Imatges de pàgina
PDF
EPUB

beautiful blue eyes, and was the most comely of the children of her unfortunate parents, though she bore little resemblance to the peculiar beauty of her mother. The painter's name is unknown. A grand picture by Mignard of a notable personage, Mlle. de Montpensier, cannot but attract the eye of the most indifferent visitor. Her countenance corresponds most fully to her character, her aspect being peculiarly haughty and quick. Had it been possible for a female to have ascended the throne of France, she might have proved herself another Elizabeth. There were seven other portraits of the princess in this part of the gallery, but we pass by them and come to a masterly likeness of the great Condé by Michel Corneille : it is a whole-length of the size of life, and is an excellent specimen of the master. The good portraits of the Duke and Duchess de Longueville are in the state rooms; but there is a crowd of pictures up stairs and in the gallery we are now examining, of all the eminent personages of the court of Versailles; and scarcely any notable character remains undelineated. There are six original portraits of the Grand Dauphin, one of them by Rigaud, the others anonymous, in this division of the gallery; all good pictures and all bearing the same testimony to the noble features of the prince, whose death was an immense calamity to his country. There are also in these rooms portraits of Marie-Anne de Bavière his consort, and of the Duke and Duchess d'Orléans (the Regent), as well as of the Duke and Duchesse de Bourgogne; but they are not the best of these subjects, which are kept in the state apartments. Of the beautiful La Vallière, there are in this gallery only two originals, with no names of painters attached; one of Madame de Montespan, and two of Madame de Maintenon, (including a Mignard); the best pictures of the royal mistresses are in the state apartments.

Of the foreign princes of this epoch, one of the best portraits is that of Don Juan of Austria, by Van Hull, a remarkably fine picture, and others, by unnamed artists, of the Great John Sobieski of Poland, and of Frederick III. of Denmark. A highly valuable and unique portrait is one of James 11.

of England at the age of 18, while Duke of York, and in the service of his cousin Louis XIV. The features of this monarch were at that time peculiarly pleasing, and, like his sister Henrietta d'Orléans, he must have been one of the best looking personages of the French court. In this picture he is dressed in armour, and there is an inscription on it,

JACQVES STVART DVC D' YORK.

In another picture by its side, of more recent date, he is styled,

IACQVES. 7. Roy. DE. LA. GRANDE.

BRETAGNE.

The countenance of this king testifies to the excellent tenor of his life, now at length coming to be understood when the mass of misrepresentation and prejudice under which it has been obscured is crumbling before the light of truth thrown on it by the publication of contemporaneous memoirs and papers. There is placed near this picture, as it should be, a good portrait of Maria-Beatrix-d'Este, his second consort, one of the most amiable and virtuous ladies of her age. On the opposite wall is a picture with two portraits of the Prince of Orange and his wife, and others of Charles II. of England with his queen.

We have been much struck by an energetic picture from an unnamed painter, the portrait of Cardinal de Retz, which gives a capital idea of the peculiar acuteness and courage of the original; and we may say the same of a most excellent portrait of Turenne by H. Rigaud, full of fine colouring and able drawing. These are both choice morceaux. A good Philippe de Champagne, the portraits of F. Mansart and C. Perrault, united in the same canvass, is to be remarked, not only for the likenesses of such eminent architects, but also as a forcible and effective picture. Francis Porbus, senior, has left here an excellent portrait of the great Cornelius de Witt; and there is close by it a curious picture by F. Denys (of Antwerp) of F. P. de Brouckoven, Seneschal of Antwerp, A.D. 1656. There are able contemporary portraits on these walls of Montecuculi, Prince Eugene, Marlborough, Colbert, Louvois, Vauban, and other great characters of the time, all worthy of close examination

as correcting or verifying the engraved likenesses of these historical personages with which every body is acquainted.

We find here also a skilful portrait of Lenostre, the garden architect of Louis XIV. by Carlo Maratta, and one of Mignard, by Rigaud; others, contemporaneous, but some anonymous, pictures of Molière, Racine, and Boileau, Fenelon, Mons. de Sévigné; Girardon and Coysevox, the sculptors; Keller, the founder of all the bronzework for Louis XIV.; Murillo, by an unknown hand, but a good picture; Coypel, Rigaud; Largillière, one of the best painters of that time, but little known in England; Vanderwerf and Carlo Maratta, each by themselves; and numerous others, " thick as leaves in Vallombrosa," of all degrees of merit and interest.

We here bring our brief notices of this collection of portraits to a termination, strongly recommending all visitors of Versailles to devote an hour or two to this division of the palace. This large series of pictures will probably be much augmented in future days; and, indeed, fresh acquisitions of portraits are daily making by the king. It is to be hoped, however, that the rage for retouching portraits will not be allowed to run riot within these walls. We have observed several pictures in this collection greatly injured by inexperienced modern hands; and, indeed, an old portrait is something sacred, not to be handled heedlessly, but rather to be kept from dirt and destruction than attempted to be embellished or improved. In general these pictures are as well arranged as the circumstances of the locality will admit, although many are in absolute obscurity on account of the light being admitted only through side-windows. We cannot sufficiently praise the good taste and judgment of Louis Philippe in forming this immense series of historical illustrations, and whosoever would complete his knowledge of modern European history, to him we would say, Go and study the Portraits of Versailles.

Yours, &c. H. Longueville Jones.

MR. URBAN,

YOUR correspondent W. C. (April, p. 369) will, I am sure, pardon me for

attempting to add another word to his interesting paper on the Roman pottery. The numerous quotations he has cited are all highly illustrative of the esteem in which the potter's art was held among the Romans, both for sacrificial and ordinary domestic purposes. Whether that singularly beautiful red glazed earthenware which Stowe so aptly compares to coral, and of which such vast quantities have been since exhumed in every part of England and France where their respective records have assigned a Roman station, be really the identical Samian pottery of Pliny, is, I think, a question yet to be decided. But whether it be from Italy, Greece, or Spain, the quantitiest which have been from time to time discovered, betoken, I think, a somewhat more extensive use than W. C. seems inclined to give to it, in supposing it not to have been in general use except among the upper classes. In the various excavations in the city of London I have generally observed that the quantity of this ware has far exceeded that of any other, from what is termed the Roman level. The almost endless variety in shape, size, and ornament, which seems to characterise these vessels, induces me to think they must have been in very general use. The great number of potters' stamps, moreover, indicates, I think, a rather extensive trade. If a complete list of those found in England, even during only the last twenty or thirty years, and now lying scattered through private and public collections, were to be placed before your readers, they would be surprised at its length and variety. The subject, although it has elicited from your correspondent a paper of considerable interest and research, is not yet exhausted; I venture to hope that a few additional illustrations may not be unacceptable.

The "terra Samia" of Pliny appears to have been white, and seems to have possessed some medicinal properties. (Lib. xxxv. c. 6.) Our author states that it was not much esteemed among the painters on account of its greasiness

* Vide Stowe's account of the Discoveries in Spitalfields, 1576.

+ Exeter appears to have been remarkably prolific. Vide Shortt's Silva Ant. Iscana, p. 117.

(pinguetudinem). In this respect it seems to bear some analogy to the clay of Cornwall, which is so much in vogue in our potteries under the name of "china clay."

I think W. C.'s conjecture, that "some colouring matter was used," certainly derives support from Pliny, who alludes to an opinion at Samos, (sunt qui in Samo tradunt,) that Rhocus and Theodorus were the first arti

ficers in the plastic art, but states that Dibutades of Sicyonia (in Peloponesus) was the first who added red earth or colour to his material (rubricam addere, aut ex rubrica cretam fingere.) This seems to afford some little support to the opinion that the Samian ware was red; but it is not decisive, and the quotation from Pitiscus, "Ex luto Samio in rubrem colorem vertente," is scarcely sufficient authority. He published his Lexicon Antiquitatum Romanorum (from which, I assume, the passage to be taken) in 1713. He may have had good authority for his statement, but, if so, we ought to have the source of his opinion. We have good evidence that numerous other cities, far removed from the island of Samos, furnished red pottery. The passage from Pliny, "major quorum pars hominum terrenis utitur vasis,' does not solely refer to the productions of Samos, but is, I think, merely a general remark, and equally applicable

[ocr errors]

He in

to earthenware of all kinds. forms us that the earthenware of Samos, and of Aretium, in Italy (Tuscany,) is famed for "eating out of," (in esculentis,) but that for drinking cups (calicum) the following cities are distinguished (nobilantur):-Surrentinum (Sorento in Campania); Asta and Polentia (part of ancient Liguria, now Asti and Polenzo); also Saguntum, in Spain; Mutina (Italy, now Modena); Pergamos, in Asia-Minor; and the Greek cities, Trallis and Erythræ; and

As this passage is of importance to our subject, and has been more than once introduced in the "Archæologia," it may be worth while to inquire what work of Pitiscus it occurs in; and, if in his elaborate Lexicon, under what head. It is certainly not to be found under those heads where we should think it most likely. I have referred to "Samiæ," "Fictilia," "Pocula," and a host of other words, but without success.

towards the end of the chapter he adds Rhegium and Cumæ.

The red earthenware of Cumæ (in Campania) is mentioned in the Latin poets

Hanc tibi Cumano rubicundam pulvere testam Municipem misit casta Sybilla suam. Mart. lib. xiv. 114, Articles of similar description formed the " Campanian furniture" (supellex Campana) which decorated the table or sideboard of Horace. Sat. lib. i. 6, 118. Mr. Shortt in "Silva Antiqua and learning, quotes a passage from Iscana," a work replete with interest Apicius (De arte coquina) in which the cook is directed to use "a clean Cumaan red earthenware dish."

Of the pottery of Saguntum we have frequent mention

Pugna Saguntina fervet commissa lagena. Juv. v. 29.

It would seem, however, that the Saguntine ware was held in less esteem than the others; judging from Martial (who came from the neighbouring city, Bilbilis)—

Ficta Saguntina cimbia malo luto.
Mart. viii. 6.

And again (lib. xiv. 108)—
Quæ non solicitus teneat servetque minister,
Sume Saguntino pocula ficta luto.

tendant may use this material without meaning, it is supposed, that the atany anxiety, being of less value. It is probable that he alludes to the same ware in the following passage (lib. xiv. 102):

Accipe non vili calices de pulvere natos,

Sed Surrentinæ leve toreuma rotæ.

The cups of Surrentinum are recommended by the poet as preferable for the wine for which that city was famed

Surrentina bibis nec murrhina pieta nec aurum Sume: dabunt calices hæc tibi vina suos. Mart. lib. xiii. 110.

The pottery of Aretium (in Tuscany,) one of the cities spoken of by Pliny, is also mentioned by Martial (lib. xiv. 98)

Aretina nimis ne spernas vasa monemus,

Lautus erat Tuscis Porsena fictilibus.

The red dish, or platter (paropsis rubra,) is alluded to by the same poet, (lib. xi. 28),

Cui portat gaudens ancilla paropside rubra Alecem.

and by Persius (Sat. v. 183),

Rubrumque amplexa catinum Cauda natat thynni, tumet alba fidelia vino. also in the Fasti of Ovid (v. 522),

Terra rubens crater, pocula fagus erant. These perhaps form the chief, if not all the illustrations furnished by the "classic" authors relative to the red pottery of the Romans, and the result of my inquiries into the subject is, the opinion that what we have so long termed "Samian ware" really came from Italy, and that the material was indigenous to that portion of Italy anciently comprehended in the name Campania, a district which included Cumæ, Baiæ, Puteoli, Pompeii, Herculaneum, Stabiæ, Surrentum, &c. &c. We have certainly much stronger evidence in support of this supposition than that in favour of the isle of Samos, particularly as no modern discoveries in the latter seem to afford us much, if any, corroborative testimony. Mr. C. R. Smith (no slight authority in such matters) seems to think it likely that this beautiful ware was imported from Saguntum, as being the nearest port to Britain (Collect. Antiq. No. 2), in which case Martial's description of its quality is certainly not applicable.

The "Signina" mentioned by Pliny (xxxv. 10) and Vitruvius (ii. 4) was made from broken pots and tiles generally. The text of Pliny does not exclusively mention Samian earthenware; he merely says, "fractis testis," which will equally apply to the manufactures of Cuma or the other cities he enumerates.

To the beautiful and varied character which distinguishes so much of this ware, I can bear ample testimony; that in some cases the ornaments were afterwards finished off by the graver or tools of the sculptor is, I think, borne out by the following passage from Martial, lib. iv. 46.

Et crasso figuli polita cælo Septenaria synthesis Sagunti Hispane luteum rotæ toreuma; thus supporting the opinion of Mr. C. R. Smith with respect to the ornaments on the beautiful red vase discovered in Cornhill, 1841 (Arch. xxix. 274).

Whichever locality may be decided upon as the source of this pottery, it seems pretty evident, from the remarkable similarity in the specimens, that England and France were supplied from the same market.

Of embossed drinking-cups in wood, earthenware, and metals, the Roman poets furnish us with many illustrations. Among them I may briefly cite Virgil, Eclog. iii. 43; Juvenal, i. 76; Martial, lib. iv. 46; viii. 51; Propertius i. 14. Some of them seem to have been sufficiently large and ponderous to serve for other purposes as well. Thus we read in Ovid (Met. v. 81) that Perseus broke the head of Eurythus with a massive bowl highly embossed.

While paying a just tribute of admiration to the many interesting illustrations of the poetry and mythology of Greece and Rome, and to the general beauty and elegance which frequently characterise the figured specimens of the red ware, we must at the same time bear in mind that there are occasionally discovered fragments depicting subjects of such extremely gross character, that we must cease to wonder at the more refined taste of Pliny causing him to inveigh so eloquently against the depravity of his countrymen in attaching a higher value to such vessels.

Quot modis auximus pretia rerum In poculis libidines cælare juvit, ac per obscenitates bibere.

Lib. xxxiii. Proemium., Similar sentiments occur in a former passage (lib. xiv.).

W. C. amusingly alludes to the wellknown game with the acetabulum as the prototype of the "thimble-rig" of modern times, that never-failing, but perhaps not inappropriate, accompaniment of the race-course, (the transactions of each presenting equal claim to the late facetious designation "manly sports.") But this distinguished game can trace its parentage to a much earlier source, as evinced by the sculptures on the tombs at Thebes (vide Wilkinson's Ancient Egyptians).

Yours, &c. E. B. PRICE.

[blocks in formation]

in the city during the last three or four years.

ACCILINVS. F. Broad-street.

ALBINI. OF. Saddler's-place, London Wall.

ABIANI. New street by Holbornbridge.

ADVOCISI. (in large characters on the side). St. Paul's Churchyard.

AVENT. (Aventini?), Bishopsgate-street.
ATII. (or Atali), Bishopsgate-street.
OF. ABALI. Clement's-lane.
OF. ABINI, ditto.

AVENTINI. M. Cateaton-street.
BELINICVS. Lad-lane.

BVRDONIS. OF. Cateaton-street.

OF. BASSI. Water-lane, Tower-street.

BORILLI. OF. Saddler's-place.

CACAS. M. Queen-street.

CERTVS. F. Broad-street.

CALVI. St. Paul's Churchyard.
COTTO. F. Clement's-lane.

CIRRVS. FEC. St. Paul's Churchyard. COMITIALIS. F. (on the side). Lothbury. OF. CALVI. The new street at Holbornbridge.

CVNA. F. Playhouse-yard, Blackfriars.
DOMINICI. Artillery-lane.

DAMONVS. Clement's-lane.
DAGOMARVS. Lad-lane.
DOMII. Great St. Helens.
OF. FACE. Bishopsgate.
GERMANI. OF. Near the Bank.
GIMMT. F. (Gimmati ?) Paternoster-row.
OF. GAI. IVI. Water-lane.

LOLL. Holborn-bridge new street.
LOSSA, Paternoster-row.
MINVI. o. ditto.
MAXIMI. ditto.

MINVTIVS. F. Lad-lane.

OF. MODEST. Queen-street.
OF. MODI. Basinghall-street.
MASCVLVS. F. Clement's-lane.
NERTVS. St. Paul's Churchyard.
OF. NIGRI. Bishopsgate-street.
NERT. M. St. Swithin's-lane.
OVAI. Creed-lane.

ONCEO. Lad-lane.
PASSENI. Cornhill.

[blocks in formation]

PECVLARIS. Shoe-lane.
OF. PATRICI. ditto.
PRIMVL. Cateaton-street.
Ditto. Paternoster-row.
PVRINX. Addle-street.
PVTR-. Queen-street.
PATERCLVS. F. Cateaton-street.
PASTO-.
ditto.

RACVNA. F. Cateaton-street.
REGALIS. St. Paul's Churchyard.
REBVRRI. OF. Lad-lane.
REGNVS. F. Threadneedle-street.
OF. RVF. St. Paul's Churchyard.
OF. RVFINI. Clement's-lane.
SENTIA. F. Saddler's-place, London
Wall.

SENECI. o. Queen-street.
Ditto. Great St. Helen's.
SILVINI, Broad-street.

OF. SEVERI. Butcher-hall-lane.
SARENTIV. Lothbury.
TITVRONIS. Water-lane.
OF. VITALI. Clement's-lane.
VTALIS M. Threadneedle-street.
XIVI. Clement's-lane.

MR. URBAN,

Lichfield, April 18. MY last remarks on the Metonic Cycle, as a means of finding the date of our moveable feasts, having been condensed for the purpose of avoiding a lengthened trespass on the pages of the Gentleman's Magazine, I beg now to give a plainer illustration of the value of the lunar measure of time than that which the former communication may offer to those of your readers who have not hitherto had their attention directed to this particular subject.

To prove, therefore, in the first place, that the conclusions before arrived at by decimal fractions agree with the more common form of expressing the amount of time, I shall now take three examples of familiar character:

A Lunation, then, being twenty-nine days, twelve hours, forty-four minutes, and nearly three seconds; A METONIC CYCLE Consists of two-hundred and thirty-five such lunations.

Days. Hours.

100 Metonic Cycles, therefore, are very nearly 693,968 201

200

1,387,937 17}

A SOLAR YEAR being three hundred and sixty-five days, five hours, fortyeight minutes, and rather more than forty-nine seconds and a half,

1900 Solar years are very nearly

And twice 1900

Days. Hours. 693,960 6 1,387,920 12

« AnteriorContinua »