Chapter XXXIV: Part 34

If we look backwards to the most remote times of Greek industry, we find that long before fire-casting became customary, almost every kind of work was carried out by the simple means of the hammer and tongs, wielded by skilful hands. Even products of art were created in this manner; and as statues, vases, and the like could not be put together by the process of soldering, nails were used for the purpose, as we learn not only from ancient writers, but even from monuments which have lately been discovered in Etruria, and the most important specimens of which are now possessed by the British Museum. In one of the tombs belonging to the vast necropolis of Vulci were discovered, about twenty years ago, a great many bronzes of this very ancient workmanship; one of them represents a bust placed on a basement covered with thin copper plates, and adorned by a row of figures, which are likewise chased; long curls fall down over the neck and shoulders, and these parts especially are formed in the most simple manner: one would be tempted to call it child-like, did not the whole composition show a certain character which enables the experienced eye of the art-philosopher to distinguish in these rude attempts at plastic metal work the very germ of those wonderfully-styled productions of a later period. The engraving here annexed, giving a side view of this remarkable, and as yet unique monument, is intended to show the arrangement of the hair, which, in spite of its simple treatment, presents as a whole some trace of grace, and principles of fine proportions. We perceive that the curls are formed by rolling and twining together small strips of bronze plate, connected with the head itself by the mechanical means we have alluded to. There is no trace of soldering; and we may be sure that we possess in this figure a good specimen of those hammer-wrought sculptures of old which were spoken of by the Greeks themselves as belonging to a fabulous period.

THE HAIRY WOMAN OF BURMAH.

The following account of this remarkable freak of nature is taken from Captain Yule's "Mission to Ava." Writing from the city of Amarapoora, the capital of Burmah, the Captain says:--

"To-day we had a singular visitor at the residency. This was Maphoon, the daughter of Shwe-maong, the "Homo hirsutus" described and depicted in Crawfurd's narrative, where a portrait of her, as a young child, also appears. Not expecting such a visitor, one started and exclaimed involuntarily as there entered what at first-sight seemed an absolute realization of the dog-headed Anubis.

"The whole of the Maphoon's face was more or less covered with hair. On a part of the cheek, and between the nose and mouth, this was confined to a short down, but over all the rest of the face was a thick silky hair of a brown colour, paling about the nose and chin, four or five inches long. At the alea of the nose, under the eye, and on the cheek-bone, this was very fully developed, but it was in and on the ear that it was most extraordinary. Except the extreme upper tip, no part of the ear was visible: all the rest was filled and veiled by a large mass of silky hair, growing apparently out of every part of the external organ, and hanging in a dependent lock to a length of eight or ten inches. The hair over her forehead was brushed so as to blend with the hair of the head, the latter being dressed (as usual with her countrywomen) _a la Chinoise_. It was not so thick as to conceal altogether the forehead.

"The nose, densely covered with hair so as no animal's is that I know of, and with long fine locks curving out and pendent like the wisps of a fine Skye terrier's coat, had a most strange appearance. The beard was pale in colour, and about four inches in length, seemingly very soft and silky.

"Poor Maphoon's manners were good and modest, her voice soft and feminine, and her expression mild and not unpleasing, after the first instinctive repulsion was overcome. Her appearance rather suggested the idea of a pleasant-looking woman masquerading than that of anything brutal. This discrimination, however, was very difficult to preserve in sketching her likeness, a task which devolved on me to-day in Mr. Grant's absence. On an after-visit, however, Mr. Grant made a portrait of her, which was generally acknowledged to be most successful. Her neck, bosom, and arms appeared to be covered with fine pale down, scarcely visible in some lights. She made a move, as if to take off her upper clothing, but reluctantly, and we prevented it. Her husband and two boys accompanied her. The elder boy, about four or five years old, had nothing abnormal about him. The youngest, who was fourteen months old and still at the breast, was evidently taking after his mother. There was little hair on the head, but the child's ear was full of long silky floss, and it could boast a moustache and beard of pale silky down that would have cheered the heart of many a cornet. In fact, the appearance of the child agrees almost exactly with what Mr. Crawford says of Maphoon herself as an infant. This child is thus the third in descent exhibiting this strange peculiarity; and in this third generation, as in the two preceding, this peculiarity has appeared only in one individual. Maphoon has the same dental peculiarity also that her father had--the absence of the canine teeth and grinders, the back part of the gums presenting merely a hard ridge. Still she chews pawn like her neighbours.

Mr. Camaretta tells some story of an Italian wishing to marry her and take her to Europe, which was not allowed. Should the great Barnum hear of her, he would not be so easily thwarted.

According to the Woundouk, the King offered a reward to any man who would marry her, but it was long before any one was found bold enough or avaricious enough to venture. Her father, Shwe-maong, was murdered by robbers many years ago."

A TRAVELLER'S PASSPORT.

The following document, included among the rolls, is dated 1680, from Whitehall:--

"Dame Mary Yate, having asked his majesty's permission to pass beyond the seas, for the recovery of her health, his majesty was most graciously pleased to grant her request, under the usual clauses and provisoes, according to which ye said Dame Mary Yate having given security not to enter into any plott or conspiracy against his majesty or his realms, or behave herself in any such manner as may be prejudicial to his majesty's government, or the religion here by law established, and that she will not repaire to the city of Roome, or return unto this kingdome without first acquainting one of his majesty's principal secretaries of state, and obtaining leave for the same, in pursuance of his majesty's commands in council hereby will and require you to permit and suffer the said Dame Mary Yate to imbarque with her trunkes of apparel and other necessaries not prohibited at any port of this kingdom, and from thence to pass beyond the seas, provided that shee departe this kingdom within 14 days after the date hereof."--April 14.

If the above refers to the celebrated Lady Mary Yate (a daughter of the house of Pakington) who is commemorated on a monument in Chaddesley Church, Worcestershire, as having died in 1696, at the age of 86, she must have been 70 years old when these precautions were taken by the Government against the poor old lady attempting to invade the country, or to comfort the Pope with her presence and support. Dame Mary Yate was no doubt a Roman Catholic, and the permission above referred to was granted under the seventh section of the statute 3rd James I, chap. 5, which was virtually repealed by the statute 33rd George III, chap. 30, which exempted Roman Catholics from all the penalties and restrictions mentioned and enjoined in the older acts, if in one of the Courts at Westminster or at the Quarter Sessions they made a declaration which to them was unobjectionable.

CURIOUS PROVINCIAL DANCE IN FRANCE.

The inhabitants of Roussillon are passionately fond of dancing; they have some dances peculiar to themselves. The men generally commence the country dance by a _contre-pas_, the air of which is said to be of Greek origin; the women then mingle in the dance, when they jointly perform several figures, passing one among the other, and occasionally turning each other round. At a particular change in the air, the male dancer must dexterously raise his partner and place her on his hand in a sitting posture. Accidents sometimes happen upon these occasions, and the lady falls to the ground amidst the jokes and laughter of her companions. One of these dances, called _lo salt_, is performed by four men and four women. At the given signal, the cavaliers simultaneously raise the four ladies, forming a pyramid, the caps of the ladies making the apex. The music which accompanies these dances consists of a _lo flaviol_, a sort of flageolet, a drum, two hautboys, prima and tenor, and the _cornemuse_, called in the country _lo gratla_: this instrument, by its description, must somewhat resemble the bagpipes. The dance called _Segadilles_ is performed with the greatest rapidity: at the end of every couplet, for the airs are short and numerous, the female dancers are raised, and seated on the hands of their partners.

ANCIENT INSTRUMENT OF PUNISHMENT.

Whip of Steel.]

The instrument which we here engrave is a whip of steel that was made and used as an engine of punishment and torture about the middle of the sixteenth century. It is composed of several truncated cones, grooved with sharp edges, and held in opposite directions, so as to give sufficient oscillation without rising so far as to strike the hand of the executioner. It seems to have been held by a strap; but its barbarity is evident.

PUNISHING BY WHOLESALE.

Henry VIII. is recorded, in the course of his reign, to have hanged no fewer than 72,000 robbers, thieves, and vagabonds. In the latter days of Elizabeth scarcely a year passed without 300 or 400 criminals going to the gallows. In 1596, in the county of Somerset alone, 40 persons were executed, 35 burnt in the hand, and 37 severely whipped.

MONKS AND FRIARS.

There was a distinction between the Monks and Friars, which caused the latter to become the object of hatred and envy. Both the monastic, or regular, and parochial clergy, encouraged the attacks made upon them. The Monks were, by most of their rules, absolutely forbidden to go out of their monasteries, and, therefore, could receive only such donations as were left to them. On the contrary, the Friars, who were professed mendicants, on receiving notice of the sickness of any rich person, constantly detached some of their members, to persuade the sick man to bequeath alms to their convent; thus often, not only anticipating the Monks, but, likewise the parochial clergy. Besides, as most of them were professed preachers, their sermons were frequently compared with those of the clergy, and in general, not to the advantage of the latter. In these sermons, the poverty and distress of their order, were topics that, of course, were neither omitted, nor slightly passed over. Considering the power of the Church, before the Reformation, it is not to be supposed that any of the Poets, as Chaucer, &c., would have ventured to tell those rediculous stories of the Friars, with which their works abound, had they not been privately protected by the superior clergy.

CURIOUS TURKISH CONTRIVANCE.

Curious Turkish Contrivance.]

Wonderful are the appliances by which ingenuity contrives to supply the evasions of idleness. We give one of them, as described by Mr. Albert Smith, in his "Month at Constantinople."

"Passing some cemeteries and public fountains, we came to the outskirts of the city, which consist chiefly of gardens producing olives, oranges, raisins and figs, irrigated by creaking water-wheels worked by donkeys. To one of these the droll contrivances which attracted our notice was affixed. The donkey who went round and round was blinded, and in front of him was a pole, one end of which was fixed to the axle and the other slightly drawn towards his head-gear and there tied: so that, from the spring he always thought somebody was pulling him on. The guide told us that idle fellows would contrive some rude mechanism so that a stick should fall upon the animal's hind quarters at every round, and so keep him at work whilst they went to sleep under the trees."

FIGURES OF DOGS ON ANCIENT TOMBS.

In attempting to assign a reason for the frequent occurrence of dogs at the feet of tombs, we shall most probably be right if we simply attribute the circumstance to the affection borne by the deceased for some animal of that faithful class. That these sculptured animals were sometimes intended for likenesses of particular dogs is evident. Sir Bryan Stapleton, on his brass at Ingham, Norfolk, rests one foot on a lion, the other on a dog; the name of the latter is recorded on a label, _Jakke_. Round the collar of a dog at the feet of an old stone figure of a knight, in Tolleshunt Knight's Church, Essex, letters were formerly traced which were supposed to form the word _Howgo_.

In a dictionary of old French terms, we find that the word _Gocet_ means a small wooden dog, which it was customary to place at the foot of the bed. Now it has been thought that something of this kind was intended in the representation of dogs on tombs, and that this support of the feet merely indicates the old custom of having that sort of wooden resting-place for the feet when in a recumbent position. But our first supposition appears the more natural, and is supported by the fact that a large proportion of these sculptured dogs, instead of being placed beneath the feet, are seated on the robe or train, looking upwards with the confidence of favourite animals. Judith, daughter of the Emperor Conrad, is represented on her tomb (1191) with a little dog in her right hand.

On the tomb of Sir Ralph de Rochford, in Walpole Church, Norfolk, his lady is by his side, dressed in a reticulated head-dress and veil, a standing cape to her robe, long sleeves buttoned to her wrists, a quatrefoil fastens her girdle, and a double necklace of beads hangs from her neck. At her feet is a dog looking up, and another couchant. In the chancel at Shernborne, Norfolk, the figure of Sir Thomas Shernborne's lady (1458) has at the right foot a small dog sitting, with a collar of bells.

On a large antique marble in the chancel at Great Harrowden, Northamptonshire, are the portraits of a man in armour, and his wife in a winding sheet. The man stands on a greyhound, and the woman has at her feet two little dogs looking upwards, with bells on their collars. This monument is that of William Harwedon and Margery, daughter of Sir Giles St. John of Plumpton. She died in the twentieth year of Henry VI.

THE FATE OF THE LAST MAY-POLE IN THE STRAND.

The May-pole, which had been set up in 1641, having long been in a state of decay, was pulled down in 1713, and a new one, with two gilt balls and a vane on the top of it, was erected in its stead. This did not continue long in existence; for, being in 1718 judged an obstruction, to the view of the church then building, orders were given by the parochial authorities for its removal. Sir Isaac Newton begged it of the parish, and it was conveyed to Wanstead Park, where it long supported the largest telescope in Europe, belonging to Sir Isaac Newton's friend, Mr. Pound, the rector of Wanstead. It was 125 feet long; and presented to Mr. Pound by Mr. Huson, a French member of the Royal Society.

MEANS OF ATTRACTING CUSTOM.

Before houses were numbered, it was a common practice with tradesmen not much known, when they advertised, to mention the colour of their next neighbour's door, balcony, or lamp, of which custom the following copy of a handbill will present a curious instance:--

"Next to the GOLDEN DOOR, opposite Great Suffolk Street, near Pall Mall, at the Barber's Pole, liveth a certain person, Robert Barker, who having found out an excellent method for sweating or fluxing of wiggs; his prices are 2s. 6d. for each _bob_, and 3s. for every _tye wigg_ and _pigtail_, _ready money_."

MUSIC OF THE HINDOOS.

Among the fine arts of India, music holds a distinguished place; and although its cultivation has declined, and but few are now found who have attained to eminence either in the science or art of this unequalled source of recreation, refinement, and pleasure, yet no people are more susceptible of its charms than the Hindoos. Reading is with them invariably, as with the Arabians and other Eastern nations, a species of _recitativo_, a sort of speaking music, delivered in dulcet though not measured tones. The recitation of lessons in a school or academy always takes this form. The man at the oar, women beating lime, the labourer engaged in irrigation, alike accompany their toil with song.

The word _sangita_, symphony, as applied to music by the Hindoos, conveys the idea of the union of _voices_, _instruments_, and _action_. Musical treatises accordingly treat of _gana_, _vadya_, _uritya_, or _song_, _percussion_, and _dancing_; the first comprising the measures of poetry; the second, instrumental sounds; and the third, theatrical representation. The ancient dramas of the Hindoo exhibited the union of these in their unequalled poetry, modulated with the accompaniments of voice, and instruments, and the attractions of appropriate scenery.

The music of the Hindoos includes eighty-four modes, each supposed to have a peculiar expression, capable of moving some particular sentiment or affection. The modes take their denomination from the seasons, or from the hours of day or night. Musical composition is supposed capable of adaptation to the different periods of the day, and therefore its provisions are regulated by the hours. The ideas of the Hindoos on music, as promoting the pleasures of imagination, may be inferred from the names applied by ancient authors to their musical treatises. One is called _Ragarnava_, the Sea of the Passions; another, _Ragaderpana_, the Mirror of Modes; and a third, _Sobhavinoda_, the Delight of Assemblies; a fourth, _Sangitaderpana_, the Mirror of Song; and another, _Ragavibodha_, the Doctrine of Musical Modes. Some of these works explain the law of musical sounds, their divisions and succession, variations of scales by temperament, and the enunciation of modes; besides a minute description of the different _vinas_ (lute), and the rules for playing them. This is a fretted instrument of the guitar kind, usually having seven wires or strings, and a large gourd at each end of the finger-board. Its extent is two octaves, and its invention is attributed to Nareda, the son of Brahma. There are many varieties, named according to the number of their strings. Of one of them we give an engraving below.

Music, like everything else connected with India, is invested with divine attributes. From the sacred Veda was derived the Upaveda, or subsidiary Veda of the Gandharbas, the heavenly choristers. The art was communicated to mortals by Sarasvati, the consort of Brahma. She, as before stated, is the patroness of the fine arts, the goddess of speech. Their son, an ancient lawgiver and astronomer, invented the Vina. The first inspired man, Bherat, invented the Drama.

Hindoo Guitar.]

PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND DECCLES.

ROUTLEDGE'S

=BOOKS FOR THE PEOPLE

70 VOLUMES.=

_Crown 8vo, Cloth, 2/- each. Crown 8vo, Paper Covers, 1/6 each._

=Macaulay's Essays and Lays of Ancient Rome.= Complete Edition.
924 pages.
=The Spectator.= Complete Edition, reproducing the original
text. Edited by Prof. H. MORLEY. 944 pages.
=Carlyle's French Revolution.= Complete Edition.
=---- Sartor Resartus, Heroes, and Hero Worship, Past and Present.=
=---- Oliver Cromwell's Letters and Speeches.=
=Carleton's Traits and Stories of the Irish Peasantry.= Complete
Edition.
=Anne Bowman's New Cookery Book. 635 pages.= (Cloth limp, =18.=)
=Cruden's Concordance to the Old and New Testaments.=
=Wise Sayings of the Great and Good.=
=Book of Humour, Wit, and Wisdom.=
=Foxe's Book of Martyrs.= Abridged from Milner's Large Edition.
=Robinson Crusoe.= With 52 Plates by J. D. WATSON.
=Gulliver's Travels into several Remote Regions of the World.=
SWIFT.
=Arabian Nights' Entertainments.=
=Adventures of Don Quixote.= JARVIS'S Translation.
=Southey's Life of Nelson.=
=Josephus.= Translated by WHISTON.
=Book of Epigrams.= W. D. ADAMS..
=Bunyan's Pilgrim's Progress.= Edited by GEORGE OFFOR.
=Life of Napoleon.= CHARLES MACFARLANE.
=Curiosities of Literature.= ISAAC D'ISRAELI.
=Amenities of Literature.= Do.
=Miscellanies of Literature.= Do.
=Boswell's Life of Dr. Johnson.= (Centenary Edition.)
=The Orbs of Heaven.= O. M. MITCHELL.
=Bogatzky's Golden Treasury.=
=The Breakfast Table Series.= By O. W. HOLMES.
=AEsop's Fables.= Illustrated by HARRISON WEIR.
=Milman's History of the Jews.=
=Lord Lytton's Pamphlets and Sketches.=
=The Waverley Anecdotes.=
=Lord Lytton's England and the English.=
=Rabelais' Works.= Edited by HENRY MORLEY.
=Prescott's History of the Reign of Ferdinand and Isabella.= 3 vols.
=---- History of the Conquest of Mexico.= 3 vols.
=---- History of the Conquest of Peru.= 3 vols.
=---- History of the Reign of Philip II.= 3 vols.
=---- History of the Reign of Charles V.= 2 vols.
=---- Critical and Historical Essays.=
=The Pickwick Papers.= By CHARLES DICKENS.
=Principles of Political Economy.= By JOHN STUART MILL.
=Popular Astronomy.= By O. M. MITCHELL.
=Plutarch's Lives.= LANGHORNE'S Translation.
=Emerson's Works.= 640 pages.
=Longfellow's Prose Works.=
=Roscoe's Life or Leo X.= 2 vols.
=Goldsmith's Complete Works.=
=Adam Smith's Wealth of Nations.=
=De Foe's Journal of the Plague Year.=
=Walton and Cotton's Complete Angler.=
=The Adventures of Gil Blas.=
=Motley's Rise of the Dutch Republic.= 3 vols.
=Napier's History of the Peninsular War, 1807-1814.= 3 vols.
=White's Natural History of Selborne.= Edited by Sir WILLIAM JARDINE.
=Bacon's Essays.=
=Charles Lamb's Complete Works.=
=Crabb's English Synonyms Explained.= 640 pages.

ROUTLEDGE'S

=POETS FOR THE PEOPLE

52 VOLUMES.=

_Crown 8vo, Cloth, 2/- each. Crown 8vo, Paper Covers, 1/6 each._

=Shakspere.= Edited by CHARLES KNIGHT, with Portrait and
63 page plates by Sir JOHN GILBERT, R.A. 832 pages.
=Longfellow's Poetical Works.= Complete Edition, with 126
Copyright Poems.
=Scott's Poetical Works.= 640 pages.
=Byron's Poetical Works.= 752 pages.
=Burns's Poetical Works.= 512 pages.
=The Ingoldsby Legends.= 512 pages, with 22 Illustrations from Designs
by CRUIKSHANK and LEECH.
=Homer's Iliad and Odyssey.= Pope's Translation.
=Moore's Poetical Works.= With Memoir by CHARLES KENT.
=Bret Harte's Poetical Works.=
=Mrs. Hemans' Poetical Works.=
=Hood's Poetical Works, Serious and Comic.= 528 pages.
=Shelley's Poetical Works.= With Memoir by W. B. SCOTT.
=Shakspere Gems=: Extracts, specially designed for Youth.
=Cowper's Poetical Works.=
=Milton's Poetical Works.= From the Text of Dr. NEWTON.
=Sacred Poems: Devotional and Moral.=
=Choice Poems and Lyrics.= Beautiful pieces from 130 Poets.
=Chaucer's Canterbury Tales.=
=Book of British Ballads.= Edited by S. C. HALL.
=Holmes's Poetical Works.=
=Lowell's Poetical Works.=
=Willis's Poetical Works.=
=Marlowe's Faustus and Goethe's Faust.= Complete.
=Poems.= By ELIZABETH BARRETT BROWNING.
=Doubtful Plays of Shakspeare.= Edited by HAZLITT.
=Byron's Don Juan.=
=Lord Lytton's King Arthur.=
=---- ---- The New Timon.=
=Dante's Divine Comedy.= LONGFELLOW'S Translation with Notes.
=Whittier's Poetical Works.=
=Bryant's Poetical Works.=
=Campbell's Poetical Works.=
=Coleridge's Poetical Works.=
=Dodd's Beauties of Shakspeare.=
=Herbert's Poetical Works.=
=Keats' Poetical Works.=
=Poe's Poetical Works.=
=Pope's Poetical Works.=
=Wordsworth's Poetical Works.=
=Schiller and Horace.= Translated by LORD LYTTON.
=Percy's Reliques of Ancient English Poetry.=
=Keble's The Christian Year.=
=Virgil's AEneid.= Translated by DRYDEN.
=Butler's Hudibras.=
=Herrick's Poems.=
=Comic Poets of the Nineteenth Century.=
=Spenser's Faerie Queene.=
=Dryden's Poetical Works.=
=Southey's Poetical Works.=
=The Book of Familiar Quotations.=
=Poets' Corner=: A Manual for Students in English Poetry.=
=Sheridan Knowles' Dramatic Works.=

FIFTY VOLUMES HAVE NOW BEEN ISSUED OF =SIR JOHN LUBBOCK'S HUNDRED BOOKS.=

Published on the 10th and 25th of each Month.

Crown 8vo, Red Cloth, uncut edges; or Blue Cloth, cut edges.

_ORDER OF PUBLICATION._

1. HERODOTUS. Literally Translated from the Text of BAEHR, by
HENRY CARY, M.A. 3s. 6d.

2. DARWIN'S VOYAGE OF A NATURALIST IN H.M.S. "BEAGLE." 2s. 6d.

3. THE MEDITATIONS OF MARCUS AURELIUS. Translated from the Greek
by JEREMY COLLIER. 1s. 6d.

4. THE TEACHING OF EPICTETUS. Translated from the Greek, with
Introduction and Notes, by W. T. ROLLESTON. 1s. 6d.

5. BACON'S ESSAYS, 1s. 6d.

6. MILL'S POLITICAL ECONOMY. 3s. 6d.

7. CARLYLE'S FRENCH REVOLUTION. 3s. 6d.

8. SELF-HELP. By SAMUEL SMILES. 6s.

9. WHITE'S NATURAL HISTORY OF SELBORNE. Edited by SIR WILLIAM
JARDINE, Bart. With Illustrations. 3s. 6d.

10. THE PICKWICK PAPERS. By CHARLES DICKENS. With Illustrations by
"PHIZ." 3s. 6d.

11. THE SHI KING: the Old "Poetry Classic" of the Chinese.
Translated by WILLIAM JENNINGS, M.A. 3s. 6d.

12. HOMER'S ILIAD AND ODYSSEY. Translated by ALEXANDER POPE. 3s.
6d.

13. VIRGIL'S AENEID. Translated by JOHN DRYDEN. 1s. 6d.

14. MONTAIGNE'S ESSAYS. 3s. 6d.

15. MILL'S SYSTEM OF LOGIC. 3s. 6d.

16. LEWES'S BIOGRAPHICAL HISTORY OF PHILOSOPHY. 3s. 6d.

17. THACKERAY'S VANITY FAIR. 3s. 6d.

18. THE SHAH NAMEH OF THE PERSIAN POET FIRDAUSI. 3s. 6d.

19. CAPTAIN COOK'S THREE VOYAGES ROUND THE WORLD. 3s. 6d.

20. GOLDSMITH'S VICAR OF WAKEFIELD. 1/6.

21. SCHILLER'S WILLIAM TELL. 1s. 6d.

22. SALE'S KORAN. 3s. 6d.

23. CHARLES KNIGHT'S SHAKSPERE. 3s. 6d.

24. BOSWELL'S LIFE OF DR. JOHNSON. 3s. 6d.

25. SCOTT'S IVANHOE. With Steel Plates. 3s. 6d.

26. THACKERAY'S PENDENNIS. 5s.

27. THUCYDIDES. Translated by W. SMITH, D.D. 3/6

28. DAVID COPPERFIELD. By CHARLES DICKENS. With Illustrations and
Portrait 3s. 6d.

29. BYRON'S CHILDE HAROLD. 2s.

30. THE PLAYS OF AESCHYLUS. Translated by ROBERT POTTER. 2s.

31. ADAM SMITH'S WEALTH OF NATIONS; 3s. 6d.

32. CHAUCER'S CANTERBURY TALES. 3s. 6d.

33. GIBBON'S DECLINE AND FALL OF THE ROMAN EMPIRE. 2 vols. 7s.

34. DIALOGUES OF PLATO: The Apology of Socrates, Crito, Phaedo,
Protagoras. HENRY CARY, M.A. 2s.

35. DON QUIXOTE. By Miguel de Cervantes. With Illustrations by SIR
JOHN GILBERT, R.A. 3s. 6d.

36. SHERIDAN'S PLAYS. 2s.

37. ROBINSON CRUSOE. Illustrated by J. D. WATSON. 3s. 6d.

38. DRYDEN'S POETICAL WORKS. 3s. 6d.

39. PLUTARCH'S LIVES. Translated by JOHN LANGHORNE, M.D., and
WILLIAM LANGHORNE, A.M. 3s. 6d.

40. THE LAST DAYS OF POMPEII. 3s. 6d.

41. BUNYAN'S PILGRIM'S PROGRESS. 3s. 6d.

42. CARLYLE'S PAST AND PRESENT. 2s.

43. ARISTOTLE'S ETHICS. 3s. 6d.

44. WAKE'S APOSTOLICAL FATHERS. 3s. 6d.

45. BACON'S NOVUM ORGANUM. 2s. 6d.

46. DEMOSTHENES ON THE CROWN. 2s. 6d.

47. PASCAL'S THOUGHTS ON RELIGION. 3/6

48. BERKELEY'S HUMAN KNOWLEDGE. 2/6

49. MALORY'S MORT D'ARTHURE. 5s.

50. EMERSON'S ESSAYS. 3s. 6d.

=London: George Routledge & Sons, Limited.=

* * * * *

TRANSCRIBER'S NOTE:

Minor typographical errors have been corrected without note.

Punctuation and spelling were made consistent when a predominant
preference was found in this book; otherwise they were not changed.

Ambiguous hyphens at the ends of lines were retained.

Mid-paragraph illustrations have been moved between paragraphs and
some illustrations have been moved closer to the text that
references them. The Index to Engravings paginations were not
corrected.

Superscripts are enclosed in brackets.

[++] indicates a caption added by the transcriber.

VARIANTS UNCHANGED:

-- Pages xiii and 201: Colebrook and Colebroke.

-- Page 51: Tchang-tchin and Tchang-tching.

-- Pages 108, 390 and others: Southwark and Southwarke.

-- Pages 498 and 571: Mahomed, Mahommed and Mahomet.

-- Pages 298, 306 and others: Hindostan and Hindoostan.

-- Pages 322 and 452: Rossellina, Rosselini and Rossellini.

-- Pages 370 and 371: ivil and ivel.

-- Pages 432, 537 and others: Brama and Brahma.

-- Pages 416 and 422: Bolinbroke and Bollinbroke.

-- Pages 634 and 635: Clothseck and clothsek; Gambaldyn and gambaldynge.

-- Page 635: Krees and Kreez.

-- Multiple pages: Shakespere/Shakspeare/Shakspere.

OTHER NOTES:

-- Pages v and xi: Removed entry "Architecture for Earthquakes"
as no such engraving or description could be found.

-- Page 85: beneficiare changed to beneficiaire.

-- Page 128: Hatherly changed to Hatherley.

-- Page 246: Sackvile changed to Sackville.

-- Page 250: Clarencieux changed to Clarenceux.

-- Page 330: Shaftsbury to Shaftesbury.

-- Page 339: Hasselquiet changed to Hasselquist.

-- Page 346: + IONA + IHOAT + IONA + HELOI + YSSARAY + 11 +
MEPHENOLPHETON + AGLA + ACHEDION + YANA +
BACHIONODONAVALI M ILIOR + 11 BACHIONODONAVLI M ACH +

changed to

+ IONA + IHOAT + LONA + HELOI + YSSARAY + || +
MEPHENOLPHETON + AGLA + ACHEDION + YANA +
BACHIONODONAVALI [M*] ILIOR + || BACHIONODONAVALI [M**] ACH +

[M*] denotes counter-clockwise rotated M and [M**] clockwise
rotated M. Also rendered in other texts as the letter Z or the
number 3. Sources: Thomas R. Forbes, "Verbal Charms in British
Folk Medicine." Proceedings of the American Philosophical
Society, Vo. 115, August 20, 1971, p. 308. And Frederick W.
Fairholt, Ancient, Medieval, and Renaissance Remains in the
Possession of Lord Londesborough. Drawn, Engraved and Described
by Frederick W. Fairholt. London: Chapman and Hall, 1857, p. 83.

-- Page 451: Strasburgh changed to Strasburg.

-- Page 502: "drake coloured satin, and [illegible word] coloured
satin." Changed to "drake coloured satin, and [...] coloured
satin."

-- Page 546: "into his elar;" changed to "into his celar.

-- Pages 549-550: "the slaughtered sun hulls become...." "hulls"
changed to "bulls."

-- Page 550: "according the the indication" changed to "according
to the indication."

-- Page 558: "as with the [illegible word]" changed to "as with
the [...]."

-- Page 630: "It said to have been made...." changed to "It was said
to have been made...."