the progress of excavations at ,athens1 between the ancient gate of the ,peloponnesus and the temple of ,theseus4 ,having passed from this relic1 the visitor will at once examine the architectural relics of different parts of the ,erectheum1 which are more interesting to the architectural student than to the general visitor4 ,the fragment #aji is the lower portion of a draped female statue2 the relic marked #aaj is part of the shaft of an ,ionic column2 the capital of a column1 #abe1 is very beautiful3 but the object that will be most attractive to the general visitor is the statue marked #abh1 known in architecture as a ,caryatid1 which was used in the temple of ,pandrosus instead of columns4 ,hereabouts also1 amid the miscellaneous fragments1 the visitor should notice a colossal headless and heavily-draped figure1 marked #aaa4 ,this is the wreck of the great statue of ,bacchus which surmounted a monument erected three hundred and twenty years before the ,christian era1 by ,thrasyllus of ,deceleia1 to record the victory of a tribe at a great festival of ,bacchus4 ,this statue has been variously christened4 ,some believe it to be the fragment of a ,niobe2 others of a ,diana4 ,it is generally allowed to be a noble sample of ,greek sculpture4 ,hereabouts1 also1 is the well-known imperfect statue of ,icarus 7#aac71 brought in fragments from the ,acropolis4 ,the urn marked #abb is a sepulchral vessel1 with figures in bas-relief2 #abc is a sepulchral column1 with an ,athenian name upon it2 and then the visitor will pass rapidly the fragments of ,doric and ,ionic columns from various ,greek temples4 ,with the casts beginning from #acf1 the visitor will start with his examination of the fragments from the ,,temple ,,of ,,theseus4 ,when the ashes of ,theseus1 long after his death1 were conveyed in state to ,athens1 festivals were instituted in his honour2 and a magnificent temple was erected to his memory nearly five centuries before our era4 ,the sculptures of the temple represented the exploits of ,theseus1 and of ,hercules1 with whom ,theseus was always on terms of great friendship1 and to whom he gave the highest honours his country could afford4 ,the subject of the frieze 7which the visitor will find against the eastern wall of the saloon1 numbered from #acf to #adi71 has been variously explained1 but is shrewdly conjectured to be the ,battle of the ,giants1 in which ,hercules played a prominent part1 and in which the giants are said to have hurled rocks at their adversaries1 like pebbles4 ,this battle was fought in the presence of divinities1 who are represented seated upon slabs 7#acg-h-acc-d47 ,this frieze was on the most conspicuous part of the temple4 ,the frieze that flanked the building was sculptured with the exploits of ,theseus2 and here the visitor will once more see the battle of the ,centaurs and the ,lapithae illustrated 7#aej-aed74 ,the ,centaurs hurling huge stones1 and wielding the stems of trees2 and the invulnerable ,coeneus1 half crushed by his savage enemies1 are again represented4 ,the casts of three metopes 7#aee-aeg7 are from the north side of the temple of ,theseus4 ,upon the first the hero is represented destroying the ,king of ,thebes1 ,creon2 upon the second he is throwing ,cercyon1 ,king of ,eleusis2 and upon the third he is overcoming the ,crommyonian sow4 ,about this time1 ,plutarch tells us1 ,crommyon was infested with a wild sow named ,phoe1 a fierce and formidable creature4 ,this savage he attacked and killed1 going out of his way to engage her1 and thus displaying an act of voluntary valour3 for he believed it equally became a brave man to stand upon his defence against abandoned ruffians1 and to seek out and begin the combat with strong and savage animals4 ,but some say that ,phoe was an abandoned female robber1 who dwelt in ,crommyon2 that she had the name of 'sow' from her life and manners1 and was afterwards slain by ,theseus4 ,a series of bas-reliefs from an ,ionic temple1 dedicated to the ,wingless ,victory of ,athens1 are the next objects that command the general visitor's attention4 ,they are numbered from #aeh to #afa successively4 ,upon these are represented battles between the ,greeks and ,persians2 and maidens leading a sacrificial bull4 ,the fragments marked successively from #afe to #age are remarkable for the ,greek inscriptions on them1 which cannot interest the general visitor4 ,let the visitor1 therefore1 next pause before the fragment of a frieze in green stone1 marked #agg1 which is from the tomb of ,agamemnon at ,mycenae4 ,the sculptured scroll-work is of very remote antiquity4 ,the next fragment is a bas-relief1 on which a bearded man is represented1 pressing a child towards him1 and directing its attention to a votive foot which he holds in his hand4 ,passing from this1 the visitor may next direct his attention to the fragment of a colossal statue numbered #agh4 ,it belongs to one of the pediments of the ,parthenon4 ,hereabouts are various sepulchral urns and columns of no particular interest to the casual observer2--the circular altar from ,delos1 ornamented in relief with sacrificial bulls and other subjects4 #agi may1 however1 be noticed1 together with the column marked #ahc1 which bears the name of ,socrates1 son of ,socrates1 a native of ,ancyra1 of ,galatia4 ,the object marked #ahf is a ,greek sun-dial found at ,athens1 of a time not long before the reign of the ,emperor ,severus4 ,passing other altars and fragments of columns1 the visitor should pause on his way1 to notice a bas-relief upon which ,latona and ,diana are sculptured1 forming part of a procession 7#aij74 ,the bas-relief numbered #aic is from the theatre of ,bacchus3 it is a ,bacchanalian group1 in which ,bacchus is holding forth a vessel to be filled by an attending ,bacchante4 ,the next object to be noticed is marked #aid1 and is a fragment of a head of the goddess ,pasht1 surmounted with a crown of serpents4 ,a spirited scene occurs upon bas-relief #aig1 where a charioteer1 heralded by a flying ,victory1 is represented driving four horses at full speed4 ,a series of urns and votive altars are grouped hereabouts1 which the casual visitor may pass1 pausing before the small statue of ,ganymede 7#bjg72 a fragment of a boy supporting a bird on his arm 7#bba72 a small figure of ,telesphorus1 headless1 and draped2 more sepulchral urns and stles2 capitals of ,corinthian and ,ionic columns2 various inscriptions1 including a decree of a society of musicians 7#bce72 an amphora 7#bch72 a female head2 a large and small head of a bearded ,hercules 7#bdc-bdb72 heads and fragments of heads2 the base of a statue supposed to have been that of the ,minerva of the western pediment of the ,parthenon2 urns and columns1 and stales and inscriptions2 a bas-relief showing ,health1 the daughter of ,a,esculapius1 feeding a serpent2 two more bas-reliefs2 an inventory of the articles of gold and silver belonging to the ,parthenon 7#bhb72 stles1 inscriptions1 and columns2 fragments of colossal statues1 a small statue 7headless7 of a ,muse1 #caf2 fragments of figures from the metopes of the ,parthenon2 a sculptured oblong vessel1 found near the plain of ,troy1 for containing holy water 7#cbd72 a mutilated colossal head supposed to represent ,nemesis1 found in the temple of ,nemesis1 at ,rhamnus 7#cbe72 a mutilated female statue found also at ,rhamnus1 in the temple of ,themis2 fragments of colossal statues1 stles1 inscriptions1 and altars4 ,and hereabouts the visitor should pause once more to examine a consecutive series of sculptures4 ,these are marked from #ceb to #cfj4 ,they are casts from the monument of ,lysicrates1 erected to celebrate a musical contest about three centuries and a half before our era4 ,this monument is commonly known as the ,,lantern ,,of ,,demosthenes4 ,this name is derived from a story long current1 that the monument was built by ,demosthenes as a place of retirement4 ,it was in reality a monument erected in honour of ,lysicrates1 and the musicians or actors who carried off the palm in musical or dramatic entertainments4 ,this monument is interesting as being the oldest existing specimen of the ,corinthian order of architecture4 ,the frieze1 of which there are specimens before the visitor1 represents the story of the revenge ,bacchus indulged in towards some ,tyrrhenian corsairs1 who endeavoured to convey him to ,asia to sell him as a slave4 ,it is related that discovering their infamous project1 he transformed the masts and oars of the vessel into snakes4 ,the frieze is divided into nine compartments1 and the central figure is ,bacchus seated with his panther before him1 a vessel in his hand1 and attendant fauns4 ,the fantastic punishment of the pirates is forcibly depicted4 ,here one bound to a rock finds the cord changed into a powerful serpent2 there men leaping into the sea are already half changed to dolphins2 and others are receiving severe castigation4 ,having examined these curious sculptures1 the visitor may rapidly review the rest of the relics which he will care to examine4 ,passing the inscriptions 7all interesting to the antiquarian71 the votive altars1 and other fragments1 he may halt here and there before various interesting bas-reliefs4 ,among these are a bas-relief representing ,vesta and ,minerva crowning a young man 7#cge72 a bas-relief of ,jupiter and ,juno2 a bas-relief representing a sacrifice before an altar 7#chj72 an imperfect bas-relief representing three goddesses 7#chc72 a lion's head from the roof of the ,parthenon 7#cic72 a fragment from ,mantell's collection1 of a female figure found on the plains of ,marathon 7#cig72 the upper part of a female figure1 in bas-relief1 from ,athens 7#dai72 two women and a child making offerings found in ,laconia 7#dcj72 another bas-relief from ,laconia 7#dca72 a curious subject in bas-relief from ,athens1 representing the upper part of a youth holding something1 supposed to be a lantern1 with a boy near him1 and a cat on a column 7#dcb72 a cast from a tablet representing in bas-relief ,pan seated on a rock with a draped nymph1 supposed to be ,echo1 before him 7#dcc72 a cast of the tablet of ,euthydia1 daughter of ,diogenes1 who is taking leave of friends 7#dce72 and lastly1 a bas-relief representing the shape of a shield1 on which the names of the ephebi of ,athens1 under ,alcamenes1 are inscribed4 ,this is said to have belonged originally to the ,parthenon4 ,and here the visitor will close his inspection of the ,elgin ,saloon4 ,that he will return to these fine relics of the old ,greeks1 if he have the opportunity1 is certain4 ,he may come again and again1 and each time gain something in the contemplation of these classical models2 noble thoughts before the masterly figure of ,theseus1 a keen sense of beauty near the beautiful forms of the ,parthenon frieze4 ,of all the glorious monuments of antiquity that have reached us of the proud nineteenth century1 none have so noble a significance as the broken marbles collected in this room4 ,the contemplative man1 seeing their perfect beauties1 asks himself in their presence many puzzling questions4 ,but perhaps the first that rises in the mind is wonder at the contrast between the development of art and the poorness of science in this splendid antiquity4 ,no steam then to wield the hammer2 only the most limited knowledge of the earth3 the west an indescribable region of harmony and glory2 the world a flat surface2 fearful mariners hugging the shore close at home1 and trusting to the stars2 and ,england a savage place where wolves rent the air at night2 and a heathen mythology the faith of the most civilised people of the earth4 ,under these barbarous circumstances1 the poetry that dwells in the heart of all people who cultivate some affinity to nature1 fashioned the mould of a ,phidias for the people of ,athens4 ,a man with a stern soul1 an eye large and grand1 a frame built to realise the soul's tasks--we see this ,phidias of the ,greeks as he hovered about the foundations of the ,parthenon1 when the name of ,pericles was every ,greek's watchword1 four centuries and a half before our ,christian era4 ,the man appears to have been of colossal parts in every way4 ,versed in history1 a poet given to study fables 7as all poets are71 keen in sifting the subtleties of geometry1 a passionate reader of ,homer2 this was indeed the sculptor of the gods6 ,of the high estimation in which the sculptures of the ,parthenon should be held1 it is superfluous to say more than all writers on art have agreed in saying4 ,here we have master-pieces1 beyond which the sculptors of the many ages that have passed away since ,phidias laboured at his ,jupiter in the ,olympian grove have never reached4 ,high praise this to say of a man who has been twenty-two centuries in his grave1 that he accomplished in the utmost perfection those ideals to which his imitators have vainly aspired4 ,it appears that ,phidias had his troubles1 knew the force of a frown from men in power1 and in exile produced his master-piece4 ,whether he died in disgrace and by foul means are points upon which the dust of ages has settled for ever4 ,we know thus much of him and no more4 ,but the visitor who has probably been more impressed with the contents of the ,elgin ,saloon than with the massive coarseness of the ,egyptian antiquities1 will be glad to hear a few general words--an authoritative summing up of the matter from a pen more clearly authorised to touch the subject than ours can be4 ,a brief summary1 a terse description1 analytical and picturesque1 of a field of speculation or a region of wonder1 systematises the spectator's impression1 and with the view of fastening the proper contemplation of these master-pieces upon the visitor's mind1 we quote a few pointed sentences on the sculptures of the ,elgin ,saloon1 from the pen of ,sir ,henry ,ellis4 ,these marbles1 chiefly ornamental1 belong to one edifice dedicated to the guardian deity of the city1 raised at the time of the greatest political power of the state1 when all the arts which contribute to humanise life were developing their beneficial influence4 ,many of the writers of ,athens1 whose works are the daily textbooks of our schools1 saw in their original perfection the mutilated marbles which we still cherish and admire4 ,the ,elgin collection has presented us with the external and material forms1 in which the art of ,phidias gave life and reality to the beautiful mythi which veiled the origin of his native city1 and perpetuated in groups of matchless simplicity the ceremonies of the great national festival4 ,the lover of beauty and the friend of ,grecian learning will here find a living comment on what he reads2 and as in the best and severest models of antiquity we always discover something new to admire1 so here we find fresh beauties at every visit1 and learn how infinite in variety are simplicity and truth1 and how every deviation from these principles produces sameness and satiety4 ,it is but just that those who feel the value of this collection should pay a tribute of thanks to the nobleman to whose exertions the nation is indebted for it2 and the more so as he was made the object of vulgar abuse by many pretended admirers of ancient learning4 ,if ,lord ,elgin had not removed these marbles1 there is no doubt that many of them would long since have been totally destroyed2 and it was only after great hesitation1 and a certain knowledge that they were daily suffering more and more from brutal ignorance and barbarism1 that he could prevail on himself to employ the power he had obtained to remove them to ,england4 ,these marbles may be considered in two ways2 first1 as mere specimens of sculpture2 and secondly1 as forming part of the history of a people4 ,as specimens of sculpture they serve as excellent studies to young artists1 whose taste is formed and chastened by the simplicity and truth of the models presented to them4 ,the advantage of studying the ancients in this department of art rests pretty nearly on the same grounds as those which may be given for our study of their written models4 ,modern times produce excellence in every department of human industry1 and our knowledge of nature1 the result of continued accumulations1 needs not now the limited experience of former ages4 ,the sciences founded on demonstration1 though they may trace their origin to the writings of the ,greeks1 have advanced to a state in which nothing would be gained by constantly recurring to the ancient condition of knowledge4 ,but it is not so with those arts which belong to the province of design2 they require a different discipline1 and the faculties which they employ may have received a more complete development two thousand years ago1 under favourable circumstances1 than they have now4 ,their perfection depends on circumstances over which we have little control3 they cannot1 in our opinion1 ever become essentially popular in any country but one where the climate favours an out-of-door life1 and where they are intimately blended in the service of religion4 ,if then a nation has existed whose physical organisation1 whose climate1 and whose religion all combined to develop the principles of beauty1 and taught man to choose from nature those forms and combinations which give the highest and most lasting pleasure1 we of the present day who do not possess these advantages must follow those who were the first true interpreters of nature4 ,their models possess the advantage of being fixed2 for without some standard universally admitted1 we should run into all the extravagances of conceit and affectation4 ,no work of the present time is ever universally admitted as an indisputable standard4 ,it is only when time has placed an interval between the present and the past1 wide enough to destroy all the rivalries of competition2 that great works receive the full acknowledgments of their merits1 and become standards to which we all appeal4 ,thus in the art of writing our own language1 we refer to the best models of past instead of to the works of our own days2 and our youth at school are chiefly trained on the written models of ,greece and ,home1 instead of those of our own country4 ,the advantage of this consists in having before us examples which all appeal to1 not because we contend that they are in all respects the best1 but because they were the best of their day1 and being written in a language no longer subject to change1 may be taken as an universal standard by which all civilised nations may measure their thoughts and the mode of expressing them4 ,the frieze of the ,parthenon and the dramas of ,sophocles1 the forms of the marble and the conceptions of the great poet1 still speak to our imagination and our understanding3 we recognise1 in both1 the beauty of proportion1 the simplicity and truth of design2 and we all assent to a standard which we feel to be in harmony with nature1 and to which all nations will yield a more ready obedience than to any other that we can name4 ,though the artist and the student may examine the sculptures of the ,parthenon with somewhat different views1 their studies are more nearly allied than is generally supposed4 ,the artist who looks at them merely as delineations of form1 without reference to the ideas which gave them their existence1 loses half the pleasure and the profit2 and the student who merely names and catalogues them1 without connecting them with the written monuments of ,grecian genius1 that is with the illustration of ancient texts1 is also pursuing a barren study4 ,and now the visitor's way lies through the sculpture galleries1 back to the grand entrance4 ,he has accomplished the labour of examining all that is exhibited to the public generally of the contents of the national museum4 ,he may wander into the eastern wing of the building 7if it be open to the general visitor71 and through the northern1 where the vast library of printed books and manuscripts are deposited2 but these are only accessible to the public under special regulations4 ,this remark is applicable also to the print-room4 ,the visitor1 however1 cannot leave the ,british ,museum1 having wandered over it and examined its various curiosities1 without getting something from his journey4 ,it is full of suggestive matter1 which1 with a little direction1 may be turned to useful account by large classes of the people4 ,it affords glimpses into the mysteries of the ,animal ,kingdom1 with all its varieties1 its wonders1 its traceable progresses1 its past and extinct forms1 its promises of future developments4 ,then the mineralogical galleries afford the general visitor a peep at the formations of the earth2 the various developments of minerals2 the natural state of ores and stones which most men see only in their manufactured state4 ,from the mineralogical tables the visitor stepped aside to examine the wondrous revelations of extinct animal life recovered from the bowels of the earth2 he saw the colossal megatherium1 the towering mastodon1 and the great ,irish elk4 ,he understood something of the progress of animal life1 from the fishes and the saurians4 ,then he passed into the ,egyptian room1 and found himself surrounded with the preserved bodies of the ancient ,egyptians2 he examined their household gods2 he pried into their coffins2 he saw their food2 he was familiarised with their apparel4 ,still proceeding onward1 he came to the beautiful bronzes2 and then he saw the wonders that the ancient tombs of ,etruria disgorged4 ,he still advanced in the galleries1 till he came to a room that was a little museum in itself--an exhibition of the curious industries of many different countries4 ,here were ,buddhist temples2 ,chinese chopsticks2 marvels from savage islands2 a tortoise-shell bonnet2 a ,chinese bell2--in short1 a room packed from the ceiling to the floor with a compact mass of curiosities4 ,and then he left the upper floor of the building1 after having spent two days there1 through two towering cameleopards4 ,he came a third time1 and at once passing many things that tempted him by the way1 he passed on into the great and wonderful ,egyptian ,saloon4 ,here he lingered for hours over ancient ,egyptian tombstones2 before colossal sarcophagi2 thinking of the tough work ,belzoni must have had of it with the young ,memnon2 endeavouring to realise the approach to the ancient ,egyptian temples through rows of colossal and majestic sphinxes4 ,next he passed on to the ruins of ,nineveh1 and its mystic mounds4 ,here he was with ,layard for a time1 dreaming of the ancient ,assyrians and their winged bulls4 ,hence he passed into the ,lycian room1 and saw something of the strange remains of the ,xanthus of old2 and then1 probably1 he went home to dream of these great marvels of the times gone by4 ,but he came again2 and this time hovered throughout the day amid the ruins of the arts of ancient ,greece4 ,and now he has examined these2 and he may leave the national museum1 assured that he has some useful knowledge of the curiosities which scientific men have gathered from the remote parts of the world1 for the benefit of the learned resident in ,england4 ,the tens of thousands who flock to the museum in holiday times prove its attractions2 and it is with the hope that these attractions may be enhanced by the help of a methodical and homely guide1 chattering to the visitor various bits and scraps of pertinent information as he passes from one object to another1 that these four visits have been presented to the public4 ,they do not pretend to be scientific books1 but simply companions of the hour1 that urge little points of information while the mind is particularly impressible2 and showing the kind of interest that attaches to objects which1 for the want of a timely word1 the visitor would have passed unnoticed4 ,many objects which are curiosities to the scientific man1 but which could not in any way interest the casual visitor1 have been passed by without hesitation4 ,our main object has been to give the visitor clear impressions of the different departments or classes into which the national collection naturally divides itself1 by guiding his eye consecutively to those objects which bear relation to each other4 ,it was necessary1 to make ourselves attractive as guides1 to eschew all learned and stiff formalities2 to class matters easily as we found them2 and to sustain the visitor's interest throughout his four journeys4 ,the monotony of a formal catalogue is repulsive to visitors chiefly bent upon enjoying a few hours amusement2 therefore we chose to direct the eye to objects1 and at once to interest the visitor in them1 by shortly explaining their points of interest4 ,the success which this endeavour met elsewhere has encouraged us to perform the present task2 and we hope shortly to be at the elbow of visitors to other interesting buildings and exhibitions4 ,the popularity of the ,british ,museum may be shown by quoting the last return of the number of visitors1 c41 presented to the ,house of ,commons4 ,this return proves that1 while the public interest in the collection is on the increase1 that the guardians of the different departments look out eagerly for new curiosities3--,the number of readers--or rather of visits made by readers1 in #ahej1 was #gh1ecc3--or1 an average of some #bfh per diem3--the ,reading ,rooms having been kept open #bia days4 ,the number of books returned to the shelves of the ,general ,library from the ,reading ,rooms was #aai1jic2 to those of the ,royal ,library1 #aa1beb2 to those of the ,grenville ,library1 #chg3 to the closets in which the books are kept from day to day for the use of the readers1 #aaj1iej3--making a total of #bda1fhb1 or #hcj per diem4 ,the number of volumes added to the ,library amounts to #af1bjh 7including music1 maps1 and newspapers72 of which #hcg were presented1 #aa1gic purchased1 and #cege received by copyright4 ,the ,keeper of the ,,mss4 has been busy cleaning1 cataloguing1 and stamping4 ,eleven of the valuable ,cottonian ,,mss4 on vellum 7including the ,chronicle of ,roger de ,wendover1 supposed to have been utterly destroyed71 and two ,old ,royal as well as five ,cottonian on paper1 all injured in the fire of #agca1 have been carefully repaired1 inlaid1 and rebound4 ,the purchases include a ,psalter of the tenth century1 formerly belonging to the monastery of ,stavelot1 in the diocese of ,lige1--'a remarkably fine ,greek ,,ms4' containing the works ascribed to ,dionysius the ,areopagite1--and the ,homilies of ,gregory of ,nazianzum1 'with scholia written in the year #fdhj 7,a4,d4 #igb72'--together with nineteen additional volumes of a series of transcripts from the ,archives at the ,hague1 of documents relating to ,english history1 extending from #aehh to #afad and from #afhi to #agjb4--;,in the ',department of ,natural ,history1' we find that great progress has been made in the arrangement of the contents of ,room ,no4 ,,vi41--its wall cases having been entirely filled with the gigantic ,osseous ,remains of ,edentata and ,pachydermata1 and that the ,central ,room of the ,northern ,zoological ,gallery has been devoted to a collection of the ,beasts1 ,birds1 ,fish1 ,reptiles1 ,shells1 ,sea ,eggs1 ,starfish1 and ,corals found in the ,british ,islands4 ,the purchases include 'a silver decadrachm of ,alexander the ,great1' from the collection of ,colonel ,rawlinson1--the first ever discovered1--'and two very rare ,british gold coins1 having on them the name ,,tin4' ,,the ,,end4 ,,notes #a3 ,undoubtedly the finest coral is dredged from the ,mediterranean2 it is an important article of commerce at ,marseilles4 #b3 ,the shrikes1 or butcher-birds 7laniadae71 are a numerous and widely-diffused assemblage1 living upon the smaller birds and insects2 the former of which the shrike sticks1 when killed1 upon thorns1 as a butcher hangs up meat in his stall2 hence the name of the genus4--,vestiges of ,creation4 #c3 ,vestiges of ,creation4 #d3 ,these birds build in the crevices of precipitous rocks1 and tho female lines the nest with the down plucked from her breast4 ,from these nests natives rob the down and sell it4 #e3 ,vestiges of ,creation4 #f3 ,oxides are neutral compounds1 containing oxygen in equivalent proportions4--,dr4 ,ure4 #g3 ,sesquicarbonate of soda that is found in the west of the ,delta4 ,in ,mexico there are several natron lakes4 #h3 ,the cuneiform character1 which was used in every part of ,asia ,minor1 up to the time of ,alexander the ,great1 consists of a series of wedges or accents variously combined1 as1 ,cuneiform3 999999 99994 #i3 ,a ,metope may be described as the intermediate space in a ,doric frieze1 between two triglyphs1 or separating grooves4