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| author | pgww <pgww@lists.pglaf.org> | 2026-06-03 09:15:44 -0700 |
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| committer | pgww <pgww@lists.pglaf.org> | 2026-06-03 09:15:44 -0700 |
| commit | 006f9a089f28726a8a68ff119b36b8c4d9a72a22 (patch) | |
| tree | 02d21bd13bd3d0ea475b8d2524acec9274a23be7 | |
| parent | 361562b9937cdb19806e88bca010f0f1c7479f62 (diff) | |
| -rw-r--r-- | 26449-h/26449-h.htm | 1594 |
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diff --git a/26449-h/26449-h.htm b/26449-h/26449-h.htm index 239810d..844f86a 100644 --- a/26449-h/26449-h.htm +++ b/26449-h/26449-h.htm @@ -1,13 +1,11 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<!DOCTYPE html> -<html xmlns="http://www.w3.org/1999/xhtml"> +<html lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> - <title> - The Project Gutenberg eBook of Rambles of an Archæologist Among Old Books and in Old Places, by Frederick William Fairholt. - </title> - <style type="text/css"> + <meta charset="utf-8"> + + <title>Rambles of an Archæologist Among Old Books and in Old Places | Project Gutenberg</title> + <style> /*<![CDATA[ XML blockout */ <!-- p { margin-top: .75em; @@ -120,11 +118,7 @@ .i5 {margin-left: 5em;} .i6 {margin-left: 6em;} .i7 {margin-left: 7em;} - .i8 {margin-left: 8em;} - - // --> - /* XML end ]]>*/ - </style> + .i8 {margin-left: 8em;}</style> </head> <body> @@ -142,51 +136,50 @@ and hyphenated words is found at the end of the text.</p> in bold in this text.</p> </div> -<hr class="pagebreak" /> +<hr class="pagebreak"> -<p><span class='pagenum'><a name="Page_ii" id="Page_ii">[ii]</a></span></p> +<p><span class='pagenum'><a id="Page_ii">[ii]</a></span></p> <div class="figcenter" style="width: 463px;"> -<a name="frontispiece" id="frontispiece"></a><a href="images/frontispiece-full.png"><img src="images/frontispiece.png" width="463" height="635" alt="A horse, facing away, with a man in armor standing behind the horse. Buidlings in the background" title="THE GREAT HORSE. -From an Allegorical Engraving by Albert Dürer." /></a> -<span class="caption">THE GREAT HORSE.<br /> +<a id="frontispiece"></a><a href="images/frontispiece-full.png"><img src="images/frontispiece.png" alt="A horse, facing away, with a man in armor standing behind the horse. Buidlings in the background" title="THE GREAT HORSE. From an Allegorical Engraving by Albert Dürer." style="width: 463px; height: 635px"></a> +<span class="caption">THE GREAT HORSE.<br> From an Allegorical Engraving by Albert Dürer.</span> </div> -<hr class="pagebreak" /> +<hr class="pagebreak"> -<p><span class='pagenum'><a name="Page_iii" id="Page_iii">[iii]</a></span></p> +<p><span class='pagenum'><a id="Page_iii">[iii]</a></span></p> -<h1 style="font-weight: normal; margin-top: 2em;">RAMBLES OF AN ARCHÆOLOGIST<br /> -<span style="font-size: 60%;">AMONG OLD BOOKS AND IN OLD PLACES:</span><br /> -<br /> -<span style="font-size: 40%;">BEING</span><br /> -<br /> -<b>Papers on Art,</b><br /> -<br /> -<span style="font-size: 40%;">IN RELATION TO</span><br /> -<br /> +<h1 style="font-weight: normal; margin-top: 2em;">RAMBLES OF AN ARCHÆOLOGIST<br> +<span style="font-size: 60%;">AMONG OLD BOOKS AND IN OLD PLACES:</span><br> +<br> +<span style="font-size: 40%;">BEING</span><br> +<br> +<b>Papers on Art,</b><br> +<br> +<span style="font-size: 40%;">IN RELATION TO</span><br> +<br> <span class="smcap" style="font-size: 80%;">Archæology, Painting, Art-Decoration, and Art-Manufacture</span>.</h1> -<p class="titlepage" style="margin-top: 2em; font-size: 110%;"><span class="smcap">By</span> FREDERICK WILLIAM FAIRHOLT, F.S.A.,<br /> +<p class="titlepage" style="margin-top: 2em; font-size: 110%;"><span class="smcap">By</span> FREDERICK WILLIAM FAIRHOLT, F.S.A.,<br> <span style="font-size: 80%;">AUTHOR OF “DICTIONARY OF TERMS IN ART,” ETC.</span></p> <p class="titlepage" style="margin-top: 2em;"><b>Illustrated with Two Hundred and Fifty-nine Wood Engravings.</b></p> -<p class="titlepage" style="margin-top: 2em;">LONDON:<br /> -VIRTUE AND CO., 26, IVY LANE,<br /> -PATERNOSTER ROW.<br /> +<p class="titlepage" style="margin-top: 2em;">LONDON:<br> +VIRTUE AND CO., 26, IVY LANE,<br> +PATERNOSTER ROW.<br> 1871.</p> -<p><span class='pagenum'><a name="Page_iv" id="Page_iv">[iv]</a></span></p> +<p><span class='pagenum'><a id="Page_iv">[iv]</a></span></p> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_v" id="Page_v">[v]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_v">[v]</a></span></p> <h2 class="chapterhead">EDITORIAL NOTE.</h2> -<hr class="decorative" /> +<hr class="decorative"> <p class="noindent"><span class="dropcap">T</span><span class="upper">he</span> following Papers originally appeared in the <i>Art-Journal</i>, for which they were specially written. They are from the pen of that painstaking @@ -207,14 +200,14 @@ Genre-Painters.”</p> <p><i>January, 1871.</i></p> -<p><span class='pagenum'><a name="Page_vi" id="Page_vi">[vi]</a></span></p> +<p><span class='pagenum'><a id="Page_vi">[vi]</a></span></p> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_vii">[vii]</a></span></p> <h2 class="chapterhead">CONTENTS.</h2> -<hr class="decorative" /> +<hr class="decorative"> @@ -226,7 +219,7 @@ panelling—Decorative furniture—Book illumination—Engraved book ornaments—Metal-workers—Ancient jewellery—Decorative art in the sixteenth century—The Renaissance style—Italian art—The <span class="chapword">Gothic</span> <span class="chappg"><a href="#Page_1">1-44</a></span></p> -<hr class="decorative" /> +<hr class="decorative"> <p class="titlepage">GROTESQUE DESIGN, AS EXHIBITED IN ORNAMENTAL AND INDUSTRIAL ART.</p> @@ -235,7 +228,7 @@ and lamps—Mediæval grotesque—Misereres, bosses, and capitals&m utensils—The <i>Ars Memorandi</i>—Decorative plate—The Italian, German, and French goldsmiths—Book illustrations—Grotesque <span class="chapword">pottery</span> <span class="chappg"><a href="#Page_45">45-70</a></span></p> -<hr class="decorative" /> +<hr class="decorative"> <p class="titlepage">FACTS ABOUT FINGER-RINGS.</p> @@ -253,9 +246,9 @@ rings—Death’s-head rings—“Giardinetti” rings&mdash rings—“Harlequin-rings”—“Regard-rings”—“Fisherman’s ring” of the <span class="chapword">Pope</span> <span class="chappg"><a href="#Page_71">71-157</a></span></p> -<p><span class='pagenum'><a name="Page_viii" id="Page_viii">[viii]</a></span></p> +<p><span class='pagenum'><a id="Page_viii">[viii]</a></span></p> -<hr class="decorative" /> +<hr class="decorative"> <p class="titlepage">ANCIENT BROOCHES AND DRESS FASTENINGS.</p> @@ -264,7 +257,7 @@ fibulæ—Bust of the Emperor Constantine Pogonatus—Early grotesq brooches—Circular fibulæ—Anglo-Saxon pins—Irish and Scotch brooches and <span class="chapword">pins</span> <span class="chappg"><a href="#Page_159">159-183</a></span></p> -<hr class="decorative" /> +<hr class="decorative"> <p class="titlepage">ALBERT DÜRER: HIS WORKS, HIS COMPATRIOTS, AND HIS TIMES.</p> @@ -276,26 +269,26 @@ Stoss—Hans Sachs, “the cobbler-bard”—Albert Kügler& Dürer—The Cemetery of St. John, Nürnberg—Grave of <span class="chapword">Dürer</span> <span class="chappg"><a href="#Page_185">185-259</a></span></p> <div class="figcenter" style="width: 95px;"> -<img src="images/illus-viii.png" width="95" height="63" alt="decorative" title="decorative" /> +<img src="images/illus-viii.png" alt="decorative" title="decorative" style="width: 95px; height: 63px"> </div> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_1">[1]</a></span></p> <h2 class="chapterdivider">RAMBLES OF AN ARCHÆOLOGIST AMONG OLD BOOKS AND IN OLD PLACES.</h2> -<p><span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span></p> +<p><span class='pagenum'><a id="Page_2">[2]</a></span></p> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_3">[3]</a></span></p> <h2 class="chapterhead">RAMBLES OF AN ARCHÆOLOGIST AMONG OLD BOOKS AND IN OLD PLACES.</h2> -<hr class="decorative" /> +<hr class="decorative"> <h3 class="sectionhead">CHAPTER I.</h3> @@ -317,7 +310,7 @@ Slowly, as centuries evolved, the art-student came back to the purity of antique taste; but the process was a tardy one, each era preferring the impress of its own ideas: and though the grotesque contortions of mediæval statuary be occasionally modified by the influence of better -art on the Gothic<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span> mind, it was not till the revival of the study of +art on the Gothic<span class='pagenum'><a id="Page_4">[4]</a></span> mind, it was not till the revival of the study of classic literature, in the fifteenth century, that men began to inquire into the art of the past ages, and endeavoured to obtain somewhat of its sacred fire for the use of their own time. The study was rewarded, and @@ -326,7 +319,7 @@ its influence over the world of art, sanctioned by the favour of such master-minds as Raphael, and the great men of his era.</p> <div class="figcenter" style="width: 374px;"> -<a name="fig001" id="fig001"></a><a href="images/fig001-full.png"><img src="images/fig001.png" width="374" height="200" alt="Fig. 1." title="Fig. 1." /></a> +<a id="fig001"></a><a href="images/fig001-full.png"><img src="images/fig001.png" alt="Fig. 1." title="Fig. 1." style="width: 374px; height: 200px"></a> <span class="caption">Fig. 1.</span> </div> @@ -338,7 +331,7 @@ classicality, engrafting classic form and freedom on the decorative quaintnesses of the middle ages. <a href="#fig001">Fig. 1</a> is as pertinent a specimen as could be obtained of this characteristic: the Greek volute and the Roman foliage are made to combine with the hideous inventions of monkery, the -grotesque heads that<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span> are exhibited on the most sacred edifices, and +grotesque heads that<span class='pagenum'><a id="Page_5">[5]</a></span> are exhibited on the most sacred edifices, and which are simply the stone records of the strife and rivalry that prevailed between monks and friars up to the date of the Reformation, and are therefore of great value to the student of ecclesiology and @@ -353,7 +346,7 @@ bringing out a train of thought singularly diffuse when its slight origin is considered.</p> <div class="figright" style="width: 187px;"> -<a name="fig002" id="fig002"></a><a href="images/fig002-full.png"><img src="images/fig002.png" width="187" height="389" alt="Fig. 2." title="Fig. 2." /></a> +<a id="fig002"></a><a href="images/fig002-full.png"><img src="images/fig002.png" alt="Fig. 2." title="Fig. 2." style="width: 187px; height: 389px"></a> <span class="caption">Fig. 2.</span> </div> @@ -361,7 +354,7 @@ origin is considered.</p> display which characterised the fifteenth century, led to its universal adoption in decoration; but the wilder imaginings of the living artist always tampered with the grand features of the design. The panel, <a href="#fig002">Fig. -2</a>, is an instance. The griffins have<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span> lost their classic character, and +2</a>, is an instance. The griffins have<span class='pagenum'><a id="Page_6">[6]</a></span> lost their classic character, and have assumed the Gothic; the foliations are also subjected to the same process. The design is, however, on the whole, an excellent example of the mode in which the style appeared as a decoration in the houses of @@ -369,7 +362,7 @@ the nobility, whose love of heraldic display was indulged by the wood carver in panelled rooms rich with similar compartments.</p> <div class="figleft" style="width: 181px;"> -<a name="fig003" id="fig003"></a><a href="images/fig003-full.png"><img src="images/fig003.png" width="181" height="371" alt="Fig. 3." title="Fig. 3." /></a> +<a id="fig003"></a><a href="images/fig003-full.png"><img src="images/fig003.png" alt="Fig. 3." title="Fig. 3." style="width: 181px; height: 371px"></a> <span class="caption">Fig. 3.</span> </div> @@ -384,17 +377,17 @@ in the minds of the kings of France themselves. Their <i>badge</i>, or <i>impresa</i>, was indicative of their rude power; a couple of knotted clubs, saltier-wise, help to support a somewhat conventional figure of the steel used for striking the flint to produce fire; the whole -surmounted by the<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span> crown, and intended to indicate by analogous +surmounted by the<span class='pagenum'><a id="Page_7">[7]</a></span> crown, and intended to indicate by analogous reflection the vigour of the ducal house. As a bold defiance, a rival house adopted the <i>rabot</i>, or carpenter’s plane, by which they indicated their determination to smooth by force the formidable knots from the clubs of the proud rulers of Burgundy.</p> -<table border="0" cellpadding="0" cellspacing="0" style="float: right; padding-left: 1em; margin-right: 0;" summary="figs. 4 and 5"> +<table style="float: right; padding-left: 1em; margin-right: 0; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig004" id="fig004"></a><a href="images/fig004-full.png"><img src="images/fig004.png" width="75" height="312" alt="Fig. 4." title="Fig. 4." /></a><br /> + <td class="tdc"><a id="fig004"></a><a href="images/fig004-full.png"><img src="images/fig004.png" alt="Fig. 4." title="Fig. 4." style="width: 75px; height: 312px"></a><br> <span class="caption">Fig. 4.</span></td> - <td class="tdc"><a name="fig005" id="fig005"></a><a href="images/fig005-full.png"><img src="images/fig005.png" width="84" height="306" alt="Fig. 5." title="Fig. 5." /></a><br /> + <td class="tdc"><a id="fig005"></a><a href="images/fig005-full.png"><img src="images/fig005.png" alt="Fig. 5." title="Fig. 5." style="width: 84px; height: 306px"></a><br> <span class="caption">Fig. 5.</span></td> </tr> </table> @@ -412,7 +405,7 @@ from the pure strength of their simplicity. It was not till the twelfth century that an attempt at floating colours together was made, and this led ultimately to a pictorial treatment of enamel which destroyed its truest character. The very old form was, however, practised in the -latest days of its use; and our engraving of the very beautiful<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span> +latest days of its use; and our engraving of the very beautiful<span class='pagenum'><a id="Page_8">[8]</a></span> knife-handle designed by Virgil Solis at the end of the sixteenth century (Figs. <a href="#fig004">4</a> and <a href="#fig005">5</a>), was intended to be filled with a dark blue enamel, in the parts here represented in black, while the interstices of @@ -422,19 +415,19 @@ of shadow filled with a permanent black, thus assuring a general brilliancy of effect. Such knives were by no means an uncommon decoration of the table at the period when this was designed: it is now a branch of art utilised until all trace of design has gone from it; for -we cannot accept<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span> the slight scroll work and contour of a modern silver +we cannot accept<span class='pagenum'><a id="Page_9">[9]</a></span> the slight scroll work and contour of a modern silver knife-handle as a piece of art-workmanship, when we remember the beautiful objects of the kind produced in the sixteenth and seventeenth centuries, gorgeous in design and colour, and occasionally enriched by jewels or amber.</p> <div class="figcenter" style="width: 412px;"> -<a name="fig006" id="fig006"></a><a href="images/fig006-full.png"><img src="images/fig006.png" width="412" height="325" alt="Fig. 6." title="Fig. 6." /></a> +<a id="fig006"></a><a href="images/fig006-full.png"><img src="images/fig006.png" alt="Fig. 6." title="Fig. 6." style="width: 412px; height: 325px"></a> <span class="caption">Fig. 6.</span> </div> <div class="figright" style="width: 211px;"> -<a name="fig007" id="fig007"></a><a href="images/fig007-full.png"><img src="images/fig007.png" width="211" height="208" alt="Fig. 7." title="Fig. 7." /></a> +<a id="fig007"></a><a href="images/fig007-full.png"><img src="images/fig007.png" alt="Fig. 7." title="Fig. 7." style="width: 211px; height: 208px"></a> <span class="caption">Fig. 7.</span> </div> @@ -453,7 +446,7 @@ importance, and which has furnished an abundance of relics for the notice of the antiquary from the days of Camden, who describes it with that happy brevity that accompanies full knowledge. The pavement we engrave may be seen in full coloured detail in Mr. Ecroyd Smith’s volume -on<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span> <i>Isurium</i>; the borders placed on each side are portions of other +on<span class='pagenum'><a id="Page_10">[10]</a></span> <i>Isurium</i>; the borders placed on each side are portions of other pavements from the same place, selected as showing the commonest and the most unusual patterns. The variety and beauty of design and colour in encaustic tiles adopted by mediævalists, may be slightly illustrated by @@ -462,7 +455,7 @@ four such tiles produces great variety in pattern, and excellent contrasts of colour.</p> <div class="figcenter" style="width: 425px;"> -<a name="fig008" id="fig008"></a><a name="fig009" id="fig009"></a><a href="images/fig008-9-full.png"><img src="images/fig008-9.png" width="425" height="297" alt="Figs. 8 and 9." title="Figs. 8 and 9." /></a> +<a id="fig008"></a><a id="fig009"></a><a href="images/fig008-9-full.png"><img src="images/fig008-9.png" alt="Figs. 8 and 9." title="Figs. 8 and 9." style="width: 425px; height: 297px"></a> <span class="caption">Figs. 8 and 9.</span> </div> @@ -470,7 +463,7 @@ contrasts of colour.</p> the Middle Ages, and decorative enrichments of all kind subjected to its ruling control. We add two specimens of glass-painting (Figs. <a href="#fig008">8</a> and <a href="#fig009">9</a>), which are in reality the same design slightly varied in the disposition -of the tints, and the interlacing<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span> of the double or strap-lines of one, +of the tints, and the interlacing<span class='pagenum'><a id="Page_11">[11]</a></span> of the double or strap-lines of one, while the other has them single only. The striking variety that any given design may elicit, by a mere rearrangement of this interlaced work, or by a different disposition of the coloured compartments, will @@ -481,17 +474,17 @@ latter is copied from the old Hôtel de Ville of Bruges; the dragon is used as a lever to lift the latch, and is one of those grotesque imaginings in which the old art-workmen frequently indulged.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 500px;" summary="figs. 10 and 11"> +<table style="width: 500px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig010" id="fig010"></a><a href="images/fig010-full.png"><img src="images/fig010.png" width="151" height="248" alt="Fig. 10." title="Fig. 10." /></a><br /> + <td class="tdc"><a id="fig010"></a><a href="images/fig010-full.png"><img src="images/fig010.png" alt="Fig. 10." title="Fig. 10." style="width: 151px; height: 248px"></a><br> <span class="caption">Fig. 10.</span></td> - <td class="tdc"><a name="fig011" id="fig011"></a><a href="images/fig011-full.png"><img src="images/fig011.png" width="211" height="270" alt="Fig. 11." title="Fig. 11." /></a><br /> + <td class="tdc"><a id="fig011"></a><a href="images/fig011-full.png"><img src="images/fig011.png" alt="Fig. 11." title="Fig. 11." style="width: 211px; height: 270px"></a><br> <span class="caption">Fig. 11.</span></td> </tr> </table> <p>When the Dukes of Urbino, dazzled with the brilliancy of the Moorish -potters, had determined to rival their workmanship in<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span> manufactories +potters, had determined to rival their workmanship in<span class='pagenum'><a id="Page_12">[12]</a></span> manufactories upon their own principality, the so-called Raffaelle-ware soon afterwards fascinated the Italians, by the quaint design and beautiful colour of the dishes and vases there produced. Though popularly named @@ -501,7 +494,7 @@ workmen. The circular plateau (<a href="#fig012">Fig. 12</a>) is a good example character and vigour of effect occasionally produced in these works.</p> <div class="figcenter" style="width: 279px;"> -<a name="fig012" id="fig012"></a><a href="images/fig012-full.png"><img src="images/fig012.png" width="279" height="272" alt="Fig. 12." title="Fig. 12." /></a> +<a id="fig012"></a><a href="images/fig012-full.png"><img src="images/fig012.png" alt="Fig. 12." title="Fig. 12." style="width: 279px; height: 272px"></a> <span class="caption">Fig. 12.</span> </div> @@ -509,7 +502,7 @@ character and vigour of effect occasionally produced in these works.</p> decoration it occasionally displayed. <a href="#fig013">Fig. 13</a> is a beautiful instance of the grace that characterised the style known as the <i>Flamboyant</i>, from the flowing or flame-like curve adopted for the leading lines. In this -instance they are happily blended with<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span> the earlier Gothic cusps, and +instance they are happily blended with<span class='pagenum'><a id="Page_13">[13]</a></span> the earlier Gothic cusps, and the quaint ivy-leaves that spring easily out of the severer lines. The ease with which heraldry may be introduced in the design, gave it a peculiar charm to our ancestors; in this instance the shields bear the @@ -519,21 +512,21 @@ terse and striking as the heraldic ones we have given in a previous page.</p> <div class="figcenter" style="width: 257px;"> -<a name="fig013" id="fig013"></a><a href="images/fig013-full.png"><img src="images/fig013.png" width="257" height="329" alt="Fig. 13." title="Fig. 13." /></a> +<a id="fig013"></a><a href="images/fig013-full.png"><img src="images/fig013.png" alt="Fig. 13." title="Fig. 13." style="width: 257px; height: 329px"></a> <span class="caption">Fig. 13.</span> </div> -<table border="0" cellpadding="0" cellspacing="0" style="margin-left: 0; float: left; padding-right: 1em;" summary="figs. 14 and 15"> +<table style="margin-left: 0; float: left; padding-right: 1em; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig014" id="fig014"></a><a href="images/fig014-full.png"><img src="images/fig014.png" width="82" height="148" alt="Fig. 14." title="Fig. 14." /></a><br /> + <td class="tdc"><a id="fig014"></a><a href="images/fig014-full.png"><img src="images/fig014.png" alt="Fig. 14." title="Fig. 14." style="width: 82px; height: 148px"></a><br> <span class="caption">Fig. 14.</span></td> - <td class="tdc"><a name="fig015" id="fig015"></a><a href="images/fig015-full.png"><img src="images/fig015.png" width="72" height="141" alt="Fig. 15." title="Fig. 15." /></a><br /> + <td class="tdc"><a id="fig015"></a><a href="images/fig015-full.png"><img src="images/fig015.png" alt="Fig. 15." title="Fig. 15." style="width: 72px; height: 141px"></a><br> <span class="caption">Fig. 15.</span></td> </tr> </table> <p>We give two small drawings of cabinet-handles in Figs. <a href="#fig014">14</a> and <a href="#fig015">15</a>, part -of the elaborate fittings of a piece of furniture which<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span> occupied the +of the elaborate fittings of a piece of furniture which<span class='pagenum'><a id="Page_14">[14]</a></span> occupied the place of honour in the state-rooms of the wealthy, and upon which the art of the day was generally lavished with a most liberal hand. Ivory, ebony, and the rarest woods were employed in their construction, @@ -556,7 +549,7 @@ it into cash for the payment of his soldiers.</p> <p>There was more honesty of purpose in the old art-workers, who never swerved from a leading principle. Hence the educated eye can at once detect a piece of genuine old decorative furniture from a Wardour Street -made-up bit of pseudo-imitation. It must<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span> be borne in mind that +made-up bit of pseudo-imitation. It must<span class='pagenum'><a id="Page_15">[15]</a></span> be borne in mind that specimens of genuine old work are by no means common; the abundance which this street and other localities can supply to order by the cart-load, are ingenious adaptations of fragments of old work pieced and @@ -574,16 +567,16 @@ work every ancient building is carefully noted and described, throughout every street of the city; and the finest or most curious examples engraved with a minute truthfulness for which Langlois was justly celebrated; and which drew forth the plaudits of Dr. Dibdin, in the -sumptuous work devoted to his foreign tour in search of rarities.<a name="FNanchor_15-1_1" id="FNanchor_15-1_1"></a><a href="#Footnote_15-1_1" class="fnanchor">15-*</a></p> +sumptuous work devoted to his foreign tour in search of rarities.<a id="FNanchor_15-1_1"></a><a href="#Footnote_15-1_1" class="fnanchor">15-*</a></p> <p>We propose presently to follow the Doctor in his investigation of old books, and exhibit some few of the enrichments that artist and engraver -gave to the written or printed volumes which passed<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span> from their hands; +gave to the written or printed volumes which passed<span class='pagenum'><a id="Page_16">[16]</a></span> from their hands; at the same time we shall endeavour to take a more general survey of the adaptation of art to works of ordinary use.</p> <div class="figcenter" style="width: 232px;"> -<a name="fig016" id="fig016"></a><a href="images/fig016-full.png"><img src="images/fig016.png" width="232" height="320" alt="Fig. 16." title="Fig. 16." /></a> +<a id="fig016"></a><a href="images/fig016-full.png"><img src="images/fig016.png" alt="Fig. 16." title="Fig. 16." style="width: 232px; height: 320px"></a> <span class="caption">Fig. 16.</span> </div> @@ -594,7 +587,7 @@ but one interlaced and closely compacted group, each limb or portion of a letter helping also to form part of another. In the hospital founded at Edinburgh by the famous goldsmith, George Heriot,—the favourite goldsmith and jeweller of James I., a monarch who fully appreciated his -art,<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>—the name of “Jingling Geordie,” as his majesty playfully called +art,<span class='pagenum'><a id="Page_17">[17]</a></span>—the name of “Jingling Geordie,” as his majesty playfully called him, is sculptured in such a group, which appears at first sight an enigma few could unravel; indeed, without knowing what letters to look for, and how to arrange them, it is a chance if they would be arranged @@ -606,10 +599,10 @@ bearing a sufficient affinity to those alluded to, to aid in understanding the rest.</p> <div class="figcenter" style="width: 124px;"> -<img src="images/illus-017.png" width="124" height="66" alt="decorative" title="" /> +<img src="images/illus-017.png" alt="decorative" title="" style="width: 124px; height: 66px"> </div> -<p><span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span></p> +<p><span class='pagenum'><a id="Page_18">[18]</a></span></p> <h3 class="chapterhead">CHAPTER II.</h3> @@ -634,7 +627,7 @@ very generally acknowledged; and the ladies of the present day rival the cloistered recluses in labouring, like them, to enrich a cherished volume. It is, however, the art of the fourteenth and fifteenth centuries that is now especially imitated, and the reason is to be found -in its<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span> showy elaboration of design and colour. There is an earlier +in its<span class='pagenum'><a id="Page_19">[19]</a></span> showy elaboration of design and colour. There is an earlier style that presents strong claims to attention, that of the two preceding centuries, specimens of which are given in <a href="#fig017">Figs. 17-21</a>. In them will be noticed the Orientalism that occasionally prevails, and @@ -643,32 +636,32 @@ leaf is visible in Figs. <a href="#fig020">20</a> and <a href="#fig021">21</a>; Turkish design. The applicability of such fragments of ornament is manifold.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px; margin-bottom: 1em;" summary="figs. 17 and 18"> +<table style="width: 300px; margin-bottom: 1em; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig017" id="fig017"></a><a href="images/fig017-full.png"><img src="images/fig017.png" width="132" height="159" alt="Fig. 17." title="Fig. 17." /></a><br /> + <td class="tdc"><a id="fig017"></a><a href="images/fig017-full.png"><img src="images/fig017.png" alt="Fig. 17." title="Fig. 17." style="width: 132px; height: 159px"></a><br> <span class="caption">Fig. 17.</span></td> - <td class="tdc"><a name="fig018" id="fig018"></a><a href="images/fig018-full.png"><img src="images/fig018.png" width="97" height="164" alt="Fig. 18." title="Fig. 18." /></a><br /> + <td class="tdc"><a id="fig018"></a><a href="images/fig018-full.png"><img src="images/fig018.png" alt="Fig. 18." title="Fig. 18." style="width: 97px; height: 164px"></a><br> <span class="caption">Fig. 18.</span></td> </tr> </table> -<table border="0" cellpadding="0" cellspacing="0" style="width: 500px; margin-top: 1em; margin-bottom: 1em;" summary="figs. 19, 20, and 21"> +<table style="width: 500px; margin-top: 1em; margin-bottom: 1em; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig020" id="fig020"></a><a href="images/fig020-full.png"><img src="images/fig020.png" width="89" height="128" alt="Fig. 20." title="Fig. 20." /></a><br /> + <td class="tdc"><a id="fig020"></a><a href="images/fig020-full.png"><img src="images/fig020.png" alt="Fig. 20." title="Fig. 20." style="width: 89px; height: 128px"></a><br> <span class="caption">Fig. 20.</span></td> - <td class="tdc"><a name="fig019" id="fig019"></a><a href="images/fig019-full.png"><img src="images/fig019.png" width="184" height="175" alt="Fig. 19." title="Fig. 19." /></a><br /> + <td class="tdc"><a id="fig019"></a><a href="images/fig019-full.png"><img src="images/fig019.png" alt="Fig. 19." title="Fig. 19." style="width: 184px; height: 175px"></a><br> <span class="caption">Fig. 19.</span></td> - <td class="tdc"><a name="fig021" id="fig021"></a><a href="images/fig021-full.png"><img src="images/fig021.png" width="90" height="140" alt="Fig. 21." title="Fig. 21." /></a><br /> + <td class="tdc"><a id="fig021"></a><a href="images/fig021-full.png"><img src="images/fig021.png" alt="Fig. 21." title="Fig. 21." style="width: 90px; height: 140px"></a><br> <span class="caption">Fig. 21.</span></td> </tr> </table> <div class="figcenter" style="width: 415px;"> -<a name="fig022" id="fig022"></a><a name="fig023" id="fig023"></a><a name="fig024" id="fig024"></a><a name="fig025" id="fig025"></a><a href="images/fig022-25-full.png"><img src="images/fig022-25.png" width="415" height="336" alt="Figs. 22, 23, 24, and 25." title="Figs. 22, 23, 24, and 25." /></a> +<a id="fig022"></a><a id="fig023"></a><a id="fig024"></a><a id="fig025"></a><a href="images/fig022-25-full.png"><img src="images/fig022-25.png" alt="Figs. 22, 23, 24, and 25." title="Figs. 22, 23, 24, and 25." style="width: 415px; height: 336px"></a> <span class="caption">Figs. 22, 23, 24, and 25.</span> </div> -<p>When the art of engraving aided the press in producing works <span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span>of a +<p>When the art of engraving aided the press in producing works <span class='pagenum'><a id="Page_20">[20]</a></span>of a decorative order, we occasionally turn over pages in which the master-minds of the day taxed their powers of invention. The old wood-engravers were supplied by designers with drawings of the best @@ -678,7 +671,7 @@ as were published in Germany, or at Lyons, the latter city being then most eminent for the taste and beauty of its illustrated volumes, the former for a bolder but quainter character of art. There are useful hints to be had in the pages of all, for such as would avail themselves -of<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span> minor book-ornament. To render our meaning more clear, we select a +of<span class='pagenum'><a id="Page_21">[21]</a></span> minor book-ornament. To render our meaning more clear, we select a series of scrolls (<a href="#fig022">Figs. 22-25</a>) for inscriptions from German books, of the early part of the sixteenth century, and which might be readily and usefully adapted to modern exigencies, when dates or mottoes are @@ -686,12 +679,12 @@ required either by the painter or sculptor. Ornamental frameworks for inscriptions abound in old books, and are not unfrequently of striking design and peculiar elaboration; we give an example in <a href="#fig026">Fig. 26</a>, from a volume dated 1593, as an excellent specimen of this particular branch of -design. Such<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span> tablets not unfrequently headed the first page of a +design. Such<span class='pagenum'><a id="Page_22">[22]</a></span> tablets not unfrequently headed the first page of a volume, and received in the centre the title of the book. The wood-engraver is thus the legitimate successor of the older illuminator.</p> <div class="figcenter" style="width: 489px;"> -<a name="fig026" id="fig026"></a><a href="images/fig026-full.png"><img src="images/fig026.png" width="489" height="357" alt="Fig. 26." title="Fig. 26." /></a> +<a id="fig026"></a><a href="images/fig026-full.png"><img src="images/fig026.png" alt="Fig. 26." title="Fig. 26." style="width: 489px; height: 357px"></a> <span class="caption">Fig. 26.</span> </div> @@ -717,7 +710,7 @@ have at this period, and the early part of the seventeenth century, an abundance of small engravings, comprising a vast variety of designs for all articles of ornament; and from them we have selected, in Figs. <a href="#fig027">27</a> and <a href="#fig028">28</a>, two specimens of those intended to be used in the manufacture of -the<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span> pendent jewels, then so commonly worn on the breast of rich ladies. +the<span class='pagenum'><a id="Page_23">[23]</a></span> pendent jewels, then so commonly worn on the breast of rich ladies. These jewels were sometimes elaborately modelled with scriptural and other scenes in their centre, chased in gold, enriched by enamel colours, and resplendent with jewels. The famed “Grüne Gewölbe” at @@ -728,23 +721,23 @@ represent ladies in a superfluity of jewellery, of a most elaborate character. The portrait of Mary, Queen of Scots, in our National Portrait Gallery, is loaded with chains, brooches, and pendants, enough to stock the show-case of a modern manufacturer. This love of elaborate -jewellery was a positive mania with many nobles in the olden<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> time. +jewellery was a positive mania with many nobles in the olden<span class='pagenum'><a id="Page_24">[24]</a></span> time. James I. was childishly fond of such trinkets, and most portraits represent the king with hat-bands of jewels, or sprays of jewellery at their sides. His letters to his favourite, Buckingham, are often full of details of the jewels in which his majesty delighted.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 400px;" summary="figs. 27 and 28"> +<table style="width: 400px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig027" id="fig027"></a><a href="images/fig027-full.png"><img src="images/fig027.png" width="154" height="270" alt="Fig. 27." title="Fig. 27." /></a><br /> + <td class="tdc"><a id="fig027"></a><a href="images/fig027-full.png"><img src="images/fig027.png" alt="Fig. 27." title="Fig. 27." style="width: 154px; height: 270px"></a><br> <span class="caption">Fig. 27.</span></td> - <td class="tdc"><a name="fig028" id="fig028"></a><a href="images/fig028-full.png"><img src="images/fig028.png" width="162" height="239" alt="Fig. 28." title="Fig. 28." /></a><br /> + <td class="tdc"><a id="fig028"></a><a href="images/fig028-full.png"><img src="images/fig028.png" alt="Fig. 28." title="Fig. 28." style="width: 162px; height: 239px"></a><br> <span class="caption">Fig. 28.</span></td> </tr> </table> <div class="figcenter" style="width: 280px;"> -<a name="fig029" id="fig029"></a><a href="images/fig029-full.png"><img src="images/fig029.png" width="280" height="348" alt="Fig. 29." title="Fig. 29." /></a> +<a id="fig029"></a><a href="images/fig029-full.png"><img src="images/fig029.png" alt="Fig. 29." title="Fig. 29." style="width: 280px; height: 348px"></a> <span class="caption">Fig. 29.</span> </div> @@ -752,14 +745,14 @@ details of the jewels in which his majesty delighted.</p> of design and decorative enrichment than the cross. It has at once been made an embellishment and a badge of faith. We select in <a href="#fig029">Fig. 29</a> one of singular elaboration and beauty, now the property of Lady Londesborough. -It is a work<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span> of the early part of the sixteenth century; the ground is +It is a work<span class='pagenum'><a id="Page_25">[25]</a></span> of the early part of the sixteenth century; the ground is of frosted gold, upon which is a foliated ornament in <i>cloissonné</i> enamel of various colours. It is also enriched with pearl and crystal; the lower part of this cross is furnished with a loop, from which a jewel of value might be suspended.</p> <div class="figcenter" style="width: 454px;"> -<a name="fig030" id="fig030"></a><a name="fig031" id="fig031"></a><a href="images/fig030-31-full.png"><img src="images/fig030-31.png" width="454" height="330" alt="Figs. 30 and 31." title="Figs. 30 and 31." /></a> +<a id="fig030"></a><a id="fig031"></a><a href="images/fig030-31-full.png"><img src="images/fig030-31.png" alt="Figs. 30 and 31." title="Figs. 30 and 31." style="width: 454px; height: 330px"></a> <span class="caption">Figs. 30 and 31.</span> </div> @@ -768,7 +761,7 @@ in the article of necklaces, we give, in Figs. <a href="#fig030">30</a> and <a h of widely different eras. The upper one is that of a Roman lady, whose entire collection of jewellery was accidentally discovered at Lyons, in 1841, by some workmen who were excavating the southern side of the -heights of Fourvières, on<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span> the opposite side of the Seine. From an +heights of Fourvières, on<span class='pagenum'><a id="Page_26">[26]</a></span> the opposite side of the Seine. From an inscribed ring and some coins deposited in the jewel-box, the lady appears to have lived in the time of the Emperor Severus, and to have been the wife of one of the wealthy traders, who then, as now, were @@ -782,7 +775,7 @@ date 1593), and composed of a series of enamelled <i>plaques</i>, with jewels inserted, connected with each other by an ornamental chain.</p> <div class="figleft" style="width: 172px;"> -<a name="fig032" id="fig032"></a><a name="fig033" id="fig033"></a><a href="images/fig032-33-full.png"><img src="images/fig032-33.png" width="172" height="269" alt="Figs. 32 and 33." title="Figs. 32 and 33." /></a> +<a id="fig032"></a><a id="fig033"></a><a href="images/fig032-33-full.png"><img src="images/fig032-33.png" alt="Figs. 32 and 33." title="Figs. 32 and 33." style="width: 172px; height: 269px"></a> <span class="caption">Figs. 32 and 33.</span> </div> @@ -793,7 +786,7 @@ ordinary use which have received a considerable amount of decorative enrichment. The spur-rowels (Figs. <a href="#fig032">32</a> and <a href="#fig033">33</a>), from the collection of M. Sauvageot, of Paris, are remarkable proofs of the faculty of invention possessed by the ancient armourers. So simple a thing as a spur-rowel, -in<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span> our days of utilitarianism, would seem to be incapable of variety, +in<span class='pagenum'><a id="Page_27">[27]</a></span> our days of utilitarianism, would seem to be incapable of variety, or at least unworthy to receive much attention. It was not so in past times, when workmen even delighted to adorn their own tools. We engrave an armourer’s hammer (Figs. <a href="#fig034">34</a> and <a href="#fig035">35</a>), from the collection of Lord @@ -801,17 +794,17 @@ Londesborough, which has received an amount of enrichment of a very varied character. The animals on one side, and in foliated scrolls, connect the design across the summit of the implement with a totally new composition on the opposite side. We would not insist on any part of the -design as remarkable for<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span> high character; it is simply given as an +design as remarkable for<span class='pagenum'><a id="Page_28">[28]</a></span> high character; it is simply given as an instance of the love of decoration so prevalent in the sixteenth century.</p> <div class="figcenter" style="width: 240px;"> -<a name="fig034" id="fig034"></a><a name="fig035" id="fig035"></a><a href="images/fig034-35-full.png"><img src="images/fig034-35.png" width="240" height="352" alt="Figs. 34 and 35." title="Figs. 34 and 35." /></a> +<a id="fig034"></a><a id="fig035"></a><a href="images/fig034-35-full.png"><img src="images/fig034-35.png" alt="Figs. 34 and 35." title="Figs. 34 and 35." style="width: 240px; height: 352px"></a> <span class="caption">Figs. 34 and 35.</span> </div> <div class="figleft" style="width: 215px;"> -<a name="fig036" id="fig036"></a><a name="fig037" id="fig037"></a><a href="images/fig036-37-full.png"><img src="images/fig036-37.png" width="215" height="540" alt="Figs. 36 and 37." title="Figs. 36 and 37." /></a> +<a id="fig036"></a><a id="fig037"></a><a href="images/fig036-37-full.png"><img src="images/fig036-37.png" alt="Figs. 36 and 37." title="Figs. 36 and 37." style="width: 215px; height: 540px"></a> <span class="caption">Figs. 36 and 37.</span> </div> @@ -827,12 +820,12 @@ to Nuremberg.”</p> <p>The bellows of carved chestnut-wood (<a href="#fig039">Fig. 39</a>) is in the possession of the Count de Courval. It is of simpler and “severer” design than -common,<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span> inasmuch as it was usual to enrich these useful domestic +common,<span class='pagenum'><a id="Page_29">[29]</a></span> inasmuch as it was usual to enrich these useful domestic implements with an abundance of elaborate designs, and fill their centres with scenes from sacred and profane history.</p> <div class="figright" style="width: 143px;"> -<a name="fig038" id="fig038"></a><a href="images/fig038-full.png"><img src="images/fig038.png" width="143" height="351" alt="Fig. 38." title="Fig. 38." /></a> +<a id="fig038"></a><a href="images/fig038-full.png"><img src="images/fig038.png" alt="Fig. 38." title="Fig. 38." style="width: 143px; height: 351px"></a> <span class="caption">Fig. 38.</span> </div> @@ -847,11 +840,11 @@ cupidons of the handle ending in flowers may be an emblem of Love and Hymen, forming an appropriate embellishment.</p> <div class="figcenter" style="width: 193px;"> -<a name="fig039" id="fig039"></a><a href="images/fig039-full.png"><img src="images/fig039.png" width="193" height="155" alt="Fig. 39." title="Fig. 39." /></a> +<a id="fig039"></a><a href="images/fig039-full.png"><img src="images/fig039.png" alt="Fig. 39." title="Fig. 39." style="width: 193px; height: 155px"></a> <span class="caption">Fig. 39.</span> </div> -<p><span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span></p> +<p><span class='pagenum'><a id="Page_30">[30]</a></span></p> <h3 class="chapterhead" style="clear: both;">CHAPTER III.</h3> @@ -875,7 +868,7 @@ classic rule, and more completely deserved the term “grotesque,” whi it occasionally received, a term derived from <i>grotte</i>, an underground room of the ancient baths, and which we now use chiefly in the sense of a ludicrous composition. Such compositions were not unfrequent on the -walls of Greek and Roman buildings; and the<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span> German and Flemish artists, +walls of Greek and Roman buildings; and the<span class='pagenum'><a id="Page_31">[31]</a></span> German and Flemish artists, with a nationally characteristic love of whimsical design, occasionally ran riot in invention, having no rule beyond individual caprice. This unfortunate position offering too great a licence to mere whimsicality, @@ -900,7 +893,7 @@ the following one, completed the debasement of art-workmanship. Louis XIV. had the glory, such as it was, of its resuscitation; but his taste was merely that of an over-wealthy display, which not unfrequently lapses into positive vulgarisms. The style known distinctively by the -name of this monarch—with all its heterogeneous elements, its scrolls<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span> +name of this monarch—with all its heterogeneous elements, its scrolls<span class='pagenum'><a id="Page_32">[32]</a></span> of the most obtrusive form, fixed to ornament having no proper cohesion, and overlaid with festoons of flowers and fruit—is more remarkable for the oppressive ostentation which was the characteristic of the monarch @@ -909,11 +902,11 @@ exaggeration could make of this style may be seen in the productions of the era of his successor, and which the Italians stigmatised by the term <i>rococo</i>.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 40 and 41"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig040" id="fig040"></a><a href="images/fig040-full.png"><img src="images/fig040.png" width="103" height="202" alt="Fig. 40." title="Fig. 40." /></a><br /> + <td class="tdc"><a id="fig040"></a><a href="images/fig040-full.png"><img src="images/fig040.png" alt="Fig. 40." title="Fig. 40." style="width: 103px; height: 202px"></a><br> <span class="caption">Fig. 40.</span></td> - <td class="tdc"><a name="fig041" id="fig041"></a><a href="images/fig041-full.png"><img src="images/fig041.png" width="105" height="208" alt="Fig. 41." title="Fig. 41." /></a><br /> + <td class="tdc"><a id="fig041"></a><a href="images/fig041-full.png"><img src="images/fig041.png" alt="Fig. 41." title="Fig. 41." style="width: 105px; height: 208px"></a><br> <span class="caption">Fig. 41.</span></td> </tr> </table> @@ -927,11 +920,11 @@ peculiar, but not without elegance in the mode of bringing the classic dolphin within the scope of the composition.</p> <div class="figcenter" style="width: 264px;"> -<a name="fig042" id="fig042"></a><a href="images/fig042-full.png"><img src="images/fig042.png" width="264" height="185" alt="Fig. 42." title="Fig. 42." /></a> +<a id="fig042"></a><a href="images/fig042-full.png"><img src="images/fig042.png" alt="Fig. 42." title="Fig. 42." style="width: 264px; height: 185px"></a> <span class="caption">Fig. 42.</span> </div> -<p>The distinctive features of the style may be more readily com<span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span>prehended +<p>The distinctive features of the style may be more readily com<span class='pagenum'><a id="Page_33">[33]</a></span>prehended by contrasting it with a few specimens of the so-called “Gothic style,” a style which possesses the strongest original features, and one which will yield to none in peculiar beauty and applicability. We give two @@ -948,13 +941,13 @@ mediæval rigidity of the Gothic, and paved the way for the ready adoption of the style of Francis I., which was based on that of the Italians.</p> -<p><span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span></p> +<p><span class='pagenum'><a id="Page_34">[34]</a></span></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 450px;" summary="figs. 43 and 44"> +<table style="width: 450px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig043" id="fig043"></a><a href="images/fig043-full.png"><img src="images/fig043.png" width="219" height="353" alt="Fig. 43." title="Fig. 43." /></a><br /> + <td class="tdc"><a id="fig043"></a><a href="images/fig043-full.png"><img src="images/fig043.png" alt="Fig. 43." title="Fig. 43." style="width: 219px; height: 353px"></a><br> <span class="caption">Fig. 43.</span></td> - <td class="tdc"><a name="fig044" id="fig044"></a><a href="images/fig044-full.png"><img src="images/fig044.png" width="159" height="349" alt="Fig. 44." title="Fig. 44." /></a><br /> + <td class="tdc"><a id="fig044"></a><a href="images/fig044-full.png"><img src="images/fig044.png" alt="Fig. 44." title="Fig. 44." style="width: 159px; height: 349px"></a><br> <span class="caption">Fig. 44.</span></td> </tr> </table> @@ -967,27 +960,27 @@ dolls peeping through shutters. The latter of the two examples may be received as one of the best of its kind, exhibiting the utmost enrichment of which the style was generally capable, and as few heterogeneous features, though here they are not entirely absent. By way -of useful contrast, we give in <a href="#fig048">Fig. 48</a>,<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span> a very pure specimen of a panel +of useful contrast, we give in <a href="#fig048">Fig. 48</a>,<span class='pagenum'><a id="Page_35">[35]</a></span> a very pure specimen of a panel in Italian workmanship, from a tomb of the sixteenth century, in the church of the Ara Cœli, at Rome. The flow of line here is exceedingly graceful; the whole of the details are characterised by a delicacy unknown to the artists of Germany and Flanders; the torches and volutes point unmistakably to the classic origin of the whole.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px; margin-bottom: 1em;" summary="figs. 45 and 46"> +<table style="width: 300px; margin-bottom: 1em; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig045" id="fig045"></a><a href="images/fig045-full.png"><img src="images/fig045.png" width="102" height="223" alt="Fig. 45." title="Fig. 45." /></a><br /> + <td class="tdc"><a id="fig045"></a><a href="images/fig045-full.png"><img src="images/fig045.png" alt="Fig. 45." title="Fig. 45." style="width: 102px; height: 223px"></a><br> <span class="caption">Fig. 45.</span></td> - <td class="tdc"><a name="fig046" id="fig046"></a><a href="images/fig046-full.png"><img src="images/fig046.png" width="102" height="203" alt="Fig. 46." title="Fig. 46." /></a><br /> + <td class="tdc"><a id="fig046"></a><a href="images/fig046-full.png"><img src="images/fig046.png" alt="Fig. 46." title="Fig. 46." style="width: 102px; height: 203px"></a><br> <span class="caption">Fig. 46.</span></td> </tr> </table> -<table border="0" cellpadding="0" cellspacing="0" style="width: 450px; margin-top: 1em;" summary="figs. 47 and 48"> +<table style="width: 450px; margin-top: 1em; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig047" id="fig047"></a><a href="images/fig047-full.png"><img src="images/fig047.png" width="168" height="320" alt="Fig. 47." title="Fig. 47." /></a><br /> + <td class="tdc"><a id="fig047"></a><a href="images/fig047-full.png"><img src="images/fig047.png" alt="Fig. 47." title="Fig. 47." style="width: 168px; height: 320px"></a><br> <span class="caption">Fig. 47.</span></td> - <td class="tdc"><a name="fig048" id="fig048"></a><a href="images/fig048-full.png"><img src="images/fig048.png" width="170" height="321" alt="Fig. 48." title="Fig. 48." /></a><br /> + <td class="tdc"><a id="fig048"></a><a href="images/fig048-full.png"><img src="images/fig048.png" alt="Fig. 48." title="Fig. 48." style="width: 170px; height: 321px"></a><br> <span class="caption">Fig. 48.</span></td> </tr> </table> @@ -1000,7 +993,7 @@ truth of nature; and though the barbaric mind might bear sway for awhile, it could not triumph but through ignorance. Rome is now the great art-teacher only because it is the conservator of its ancient relics; and they have had their influence undiminished from the days of -Raffaelle and<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span> Michael Angelo. There are many pleasing bits of design in +Raffaelle and<span class='pagenum'><a id="Page_36">[36]</a></span> Michael Angelo. There are many pleasing bits of design in the antique city, that show the classic source of inspiration from which their inventors obtained them. The boy and dolphins, forming the pleasing domestic fountain we engrave in <a href="#fig051">Fig. 51</a>, is an evident instance @@ -1009,7 +1002,7 @@ grand feature of the Rome of the Cæsars, as it still is of the Rome of the Popes; and the liberality with which every house is served has frequently induced the owners of large mansions to decorate one corner of their external walls with a fountain, at which all wayfarers may be -supplied. In a<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span> recess of the lowermost story of one of the great +supplied. In a<span class='pagenum'><a id="Page_37">[37]</a></span> recess of the lowermost story of one of the great <i>palazzi</i> which line the principal street of Rome, “the Corso,” our second specimen (<a href="#fig052">Fig. 52</a>) is placed. It represents a wine-merchant liberally pouring from the bung-hole of his barrel its inexhaustible @@ -1018,26 +1011,26 @@ public fountains run with wine for an hour or two, and this may have occurred with the one engraved; it is a work of the latter part of the sixteenth century, when luxury reigned in Rome. As a design it is exceedingly simple and appropriate, reminding, by its quaintness, of -German rather than Italian<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span> design. The old Teutonic cities present very +German rather than Italian<span class='pagenum'><a id="Page_38">[38]</a></span> design. The old Teutonic cities present very many striking inventions of the kind: and the promoters and designers of our drinking fountains may obtain good and useful hints from that quarter.</p> <div class="figcenter" style="width: 262px; margin-bottom: 1em;"> -<a name="fig049" id="fig049"></a><a href="images/fig049-full.png"><img src="images/fig049.png" width="262" height="82" alt="Fig. 49." title="Fig. 49." /></a> +<a id="fig049"></a><a href="images/fig049-full.png"><img src="images/fig049.png" alt="Fig. 49." title="Fig. 49." style="width: 262px; height: 82px"></a> <span class="caption">Fig. 49.</span> </div> <div class="figcenter" style="width: 372px; margin-top: 1em; margin-bottom: 1em;"> -<a name="fig050" id="fig050"></a><a href="images/fig050-full.png"><img src="images/fig050.png" width="372" height="190" alt="Fig. 50." title="Fig. 50." /></a> +<a id="fig050"></a><a href="images/fig050-full.png"><img src="images/fig050.png" alt="Fig. 50." title="Fig. 50." style="width: 372px; height: 190px"></a> <span class="caption">Fig. 50.</span> </div> -<table border="0" cellpadding="0" cellspacing="0" style="width: 500px; margin-top: 1em;" summary="figs. 51 and 52"> +<table style="width: 500px; margin-top: 1em; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig051" id="fig051"></a><a href="images/fig051-full.png"><img src="images/fig051.png" width="203" height="288" alt="Fig. 51." title="Fig. 51." /></a><br /> + <td class="tdc"><a id="fig051"></a><a href="images/fig051-full.png"><img src="images/fig051.png" alt="Fig. 51." title="Fig. 51." style="width: 203px; height: 288px"></a><br> <span class="caption">Fig. 51.</span></td> - <td class="tdc"><a name="fig052" id="fig052"></a><a href="images/fig052-full.png"><img src="images/fig052.png" width="203" height="270" alt="Fig. 52." title="Fig. 52." /></a><br /> + <td class="tdc"><a id="fig052"></a><a href="images/fig052-full.png"><img src="images/fig052.png" alt="Fig. 52." title="Fig. 52." style="width: 203px; height: 270px"></a><br> <span class="caption">Fig. 52.</span></td> </tr> </table> @@ -1049,7 +1042,7 @@ edifices of the Low Countries, which have issued from the press, and have vindicated the true character of the great mediæval builders. Germany—taking the term for the nation in its widest sense—can show in its antique cities a vast variety of fancy in architecture and its -ornamental details. Each<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span> city may be made a profitable residence for +ornamental details. Each<span class='pagenum'><a id="Page_39">[39]</a></span> city may be made a profitable residence for the study of a young architect; and the superior knowledge of the leading principles of mediæval art, now exhibited in their adaptation of the style to home events, is a clear proof that the fact has been felt @@ -1063,11 +1056,11 @@ is a work executed under the rule of Armand de Hesse, Archbishop of Cologne, and Provost of Aix, probably about 1480.</p> <div class="figcenter" style="width: 446px;"> -<a name="fig053" id="fig053"></a><a href="images/fig053-full.png"><img src="images/fig053.png" width="446" height="248" alt="Fig. 53." title="Fig. 53." /></a> +<a id="fig053"></a><a href="images/fig053-full.png"><img src="images/fig053.png" alt="Fig. 53." title="Fig. 53." style="width: 446px; height: 248px"></a> <span class="caption">Fig. 53.</span> </div> -<p>The Gothic, therefore, of the best era, was by no means the<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span> stiff and +<p>The Gothic, therefore, of the best era, was by no means the<span class='pagenum'><a id="Page_40">[40]</a></span> stiff and monotonous style imagined by those who only know its details by the remains of our own ecclesiastical buildings; not that we infer them to be without much freedom and beauty occasionally, as in the Percy shrine @@ -1076,14 +1069,14 @@ Abbey. But we have fewer domestic buildings of a florid Gothic style than are to be found abroad, and the artists who designed for that style delighted in new ideas. It is even visible in the works of their painters and engravers: thus the tracery over the doorway in Durer’s -print of<span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span> “The Crucifixion,” one of his series of the life of the +print of<span class='pagenum'><a id="Page_41">[41]</a></span> “The Crucifixion,” one of his series of the life of the Virgin, while it conforms to the leading principle of architectural design, is composed of branches and leaves which flow with a freedom belonging more to the painter than the architect. Similar instances abound in old pictures.</p> <div class="figcenter" style="width: 420px;"> -<a name="fig054" id="fig054"></a><a href="images/fig054-full.png"><img src="images/fig054.png" width="420" height="357" alt="Fig. 54." title="Fig. 54." /></a> +<a id="fig054"></a><a href="images/fig054-full.png"><img src="images/fig054.png" alt="Fig. 54." title="Fig. 54." style="width: 420px; height: 357px"></a> <span class="caption">Fig. 54.</span> </div> @@ -1102,11 +1095,11 @@ the study of the varied arts of past ages as an addition to the requirements of our own. “Ever changing, ever new,” may be the lesson derived from the investigation of any epoch. How much then may be obtained from a general review of all! Seroux d’Agincourt deduced a -history of art from its monuments;<a name="FNanchor_41-1_2" id="FNanchor_41-1_2"></a><a href="#Footnote_41-1_2" class="fnanchor">41-*</a> and men of the present day have +history of art from its monuments;<a id="FNanchor_41-1_2"></a><a href="#Footnote_41-1_2" class="fnanchor">41-*</a> and men of the present day have the advantage of all that the world has produced brought easily, by aid of the burin and the printing-press, to their own firesides. We are evidently less original in idea than our ancestors, from the association -of their labours with our thought; but we may yet live in the hope of<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span> +of their labours with our thought; but we may yet live in the hope of<span class='pagenum'><a id="Page_42">[42]</a></span> seeing some new and peculiar feature in the progress of modern decorative art obtained by retrospective glances at the past.</p> @@ -1133,7 +1126,7 @@ be obtained readily and cheaply. The societies in connection with the Department of Science and Art now abound with competent masters and teachers, and all the appliances of instruction.</p> -<p>The South Kensington Museum is alone a mine of wealth.<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span> Not only are the +<p>The South Kensington Museum is alone a mine of wealth.<span class='pagenum'><a id="Page_43">[43]</a></span> Not only are the artisans enabled to resort to it freely, but every possible inducement is held out to them to do so; the superintendents there almost go into the highways to “compel them to come in.” There is no calling of any @@ -1159,7 +1152,7 @@ brief insight we have given in these pages into the rich volumes which the past has filled for the use of the present. The books to which we have resorted, and the places in which we have sought for rarities, are open to most of those who desire to examine them, and who will find an -expendi<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span>ture of time and labour to any amount, be it large or small, +expendi<span class='pagenum'><a id="Page_44">[44]</a></span>ture of time and labour to any amount, be it large or small, produce an extent of remuneration of which the searcher will have no idea until he begins to gather in the profit he has made.</p> @@ -1179,33 +1172,33 @@ already observed, “slavishly to copy, or systematically to imitate,” evils to be avoided.</p> <div class="figcenter" style="width: 91px;"> -<img src="images/illus-044.png" width="91" height="62" alt="decorative" title="decorative" /> +<img src="images/illus-044.png" alt="decorative" title="decorative" style="width: 91px; height: 62px"> </div> <div class="footnotes"> -<p class="footnote"><a name="Footnote_15-1_1" id="Footnote_15-1_1"></a><a href="#FNanchor_15-1_1"><span class="label">15-*</span></a> “Biographical, Antiquarian, and Picturesque Tour in +<p class="footnote"><a id="Footnote_15-1_1"></a><a href="#FNanchor_15-1_1"><span class="label">15-*</span></a> “Biographical, Antiquarian, and Picturesque Tour in France and Germany.” London, 1821. 3 vols.</p> -<p class="footnote"><a name="Footnote_41-1_2" id="Footnote_41-1_2"></a><a href="#FNanchor_41-1_2"><span class="label">41-*</span></a> “Histoire de l’Art par les Monumens, depuis sa Décadence +<p class="footnote"><a id="Footnote_41-1_2"></a><a href="#FNanchor_41-1_2"><span class="label">41-*</span></a> “Histoire de l’Art par les Monumens, depuis sa Décadence au IV<sup>e.</sup> Siècle jusqu’à son Renouvellement au XVI<sup>e.</sup>”</p> </div> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_45">[45]</a></span></p> <h2 class="chapterdivider">GROTESQUE DESIGN, AS EXHIBITED IN ORNAMENTAL AND INDUSTRIAL ART.</h2> -<p><span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span></p> +<p><span class='pagenum'><a id="Page_46">[46]</a></span></p> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_47">[47]</a></span></p> <h2 class="chapterhead">GROTESQUE DESIGN, AS EXHIBITED IN ORNAMENTAL AND INDUSTRIAL ART.</h2> -<hr class="decorative" /> +<hr class="decorative"> <p class="noindent"><span class="dropcapa"><span class="hide">A</span></span><span class="upper">mong</span> the quaint terms in art to which definite meanings are attached, but which do not in themselves convey any such definite construction, we @@ -1223,7 +1216,7 @@ with the primeval art of all countries as to be almost inseparable. Indeed, it requires a considerable amount of classical education to see seriously the meaning, that ancient artists desired in all gravity to express, in works which now excite a smile by their inherent comicality. -Hence the antiquary<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span> may be occasionally ruffled by the remarks of some +Hence the antiquary<span class='pagenum'><a id="Page_48">[48]</a></span> may be occasionally ruffled by the remarks of some irreverent spectator, on a work which the former gravely contemplates, because he feels the design of its maker, and is familiar with the antique mode of expression. Thus the early Greek figures of Minerva, @@ -1250,20 +1243,20 @@ Egyptian galleries, there are many that exhibit the partiality of this ancient people for the grotesque.</p> <div class="figcenter" style="width: 248px;"> -<a name="fig055" id="fig055"></a><a name="fig056" id="fig056"></a><a name="fig057" id="fig057"></a><a name="fig058" id="fig058"></a><a href="images/fig055-58-full.png"><img src="images/fig055-58.png" width="248" height="321" alt="Figs. 55-58." title="Figs. 55-58." /></a> +<a id="fig055"></a><a id="fig056"></a><a id="fig057"></a><a id="fig058"></a><a href="images/fig055-58-full.png"><img src="images/fig055-58.png" alt="Figs. 55-58." title="Figs. 55-58." style="width: 248px; height: 321px"></a> <span class="caption">Figs. 55-58.</span> </div> <p>Our first examples consist of a group of wooden boxes and spoons, all of -whimsical form, and selected from the<span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span> great work by Sir John Gardner -Wilkinson on the manners and customs of the ancient Egyptians.<a name="FNanchor_49-1_3" id="FNanchor_49-1_3"></a><a href="#Footnote_49-1_3" class="fnanchor">49-*</a> +whimsical form, and selected from the<span class='pagenum'><a id="Page_49">[49]</a></span> great work by Sir John Gardner +Wilkinson on the manners and customs of the ancient Egyptians.<a id="FNanchor_49-1_3"></a><a href="#Footnote_49-1_3" class="fnanchor">49-*</a> They were formed to contain cosmetics of divers kinds, and served to deck the dressing-table, or a lady’s boudoir. They are carved in various ways, and loaded with ornamental devices in relief, sometimes representing the favourite lotus-flower, with its buds and stalks, or a goose, gazelle, fox, or other animal. <a href="#fig055">Fig. 55</a> is a small box, made in the form of a goose; and <a href="#fig056">Fig. 56</a>, also in the shape of the same bird, -dressed for the cook. The spoon which<span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span> succeeds this, <a href="#fig057">Fig. 57</a>, takes the +dressed for the cook. The spoon which<span class='pagenum'><a id="Page_50">[50]</a></span> succeeds this, <a href="#fig057">Fig. 57</a>, takes the form of the cartouche, or oval, in which royal names were inscribed, and is held forth by a female figure of graceful proportions. <a href="#fig058">Fig. 58</a> is a still more grotesque combination; a hand holds forth a shell, the arm @@ -1289,11 +1282,11 @@ the arts could hardly have attained the perfection they did among some of that famous people of old.”</p> <div class="figcenter" style="width: 241px;"> -<a name="fig059" id="fig059"></a><a name="fig060" id="fig060"></a><a name="fig061" id="fig061"></a><a href="images/fig059-61-full.png"><img src="images/fig059-61.png" width="241" height="319" alt="Figs. 59-61." title="Figs. 59-61." /></a> +<a id="fig059"></a><a id="fig060"></a><a id="fig061"></a><a href="images/fig059-61-full.png"><img src="images/fig059-61.png" alt="Figs. 59-61." title="Figs. 59-61." style="width: 241px; height: 319px"></a> <span class="caption">Figs. 59-61.</span> </div> -<p>The graceful head and neck of the swan formed for many<span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span> centuries the +<p>The graceful head and neck of the swan formed for many<span class='pagenum'><a id="Page_51">[51]</a></span> centuries the favourite termination for the handles of <i>simpula</i>, or ladles. The Greeks and Romans adopted it, as they freely did grotesque art in general; and the walls of Pompeii and Herculaneum exhibit it in @@ -1304,7 +1297,7 @@ brought together from public museums. Our group consists of two clasp-knives and a lamp. The knife, <a href="#fig059">Fig. 59</a>, was found at Arles, in the south of France; the handle is of bone, and has been rudely fashioned into the human form: the second example, <a href="#fig060">Fig. 60</a>, is of bronze, and -represents a<span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span> <i>canis venati</i>, of the greyhound species, catching a hare; +represents a<span class='pagenum'><a id="Page_52">[52]</a></span> <i>canis venati</i>, of the greyhound species, catching a hare; the design is perforated, so that the steel blade shows through it. It was found within the bounds of the Roman station of Reculver, in Kent; another of similar design was found at Hadstock, in Essex: nor are these @@ -1329,7 +1322,7 @@ excite a smile. A strong sense of the ludicrous was, however, felt by mediæval men, and embodied in the art-works they have left for our contemplation. With it was combined a relish for satire of a practical kind. A very good and amusing instance is given in <a href="#fig062">Fig. 62</a>, which is -copied from a carved corner-post of an old house<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span> in Lower Brook Street, +copied from a carved corner-post of an old house<span class='pagenum'><a id="Page_53">[53]</a></span> in Lower Brook Street, Ipswich. It depicts the old popular legend of the Fox and Geese, the latter attracted toward Reynard by his apparent innocence and sanctity, as he reads a homily from a lectern, and meeting the reward of their @@ -1338,19 +1331,19 @@ by the crafty fox. Both incidents are, as usual with these ancient designers, represented side by side on different angles of the post.</p> <div class="figcenter" style="width: 248px; margin-bottom: 1em;"> -<a name="fig062" id="fig062"></a><a href="images/fig062-full.png"><img src="images/fig062.png" width="248" height="313" alt="Fig. 62." title="Fig. 62." /></a> +<a id="fig062"></a><a href="images/fig062-full.png"><img src="images/fig062.png" alt="Fig. 62." title="Fig. 62." style="width: 248px; height: 313px"></a> <span class="caption">Fig. 62.</span> </div> <div class="figcenter" style="width: 234px; margin-top: 1em;"> -<a name="fig063" id="fig063"></a><a href="images/fig063-full.png"><img src="images/fig063.png" width="234" height="313" alt="Fig. 63." title="Fig. 63." /></a> +<a id="fig063"></a><a href="images/fig063-full.png"><img src="images/fig063.png" alt="Fig. 63." title="Fig. 63." style="width: 234px; height: 313px"></a> <span class="caption">Fig. 63.</span> </div> <p>Our next engraving, <a href="#fig063">Fig. 63</a>, is a very striking specimen of grotesque design in ironwork of the fourteenth century. It is a door handle from a church in the High Street of Gloucester, and a more extraordinary -admixture of incongruous details could<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span> not very readily be imagined. +admixture of incongruous details could<span class='pagenum'><a id="Page_54">[54]</a></span> not very readily be imagined. The ring hangs from the neck of a monster with a human head having ass’s ears, the neck is snake-like, bat’s wings are upon the shoulders, the paws are those of a wolf. To the body is conjoined a grotesque head with @@ -1360,7 +1353,7 @@ architecture and furniture during the Middle Ages, particularly from the thirteenth to the seventeenth century. The capital of a column was the favourite place for the indulgence of the mason’s taste in caricature; the <i>misereres</i>, or folding seats of the choir, for that of the -wood-carver. It is impossible to<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span> conceive anything more droll than many +wood-carver. It is impossible to<span class='pagenum'><a id="Page_55">[55]</a></span> conceive anything more droll than many of the scenes depicted on these ancient benches. Emblematic pictures of the months, secular games of all kinds, or illustrations of popular legends, frequently appeared; but as frequently satirical and grotesque @@ -1373,11 +1366,11 @@ induced unpleasant comparison with the ostentatious pride of the greater dignitaries. The Franciscans were in this way especially obnoxious, and between them and the well-established Benedictines an incessant feud existed. The tone of feeling that pervaded the middle and humbler -classes<span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span> found a mouth-piece in that curious satire, the Vision of Piers +classes<span class='pagenum'><a id="Page_56">[56]</a></span> found a mouth-piece in that curious satire, the Vision of Piers Ploughman, than which Luther never spoke plainer.</p> <div class="figcenter" style="width: 226px;"> -<a name="fig064" id="fig064"></a><a href="images/fig064-full.png"><img src="images/fig064.png" width="226" height="229" alt="Fig. 64." title="Fig. 64." /></a> +<a id="fig064"></a><a href="images/fig064-full.png"><img src="images/fig064.png" alt="Fig. 64." title="Fig. 64." style="width: 226px; height: 229px"></a> <span class="caption">Fig. 64.</span> </div> @@ -1391,13 +1384,13 @@ Wells Cathedral furnish us with the instance engraved in <a href="#fig064">Fig. two dragons twine round a bunch of foliage, biting each other’s tails.</p> <div class="figcenter" style="width: 245px;"> -<a name="fig065" id="fig065"></a><a href="images/fig065-full.png"><img src="images/fig065.png" width="245" height="219" alt="Fig. 65." title="Fig. 65." /></a> +<a id="fig065"></a><a href="images/fig065-full.png"><img src="images/fig065.png" alt="Fig. 65." title="Fig. 65." style="width: 245px; height: 219px"></a> <span class="caption">Fig. 65.</span> </div> <p>Domestic utensils were often made to represent living things; the tendency to convert a globular vase or jug into a huge head or a fat -figure, has been common to all people in all ages. The<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span> highly civilised +figure, has been common to all people in all ages. The<span class='pagenum'><a id="Page_57">[57]</a></span> highly civilised Greeks indulged the whim, and our own potters continue it. In the fourteenth and fifteenth centuries, vessels for liquids were often constructed of bronze, taking the form of lions, or mounted knights on @@ -1408,7 +1401,7 @@ coloured with a blue and yellow glaze on the surface of the brown clay which forms the body.</p> <div class="figright" style="width: 126px;"> -<a name="fig066" id="fig066"></a><a href="images/fig066-full.png"><img src="images/fig066.png" width="126" height="286" alt="Fig. 66." title="" /></a> +<a id="fig066"></a><a href="images/fig066-full.png"><img src="images/fig066.png" alt="Fig. 66." title="" style="width: 126px; height: 286px"></a> <span class="caption">Fig. 66.</span> </div> @@ -1427,10 +1420,10 @@ foundations of one of the oldest houses in Westminster. The tail of the dog forms a convenient handle; to the front foot a cross bar is appended to preserve its due equilibrium.</p> -<p><span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span></p> +<p><span class='pagenum'><a id="Page_58">[58]</a></span></p> <div class="figcenter" style="width: 240px;"> -<a name="fig067" id="fig067"></a><a href="images/fig067-full.png"><img src="images/fig067.png" width="240" height="219" alt="Fig. 67." title="Fig. 67." /></a> +<a id="fig067"></a><a href="images/fig067-full.png"><img src="images/fig067.png" alt="Fig. 67." title="Fig. 67." style="width: 240px; height: 219px"></a> <span class="caption">Fig. 67.</span> </div> @@ -1447,22 +1440,22 @@ in this manner, and now preserved in the British Museum; it bears no date, but the late Mr. William Young Ottley, keeper of the prints there, was of opinion that it was executed about the middle of the fifteenth century. This quaint alphabet has been repeated by the artists of each -succeeding generation, with variations to<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span> adapt the letters to the +succeeding generation, with variations to<span class='pagenum'><a id="Page_59">[59]</a></span> adapt the letters to the costume or habit of each era; but in this unique series we seem to see the origin of them all.</p> <div class="figcenter" style="width: 229px;"> -<a name="fig068" id="fig068"></a><a href="images/fig068-full.png"><img src="images/fig068.png" width="229" height="320" alt="Fig. 68." title="Fig. 68." /></a> +<a id="fig068"></a><a href="images/fig068-full.png"><img src="images/fig068.png" alt="Fig. 68." title="Fig. 68." style="width: 229px; height: 320px"></a> <span class="caption">Fig. 68.</span> </div> <p>One of the most singular books ever issued from the press, was published -about the same period; it is known as the <i>Ars Memorandi</i>.<a name="FNanchor_59-1_4" id="FNanchor_59-1_4"></a><a href="#Footnote_59-1_4" class="fnanchor">59-*</a> As its +about the same period; it is known as the <i>Ars Memorandi</i>.<a id="FNanchor_59-1_4"></a><a href="#Footnote_59-1_4" class="fnanchor">59-*</a> As its title imports, it was intended to assist the memory in retaining the contents of the Gospels in the New Testament. This is done by making the body of the design of the emblematic figure indicative of each, either the eagle, angel, ox, or lion; in combination with this figure are many -small groups,<span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span> symbolic of the contents of the various chapters. The +small groups,<span class='pagenum'><a id="Page_60">[60]</a></span> symbolic of the contents of the various chapters. The copy we give (<a href="#fig069">Fig. 69</a>), from the second print devoted to St. Luke’s Gospel, will make the plan of this singular picture-book clearer. The winged bull is spread out as a base to the group of minor emblems, upon @@ -1472,7 +1465,7 @@ called to memory. The bier alludes to the Saviour’s miraculous restoration to life of the widow’s son, whom He met carried out on a bier as He entered the city of Nain; the ointment pot alludes to the anointing of His feet by Mary Magdalene. The bag upon which the figure 8 -is placed, indicates the fable of the<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span> sower, it is the seed-bag of the +is placed, indicates the fable of the<span class='pagenum'><a id="Page_61">[61]</a></span> sower, it is the seed-bag of the husbandman; the boat alludes to the passage of the Lake when the Saviour quelled the storm. The singular group of emblems in the centre of the figure indicates—the power given to the disciples by the key; the @@ -1487,7 +1480,7 @@ the Gospel; for here the heart is set upon a treasure-chest, an act we are especially taught to avoid.</p> <div class="figcenter" style="width: 232px;"> -<a name="fig069" id="fig069"></a><a href="images/fig069-full.png"><img src="images/fig069.png" width="232" height="321" alt="Fig. 69." title="Fig. 69." /></a> +<a id="fig069"></a><a href="images/fig069-full.png"><img src="images/fig069.png" alt="Fig. 69." title="Fig. 69." style="width: 232px; height: 321px"></a> <span class="caption">Fig. 69.</span> </div> @@ -1503,7 +1496,7 @@ and fifteenth centuries gave abundant employment to the goldsmith. Cellini, in his Memoirs, has noted many fine pieces of ornamental plate he was called upon to design and execute; and one of the finest still exists in the <i>Kunst-Kammer</i>, at Vienna—the golden salt-cellar he made -for Francis I., of France. The “salt” was an<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span> important piece of plate +for Francis I., of France. The “salt” was an<span class='pagenum'><a id="Page_62">[62]</a></span> important piece of plate on all tables at this period, and to be placed above or below it, indicated the rank, or honour, done to any seated at the banquet. The large engraving (<a href="#fig070">Fig. 70</a>) delineates a very remarkable salt-cellar, @@ -1528,9 +1521,9 @@ circular base, chased with figures of sea-monsters disporting in the waves. It would not be easy to select a more characteristic specimen of antique table-plate. The inventories of similar articles once possessed by the French king, Charles V., and his brother, the Duke of Anjou, King -of Naples and Provence (preserved in the Royal Library,<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span> Paris), give +of Naples and Provence (preserved in the Royal Library,<span class='pagenum'><a id="Page_63">[63]</a></span> Paris), give descriptive details of similar quaint pieces of art-manufacture, in -which the most grotesque and heterogeneous<span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span> features are combined, and +which the most grotesque and heterogeneous<span class='pagenum'><a id="Page_64">[64]</a></span> features are combined, and the work enriched by precious stones and enamels. Jules Labarte observes, “the artists of that period indulged in strange flights of fancy in designing plate for the table, they especially delighted in @@ -1539,7 +1532,7 @@ man, animal, or flower, while a monstrous combination of several human figures serves to form the design of a vase.”</p> <div class="figcenter" style="width: 351px;"> -<a name="fig070" id="fig070"></a><a href="images/fig070-full.png"><img src="images/fig070.png" width="351" height="517" alt="Fig. 70." title="Fig. 70." /></a> +<a id="fig070"></a><a href="images/fig070-full.png"><img src="images/fig070.png" alt="Fig. 70." title="Fig. 70." style="width: 351px; height: 517px"></a> <span class="caption">Fig. 70.</span> </div> @@ -1561,28 +1554,28 @@ century particularly gave their imaginations licence to construct. Indeed, the German artists of that period seem to have had a spice of lunacy in their compositions, and the works of Breughel were rivalled and outdone by many others whose fancies were of most unearthly type. -Salvator Rosa in Italy, and Callot in<span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span> France, occasionally depicted +Salvator Rosa in Italy, and Callot in<span class='pagenum'><a id="Page_65">[65]</a></span> France, occasionally depicted what their grotesque and mystic imaginings suggested, and Teniers gave the world witch-pictures; but for the wild and wondrous, Germany has always carried the palm from the rest of the world in art as in literature.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 450px;" summary="figs. 71 and 72"> +<table style="width: 450px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig071" id="fig071"></a><a href="images/fig071-full.png"><img src="images/fig071.png" width="220" height="444" alt="Fig. 71." title="Fig. 71." /></a><br /> + <td class="tdc"><a id="fig071"></a><a href="images/fig071-full.png"><img src="images/fig071.png" alt="Fig. 71." title="Fig. 71." style="width: 220px; height: 444px"></a><br> <span class="caption">Fig. 71.</span></td> - <td class="tdc"><a name="fig072" id="fig072"></a><a href="images/fig072-full.png"><img src="images/fig072.png" width="120" height="457" alt="Fig. 72." title="Fig. 72." /></a><br /> + <td class="tdc"><a id="fig072"></a><a href="images/fig072-full.png"><img src="images/fig072.png" alt="Fig. 72." title="Fig. 72." style="width: 120px; height: 457px"></a><br> <span class="caption">Fig. 72.</span></td> </tr> </table> -<p><span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span></p> +<p><span class='pagenum'><a id="Page_66">[66]</a></span></p> <p>We engrave a fine example of a vase handle (<a href="#fig071">Fig. 71</a>), apparently the work of an Italian goldsmith at the early part of the seventeenth century. The bold freedom of the design is utilised here by the upheaved figure grasped by the monster, and which gives hold and strength to the -handle; the flowing character<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span> throughout the composition accords well +handle; the flowing character<span class='pagenum'><a id="Page_67">[67]</a></span> throughout the composition accords well with the general curve of the vase to which it is affixed. There is a prevailing elegance in the Italian grotesque design which is not seen in that of other nations. The knife handle by Francisco Salviati, which we @@ -1595,7 +1588,7 @@ monster, give a certain quaint grace to the design, which is further relieved by enriched foliage.</p> <div class="figcenter" style="width: 233px;"> -<a name="fig073" id="fig073"></a><a href="images/fig073-full.png"><img src="images/fig073.png" width="233" height="460" alt="Fig. 73." title="Fig. 73." /></a> +<a id="fig073"></a><a href="images/fig073-full.png"><img src="images/fig073.png" alt="Fig. 73." title="Fig. 73." style="width: 233px; height: 460px"></a> <span class="caption">Fig. 73.</span> </div> @@ -1611,7 +1604,7 @@ the back of the body, which is formed by a double plate of silver, the junctures being ingeniously hidden by the chequers of the dress.</p> <div class="figcenter" style="width: 223px;"> -<a name="fig074" id="fig074"></a><a href="images/fig074-full.png"><img src="images/fig074.png" width="223" height="222" alt="Fig. 74." title="Fig. 74." /></a> +<a id="fig074"></a><a href="images/fig074-full.png"><img src="images/fig074.png" alt="Fig. 74." title="Fig. 74." style="width: 223px; height: 222px"></a> <span class="caption">Fig. 74.</span> </div> @@ -1619,7 +1612,7 @@ junctures being ingeniously hidden by the chequers of the dress.</p> design in book illustrations, it is often seen in manuscripts, and abounds in early printed works. When wood engraving was extensively applied to the enrichment of the books which issued in abundance from -the presses of Germany and France, the<span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span> head and tail-pieces of chapters +the presses of Germany and France, the<span class='pagenum'><a id="Page_68">[68]</a></span> head and tail-pieces of chapters gave great scope to the fancies of the artists of Frankfort and Lyons. The latter city became remarkable for the production of elegantly illustrated volumes, which have never been surpassed. Our concluding @@ -1633,7 +1626,7 @@ with the human form to complete its <i>ensemble</i>. The least natural of the group is the floriated fish, whose general form has evidently been based on that of the dolphin. When Hogarth ridiculed the taste for <i>virtu</i>, which the fashionable people of his own era carried to a childish -extent, and displayed its follies<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span> in his picture of “Taste in high +extent, and displayed its follies<span class='pagenum'><a id="Page_69">[69]</a></span> in his picture of “Taste in high life,” and in the furniture of his scenes of the “Marriage-à-la-mode,” he exhibited a somewhat similar absurdity in porcelain ornament. In the second scene of the “Marriage” is an amusing example of false @@ -1643,7 +1636,7 @@ be diving at the lighted candles. Hogarth’s strong sense of the ludicrous was always pertinently displayed in such good-humoured satire.</p> <div class="figcenter" style="width: 419px;"> -<a name="fig075" id="fig075"></a><a href="images/fig075-full.png"><img src="images/fig075.png" width="419" height="238" alt="Fig. 75." title="Fig. 75." /></a> +<a id="fig075"></a><a href="images/fig075-full.png"><img src="images/fig075.png" alt="Fig. 75." title="Fig. 75." style="width: 419px; height: 238px"></a> <span class="caption">Fig. 75.</span> </div> @@ -1651,7 +1644,7 @@ ludicrous was always pertinently displayed in such good-humoured satire.</p> grotesques. We have noted their past ability, and our readers may note their present talent in many London shops. The French fabricants furnish us with the most remarkable modern works, and very many of the smaller -articles for the toilette, or<span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span> for children’s use, are designed with a +articles for the toilette, or<span class='pagenum'><a id="Page_70">[70]</a></span> for children’s use, are designed with a strong feeling for the grotesque. Little figures of Chinese, rich in colour, twist about in quaint attitudes, to do duty as tray-holders or match-boxes. Lizards make good paper-weights, and wide-mouthed frogs are @@ -1671,34 +1664,34 @@ existed, and does still exist, its presence cannot be ignored, and will be recognised constantly by all who study art.</p> <div class="figcenter" style="width: 146px;"> -<img src="images/illus-070.png" width="146" height="76" alt="decorative" title="decorative" /> +<img src="images/illus-070.png" alt="decorative" title="decorative" style="width: 146px; height: 76px"> </div> <div class="footnotes"> -<p class="footnote"><a name="Footnote_49-1_3" id="Footnote_49-1_3"></a><a href="#FNanchor_49-1_3"><span class="label">49-*</span></a> “History of Ancient Egyptians.”</p> +<p class="footnote"><a id="Footnote_49-1_3"></a><a href="#FNanchor_49-1_3"><span class="label">49-*</span></a> “History of Ancient Egyptians.”</p> -<p class="footnote"><a name="Footnote_59-1_4" id="Footnote_59-1_4"></a><a href="#FNanchor_59-1_4"><span class="label">59-*</span></a> “Ars Memorandi notabilis per Figuras Evangelistarum,” +<p class="footnote"><a id="Footnote_59-1_4"></a><a href="#FNanchor_59-1_4"><span class="label">59-*</span></a> “Ars Memorandi notabilis per Figuras Evangelistarum,” etc.</p> </div> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_71">[71]</a></span></p> <h2 class="chapterdivider">FACTS ABOUT FINGER-RINGS.</h2> -<p><span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span></p> +<p><span class='pagenum'><a id="Page_72">[72]</a></span></p> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_73">[73]</a></span></p> <h2 class="chapterhead">FACTS ABOUT FINGER-RINGS.</h2> -<hr class="decorative" /> +<hr class="decorative"> -<h3 class="sectionhead">CHAPTER I.<br /> +<h3 class="sectionhead">CHAPTER I.<br> <span class="chaptitle">ANTIQUE RINGS.</span></h3> @@ -1719,11 +1712,11 @@ modern manners.</p> <p>In taking up one of these branches—the history of finger-rings—we shall briefly show the large amount of anecdote and curious collateral information it abounds in. Our illustrations depict the great variety of -design and ornamental detail embraced by so<span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span> simple a thing as a hoop +design and ornamental detail embraced by so<span class='pagenum'><a id="Page_74">[74]</a></span> simple a thing as a hoop for the finger. It would be easy to multiply the literary and the artistic branch of this subject until a volume of no small bulk resulted from the labour. Volumes have been devoted to the history of -rings—Gorlæus among the older, and Edwards,<a name="FNanchor_74-1_5" id="FNanchor_74-1_5"></a><a href="#Footnote_74-1_5" class="fnanchor">74-*</a> of New York, among +rings—Gorlæus among the older, and Edwards,<a id="FNanchor_74-1_5"></a><a href="#Footnote_74-1_5" class="fnanchor">74-*</a> of New York, among the modern authors. The ancients had their <i>Dactyliotheca</i>, or collection of rings; but they were luxurious varieties of rings for wear. The modern collections are historic, illustrative of past tastes @@ -1741,10 +1734,10 @@ the custom as common now as it was three thousand years ago. When Tamar desired some certain token by which she should again recognise Judah, she made her first request for his signet, and when the time of recognition arrived, it was duly and undoubtingly acknowledged by -all.<a name="FNanchor_74-2_6" id="FNanchor_74-2_6"></a><a href="#Footnote_74-2_6" class="fnanchor">74-†</a> <a href="#fig076">Fig. 76</a> exhibits the usual form assumed by these signets. +all.<a id="FNanchor_74-2_6"></a><a href="#Footnote_74-2_6" class="fnanchor">74-†</a> <a href="#fig076">Fig. 76</a> exhibits the usual form assumed by these signets. It has a somewhat clumsy movable handle, attached to a cross-bar passing -through a cube, engraved on each of its facets with symbolical<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span> devices. -Sir John Gardner Wilkinson<a name="FNanchor_75-1_7" id="FNanchor_75-1_7"></a><a href="#Footnote_75-1_7" class="fnanchor">75-*</a> speaks of it as one of the largest and +through a cube, engraved on each of its facets with symbolical<span class='pagenum'><a id="Page_75">[75]</a></span> devices. +Sir John Gardner Wilkinson<a id="FNanchor_75-1_7"></a><a href="#Footnote_75-1_7" class="fnanchor">75-*</a> speaks of it as one of the largest and most valuable he has seen, containing twenty pounds’ worth of gold. “It consisted of a massive ring, half an inch in its largest diameter, bearing an oblong plinth, on which the devices were engraved, one inch @@ -1755,11 +1748,11 @@ III., who lived about <span class="smrom">B.C.</span> 1400; on the other a lion, and on the other a crocodile.” Judah’s signet was, of course, formed of less valuable material, and had probably a single device only.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 76 and 77"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig076" id="fig076"></a><a href="images/fig076-full.png"><img src="images/fig076.png" width="139" height="128" alt="Fig. 76." title="Fig. 76." /></a><br /> + <td class="tdc"><a id="fig076"></a><a href="images/fig076-full.png"><img src="images/fig076.png" alt="Fig. 76." title="Fig. 76." style="width: 139px; height: 128px"></a><br> <span class="caption">Fig. 76.</span></td> - <td class="tdc"><a name="fig077" id="fig077"></a><a href="images/fig077-full.png"><img src="images/fig077.png" width="96" height="103" alt="Fig. 77." title="Fig. 77." /></a><br /> + <td class="tdc"><a id="fig077"></a><a href="images/fig077-full.png"><img src="images/fig077.png" alt="Fig. 77." title="Fig. 77." style="width: 96px; height: 103px"></a><br> <span class="caption">Fig. 77.</span></td> </tr> </table> @@ -1769,7 +1762,7 @@ recent era in Egypt, is shown in <a href="#fig077">Fig. 77</a>. The gold loop pa small figure of the sacred beetle, the flat under side being engraved with the device of a crab. It is cut in carnelian, and once formed part of the collection of Egyptian antiquities gathered by our consul at -Cairo—Henry Salt, the friend<span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span> of Burckhardt and Belzoni, who first +Cairo—Henry Salt, the friend<span class='pagenum'><a id="Page_76">[76]</a></span> of Burckhardt and Belzoni, who first employed the latter in Egyptian researches, and to whom our national museum owes many of its chief Egyptian treasures.</p> @@ -1798,22 +1791,22 @@ represents this ring, and beside it (<a href="#fig079">Fig. 79</a>) is placed th inscription upon the face of the ring, which is cut with the most minute accuracy and beauty.</p> -<p><span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span></p> +<p><span class='pagenum'><a id="Page_77">[77]</a></span></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px; margin-bottom: 1em;" summary="figs. 78 and 79"> +<table style="width: 300px; margin-bottom: 1em; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig078" id="fig078"></a><a href="images/fig078-full.png"><img src="images/fig078.png" width="103" height="96" alt="Fig. 78." title="Fig. 78." /></a><br /> + <td class="tdc"><a id="fig078"></a><a href="images/fig078-full.png"><img src="images/fig078.png" alt="Fig. 78." title="Fig. 78." style="width: 103px; height: 96px"></a><br> <span class="caption">Fig. 78.</span></td> - <td class="tdc"><a name="fig079" id="fig079"></a><a href="images/fig079-full.png"><img src="images/fig079.png" width="111" height="73" alt="Fig. 79." title="Fig. 79." /></a><br /> + <td class="tdc"><a id="fig079"></a><a href="images/fig079-full.png"><img src="images/fig079.png" alt="Fig. 79." title="Fig. 79." style="width: 111px; height: 73px"></a><br> <span class="caption">Fig. 79.</span></td> </tr> </table> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px; margin-top: 1em;" summary="figs. 80 and 81"> +<table style="width: 300px; margin-top: 1em; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig080" id="fig080"></a><a href="images/fig080-full.png"><img src="images/fig080.png" width="95" height="103" alt="Fig. 80." title="Fig. 80." /></a><br /> + <td class="tdc"><a id="fig080"></a><a href="images/fig080-full.png"><img src="images/fig080.png" alt="Fig. 80." title="Fig. 80." style="width: 95px; height: 103px"></a><br> <span class="caption">Fig. 80.</span></td> - <td class="tdc"><a name="fig081" id="fig081"></a><a href="images/fig081-full.png"><img src="images/fig081.png" width="104" height="93" alt="Fig. 81." title="Fig. 81." /></a><br /> + <td class="tdc"><a id="fig081"></a><a href="images/fig081-full.png"><img src="images/fig081.png" alt="Fig. 81." title="Fig. 81." style="width: 104px; height: 93px"></a><br> <span class="caption">Fig. 81.</span></td> </tr> </table> @@ -1830,12 +1823,12 @@ colossal “head of Memnon,” placed in the British Museum through the agency of Mr. Salt, has a similar group of hieroglyphics sculptured on its shoulder. There was another kind of official ring, which we can recognise from the description of Pliny, and of which we give an -engraving (<a href="#fig081">Fig. 81</a>) from the original in the<span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span> author’s possession. It is +engraving (<a href="#fig081">Fig. 81</a>) from the original in the<span class='pagenum'><a id="Page_78">[78]</a></span> author’s possession. It is of bronze, and has engraved upon its face the figure of the scarabæus; such rings were worn by the Egyptian soldiers.</p> <div class="figcenter" style="width: 235px;"> -<a name="fig082" id="fig082"></a><a href="images/fig082-full.png"><img src="images/fig082.png" width="235" height="181" alt="Fig. 82." title="Fig. 82." /></a> +<a id="fig082"></a><a href="images/fig082-full.png"><img src="images/fig082.png" alt="Fig. 82." title="Fig. 82." style="width: 235px; height: 181px"></a> <span class="caption">Fig. 82.</span> </div> @@ -1851,7 +1844,7 @@ displayed on the crossed hands of a figure of a woman (<a href="#fig082">Fig. 82 mummy case in the British Museum. Here the thumbs as well as the fingers are encircled by them. The left hand is most loaded; upon the thumb is a signet with hieroglyphics on its surface; three rings on the forefinger; -two on the second, one formed like a snail-shell; the same number<span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span> on +two on the second, one formed like a snail-shell; the same number<span class='pagenum'><a id="Page_79">[79]</a></span> on the next, and one on the little finger. The right hand carries only a thumb-ring, and two upon the third finger. These hands are cut in wood, and the fingers are partially broken.</p> @@ -1879,7 +1872,7 @@ Polycrates attached most value to a signet-ring he constantly wore; it was of gold, set with an emerald cut by Theodorus of Samos, a famed engraver of gems. He went out in a galley far on to the open sea, and then cast his precious ring into its waters, returning in an excess of -grief. Some six days afterwards a fisherman came<span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span> to his gate, bearing a +grief. Some six days afterwards a fisherman came<span class='pagenum'><a id="Page_80">[80]</a></span> to his gate, bearing a fish so fine and large he deemed it to be only fitted for the table of Polycrates. The King of Samos accepted the gift, the fish was sent to the royal kitchen, and on opening it a valuable ring was found in its @@ -1887,11 +1880,11 @@ stomach. It was at once taken to Polycrates, who immediately recognised his abandoned treasure, which he now valued the more as it seemed to be returned by divine interposition.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 83 and 84"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig083" id="fig083"></a><a href="images/fig083-full.png"><img src="images/fig083.png" width="115" height="124" alt="Fig. 83." title="Fig. 83." /></a><br /> + <td class="tdc"><a id="fig083"></a><a href="images/fig083-full.png"><img src="images/fig083.png" alt="Fig. 83." title="Fig. 83." style="width: 115px; height: 124px"></a><br> <span class="caption">Fig. 83.</span></td> - <td class="tdc"><a name="fig084" id="fig084"></a><a href="images/fig084-full.png"><img src="images/fig084.png" width="100" height="116" alt="Fig. 84." title="Fig. 84." /></a><br /> + <td class="tdc"><a id="fig084"></a><a href="images/fig084-full.png"><img src="images/fig084.png" alt="Fig. 84." title="Fig. 84." style="width: 100px; height: 116px"></a><br> <span class="caption">Fig. 84.</span></td> </tr> </table> @@ -1908,18 +1901,18 @@ sweep of its curve.</p> which has ever been the characteristic of the Eastern nations, appear to have worn no finger-rings. Yet many of their bracelets are admirably designed for the purpose if produced on a limited scale; and they were -worn by men as well as by women.<span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span> Bonomi, in his “History of Nineveh and +worn by men as well as by women.<span class='pagenum'><a id="Page_81">[81]</a></span> Bonomi, in his “History of Nineveh and its Palaces,” observes, “that not a single case occurs, amidst all this display of personal jewellery, of a finger-ring; the entire absence of this ornament in sculpture, wherein details of this nature are so elaborately and carefully attended to, leads to the conclusion that the finger-ring was an ornament then unknown.”</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 85 and 86"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig085" id="fig085"></a><a href="images/fig085-full.png"><img src="images/fig085.png" width="101" height="97" alt="Fig. 85." title="Fig. 85." /></a><br /> + <td class="tdc"><a id="fig085"></a><a href="images/fig085-full.png"><img src="images/fig085.png" alt="Fig. 85." title="Fig. 85." style="width: 101px; height: 97px"></a><br> <span class="caption">Fig. 85.</span></td> - <td class="tdc"><a name="fig086" id="fig086"></a><a href="images/fig086-full.png"><img src="images/fig086.png" width="99" height="90" alt="Fig. 86." title="Fig. 86." /></a><br /> + <td class="tdc"><a id="fig086"></a><a href="images/fig086-full.png"><img src="images/fig086.png" alt="Fig. 86." title="Fig. 86." style="width: 99px; height: 90px"></a><br> <span class="caption">Fig. 86.</span></td> </tr> </table> @@ -1937,7 +1930,7 @@ most valued of these ornaments has furnished modern museums with an abundance of fine specimens. Figs. <a href="#fig085">85</a> and <a href="#fig086">86</a> are copied from originals found in the more modern Etruscan sepulchres, and are probably contemporary with the earliest days of the Roman empire. <a href="#fig085">Fig. 85</a> is -admirably adapted to the finger;<span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span> being made of the purest gold, it is +admirably adapted to the finger;<span class='pagenum'><a id="Page_82">[82]</a></span> being made of the purest gold, it is naturally slightly elastic; but the hoop is not perfected, each extremity ending in a broad leaf-shaped ornament, most delicately banded with threads of beaded and twisted wire, acting as a brace upon the @@ -1962,16 +1955,16 @@ question previously put. This operation was preceded and accompanied by certain ceremonies. The ring was consecrated with divers mysterious forms. The person who held it was arrayed in linen only; a circle was shaved round his head, and in his hand he held a branch of vervain. -Before commencing the gods were appeased by prayer.<a name="FNanchor_82-1_8" id="FNanchor_82-1_8"></a><a href="#Footnote_82-1_8" class="fnanchor">82-*</a> This<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span> practice +Before commencing the gods were appeased by prayer.<a id="FNanchor_82-1_8"></a><a href="#Footnote_82-1_8" class="fnanchor">82-*</a> This<span class='pagenum'><a id="Page_83">[83]</a></span> practice long prevailed, and is mentioned by Gibbon as having given rise to the persecutions for the crime of magic, in the reign of the Emperor Valens, -at Antioch.<a name="FNanchor_83-1_9" id="FNanchor_83-1_9"></a><a href="#Footnote_83-1_9" class="fnanchor">83-*</a></p> +at Antioch.<a id="FNanchor_83-1_9"></a><a href="#Footnote_83-1_9" class="fnanchor">83-*</a></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 87 and 88"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig087" id="fig087"></a><a href="images/fig087-full.png"><img src="images/fig087.png" width="99" height="98" alt="Fig. 87." title="Fig. 87." /></a><br /> + <td class="tdc"><a id="fig087"></a><a href="images/fig087-full.png"><img src="images/fig087.png" alt="Fig. 87." title="Fig. 87." style="width: 99px; height: 98px"></a><br> <span class="caption">Fig. 87.</span></td> - <td class="tdc"><a name="fig088" id="fig088"></a><a href="images/fig088-full.png"><img src="images/fig088.png" width="107" height="104" alt="Fig. 88." title="Fig. 88." /></a><br /> + <td class="tdc"><a id="fig088"></a><a href="images/fig088-full.png"><img src="images/fig088.png" alt="Fig. 88." title="Fig. 88." style="width: 107px; height: 104px"></a><br> <span class="caption">Fig. 88.</span></td> </tr> </table> @@ -1989,15 +1982,15 @@ antique ring may add another “new idea” to the modern designer. It i “made on the principle of some of our steel rings which we use to hold household keys, widening their circle by pressure. In this finger-ring the part in the mouth is inserted loose, so as to draw out and increase -to the size of the circle needed.”<a name="FNanchor_83-2_10" id="FNanchor_83-2_10"></a><a href="#Footnote_83-2_10" class="fnanchor">83-†</a></p> +to the size of the circle needed.”<a id="FNanchor_83-2_10"></a><a href="#Footnote_83-2_10" class="fnanchor">83-†</a></p> -<p><span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span></p> +<p><span class='pagenum'><a id="Page_84">[84]</a></span></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 89 and 90"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig089" id="fig089"></a><a href="images/fig089-full.png"><img src="images/fig089.png" width="99" height="58" alt="Fig. 89." title="Fig. 89." /></a><br /> + <td class="tdc"><a id="fig089"></a><a href="images/fig089-full.png"><img src="images/fig089.png" alt="Fig. 89." title="Fig. 89." style="width: 99px; height: 58px"></a><br> <span class="caption">Fig. 89.</span></td> - <td class="tdc"><a name="fig090" id="fig090"></a><a href="images/fig090-full.png"><img src="images/fig090.png" width="122" height="55" alt="Fig. 90." title="Fig. 90." /></a><br /> + <td class="tdc"><a id="fig090"></a><a href="images/fig090-full.png"><img src="images/fig090.png" alt="Fig. 90." title="Fig. 90." style="width: 122px; height: 55px"></a><br> <span class="caption">Fig. 90.</span></td> </tr> </table> @@ -2023,7 +2016,7 @@ preferred the Greek language in their most familiar customs.”</p> <p>Among the beautiful objects of antique art collected by B. Hertz, Esq., and sold by auction in 1859, by Messrs. Sotheby and Wilkinson, were many antique rings inscribed with sentences and mottoes of a remarkable kind. -Those bearing Greek inscriptions<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span> were the wordiest; such as—“I love +Those bearing Greek inscriptions<span class='pagenum'><a id="Page_85">[85]</a></span> were the wordiest; such as—“I love not lest I go astray; but I observe well, and I laugh.”—“They say what they will; let them say, I care not.” Many were evidently memorials of friendship; one represented a hand pulling the lobe of an ear, with the @@ -2039,11 +2032,11 @@ owners, as Valeria Cleopatra and Hermadion Cæsaris. A massive silver ring inscribed with the name “Sabbina” is engraved (<a href="#fig091">Fig. 91</a>) from the original in the Londesborough collection.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 91 and 92"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig091" id="fig091"></a><a href="images/fig091-full.png"><img src="images/fig091.png" width="110" height="72" alt="Fig. 91." title="Fig. 91." /></a><br /> + <td class="tdc"><a id="fig091"></a><a href="images/fig091-full.png"><img src="images/fig091.png" alt="Fig. 91." title="Fig. 91." style="width: 110px; height: 72px"></a><br> <span class="caption">Fig. 91.</span></td> - <td class="tdc"><a name="fig092" id="fig092"></a><a href="images/fig092-full.png"><img src="images/fig092.png" width="124" height="61" alt="Fig. 92." title="Fig. 92." /></a><br /> + <td class="tdc"><a id="fig092"></a><a href="images/fig092-full.png"><img src="images/fig092.png" alt="Fig. 92." title="Fig. 92." style="width: 124px; height: 61px"></a><br> <span class="caption">Fig. 92.</span></td> </tr> </table> @@ -2051,7 +2044,7 @@ original in the Londesborough collection.</p> <p>We place beside it a ring with a very different device, but one that cannot fail to be looked on with singular interest. It is marked with the <i>Labarum</i>, the oldest sacred monogram of Christianity, which -Constantine believed he saw in a vision, and placed<span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span> upon his victorious +Constantine believed he saw in a vision, and placed<span class='pagenum'><a id="Page_86">[86]</a></span> upon his victorious standard and his coins, with the motto—“In hoc signo vinces!” This ring came from the Roman sepulchre of an early Christian, and the hand for which it was originally fashioned may have aided in the conquering war @@ -2060,7 +2053,7 @@ agonising death, “thrown to the beasts” of the circus, but reposing after death with the first martyrs to the faith.</p> <div class="figcenter" style="width: 235px;"> -<a name="fig093" id="fig093"></a><a href="images/fig093-full.png"><img src="images/fig093.png" width="235" height="143" alt="Fig. 93." title="Fig. 93." /></a> +<a id="fig093"></a><a href="images/fig093-full.png"><img src="images/fig093.png" alt="Fig. 93." title="Fig. 93." style="width: 235px; height: 143px"></a> <span class="caption">Fig. 93.</span> </div> @@ -2075,14 +2068,14 @@ church; and others of similar import.</p> believes to have been presented by a Roman lady to the victorious charioteer in the horse-races; it is of peculiar form, but one that was a favourite with Roman wearers. The bust of the donor appears on the -summit of the ring, and on each side are the<span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span> heads of reined horses, as +summit of the ring, and on each side are the<span class='pagenum'><a id="Page_87">[87]</a></span> heads of reined horses, as shown in our cut. Her name is engraved on the lower part of the hoop, and on each side AMOROSPIS. The latter properly being HOSPES, having the aspirate omitted and an I for an E, induces Gorius to consider it a late work of the Roman era.</p> <div class="figcenter" style="width: 183px;"> -<a name="fig094" id="fig094"></a><a href="images/fig094-full.png"><img src="images/fig094.png" width="183" height="84" alt="Fig. 94." title="Fig. 94." /></a> +<a id="fig094"></a><a href="images/fig094-full.png"><img src="images/fig094.png" alt="Fig. 94." title="Fig. 94." style="width: 183px; height: 84px"></a> <span class="caption">Fig. 94.</span> </div> @@ -2101,7 +2094,7 @@ and have retained through every century of change since then.</p> and the emperors relaxed the law of restraint. Thus Tiberias, in <span class="smrom">A.D.</span> 22, gave permission for gold rings to be worn by all persons whose fathers and grandfathers possessed property to the value of 200,000 -sesterciæ. The Emperors Severus and<span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span> Aurelian ultimately gave the right +sesterciæ. The Emperors Severus and<span class='pagenum'><a id="Page_88">[88]</a></span> Aurelian ultimately gave the right of wearing gold rings to all soldiers of the empire; and the Emperor Justinian at length gave a similar right to all who had legal claims to Roman citizenship. Distinction once broken through, and wealth @@ -2127,30 +2120,30 @@ at his conduct by depriving him of his ring, saying he was unworthy to wear the portrait of so great a man.</p> <div class="figcenter" style="width: 339px;"> -<a name="fig095" id="fig095"></a><a href="images/fig095-full.png"><img src="images/fig095.png" width="339" height="314" alt="Fig. 95." title="Fig. 95." /></a> +<a id="fig095"></a><a href="images/fig095-full.png"><img src="images/fig095.png" alt="Fig. 95." title="Fig. 95." style="width: 339px; height: 314px"></a> <span class="caption">Fig. 95.</span> </div> -<p>This ring-wearing became one of the troubles of the wealthy,<span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span> and as the +<p>This ring-wearing became one of the troubles of the wealthy,<span class='pagenum'><a id="Page_89">[89]</a></span> and as the Sybarite complained of the folded rose-leaf inconveniencing his bed, the rich Roman was fatigued with his rings. Hence came the custom of wearing light or heavy rings, or as they termed them, summer or winter rings, according to the season. That there really was some reason in the complaint, will be granted by the reader who looks on <a href="#fig095">Fig. 95</a>, copied -from Montfaucon.<a name="FNanchor_89-1_11" id="FNanchor_89-1_11"></a><a href="#Footnote_89-1_11" class="fnanchor">89-*</a> It is a thumb-ring of unusual magnitude, and of +from Montfaucon.<a id="FNanchor_89-1_11"></a><a href="#Footnote_89-1_11" class="fnanchor">89-*</a> It is a thumb-ring of unusual magnitude, and of costly material; it has upon it a bust in high relief of the Empress -Plotina, the consort of Trajan; she wears the imperial diadem,<span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span> which is +Plotina, the consort of Trajan; she wears the imperial diadem,<span class='pagenum'><a id="Page_90">[90]</a></span> which is here composed of precious stones cut into facets. This bust would of course come outside the hand, the narrower part of the wreathed ring passing between the thumb and first finger. The gorgeous inconvenience of the whole thing is at once apparent. It probably decorated the hand of some member of the imperial family.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 96 and 97"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig096" id="fig096"></a><a href="images/fig096-full.png"><img src="images/fig096.png" width="94" height="111" alt="Fig. 96." title="Fig. 96." /></a><br /> + <td class="tdc"><a id="fig096"></a><a href="images/fig096-full.png"><img src="images/fig096.png" alt="Fig. 96." title="Fig. 96." style="width: 94px; height: 111px"></a><br> <span class="caption">Fig. 96.</span></td> - <td class="tdc"><a name="fig097" id="fig097"></a><a href="images/fig097-full.png"><img src="images/fig097.png" width="93" height="113" alt="Fig. 97." title="Fig. 97." /></a><br /> + <td class="tdc"><a id="fig097"></a><a href="images/fig097-full.png"><img src="images/fig097.png" alt="Fig. 97." title="Fig. 97." style="width: 93px; height: 113px"></a><br> <span class="caption">Fig. 97.</span></td> </tr> </table> @@ -2168,7 +2161,7 @@ in <a href="#fig096">Fig. 96</a>; the larger gem has cut upon it a figure of Mar spear and helmet, but wearing only the chlamys; the smaller gem is incised with a dove and myrtle branch. Beside it are placed two examples of the emblematic devices and inscriptions adopted for classic rings, -when used as<span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span> memorial gifts. The first is inscribed, “You have a love +when used as<span class='pagenum'><a id="Page_91">[91]</a></span> memorial gifts. The first is inscribed, “You have a love pledge;” the second, “Proteros (to) Ugiæ,” between conjoined hands—a type of concord still familiar to us.</p> @@ -2179,11 +2172,11 @@ it may, however, have been principally used as a signet. The same may be said of <a href="#fig099">Fig. 99</a>, which has a very broad face, set with an incised stone bearing a figure of Hygeia.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 98 and 99"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig098" id="fig098"></a><a href="images/fig098-full.png"><img src="images/fig098.png" width="113" height="92" alt="Fig. 98." title="Fig. 98." /></a><br /> + <td class="tdc"><a id="fig098"></a><a href="images/fig098-full.png"><img src="images/fig098.png" alt="Fig. 98." title="Fig. 98." style="width: 113px; height: 92px"></a><br> <span class="caption">Fig. 98.</span></td> - <td class="tdc"><a name="fig099" id="fig099"></a><a href="images/fig099-full.png"><img src="images/fig099.png" width="104" height="95" alt="Fig. 99." title="Fig. 99." /></a><br /> + <td class="tdc"><a id="fig099"></a><a href="images/fig099-full.png"><img src="images/fig099.png" alt="Fig. 99." title="Fig. 99." style="width: 104px; height: 95px"></a><br> <span class="caption">Fig. 99.</span></td> </tr> </table> @@ -2198,7 +2191,7 @@ by the sound emitted what he had to do, or what was to happen to him.</p> by the Romans. It was a combination of a ring and a key, as represented in Figs. <a href="#fig100">100</a> and <a href="#fig101">101</a>, from originals engraved by Montfaucon in his great work on Roman antiquities. He has published many varieties, for they are -very commonly discovered<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span> in all places where the Romans located +very commonly discovered<span class='pagenum'><a id="Page_92">[92]</a></span> in all places where the Romans located themselves. Many have been found in London, York, Lincoln, and other old cities, as well as in the neighbourhood of Roman camps. The use of these rings is apparent: they opened the small cabinets or boxes in which the @@ -2206,11 +2199,11 @@ most precious articles were preserved, and they were less likely to be lost, mislaid, or improperly used by others, when thus worn night and day on the finger.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. and "> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig100" id="fig100"></a><a href="images/fig100-full.png"><img src="images/fig100.png" width="128" height="94" alt="Fig. 100." title="Fig. 100." /></a><br /> + <td class="tdc"><a id="fig100"></a><a href="images/fig100-full.png"><img src="images/fig100.png" alt="Fig. 100." title="Fig. 100." style="width: 128px; height: 94px"></a><br> <span class="caption">Fig. 100.</span></td> - <td class="tdc"><a name="fig101" id="fig101"></a><a href="images/fig101-full.png"><img src="images/fig101.png" width="109" height="103" alt="Fig. 101." title="Fig. 101." /></a><br /> + <td class="tdc"><a id="fig101"></a><a href="images/fig101-full.png"><img src="images/fig101.png" alt="Fig. 101." title="Fig. 101." style="width: 109px; height: 103px"></a><br> <span class="caption">Fig. 101.</span></td> </tr> </table> @@ -2228,13 +2221,13 @@ Carthaginian general, was overcome by Scipio Africanus, it is recorded that he fled to Bithynia, and ended his life by poison, which for that purpose he had reserved in a ring.</p> -<p><span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span></p> +<p><span class='pagenum'><a id="Page_93">[93]</a></span></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 102 and 103"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig102" id="fig102"></a><a href="images/fig102-full.png"><img src="images/fig102.png" width="105" height="85" alt="Fig. 102." title="Fig. 102." /></a><br /> + <td class="tdc"><a id="fig102"></a><a href="images/fig102-full.png"><img src="images/fig102.png" alt="Fig. 102." title="Fig. 102." style="width: 105px; height: 85px"></a><br> <span class="caption">Fig. 102.</span></td> - <td class="tdc"><a name="fig103" id="fig103"></a><a href="images/fig103-full.png"><img src="images/fig103.png" width="104" height="83" alt="Fig. 103." title="Fig. 103." /></a><br /> + <td class="tdc"><a id="fig103"></a><a href="images/fig103-full.png"><img src="images/fig103.png" alt="Fig. 103." title="Fig. 103." style="width: 104px; height: 83px"></a><br> <span class="caption">Fig. 103.</span></td> </tr> </table> @@ -2247,11 +2240,11 @@ sepulchres. The Waterton collection supplies us with two specimens. <a href="#fi glass, also made as if set with a jewel. The body of this ring is dark brown with bands of white crossing it; the jewel is yellow.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 104 and 105"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig104" id="fig104"></a><a href="images/fig104-full.png"><img src="images/fig104.png" width="117" height="86" alt="Fig. 104." title="Fig. 104." /></a><br /> + <td class="tdc"><a id="fig104"></a><a href="images/fig104-full.png"><img src="images/fig104.png" alt="Fig. 104." title="Fig. 104." style="width: 117px; height: 86px"></a><br> <span class="caption">Fig. 104.</span></td> - <td class="tdc"><a name="fig105" id="fig105"></a><a href="images/fig105-full.png"><img src="images/fig105.png" width="99" height="94" alt="Fig. 105." title="Fig. 105." /></a><br /> + <td class="tdc"><a id="fig105"></a><a href="images/fig105-full.png"><img src="images/fig105.png" alt="Fig. 105." title="Fig. 105." style="width: 99px; height: 94px"></a><br> <span class="caption">Fig. 105.</span></td> </tr> </table> @@ -2262,7 +2255,7 @@ the ostentatious love of gaudy decoration taught at Byzantium. Jewellery became complicated in design; enrichment was considered before elegance. The old simple form of finger-ring varied much. <a href="#fig104">Fig. 104</a> is given by Montfaucon. <a href="#fig105">Fig. 105</a> is in the Londesborough collection, and was found -upon<span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span> the hand of a lady’s skeleton, buried with her child in a +upon<span class='pagenum'><a id="Page_94">[94]</a></span> the hand of a lady’s skeleton, buried with her child in a sarcophagus discovered in 1846, in a field near Amiens, called “Le Camp de Cæsar;” on two of her fingers were rings, one of which was set with ten round pearls, the other (here engraved) is of gold, in which is set @@ -2271,11 +2264,11 @@ on the goat Amalthea. The child also wore a ring with an engraved stone. The whole of the decorations for the person found in this tomb proclaim themselves late Roman work, probably of the time of Diocletian.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 106 and 107"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig106" id="fig106"></a><a href="images/fig106-full.png"><img src="images/fig106.png" width="88" height="87" alt="Fig. 106." title="Fig. 106." /></a><br /> + <td class="tdc"><a id="fig106"></a><a href="images/fig106-full.png"><img src="images/fig106.png" alt="Fig. 106." title="Fig. 106." style="width: 88px; height: 87px"></a><br> <span class="caption">Fig. 106.</span></td> - <td class="tdc"><a name="fig107" id="fig107"></a><a href="images/fig107-full.png"><img src="images/fig107.png" width="97" height="88" alt="Fig. 107." title="Fig. 107." /></a><br /> + <td class="tdc"><a id="fig107"></a><a href="images/fig107-full.png"><img src="images/fig107.png" alt="Fig. 107." title="Fig. 107." style="width: 97px; height: 88px"></a><br> <span class="caption">Fig. 107.</span></td> </tr> </table> @@ -2291,11 +2284,11 @@ local Tutela, the guardian of the navigators of the Rhine; hence he infers these jewels to have belonged to the wife of one of these rich traders in the reign of Severus.</p> -<p><span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span>Carrying back our researches to the pre-historic era of our own island, +<p><span class='pagenum'><a id="Page_95">[95]</a></span>Carrying back our researches to the pre-historic era of our own island, and searching in the tumuli of the early British chieftain and his family, we shall discover the utmost simplicity of adornment; not probably the result of indifference to personal decoration, but simply -to the rudeness of his position. The wild <a name="corr1" id="corr1"></a>Gaelic hunter, located in the +to the rudeness of his position. The wild <a id="corr1"></a>Gaelic hunter, located in the gloomy fastnesses of wood and morass, had little or no communication with the southern sea-margin of our isle: and when we find the south Cymry of Britain much advanced in civilisation, owing to connection with @@ -2316,21 +2309,21 @@ finger, and open at either end. <a href="#fig108">Fig. 108</a> shows one of thes in excavating at Harnham Hill, near Salisbury, a locality celebrated from the very earliest recorded time as the true centre of ancient Britain. This ring was found on the middle finger of the right hand of a -person of advanced age. Sometimes<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span> several rings were found on one hand. +person of advanced age. Sometimes<span class='pagenum'><a id="Page_96">[96]</a></span> several rings were found on one hand. “Among the bones of the fingers of the left hand of an adult skeleton was found a silver ring of solid form, another of spiral form, and a -plain gold ring.”<a name="FNanchor_96-1_12" id="FNanchor_96-1_12"></a><a href="#Footnote_96-1_12" class="fnanchor">96-*</a> Mr. Akerman, who superintended these researches, +plain gold ring.”<a id="FNanchor_96-1_12"></a><a href="#Footnote_96-1_12" class="fnanchor">96-*</a> Mr. Akerman, who superintended these researches, says, “Similar rings have been found at Little Wilbraham, at Linton Heath, at Fairford, and other localities. They are for the most part of an uniform construction, being so contrived that they could be expanded or contracted, and adapted to the size of the finger of the -wearer.”<a name="FNanchor_96-2_13" id="FNanchor_96-2_13"></a><a href="#Footnote_96-2_13" class="fnanchor">96-†</a></p> +wearer.”<a id="FNanchor_96-2_13"></a><a href="#Footnote_96-2_13" class="fnanchor">96-†</a></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 108 and 109"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig108" id="fig108"></a><a href="images/fig108-full.png"><img src="images/fig108.png" width="103" height="95" alt="Fig. 108." title="Fig. 108." /></a><br /> + <td class="tdc"><a id="fig108"></a><a href="images/fig108-full.png"><img src="images/fig108.png" alt="Fig. 108." title="Fig. 108." style="width: 103px; height: 95px"></a><br> <span class="caption">Fig. 108.</span></td> - <td class="tdc"><a name="fig109" id="fig109"></a><a href="images/fig109-full.png"><img src="images/fig109.png" width="120" height="108" alt="Fig. 109." title="Fig. 109." /></a><br /> + <td class="tdc"><a id="fig109"></a><a href="images/fig109-full.png"><img src="images/fig109.png" alt="Fig. 109." title="Fig. 109." style="width: 120px; height: 108px"></a><br> <span class="caption">Fig. 109.</span></td> </tr> </table> @@ -2343,13 +2336,13 @@ Ireland, and Scotland. A discovery of many similar rings was made in one of the Western Islands of Scotland; they were formed of from three to eight wires each, elaborately and beautifully enwreathed.</p> -<p><span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span></p> +<p><span class='pagenum'><a id="Page_97">[97]</a></span></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 110 and 111"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig110" id="fig110"></a><a href="images/fig110-full.png"><img src="images/fig110.png" width="90" height="88" alt="Fig. 110." title="Fig. 110." /></a><br /> + <td class="tdc"><a id="fig110"></a><a href="images/fig110-full.png"><img src="images/fig110.png" alt="Fig. 110." title="Fig. 110." style="width: 90px; height: 88px"></a><br> <span class="caption">Fig. 110.</span></td> - <td class="tdc"><a name="fig111" id="fig111"></a><a href="images/fig111-full.png"><img src="images/fig111.png" width="97" height="94" alt="Fig. 111." title="Fig. 111." /></a><br /> + <td class="tdc"><a id="fig111"></a><a href="images/fig111-full.png"><img src="images/fig111.png" alt="Fig. 111." title="Fig. 111." style="width: 97px; height: 94px"></a><br> <span class="caption">Fig. 111.</span></td> </tr> </table> @@ -2360,7 +2353,7 @@ people. Its comparative cheapness and ease of construction were no doubt its great recommendations. Similar rings are still made for the poorer classes in the East: the author has seen such worn in modern Egypt. Specimens have been obtained in Anglo-Saxon grave-mounds in England, and -others, identical in form, in the old Saxon cemeteries of Germany.<a name="FNanchor_97-1_14" id="FNanchor_97-1_14"></a><a href="#Footnote_97-1_14" class="fnanchor">97-*</a> +others, identical in form, in the old Saxon cemeteries of Germany.<a id="FNanchor_97-1_14"></a><a href="#Footnote_97-1_14" class="fnanchor">97-*</a> <a href="#fig110">Fig. 110</a> represents one of the plainest of these wire-rings; it was exhumed from a tumulus on Chartham Downs, a few miles from Canterbury, Kent, in 1773, by the Rev. Bryan Faussett, who says, “the bones were @@ -2368,19 +2361,19 @@ those of a very young person.” Upon the neck was a cross of silver, a few coloured earthen beads, and “two silver rings with sliding knots.”</p> <p>The industry of the same collector furnishes us with <a href="#fig111">Fig. 111</a>, a -specimen of a wire-ring so twisted as to resemble a seal ring, or<span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span> one +specimen of a wire-ring so twisted as to resemble a seal ring, or<span class='pagenum'><a id="Page_98">[98]</a></span> one set with a stone: the wire round the finger has been beaten out flat. It was discovered in the extensive Saxon cemetery on Kingston Downs, near Canterbury, on the Dover Road. The tumulus was evidently the last resting-place of a person of small wealth, as this copper ring and two small beads only were found in it; and it was customary to bury the -ornaments of the deceased, however valuable, with them.<a name="FNanchor_98-1_15" id="FNanchor_98-1_15"></a><a href="#Footnote_98-1_15" class="fnanchor">98-*</a></p> +ornaments of the deceased, however valuable, with them.<a id="FNanchor_98-1_15"></a><a href="#Footnote_98-1_15" class="fnanchor">98-*</a></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 112 and 113"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig112" id="fig112"></a><a href="images/fig112-full.png"><img src="images/fig112.png" width="112" height="87" alt="Fig. 112." title="Fig. 112." /></a><br /> + <td class="tdc"><a id="fig112"></a><a href="images/fig112-full.png"><img src="images/fig112.png" alt="Fig. 112." title="Fig. 112." style="width: 112px; height: 87px"></a><br> <span class="caption">Fig. 112.</span></td> - <td class="tdc"><a name="fig113" id="fig113"></a><a href="images/fig113-full.png"><img src="images/fig113.png" width="106" height="89" alt="Fig. 113." title="Fig. 113." /></a><br /> + <td class="tdc"><a id="fig113"></a><a href="images/fig113-full.png"><img src="images/fig113.png" alt="Fig. 113." title="Fig. 113." style="width: 106px; height: 89px"></a><br> <span class="caption">Fig. 113.</span></td> </tr> </table> @@ -2394,7 +2387,7 @@ metal, as once worn by the native nobles, than is to be seen in the national museums of any other country, with the exception of Denmark. The gold is of the purest kind and richest colour, and the manner of its working could not be excelled by a modern goldsmith. The Londesborough -collection includes two remarkable rings (Figs. <a href="#fig112">112</a> and <a href="#fig113">113</a>), which<span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span> +collection includes two remarkable rings (Figs. <a href="#fig112">112</a> and <a href="#fig113">113</a>), which<span class='pagenum'><a id="Page_99">[99]</a></span> were found with other gold ornaments near the very remarkable tumulus known as “New Grange,” a few miles from Drogheda. They were accidentally discovered in 1842 by a labouring man, within a few yards of the @@ -2407,20 +2400,20 @@ of Geta, which may aid us in arriving at some conclusion as to the age of these curious works. The stone set in both rings is a cut agate.</p> <div class="figcenter" style="width: 122px;"> -<img src="images/illus-099.png" width="122" height="64" alt="decorative" title="decorative" /> +<img src="images/illus-099.png" alt="decorative" title="decorative" style="width: 122px; height: 64px"> </div> -<p><span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span></p> +<p><span class='pagenum'><a id="Page_100">[100]</a></span></p> -<h3 class="chapterhead">CHAPTER II.<br /> +<h3 class="chapterhead">CHAPTER II.<br> <span class="chaptitle">MEDIÆVAL RINGS.</span></h3> <p class="noindent"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> rings worn by the higher class of our Anglo-Saxon ancestors during the Heptarchy were often very beautiful, and of imposing form. One of the finest we have seen belonged to the Rev. H. B. Hutchings, of -Appleshaw, Hants,<a name="FNanchor_100-1_16" id="FNanchor_100-1_16"></a><a href="#Footnote_100-1_16" class="fnanchor">100-*</a> and was found in a meadow at Bosington, near +Appleshaw, Hants,<a id="FNanchor_100-1_16"></a><a href="#Footnote_100-1_16" class="fnanchor">100-*</a> and was found in a meadow at Bosington, near Stockbridge, in the same county, by a labourer who saw it among a heap of peat. We give a side and front view of this interesting relic; the whole is of gold, and is of considerable weight and thickness; the gold @@ -2429,11 +2422,11 @@ with great care. The inscription reads—NOMEN EHLLA FID IN XPO, equivalent to its owner saying, “My name is Ella, my faith is in Christ.”</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 114 and 115"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig114" id="fig114"></a><a href="images/fig114-full.png"><img src="images/fig114.png" width="102" height="159" alt="Fig. 114." title="Fig. 114." /></a><br /> + <td class="tdc"><a id="fig114"></a><a href="images/fig114-full.png"><img src="images/fig114.png" alt="Fig. 114." title="Fig. 114." style="width: 102px; height: 159px"></a><br> <span class="caption">Fig. 114.</span></td> - <td class="tdc"><a name="fig115" id="fig115"></a><a href="images/fig115-full.png"><img src="images/fig115.png" width="119" height="162" alt="Fig. 115." title="Fig. 115." /></a><br /> + <td class="tdc"><a id="fig115"></a><a href="images/fig115-full.png"><img src="images/fig115.png" alt="Fig. 115." title="Fig. 115." style="width: 119px; height: 162px"></a><br> <span class="caption">Fig. 115.</span></td> </tr> </table> @@ -2443,25 +2436,25 @@ Waterton, Esq., F.S.A., to which allusion has already been made, includes a ring of South Saxon workmanship, which was found in the Thames at Chelsea in 1856. The face of this ring (<a href="#fig116">Fig. 116</a>) is an elongated oval, with a circular centre. Within this circle is the -conventional figure of a dragon, surrounded<span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span> by convoluted ornament, +conventional figure of a dragon, surrounded<span class='pagenum'><a id="Page_101">[101]</a></span> by convoluted ornament, reminding us forcibly of the prevailing enrichments so lavishly bestowed on old Runic monuments, at home and abroad. Four quaintly-formed heads of dragons occupy the triangular spaces, above and below this centre. This ring is of silver. The ground between the ornament has been cut down, probably for the insertion of niello or enamel colours.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 116 and 117"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig116" id="fig116"></a><a href="images/fig116-full.png"><img src="images/fig116.png" width="103" height="136" alt="Fig. 116." title="Fig. 116." /></a><br /> + <td class="tdc"><a id="fig116"></a><a href="images/fig116-full.png"><img src="images/fig116.png" alt="Fig. 116." title="Fig. 116." style="width: 103px; height: 136px"></a><br> <span class="caption">Fig. 116.</span></td> - <td class="tdc"><a name="fig117" id="fig117"></a><a href="images/fig117-full.png"><img src="images/fig117.png" width="126" height="157" alt="Fig. 117." title="Fig. 117." /></a><br /> + <td class="tdc"><a id="fig117"></a><a href="images/fig117-full.png"><img src="images/fig117.png" alt="Fig. 117." title="Fig. 117." style="width: 126px; height: 157px"></a><br> <span class="caption">Fig. 117.</span></td> </tr> </table> <p><a href="#fig117">Fig. 117</a> is an historic relic of singular interest, and a remarkable work of early art. It is the ring of Ethelwulf, King of Wessex (the -father of Alfred the Great), who reigned <span class="smrom">A.D.</span> 836-<span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span>838, and bears the +father of Alfred the Great), who reigned <span class="smrom">A.D.</span> 836-<span class='pagenum'><a id="Page_102">[102]</a></span>838, and bears the royal name upon it. It was found in the parish of Laverstock, Hants, in a cart-rut, where it had become much crushed and defaced. The form is remarkable, the front rising pyramidally. Two birds of conventional form @@ -2472,7 +2465,7 @@ the ornament for its infusion. This ring is of gold, weighing 11 dwts. 14 grs.; it is now preserved in the British Museum.</p> <div class="figcenter" style="width: 220px;"> -<a name="fig118" id="fig118"></a><a href="images/fig118-full.png"><img src="images/fig118.png" width="220" height="152" alt="Fig. 118." title="Fig. 118." /></a> +<a id="fig118"></a><a href="images/fig118-full.png"><img src="images/fig118.png" alt="Fig. 118." title="Fig. 118." style="width: 220px; height: 152px"></a> <span class="caption">Fig. 118.</span> </div> @@ -2484,15 +2477,15 @@ the name of the bishop in divided letters distributed on the circular rosettes of the design; they are connected by lozenge-shaped floriated ornaments, having dragons in their centres. Our cut (<a href="#fig118">Fig. 118</a>) gives the general form and detail of this beautiful ring, which is remarkable for -the elegance of its<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span> design. It is of gold, like the preceding ring; +the elegance of its<span class='pagenum'><a id="Page_103">[103]</a></span> design. It is of gold, like the preceding ring; both being admirable illustrations of the <i>champ-levé</i> process of enamelling as practised in the ninth century.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 119 and 120"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig119" id="fig119"></a><a href="images/fig119-full.png"><img src="images/fig119.png" width="94" height="92" alt="Fig. 119." title="Fig. 119." /></a><br /> + <td class="tdc"><a id="fig119"></a><a href="images/fig119-full.png"><img src="images/fig119.png" alt="Fig. 119." title="Fig. 119." style="width: 94px; height: 92px"></a><br> <span class="caption">Fig. 119.</span></td> - <td class="tdc"><a name="fig120" id="fig120"></a><a href="images/fig120-full.png"><img src="images/fig120.png" width="93" height="95" alt="Fig. 120." title="Fig. 120." /></a><br /> + <td class="tdc"><a id="fig120"></a><a href="images/fig120-full.png"><img src="images/fig120.png" alt="Fig. 120." title="Fig. 120." style="width: 93px; height: 95px"></a><br> <span class="caption">Fig. 120.</span></td> </tr> </table> @@ -2513,7 +2506,7 @@ or perhaps somewhat earlier. The rings retain much of the primitive British form, as will be seen on examining the two selected for engraving here. <a href="#fig119">Fig. 119</a> is beaten out into a broad face, which is covered with an indented ornament produced by a chisel-shaped punch of -triangular form, the points<span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span> of two conjoined in one pattern, the edge +triangular form, the points<span class='pagenum'><a id="Page_104">[104]</a></span> of two conjoined in one pattern, the edge of the ring on each side further enriched by a series of dots. <a href="#fig120">Fig. 120</a> has a still broader face, which is decorated by groups of three circles each, somewhat irregularly distributed over the surface, with indented @@ -2539,7 +2532,7 @@ some few works of the same age which have fortunately descended to us.</p> <p>The Church shared largely in this wealth; crosses, reliquaries, and sacred vessels of all kinds, were made of the most costly material, and encrusted with gems. One of these ancient works may still be seen in -Cologne Cathedral—the <i>chasse</i>, or reliquary,<span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span> containing the reputed +Cologne Cathedral—the <i>chasse</i>, or reliquary,<span class='pagenum'><a id="Page_105">[105]</a></span> containing the reputed skulls of the three Magi, of whom we shall soon have to speak more fully. This remarkable work is studded all over with engraved intaglios of Roman workmanship. Churchmen at this time were clever artificers; and @@ -2547,11 +2540,11 @@ St. Dunstan, great statesman as he was, in the British, and St. Eloi in the Gallic, church, both skilled working goldsmiths, have since become the patron saints of confraternities of their followers.</p> -<table border="0" cellpadding="0" cellspacing="0" summary="figs. 121 and 122"> +<table style="border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig121" id="fig121"></a><a href="images/fig121-full.png"><img src="images/fig121.png" width="146" height="109" alt="Fig. 121." title="Fig. 121." /></a><br /> + <td class="tdc"><a id="fig121"></a><a href="images/fig121-full.png"><img src="images/fig121.png" alt="Fig. 121." title="Fig. 121." style="width: 146px; height: 109px"></a><br> <span class="caption">Fig. 121.</span></td> - <td class="tdc"><a name="fig122" id="fig122"></a><a href="images/fig122-full.png"><img src="images/fig122.png" width="111" height="132" alt="Fig. 122." title="Fig. 122." /></a><br /> + <td class="tdc"><a id="fig122"></a><a href="images/fig122-full.png"><img src="images/fig122.png" alt="Fig. 122." title="Fig. 122." style="width: 111px; height: 132px"></a><br> <span class="caption">Fig. 122.</span></td> </tr> </table> @@ -2566,7 +2559,7 @@ during the repair of the choir under the tomb of William Rufus, and is supposed to have been the pontifical ring of Henry de Blois, Cardinal, and Bishop of Winchester, <span class="smrom">A.D.</span> 1129. It is a massive ring of solid gold, set with an oval irregularly-shaped sapphire, <i>en cabochon</i>, polished -only, not cut; held in its heavy socket by four fleur-de-lys, and<span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span> still +only, not cut; held in its heavy socket by four fleur-de-lys, and<span class='pagenum'><a id="Page_106">[106]</a></span> still further secured by drilling through its centre a passage for a gold wire—a reckless way of treating valuable jewels, which is characteristic of almost all these early works.</p> @@ -2577,11 +2570,11 @@ preserved with <a href="#fig121">Fig. 121</a>, described above. It has a very ma for a large blue sapphire, and is very characteristic, though simple in its design.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 123 and 124"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig123" id="fig123"></a><a href="images/fig123-full.png"><img src="images/fig123.png" width="108" height="95" alt="Fig. 123." title="Fig. 123." /></a><br /> + <td class="tdc"><a id="fig123"></a><a href="images/fig123-full.png"><img src="images/fig123.png" alt="Fig. 123." title="Fig. 123." style="width: 108px; height: 95px"></a><br> <span class="caption">Fig. 123.</span></td> - <td class="tdc"><a name="fig124" id="fig124"></a><a href="images/fig124-full.png"><img src="images/fig124.png" width="112" height="104" alt="Fig. 124." title="Fig. 124." /></a><br /> + <td class="tdc"><a id="fig124"></a><a href="images/fig124-full.png"><img src="images/fig124.png" alt="Fig. 124." title="Fig. 124." style="width: 112px; height: 104px"></a><br> <span class="caption">Fig. 124.</span></td> </tr> </table> @@ -2596,7 +2589,7 @@ which was discovered in the tomb of Archbishop Greenfield, who died in setting, take the prevailing forms adopted in architectural enrichments of the archbishop’s age. The stones usually chosen for such rings were ruby, emerald, or crystal, and had a significance usual with all things -connected with the Roman Catholic Church; ruby indicated its<span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span> glory, +connected with the Roman Catholic Church; ruby indicated its<span class='pagenum'><a id="Page_107">[107]</a></span> glory, emerald its tranquillity and happiness, and crystal its simplicity and purity. The diamond typified invulnerable faith; the sapphire, hope; the onyx, sincerity; the amethyst, humility.</p> @@ -2604,18 +2597,18 @@ onyx, sincerity; the amethyst, humility.</p> <p>In the old romance of “Sir Degrevant,” we are told that at the marriage of the hero there came</p> -<p class="poem">“Archbishops with rings<br /> +<p class="poem">“Archbishops with rings<br> More than fifteen.”</p> <p class="noindent">In the romance of “King Athelstan” (also a work of the fourteenth century), the king exclaims to an offending archbishop—</p> -<p class="poem">“Lay doun thy cross, and thy staff,<br /> -Thy miter, and <i>thy ring</i>, that I to thee gaff:<br /> +<p class="poem">“Lay doun thy cross, and thy staff,<br> +Thy miter, and <i>thy ring</i>, that I to thee gaff:<br> <span class="i1">Out of my land thou flee.”</span></p> <div class="figright" style="width: 209px;"> -<a name="fig125" id="fig125"></a><a href="images/fig125-full.png"><img src="images/fig125.png" width="209" height="182" alt="Fig. 125." title="Fig. 125." /></a> +<a id="fig125"></a><a href="images/fig125-full.png"><img src="images/fig125.png" alt="Fig. 125." title="Fig. 125." style="width: 209px; height: 182px"></a> <span class="caption">Fig. 125.</span> </div> @@ -2627,7 +2620,7 @@ separated from the laity, many of the latter were at a considerable distance from them. This may be a reason for the size adopted for episcopal rings. A late Dean of St. Patrick’s had in his collection a very large ring of this kind, represented in <a href="#fig125">Fig. 125</a>, from a sketch -made by the<span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span> author when it was in the possession of W. Huxtable, +made by the<span class='pagenum'><a id="Page_108">[108]</a></span> author when it was in the possession of W. Huxtable, F.S.A., in 1847. It was of bronze, thickly gilt, and set with a crystal.</p> <p>This peculiar form was generally adopted for rings at this period. The @@ -2639,22 +2632,22 @@ ring, simply decorated with quatrefoils on each side of the stone (in this instance a small irregularly-shaped sapphire), which is embedded in a somewhat solid setting projecting from the ring.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 126 and 127"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig126" id="fig126"></a><a href="images/fig126-full.png"><img src="images/fig126.png" width="128" height="95" alt="Fig. 126." title="Fig. 126." /></a><br /> + <td class="tdc"><a id="fig126"></a><a href="images/fig126-full.png"><img src="images/fig126.png" alt="Fig. 126." title="Fig. 126." style="width: 128px; height: 95px"></a><br> <span class="caption">Fig. 126.</span></td> - <td class="tdc"><a name="fig127" id="fig127"></a><a href="images/fig127-full.png"><img src="images/fig127.png" width="90" height="96" alt="Fig. 127." title="Fig. 127." /></a><br /> + <td class="tdc"><a id="fig127"></a><a href="images/fig127-full.png"><img src="images/fig127.png" alt="Fig. 127." title="Fig. 127." style="width: 90px; height: 96px"></a><br> <span class="caption">Fig. 127.</span></td> </tr> </table> <p>In the <i>Gentleman’s Magazine</i> for 1848 is engraved a massive ring, also of brass, thickly gilt, the hoop chased with the arms of Pope Pius -II.<a name="FNanchor_108-1_17" id="FNanchor_108-1_17"></a><a href="#Footnote_108-1_17" class="fnanchor">108-*</a> (the famed Æneas Sylvius), and his name, <i>Papa Pio</i>, between +II.<a id="FNanchor_108-1_17"></a><a href="#Footnote_108-1_17" class="fnanchor">108-*</a> (the famed Æneas Sylvius), and his name, <i>Papa Pio</i>, between the tiara and the cross-keys. On each of the four sides of this ring appears one of the four beasts of the Revelation, typifying the Evangelists: they are executed in high relief. It is set with a large -topaz. This ring has since passed into Mr. Water<span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span>ton’s fine collection, +topaz. This ring has since passed into Mr. Water<span class='pagenum'><a id="Page_109">[109]</a></span>ton’s fine collection, who is the fortunate possessor of others of the same class. One in the Londesborough collection is here engraved, <a href="#fig128">Fig. 128</a>, as a good specimen of the general design adopted for such rings. The crossed-keys surmount @@ -2662,13 +2655,13 @@ a coat of arms on one side of the ring; the keys alone appear on the opposite side; foliated ornament fills the space above the circlet on either side. This ring is set with a large crystal.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 500px;" summary="figs. 128, 129, and 130"> +<table style="width: 500px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig128" id="fig128"></a><a href="images/fig128-full.png"><img src="images/fig128.png" width="182" height="154" alt="Fig. 128." title="Fig. 128." /></a><br /> + <td class="tdc"><a id="fig128"></a><a href="images/fig128-full.png"><img src="images/fig128.png" alt="Fig. 128." title="Fig. 128." style="width: 182px; height: 154px"></a><br> <span class="caption">Fig. 128.</span></td> - <td class="tdc"><a name="fig129" id="fig129"></a><a href="images/fig129-full.png"><img src="images/fig129.png" width="140" height="149" alt="Fig. 129." title="Fig. 129." /></a><br /> + <td class="tdc"><a id="fig129"></a><a href="images/fig129-full.png"><img src="images/fig129.png" alt="Fig. 129." title="Fig. 129." style="width: 140px; height: 149px"></a><br> <span class="caption">Fig. 129.</span></td> - <td class="tdc"><a name="fig130" id="fig130"></a><a href="images/fig130-full.png"><img src="images/fig130.png" width="88" height="158" alt="Fig. 130." title="Fig. 130." /></a><br /> + <td class="tdc"><a id="fig130"></a><a href="images/fig130-full.png"><img src="images/fig130.png" alt="Fig. 130." title="Fig. 130." style="width: 88px; height: 158px"></a><br> <span class="caption">Fig. 130.</span></td> </tr> </table> @@ -2684,13 +2677,13 @@ which views are given in Figs. <a href="#fig129">129</a> and <a href="#fig130">1 sapphire; the sides of the ring are decorated with sprays and flowers on a ground of dark enamel; and inside is the motto “<b>en bon an</b>.”</p> -<p><span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span></p> +<p><span class='pagenum'><a id="Page_110">[110]</a></span></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 400px;" summary="figs. 131 and 132"> +<table style="width: 400px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig131" id="fig131"></a><a href="images/fig131-full.png"><img src="images/fig131.png" width="178" height="133" alt="Fig. 131." title="Fig. 131." /></a><br /> + <td class="tdc"><a id="fig131"></a><a href="images/fig131-full.png"><img src="images/fig131.png" alt="Fig. 131." title="Fig. 131." style="width: 178px; height: 133px"></a><br> <span class="caption">Fig. 131.</span></td> - <td class="tdc"><a name="fig132" id="fig132"></a><a href="images/fig132-full.png"><img src="images/fig132.png" width="138" height="144" alt="Fig. 132." title="Fig. 132." /></a><br /> + <td class="tdc"><a id="fig132"></a><a href="images/fig132-full.png"><img src="images/fig132.png" alt="Fig. 132." title="Fig. 132." style="width: 138px; height: 144px"></a><br> <span class="caption">Fig. 132.</span></td> </tr> </table> @@ -2712,7 +2705,7 @@ worn by the middle classes who had obtained any municipal position. When Falstaff speaks of his slenderness in his youth, he declares that he could then have “crept through an alderman’s thumb-ring.” Like the massive gold chains still worn by that honourable fraternity, they told -of a trader’s wealth.<span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span> The inventories of personal property belonging to +of a trader’s wealth.<span class='pagenum'><a id="Page_111">[111]</a></span> The inventories of personal property belonging to burgesses in the Middle Ages, contain frequent allusions to such rings, without which they would have felt shorn of an important part of their head-earned honours. Among the wills and inventories preserved at Bury @@ -2736,16 +2729,16 @@ shields instead of armorial bearings, inserted in memorial windows of stained glass, and worn on the thumb for constant use in sealing. A very fine ring of this kind is engraved in the Journal of the Archæological Institute, vol. iii., and is here copied in <a href="#fig132">Fig. 132</a>. It was found in -the bed of the Severn, near<span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span> Upton, and is probably a work of the +the bed of the Severn, near<span class='pagenum'><a id="Page_112">[112]</a></span> Upton, and is probably a work of the fifteenth century; it is of silver, and has been strongly gilt. The hoop is spirally grooved, and upon the circular face is a large letter H, surrounded by branches.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 133 and 134"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig133" id="fig133"></a><a href="images/fig133-full.png"><img src="images/fig133.png" width="111" height="95" alt="Fig. 133." title="Fig. 133." /></a><br /> + <td class="tdc"><a id="fig133"></a><a href="images/fig133-full.png"><img src="images/fig133.png" alt="Fig. 133." title="Fig. 133." style="width: 111px; height: 95px"></a><br> <span class="caption">Fig. 133.</span></td> - <td class="tdc"><a name="fig134" id="fig134"></a><a href="images/fig134-full.png"><img src="images/fig134.png" width="125" height="114" alt="Fig. 134." title="Fig. 134." /></a><br /> + <td class="tdc"><a id="fig134"></a><a href="images/fig134-full.png"><img src="images/fig134.png" alt="Fig. 134." title="Fig. 134." style="width: 125px; height: 114px"></a><br> <span class="caption">Fig. 134.</span></td> </tr> </table> @@ -2764,7 +2757,7 @@ consequent small value, precludes the possibility of their having belonged to royalty. The same remark will apply to a ring also engraved in the Journal of the Archæological Institute, and now in the possession of the Rev. Walter Sneyd. It is there described as of mixed yellow metal -gilt; on either side of the hoop there is<span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span> a crown (<a href="#fig134">Fig. 134</a>), of the +gilt; on either side of the hoop there is<span class='pagenum'><a id="Page_113">[113]</a></span> a crown (<a href="#fig134">Fig. 134</a>), of the form commonly seen on coins of the twelfth century, and on the signet are the words, ROGERIVS REX, chased in high relief. In the form of the character they correspond closely with legends upon coins of Roger, @@ -2789,16 +2782,16 @@ travels, and ensures him hospitality when he deserves it.</p> <a href="#fig135">Fig. 135</a> from the Londesborough collection. Two hands are clasped in front; it was, therefore, most probably a gift, or betrothal ring. It is silver, somewhat rudely fashioned. The inscription (here engraved below -it) is in uncial characters,<span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span> and shorn of its somewhat awkward +it) is in uncial characters,<span class='pagenum'><a id="Page_114">[114]</a></span> and shorn of its somewhat awkward abbreviation, reads “Jesus Nazareneus Rex.”</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 500px;" summary="figs. 135, 136, and 137"> +<table style="width: 500px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig135" id="fig135"></a><a href="images/fig135-full.png"><img src="images/fig135.png" width="190" height="92" alt="Fig. 135." title="Fig. 135." /></a><br /> + <td class="tdc"><a id="fig135"></a><a href="images/fig135-full.png"><img src="images/fig135.png" alt="Fig. 135." title="Fig. 135." style="width: 190px; height: 92px"></a><br> <span class="caption">Fig. 135.</span></td> - <td class="tdc"><a name="fig136" id="fig136"></a><a href="images/fig136-full.png"><img src="images/fig136.png" width="115" height="90" alt="Fig. 136." title="Fig. 136." /></a><br /> + <td class="tdc"><a id="fig136"></a><a href="images/fig136-full.png"><img src="images/fig136.png" alt="Fig. 136." title="Fig. 136." style="width: 115px; height: 90px"></a><br> <span class="caption">Fig. 136.</span></td> - <td class="tdc"><a name="fig137" id="fig137"></a><a href="images/fig137-full.png"><img src="images/fig137.png" width="121" height="92" alt="Fig. 137." title="Fig. 137." /></a><br /> + <td class="tdc"><a id="fig137"></a><a href="images/fig137-full.png"><img src="images/fig137.png" alt="Fig. 137." title="Fig. 137." style="width: 121px; height: 92px"></a><br> <span class="caption">Fig. 137.</span></td> </tr> </table> @@ -2820,7 +2813,7 @@ twelfth marks the repetition of a creed.</p> <p>Allusion has already been made to the mystic virtues attributed to stones during the Middle Ages, and for the fondness for collecting antique gems. They were coveted not only as works of art, but for their -supposed power over the circumstances of life, or the<span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span> welfare of +supposed power over the circumstances of life, or the<span class='pagenum'><a id="Page_115">[115]</a></span> welfare of individual wearers. The idea very probably originated with the Gnostics of the East, who engraved stones with mystic figures believed to impart good luck or to keep off evil influences. So completely had this belief @@ -2828,7 +2821,7 @@ gained hold on all classes, that a Gnostic gem set as a ring was found on the finger of the skeleton of an ecclesiastic, in the Cathedral of Chichester, “affording indubitable evidence that these relics were cherished in the Middle Ages by those whose express duty it was to -reprove and check such gross superstition.”<a name="FNanchor_115-1_18" id="FNanchor_115-1_18"></a><a href="#Footnote_115-1_18" class="fnanchor">115-*</a></p> +reprove and check such gross superstition.”<a id="FNanchor_115-1_18"></a><a href="#Footnote_115-1_18" class="fnanchor">115-*</a></p> <p>This belief was ultimately reduced to a system. An old French <i>Lapidaire</i>, compiled in the thirteenth century, assures us that a stone @@ -2844,7 +2837,7 @@ everybody, and he was sure to obtain anything he asked. If you find a stone bearing the figure of a hare, it will be a defence against the devil; if you find a dog and a lion on the same stone, it will be a preservative against dropsy or pestilence. The figure of Orion was -believed to give victory in war. If you find a stone, in which is<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span> +believed to give victory in war. If you find a stone, in which is<span class='pagenum'><a id="Page_116">[116]</a></span> Perseus holding in his right hand a sword, and in his left the Gorgon’s head, it is a preservative against lightning and tempest and against the assaults of devils. A stone on which is engraved a long-bearded man @@ -2857,7 +2850,7 @@ guest, and people will feast you much and frequently. The figure of a syren, sculptured in a jacinth, rendered the bearer invisible. A fair head, well combed, with a handsome face, engraved on a gem, gave to the bearer joy, reverence, and honour. Such were the qualities attached to -ancient gems in the Middle Ages.”<a name="FNanchor_116-1_19" id="FNanchor_116-1_19"></a><a href="#Footnote_116-1_19" class="fnanchor">116-*</a></p> +ancient gems in the Middle Ages.”<a id="FNanchor_116-1_19"></a><a href="#Footnote_116-1_19" class="fnanchor">116-*</a></p> <p>Many plain stones were also believed to have magical virtues. Thus, the amethyst prevented drunkenness, and was consequently often set upon wine @@ -2867,10 +2860,10 @@ The topaz cured and prevented lunacy, increased riches, assuaged anger and sorrow, and averted sudden death. Such was the faith placed in stones until the end of the sixteenth century. Dr. Donne speaks of</p> -<p class="poem">“A compassionate turquoise, that doth tell,<br /> +<p class="poem">“A compassionate turquoise, that doth tell,<br> By looking pale, the wearer is not well.”</p> -<p><span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span>But the most curious of all these superstitious beliefs attached itself +<p><span class='pagenum'><a id="Page_117">[117]</a></span>But the most curious of all these superstitious beliefs attached itself to the <i>crapaudine</i>, or toad-stone. It is most unattractive to sight, of an opaque dirty-brown tint, and known to mineralogists as a variety of trap-rock. It was believed to have most sovereign virtues against poison @@ -2892,17 +2885,17 @@ placing him upon a piece of scarlet cloth, “wherewithal they are much delighted, so that while they stretch out themselves as it were in sport upon that cloth, they cast out the stone of their head, but instantly they sup it up again, unless it be taken from them through some secret -hole in the same cloth.”<a name="FNanchor_117-1_20" id="FNanchor_117-1_20"></a><a href="#Footnote_117-1_20" class="fnanchor">117-*</a></p> +hole in the same cloth.”<a id="FNanchor_117-1_20"></a><a href="#Footnote_117-1_20" class="fnanchor">117-*</a></p> -<p><span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span></p> +<p><span class='pagenum'><a id="Page_118">[118]</a></span></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 500px;" summary="figs. 138, 139, and 140"> +<table style="width: 500px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig138" id="fig138"></a><a href="images/fig138-full.png"><img src="images/fig138.png" width="126" height="93" alt="Fig. 138." title="Fig. 138." /></a><br /> + <td class="tdc"><a id="fig138"></a><a href="images/fig138-full.png"><img src="images/fig138.png" alt="Fig. 138." title="Fig. 138." style="width: 126px; height: 93px"></a><br> <span class="caption">Fig. 138.</span></td> - <td class="tdc"><a name="fig139" id="fig139"></a><a href="images/fig139-full.png"><img src="images/fig139.png" width="117" height="95" alt="Fig. 139." title="Fig. 139." /></a><br /> + <td class="tdc"><a id="fig139"></a><a href="images/fig139-full.png"><img src="images/fig139.png" alt="Fig. 139." title="Fig. 139." style="width: 117px; height: 95px"></a><br> <span class="caption">Fig. 139.</span></td> - <td class="tdc"><a name="fig140" id="fig140"></a><a href="images/fig140-full.png"><img src="images/fig140.png" width="185" height="104" alt="Fig. 140." title="Fig. 140." /></a><br /> + <td class="tdc"><a id="fig140"></a><a href="images/fig140-full.png"><img src="images/fig140.png" alt="Fig. 140." title="Fig. 140." style="width: 185px; height: 104px"></a><br> <span class="caption">Fig. 140.</span></td> </tr> </table> @@ -2926,7 +2919,7 @@ a mediæval story of a necromancer introducing himself to another professor of magic by showing him a serpent ring, upon which the latter, who did not desire any one to interfere with his practice, produced his toad-stone ring, observing that the toad might swallow the serpent, -thereby intimating his<span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span> power to overcome him. <a href="#fig139">Fig. 139</a> is curious, not +thereby intimating his<span class='pagenum'><a id="Page_119">[119]</a></span> power to overcome him. <a href="#fig139">Fig. 139</a> is curious, not only as containing the true toad-stone, but also that the stone is embossed with the figure of a toad, according to the description of Albertus Magnus, who describes the most valuable variety of this coveted @@ -2938,8 +2931,8 @@ this fabulous bit of natural history. Lyly, in his “Euphues,” observ immortalised the superstition in the most effective and beautiful manner, when he declares how</p> -<p class="poem">“Sweet are the uses of adversity,<br /> -Which, like the toad, ugly and venomous,<br /> +<p class="poem">“Sweet are the uses of adversity,<br> +Which, like the toad, ugly and venomous,<br> Yet wears a precious jewel in its head.”</p> <p>Superstition did not confine its belief to a few charms; it ranged over @@ -2950,11 +2943,11 @@ have mystic power over his well-being. To “make assurance doubly sure,R it is set all round with precious stones, all believed to have magical virtues.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 141 and 142"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig141" id="fig141"></a><a href="images/fig141-full.png"><img src="images/fig141.png" width="132" height="85" alt="Fig. 141." title="Fig. 141." /></a><br /> + <td class="tdc"><a id="fig141"></a><a href="images/fig141-full.png"><img src="images/fig141.png" alt="Fig. 141." title="Fig. 141." style="width: 132px; height: 85px"></a><br> <span class="caption">Fig. 141.</span></td> - <td class="tdc"><a name="fig142" id="fig142"></a><a href="images/fig142-full.png"><img src="images/fig142.png" width="100" height="83" alt="Fig. 142." title="Fig. 142." /></a><br /> + <td class="tdc"><a id="fig142"></a><a href="images/fig142-full.png"><img src="images/fig142.png" alt="Fig. 142." title="Fig. 142." style="width: 100px; height: 83px"></a><br> <span class="caption">Fig. 142.</span></td> </tr> </table> @@ -2965,7 +2958,7 @@ true, in all men’s minds, at this credulous era of the world’s histo when persons put more faith in false charms for the cure of disease or the prevention of evil, than in the power of medicine, or the value of proper preventives. The horn of the unicorn, the claw of the griffin, -and other relics of equal verity and<span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span> value, were sought eagerly by +and other relics of equal verity and<span class='pagenum'><a id="Page_120">[120]</a></span> value, were sought eagerly by those rich enough to procure them, and when obtained were believed to ensure much good fortune to the possessor. A fear of the “evil eye”—that bugbear which still disturbs the happiness of the lower class @@ -2982,16 +2975,16 @@ cockatrices cut in high relief upon an agate. The eye of the living cockatrice was believed to be so deadly as to kill by a look, to which Shakspere alludes in <i>Twelfth Night</i>, and again in <i>Romeo and Juliet</i>:—</p> -<p class="poem"><span class="i6">“Say thou but <i>I</i>,</span><br /> -And that base vowel <i>I</i> shall poison more<br /> +<p class="poem"><span class="i6">“Say thou but <i>I</i>,</span><br> +And that base vowel <i>I</i> shall poison more<br> Than the death-darting eye of cockatrice.”</p> -<p><span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span>There was, however, a counteraction to the danger, for it was also +<p><span class='pagenum'><a id="Page_121">[121]</a></span>There was, however, a counteraction to the danger, for it was also believed that if a person saw the creature before it saw him, then the cockatrice died from the effect of the human eye. To this Dryden alludes:—</p> -<p class="poem">“Mischiefs are like a cockatrice’s eye,<br /> +<p class="poem">“Mischiefs are like a cockatrice’s eye,<br> If they see first they kill, if seen they die.”</p> <p>The figure of this bird merely gave security against the evil eye; it @@ -3015,10 +3008,10 @@ fourteenth century, in the library at Stockholm, we have this recipe is fallen doun in that evyll, and also in a woman’s ear <i>anamzapta</i>, and they shall never more after feel that evyll.”</p> -<p><span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span></p> +<p><span class='pagenum'><a id="Page_122">[122]</a></span></p> <div class="figcenter" style="width: 234px;"> -<a name="fig143" id="fig143"></a><a href="images/fig143-full.png"><img src="images/fig143.png" width="234" height="109" alt="Fig. 143." title="Fig. 143." /></a> +<a id="fig143"></a><a href="images/fig143-full.png"><img src="images/fig143.png" alt="Fig. 143." title="Fig. 143." style="width: 234px; height: 109px"></a> <span class="caption">Fig. 143.</span> </div> @@ -3037,11 +3030,11 @@ Tahebal + Ghether + + + Othman.” The last word should probably be read Guthman, and it is succeeded by five crosses, possibly in allusion to the five wounds of the Saviour.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 144 and 145"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig144" id="fig144"></a><a href="images/fig144-full.png"><img src="images/fig144.png" width="113" height="54" alt="Fig. 144." title="Fig. 144." /></a><br /> + <td class="tdc"><a id="fig144"></a><a href="images/fig144-full.png"><img src="images/fig144.png" alt="Fig. 144." title="Fig. 144." style="width: 113px; height: 54px"></a><br> <span class="caption">Fig. 144.</span></td> - <td class="tdc"><a name="fig145" id="fig145"></a><a href="images/fig145-full.png"><img src="images/fig145.png" width="107" height="54" alt="Fig. 145." title="Fig. 145." /></a><br /> + <td class="tdc"><a id="fig145"></a><a href="images/fig145-full.png"><img src="images/fig145.png" alt="Fig. 145." title="Fig. 145." style="width: 107px; height: 54px"></a><br> <span class="caption">Fig. 145.</span></td> </tr> </table> @@ -3049,7 +3042,7 @@ the five wounds of the Saviour.</p> <p>As a preventive of peril by travel and sudden death, the names of the three Magi, or the “Kings of Cologne,” as they were more popularly termed, were believed to be most efficacious. Their bodies travelled -first to Constantinople, thence to Milan, and<span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span> lastly to Cologne, by +first to Constantinople, thence to Milan, and<span class='pagenum'><a id="Page_123">[123]</a></span> lastly to Cologne, by various removals. The faithful may still view the skulls of the Arabian kings who visited the Saviour in the manger (if they can believe the old legend), in the richly-jewelled reliquary, guarded so sacredly in the @@ -3071,13 +3064,13 @@ inside and angular outside. Each face is inscribed with the same talismanic names. It is formed of cheap mixed metal, was found in London, and presented to the collection by Mr. Roach Smith.</p> -<p><span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span></p> +<p><span class='pagenum'><a id="Page_124">[124]</a></span></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 146 and 147"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig146" id="fig146"></a><a href="images/fig146-full.png"><img src="images/fig146.png" width="113" height="102" alt="Fig. 146." title="Fig. 146." /></a><br /> + <td class="tdc"><a id="fig146"></a><a href="images/fig146-full.png"><img src="images/fig146.png" alt="Fig. 146." title="Fig. 146." style="width: 113px; height: 102px"></a><br> <span class="caption">Fig. 146.</span></td> - <td class="tdc"><a name="fig147" id="fig147"></a><a href="images/fig147-full.png"><img src="images/fig147.png" width="112" height="56" alt="Fig. 147." title="Fig. 147." /></a><br /> + <td class="tdc"><a id="fig147"></a><a href="images/fig147-full.png"><img src="images/fig147.png" alt="Fig. 147." title="Fig. 147." style="width: 112px; height: 56px"></a><br> <span class="caption">Fig. 147.</span></td> </tr> </table> @@ -3101,17 +3094,17 @@ a lover, or a suitor to one in power. The eagle is the bearing of several ancient Suffolk families; it was also a badge of the House of Lancaster, and Thetford was one portion of the Duchy of Lancaster.</p> -<p><span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span>These mottoes, or “reasons,” as they were sometimes termed, were +<p><span class='pagenum'><a id="Page_125">[125]</a></span>These mottoes, or “reasons,” as they were sometimes termed, were occasionally engraved in relief. <a href="#fig147">Fig. 147</a> represents a specimen from the Londesborough collection. It is of gold, and was found in the Thames. The inscription upon it is—<b>sans bilinie</b>—“without baseness,”—a motto that may have been adopted by some Bayard of the Middle Ages.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 148, 149, and 150"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig148" id="fig148"></a><a href="images/fig148-full.png"><img src="images/fig148.png" width="105" height="108" alt="Fig. 148." title="Fig. 148." /></a><br /> + <td class="tdc"><a id="fig148"></a><a href="images/fig148-full.png"><img src="images/fig148.png" alt="Fig. 148." title="Fig. 148." style="width: 105px; height: 108px"></a><br> <span class="caption">Fig. 148.</span></td> - <td class="tdc"><a name="fig149" id="fig149"></a><a name="fig150" id="fig150"></a><a href="images/fig149-150-full.png"><img src="images/fig149-150.png" width="115" height="111" alt="Figs. 149 and 150." title="Figs. 149 and 150." /></a><br /> + <td class="tdc"><a id="fig149"></a><a id="fig150"></a><a href="images/fig149-150-full.png"><img src="images/fig149-150.png" alt="Figs. 149 and 150." title="Figs. 149 and 150." style="width: 115px; height: 111px"></a><br> <span class="caption">Figs. 149 and 150.</span></td> </tr> </table> @@ -3130,12 +3123,12 @@ Sir Humphrey Stafford and his wife (1450), remarkable alike for the rich armour of the knight and the courtly costume of the lady. She wears a profusion of rings, every finger, except the little finger of the right hand, being furnished with one. They exhibit great variety of design, -and are valuable as exponents of<span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span> the fashion of that day. We engrave in +and are valuable as exponents of<span class='pagenum'><a id="Page_126">[126]</a></span> the fashion of that day. We engrave in <a href="#fig151">Fig. 151</a> the hands of the lady, as uplifted in prayer, with four of the rings, the full size of the originals.</p> <div class="figcenter" style="width: 244px;"> -<a name="fig151" id="fig151"></a><a href="images/fig151-full.png"><img src="images/fig151.png" width="244" height="169" alt="Fig. 151." title="Fig. 151." /></a> +<a id="fig151"></a><a href="images/fig151-full.png"><img src="images/fig151.png" alt="Fig. 151." title="Fig. 151." style="width: 244px; height: 169px"></a> <span class="caption">Fig. 151.</span> </div> @@ -3152,15 +3145,15 @@ and is probably the work of some German goldsmith. Upon the roof of the first is inscribed in enamelled letters the best wish—“joy be with you”—that a newly-married couple would command. The same words are inscribed in more richly-designed letters on the curve of the second -ring. Both are of gold, richly chased,<span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span> enamelled, and enriched by +ring. Both are of gold, richly chased,<span class='pagenum'><a id="Page_127">[127]</a></span> enamelled, and enriched by filigree work, and are sufficiently stately for the most imposing ceremonial.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 152 and 153"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig152" id="fig152"></a><a href="images/fig152-full.png"><img src="images/fig152.png" width="110" height="175" alt="Fig. 152." title="Fig. 152." /></a><br /> + <td class="tdc"><a id="fig152"></a><a href="images/fig152-full.png"><img src="images/fig152.png" alt="Fig. 152." title="Fig. 152." style="width: 110px; height: 175px"></a><br> <span class="caption">Fig. 152.</span></td> - <td class="tdc"><a name="fig153" id="fig153"></a><a href="images/fig153-full.png"><img src="images/fig153.png" width="123" height="176" alt="Fig. 153." title="Fig. 153." /></a><br /> + <td class="tdc"><a id="fig153"></a><a href="images/fig153-full.png"><img src="images/fig153.png" alt="Fig. 153." title="Fig. 153." style="width: 123px; height: 176px"></a><br> <span class="caption">Fig. 153.</span></td> </tr> </table> @@ -3174,7 +3167,7 @@ of all these rings has been dated to the commencement of the sixteenth century.</p> <div class="figcenter" style="width: 220px;"> -<a name="fig154" id="fig154"></a><a href="images/fig154-full.png"><img src="images/fig154.png" width="220" height="170" alt="Fig. 154." title="Fig. 154." /></a> +<a id="fig154"></a><a href="images/fig154-full.png"><img src="images/fig154.png" alt="Fig. 154." title="Fig. 154." style="width: 220px; height: 170px"></a> <span class="caption">Fig. 154.</span> </div> @@ -3184,7 +3177,7 @@ a vigorous protest against monkery by that “solitary monk that moved the world”—Martin Luther. Renouncing the faith of Rome, he revoked his vow of celibacy, and completed his total severance from its creed by marrying a lady who had been once a nun, named Catharine Boren. The -ring, here engraved, is that used on the occasion. It is of elaborate<span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span> +ring, here engraved, is that used on the occasion. It is of elaborate<span class='pagenum'><a id="Page_128">[128]</a></span> design and execution; a group of emblems of the Saviour’s Passion, the pillar, the scourge, the spear, and various other objects, combine with a representation of the Crucifixion, a small ruby being set in the @@ -3194,14 +3187,14 @@ also the full design <i>in plano</i>; beneath it are the names and date inscribed on the inside of the ring.</p> <div class="figcenter" style="width: 260px;"> -<a name="fig155" id="fig155"></a><a href="images/fig155-full.png"><img src="images/fig155.png" width="260" height="172" alt="Fig. 155." title="Fig. 155." /></a> +<a id="fig155"></a><a href="images/fig155-full.png"><img src="images/fig155.png" alt="Fig. 155." title="Fig. 155." style="width: 260px; height: 172px"></a> <span class="caption">Fig. 155.</span> </div> -<p><span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span></p> +<p><span class='pagenum'><a id="Page_129">[129]</a></span></p> -<h3 class="chapterhead">CHAPTER III.<br /> +<h3 class="chapterhead">CHAPTER III.<br> <span class="chaptitle">MODERN RINGS.</span></h3> @@ -3223,7 +3216,7 @@ were a combination of initials or letter-like devices, frequently surmounted by a cross, or a conventional sign, believed to represent the sails of a ship, in allusion to their trading vessels. The marks were placed upon the bales of merchandize, and were constantly used where the -coat-armour or badge of persons entitled to bear<span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span> arms would be placed. +coat-armour or badge of persons entitled to bear<span class='pagenum'><a id="Page_130">[130]</a></span> arms would be placed. The authority vested in such merchants’ rings is curiously illustrated in one of the historical plays on the life and reign of Queen Elizabeth, written by Thomas Heywood, and to which he gave the quaint title, “If @@ -3236,16 +3229,16 @@ seal-ring; I hope a sufficient warrant.” To which Timothy replies, “ so good security, John, I’ll fit me to deliver it.” Another merchant, in the same play, is made to obtain his wants by similar means:—</p> -<p class="poem">“—— receive thou my seal-ring:<br /> -Bear it to my factor; bid him by that token<br /> -Sort thee out forty pounds’ worth of such wares<br /> +<p class="poem">“—— receive thou my seal-ring:<br> +Bear it to my factor; bid him by that token<br> +Sort thee out forty pounds’ worth of such wares<br> As thou shall think most beneficial.”</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 156 and 157"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig156" id="fig156"></a><a href="images/fig156-full.png"><img src="images/fig156.png" width="107" height="65" alt="Fig. 156." title="Fig. 156." /></a><br /> + <td class="tdc"><a id="fig156"></a><a href="images/fig156-full.png"><img src="images/fig156.png" alt="Fig. 156." title="Fig. 156." style="width: 107px; height: 65px"></a><br> <span class="caption">Fig. 156.</span></td> - <td class="tdc"><a name="fig157" id="fig157"></a><a href="images/fig157-full.png"><img src="images/fig157.png" width="120" height="73" alt="Fig. 157." title="Fig. 157." /></a><br /> + <td class="tdc"><a id="fig157"></a><a href="images/fig157-full.png"><img src="images/fig157.png" alt="Fig. 157." title="Fig. 157." style="width: 120px; height: 73px"></a><br> <span class="caption">Fig. 157.</span></td> </tr> </table> @@ -3255,17 +3248,17 @@ real life, which the plainest audience would criticise. These plays were produced in 1606, and serve to show that the value attached to a seal-ring descended from very ancient to comparatively modern times.</p> -<p><span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span>In the Waterton collection is a massive gold signet-ring, with the rebus +<p><span class='pagenum'><a id="Page_131">[131]</a></span>In the Waterton collection is a massive gold signet-ring, with the rebus of the Wylmot family quaintly designed in the taste of the fourteenth century. In the centre is a tree; on one side of it the letters WY, and on the other OT. Supposing the tree to be an <i>elm</i>, the name reads Wy-<i>elm</i>-ot, or Wylmot.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 158 and 159"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig158" id="fig158"></a><a href="images/fig158-full.png"><img src="images/fig158.png" width="116" height="59" alt="Fig. 158." title="Fig. 158." /></a><br /> + <td class="tdc"><a id="fig158"></a><a href="images/fig158-full.png"><img src="images/fig158.png" alt="Fig. 158." title="Fig. 158." style="width: 116px; height: 59px"></a><br> <span class="caption">Fig. 158.</span></td> - <td class="tdc"><a name="fig159" id="fig159"></a><a href="images/fig159-full.png"><img src="images/fig159.png" width="114" height="67" alt="Fig. 159." title="Fig. 159." /></a><br /> + <td class="tdc"><a id="fig159"></a><a href="images/fig159-full.png"><img src="images/fig159.png" alt="Fig. 159." title="Fig. 159." style="width: 114px; height: 67px"></a><br> <span class="caption">Fig. 159.</span></td> </tr> </table> @@ -3285,7 +3278,7 @@ or paint them on the walls. There is a colossal figure (and St. Christopher was said to have been of gigantic stature), thus painted, beside the great gate of the ancient city of Treves, on the Moselle.</p> -<p><span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span>The enameller and engraver were both employed on the ring <a href="#fig159">Fig. 159</a>, also +<p><span class='pagenum'><a id="Page_132">[132]</a></span>The enameller and engraver were both employed on the ring <a href="#fig159">Fig. 159</a>, also from the Londesborough collection. The hoop is richly decorated, with quaint floriated ornament cut upon its surface, and filled in with <i>niello</i>, then extensively used by goldsmiths in enriching their works, @@ -3296,7 +3289,7 @@ with the motto <b>mon cor plesor</b>—“my heart’s delight” <div class="figcenter" style="width: 233px;"> <span class="caption" style="padding-right: 10px;">Fig. 160.</span> <span class="caption" style="padding-left: 60px;">Fig. 161.</span> -<a name="fig160" id="fig160"></a><a name="fig161" id="fig161"></a><a href="images/fig160-161-full.png"><img src="images/fig160-161.png" width="233" height="164" alt="Fig. 160. Fig. 161." title="Fig. 160. Fig. 161." /></a> +<a id="fig160"></a><a id="fig161"></a><a href="images/fig160-161-full.png"><img src="images/fig160-161.png" alt="Fig. 160. Fig. 161." title="Fig. 160. Fig. 161." style="width: 233px; height: 164px"></a> </div> <p>Of Elizabeth of England and Mary of Scotland, interesting mementoes are @@ -3307,7 +3300,7 @@ is engraved the royal arms and supporters of Scotland, with the motto IN is the inner side of the seal, as shown in the cut, where a crowned monogram is engraved, which might have been an unsolved enigma, but for the existence in our State Paper Office of a letter written by Mary to -Queen Elizabeth, in which she has drawn this<span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span> identical monogram after +Queen Elizabeth, in which she has drawn this<span class='pagenum'><a id="Page_133">[133]</a></span> identical monogram after signing her name. Sir Henry Ellis, who first traced out this curious history, says, “It is clearly formed of the letters M and A (for Mary and Albany), and gives countenance to the opinion that the written @@ -3334,7 +3327,7 @@ a ring, with the assurance that she would pardon any fault with which he might be accused when he should return that pledge. Long after this, when he was condemned for treason, she expected to receive this token, and was prepared to have granted the promised pardon. It came not. The -queen was confirmed in the belief that he had<span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span> ceased to care for her, +queen was confirmed in the belief that he had<span class='pagenum'><a id="Page_134">[134]</a></span> ceased to care for her, and pride and jealousy consigned him to the death of a traitor. But the earl had, in the last extremity of despair, entrusted the ring to the Countess of Nottingham, wife of the Lord High Admiral, an enemy to the @@ -3352,19 +3345,19 @@ could not be quenched by her pride and belief in his ingratitude. A confirmed melancholy settled upon her; she died lonely and broken-hearted.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 162, 163, and 164"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig162" id="fig162"></a><a href="images/fig162-full.png"><img src="images/fig162.png" width="82" height="92" alt="Fig. 162." title="Fig. 162." /></a><br /> + <td class="tdc"><a id="fig162"></a><a href="images/fig162-full.png"><img src="images/fig162.png" alt="Fig. 162." title="Fig. 162." style="width: 82px; height: 92px"></a><br> <span class="caption">Fig. 162.</span></td> - <td class="tdc"><a name="fig163" id="fig163"></a><a href="images/fig163-full.png"><img src="images/fig163.png" width="57" height="84" alt="Fig. 163." title="Fig. 163." /></a><br /> + <td class="tdc"><a id="fig163"></a><a href="images/fig163-full.png"><img src="images/fig163.png" alt="Fig. 163." title="Fig. 163." style="width: 57px; height: 84px"></a><br> <span class="caption">Fig. 163.</span></td> - <td class="tdc"><a name="fig164" id="fig164"></a><a href="images/fig164-full.png"><img src="images/fig164.png" width="65" height="86" alt="Fig. 164." title="Fig. 164." /></a><br /> + <td class="tdc"><a id="fig164"></a><a href="images/fig164-full.png"><img src="images/fig164.png" alt="Fig. 164." title="Fig. 164." style="width: 65px; height: 86px"></a><br> <span class="caption">Fig. 164.</span></td> </tr> </table> <p>This ring is now in the possession of the Rev. Lord John Thynne, and -three views of it are given in Figs. <a href="#fig162">162</a>, <a href="#fig163">163</a>, and <a href="#fig164">164</a>.<span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span> It is of gold, +three views of it are given in Figs. <a href="#fig162">162</a>, <a href="#fig163">163</a>, and <a href="#fig164">164</a>.<span class='pagenum'><a id="Page_135">[135]</a></span> It is of gold, of extremely delicate workmanship throughout. A cameo head of the queen is cut on hard onyx and set as its central jewel; the execution of this head is of the highest order, and may possibly have been the work of @@ -3378,11 +3371,11 @@ the present possessor. Although the entire story has met with disbelievers, the most sceptical must allow that whether this be <i>the</i> ring or not, it is valuable as a work of art of the Elizabethan era.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 165 and 166"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig165" id="fig165"></a><a href="images/fig165-full.png"><img src="images/fig165.png" width="109" height="92" alt="Fig. 165." title="Fig. 165." /></a><br /> + <td class="tdc"><a id="fig165"></a><a href="images/fig165-full.png"><img src="images/fig165.png" alt="Fig. 165." title="Fig. 165." style="width: 109px; height: 92px"></a><br> <span class="caption">Fig. 165.</span></td> - <td class="tdc"><a name="fig166" id="fig166"></a><a href="images/fig166-full.png"><img src="images/fig166.png" width="84" height="87" alt="Fig. 166." title="Fig. 166." /></a><br /> + <td class="tdc"><a id="fig166"></a><a href="images/fig166-full.png"><img src="images/fig166.png" alt="Fig. 166." title="Fig. 166." style="width: 84px; height: 87px"></a><br> <span class="caption">Fig. 166.</span></td> </tr> </table> @@ -3392,7 +3385,7 @@ appropriation on its own internal evidence, is the next on our list (Figs. <a href="#fig165">165</a> and <a href="#fig166">166</a>). It purports to be the seal-ring of William Shakspere, and was found March 16, 1810, by a labourer’s wife, in the mill close adjoining Stratford-on-Avon churchyard. It passed into the -possession of R. B. Wheler, Esq., the historian<span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span> of the town; and his +possession of R. B. Wheler, Esq., the historian<span class='pagenum'><a id="Page_136">[136]</a></span> of the town; and his sister, at his death, presented it to the museum of Shaksperian relics formed in the birthplace of the poet. It is of gold, weighing 12 dwts.; having the initials W.S. braced together by a tasselled cord; the only @@ -3405,18 +3398,18 @@ wear—gentlemanly, but not pretentious. There was but one other person in the small town of Stratford at that time to whom the same initials belonged. This was one William Smith, but <i>his</i> seal is attached to several documents preserved among the records of the corporation, and is -totally different.<a name="FNanchor_136-1_21" id="FNanchor_136-1_21"></a><a href="#Footnote_136-1_21" class="fnanchor">136-*</a> Mr. Halliwell, in his “Life of Shakspere,” +totally different.<a id="FNanchor_136-1_21"></a><a href="#Footnote_136-1_21" class="fnanchor">136-*</a> Mr. Halliwell, in his “Life of Shakspere,” observes that “little doubt can be entertained that this ring belonged to the poet, and it is probably the one he lost before his death, and was not to be found when his will was executed, the word <i>hand</i> being -substituted for <i>seal</i> in the original copy of that document.”<a name="FNanchor_136-2_22" id="FNanchor_136-2_22"></a><a href="#Footnote_136-2_22" class="fnanchor">136-†</a></p> +substituted for <i>seal</i> in the original copy of that document.”<a id="FNanchor_136-2_22"></a><a href="#Footnote_136-2_22" class="fnanchor">136-†</a></p> <p>In the great poet’s will, five of his friends have bequests of memorial rings. Two are his townsmen, Hamlett Sadler and William Raynoldes, who -each have twenty-six shillings and <span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span>eightpence left them “to buy them +each have twenty-six shillings and <span class='pagenum'><a id="Page_137">[137]</a></span>eightpence left them “to buy them ringes;” the other three being the actors (“my fellows,” as he affectionately terms them) John Heminge, Richard Burbage, and Henry -Condell,<a name="FNanchor_137-1_23" id="FNanchor_137-1_23"></a><a href="#Footnote_137-1_23" class="fnanchor">137-*</a> each of whom has a similar sum.</p> +Condell,<a id="FNanchor_137-1_23"></a><a href="#Footnote_137-1_23" class="fnanchor">137-*</a> each of whom has a similar sum.</p> <p>Rings were at this time an almost necessary part of the toilet of a gentleman; they indicated rank and character by their style or their @@ -3434,7 +3427,7 @@ made by alchemists. On the middle finger of the right hand he had “a ring made spire-wise, wherein was set a perfect balew ruby, a pointed diamond, and a Physon emerald of inestimable value.”</p> -<p>Italy now furnished the most splendid and tasteful jewellery;<span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span> the +<p>Italy now furnished the most splendid and tasteful jewellery;<span class='pagenum'><a id="Page_138">[138]</a></span> the workmen of Venice exceeding all others. The Londesborough collection supplies us with a graceful example, <a href="#fig167">Fig. 167</a>. The claws support the setting of a sharply-pointed pyramidal diamond, such as was then coveted @@ -3443,12 +3436,12 @@ on the window-pane—“Fain would I rise, but that I fear to fall” which Queen Elizabeth added, “If thy heart fail thee, do not rise at all;” an implied encouragement which led him on to fortune.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 167 and 168"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig167" id="fig167"></a><a href="images/fig167-full.png"><img src="images/fig167.png" width="89" height="114" alt="Fig. 167." title="Fig. 167." /></a><br /> + <td class="tdc"><a id="fig167"></a><a href="images/fig167-full.png"><img src="images/fig167.png" alt="Fig. 167." title="Fig. 167." style="width: 89px; height: 114px"></a><br> <span class="caption">Fig. 167.</span> </td> - <td class="tdc"><a name="fig168" id="fig168"></a><a href="images/fig168-full.png"><img src="images/fig168.png" width="93" height="110" alt="Fig. 168." title="Fig. 168." /></a><br /> + <td class="tdc"><a id="fig168"></a><a href="images/fig168-full.png"><img src="images/fig168.png" alt="Fig. 168." title="Fig. 168." style="width: 93px; height: 110px"></a><br> <span class="caption">Fig. 168.</span></td> </tr> </table> @@ -3467,13 +3460,13 @@ form a hasty wedding asks—</p> <p class="noindent">To which he receives as answer—</p> -<p class="poem">“Ay, and a poesy:<br /> +<p class="poem">“Ay, and a poesy:<br> <i>Annulus hic nobis, quod sic uterque, dabit</i>.”</p> -<p class="noindent"><span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span>He at once exclaims—</p> +<p class="noindent"><span class='pagenum'><a id="Page_139">[139]</a></span>He at once exclaims—</p> -<p class="poem"><span class="i8">“... Good!</span><br /> -<i>This ring will give you what you both desire.</i><br /> +<p class="poem"><span class="i8">“... Good!</span><br> +<i>This ring will give you what you both desire.</i><br> I’ll make the whole house chant it, and the parish.”</p> <p>Such rings were known as Gemel or Gimmal rings, the word being derived @@ -3489,31 +3482,31 @@ engraving and <i>niello</i>.</p> <p>Dryden, in his play of <i>Don Sebastian</i>, describes such a ring:—</p> -<p class="poem"><span class="i5">“A curious artist wrought them</span><br /> -With joints so close as not to be perceived;<br /> -Yet they are both each other’s counterpart.<br /> -(Her part had <i>Juan</i> inscribed, and his had <i>Zaida</i>:<br /> -You know those names were theirs), and in the midst<br /> -A heart divided in two halves was placed.<br /> -Now if the rivets of those Rings inclosed<br /> -Fit not each other, I have forged this lie:<br /> +<p class="poem"><span class="i5">“A curious artist wrought them</span><br> +With joints so close as not to be perceived;<br> +Yet they are both each other’s counterpart.<br> +(Her part had <i>Juan</i> inscribed, and his had <i>Zaida</i>:<br> +You know those names were theirs), and in the midst<br> +A heart divided in two halves was placed.<br> +Now if the rivets of those Rings inclosed<br> +Fit not each other, I have forged this lie:<br> But if they join, we must for ever part.”</p> <p>A complete illustration of this passage of the poet is afforded in <a href="#fig170">Fig. 170</a>, from the same collection. It also illustrates Dr. Nares’s remark -that “Gimmal rings, though originally double,<span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span> were by a further +that “Gimmal rings, though originally double,<span class='pagenum'><a id="Page_140">[140]</a></span> were by a further refinement made triple, or even more complicated; yet the name remained unchanged.” So Herrick:—</p> -<p class="poem">“Thou sent’st to me a true love knot; but I<br /> -Return a ring of jimmals, to imply<br /> +<p class="poem">“Thou sent’st to me a true love knot; but I<br> +Return a ring of jimmals, to imply<br> Thy love had one knot, mine a triple tye.”</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 400px;" summary="figs. 169 and 170"> +<table style="width: 400px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig169" id="fig169"></a><a href="images/fig169-full.png"><img src="images/fig169.png" width="138" height="183" alt="Fig. 169." title="Fig. 169." /></a><br /> + <td class="tdc"><a id="fig169"></a><a href="images/fig169-full.png"><img src="images/fig169.png" alt="Fig. 169." title="Fig. 169." style="width: 138px; height: 183px"></a><br> <span class="caption">Fig. 169.</span></td> - <td class="tdc"><a name="fig170" id="fig170"></a><a href="images/fig170-full.png"><img src="images/fig170.png" width="180" height="170" alt="Fig. 170." title="Fig. 170." /></a><br /> + <td class="tdc"><a id="fig170"></a><a href="images/fig170-full.png"><img src="images/fig170.png" alt="Fig. 170." title="Fig. 170." style="width: 180px; height: 170px"></a><br> <span class="caption">Fig. 170.</span></td> </tr> </table> @@ -3529,7 +3522,7 @@ the hearts, securing all firmly.</p> <p>A mechanical ring of still greater mystic significance is shown, <a href="#fig171">Fig. 171</a>, and is one of the most curious of the Londesborough series. The outside of the hoop is perfectly plain, and is set with a ruby and -amethyst. Upon pressing these stones, a spring<span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span> opens, and discovers the +amethyst. Upon pressing these stones, a spring<span class='pagenum'><a id="Page_141">[141]</a></span> opens, and discovers the surface covered with magical signs and names of spirits; among them Asmodiel, Nachiel, and Zamiel occur, a similar series occupying the interior of the hoop. Such a ring might be worn without suspicion of its @@ -3539,13 +3532,13 @@ the occult sciences, searching for the philosopher’s stone, the elixir of life, and the power given to man to control the unseen world of spirits.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 500px;" summary="figs. and "> +<table style="width: 500px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig171" id="fig171"></a><a href="images/fig171-full.png"><img src="images/fig171.png" width="164" height="102" alt="Fig. 171." title="Fig. 171." /></a><br /> + <td class="tdc"><a id="fig171"></a><a href="images/fig171-full.png"><img src="images/fig171.png" alt="Fig. 171." title="Fig. 171." style="width: 164px; height: 102px"></a><br> <span class="caption">Fig. 171.</span></td> - <td class="tdc"><a name="fig172" id="fig172"></a><a href="images/fig172-full.png"><img src="images/fig172.png" width="116" height="120" alt="Fig. 172." title="Fig. 172." /></a><br /> + <td class="tdc"><a id="fig172"></a><a href="images/fig172-full.png"><img src="images/fig172.png" alt="Fig. 172." title="Fig. 172." style="width: 116px; height: 120px"></a><br> <span class="caption">Fig. 172.</span></td> - <td class="tdc"><a name="fig173" id="fig173"></a><a href="images/fig173-full.png"><img src="images/fig173.png" width="96" height="124" alt="Fig. 173." title="Fig. 173." /></a><br /> + <td class="tdc"><a id="fig173"></a><a href="images/fig173-full.png"><img src="images/fig173.png" alt="Fig. 173." title="Fig. 173." style="width: 96px; height: 124px"></a><br> <span class="caption">Fig. 173.</span></td> </tr> </table> @@ -3559,13 +3552,13 @@ enamelled ring, set with a large turquoise in the centre, and surrounded by six raised garnets. This ring is stated to have subsequently belonged to Frederick the Great, King of Prussia, whose cipher is upon it.</p> -<p><span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span></p> +<p><span class='pagenum'><a id="Page_142">[142]</a></span></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 174 and 175"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig174" id="fig174"></a><a href="images/fig174-full.png"><img src="images/fig174.png" width="90" height="47" alt="Fig. 174." title="Fig. 174." /></a><br /> + <td class="tdc"><a id="fig174"></a><a href="images/fig174-full.png"><img src="images/fig174.png" alt="Fig. 174." title="Fig. 174." style="width: 90px; height: 47px"></a><br> <span class="caption">Fig. 174.</span></td> - <td class="tdc"><a name="fig175" id="fig175"></a><a href="images/fig175-full.png"><img src="images/fig175.png" width="104" height="49" alt="Fig. 175." title="Fig. 175." /></a><br /> + <td class="tdc"><a id="fig175"></a><a href="images/fig175-full.png"><img src="images/fig175.png" alt="Fig. 175." title="Fig. 175." style="width: 104px; height: 49px"></a><br> <span class="caption">Fig. 175.</span></td> </tr> </table> @@ -3589,11 +3582,11 @@ title, “Love’s Garland; or poesies for rings, handkerchiefs, and glo and such pretty tokens that lovers send their loves.” They are generally in double, seldom in triple lines of rhyme. The Rev. R. Brooke, of Gateforth House, Selby, has presented a curious collection of such rings -to the South Kensington Museum. The<span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span> six following poesies are selected +to the South Kensington Museum. The<span class='pagenum'><a id="Page_143">[143]</a></span> six following poesies are selected from this series, as they are good examples of the average inspirations of ring-poets:—</p> -<p class="poem">“Seithe God hath wrought this choice in thee,<br /> +<p class="poem">“Seithe God hath wrought this choice in thee,<br> So frame thyselfe to comfourth mee.”</p> <p class="poem">“United hearts death only parts.”</p> @@ -3611,7 +3604,7 @@ last century. There is a story told of Dr. John Thomas, Bishop of Lincoln, in 1753, that he inscribed his <i>fourth</i> wife’s ring with these words:—</p> -<p class="poem">“If I survive<br /> +<p class="poem">“If I survive<br> I’ll make them five.”</p> <p>Horace Walpole says—“My Lady Rochford desired me t’other day to give @@ -3625,20 +3618,20 @@ grasp from the hand wearing this ring ensured a very slow, but certain death: it contained a virulent poison, which found vent through a small spike, pressed out by a spring when the hand was grasped, and which was so slight in its operation as to be scarcely felt, and not usually -noticed<span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span> by the person wounded during the excitement of the hearty +noticed<span class='pagenum'><a id="Page_144">[144]</a></span> by the person wounded during the excitement of the hearty friendship so well simulated. When conspiracies against the life of William of Orange were rife under the influence of the court of Spain [<i>circa</i> 1582], the unworthy son of Count Egmont “had himself undertaken to destroy the prince at his own table by means of poison which he kept concealed in a ring. Saint Aldegonde (his friend and counsellor) was to have been taken off in the same way, and a hollow ring filled with -poison is said to have been found in Egmont’s lodgings.”<a name="FNanchor_144-1_24" id="FNanchor_144-1_24"></a><a href="#Footnote_144-1_24" class="fnanchor">144-*</a></p> +poison is said to have been found in Egmont’s lodgings.”<a id="FNanchor_144-1_24"></a><a href="#Footnote_144-1_24" class="fnanchor">144-*</a></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 176 and 177"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig176" id="fig176"></a><a href="images/fig176-full.png"><img src="images/fig176.png" width="102" height="96" alt="Fig. 176." title="Fig. 176." /></a><br /> + <td class="tdc"><a id="fig176"></a><a href="images/fig176-full.png"><img src="images/fig176.png" alt="Fig. 176." title="Fig. 176." style="width: 102px; height: 96px"></a><br> <span class="caption">Fig. 176.</span></td> - <td class="tdc"><a name="fig177" id="fig177"></a><a href="images/fig177-full.png"><img src="images/fig177.png" width="108" height="105" alt="Fig. 177." title="Fig. 177." /></a><br /> + <td class="tdc"><a id="fig177"></a><a href="images/fig177-full.png"><img src="images/fig177.png" alt="Fig. 177." title="Fig. 177." style="width: 108px; height: 105px"></a><br> <span class="caption">Fig. 177.</span></td> </tr> </table> @@ -3651,7 +3644,7 @@ border are perforated, so that the interior of the box is visible, and the relic enshrined might be seen. <a href="#fig177">Fig. 177</a> is another ring of the same construction: it is richly engraved and set with two rubies and a pyramidal diamond; the collet securing the latter stone opens with a -spring,<span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span> and exhibits a somewhat large receptacle for such virulent +spring,<span class='pagenum'><a id="Page_145">[145]</a></span> and exhibits a somewhat large receptacle for such virulent poisons as were concocted by Italian chemists in the sixteenth and seventeenth centuries.</p> @@ -3669,17 +3662,17 @@ workmanship, discovered in the ruins of one of their most ancient temples; to its centre are affixed bunches of pear-shaped hollow drops of silver, which jingle with a soft low note as the hand moves.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 178 and 179"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig178" id="fig178"></a><a href="images/fig178-full.png"><img src="images/fig178.png" width="117" height="102" alt="Fig. 178." title="Fig. 178." /></a><br /> + <td class="tdc"><a id="fig178"></a><a href="images/fig178-full.png"><img src="images/fig178.png" alt="Fig. 178." title="Fig. 178." style="width: 117px; height: 102px"></a><br> <span class="caption">Fig. 178.</span></td> - <td class="tdc"><a name="fig179" id="fig179"></a><a href="images/fig179-full.png"><img src="images/fig179.png" width="112" height="97" alt="Fig. 179." title="Fig. 179." /></a><br /> + <td class="tdc"><a id="fig179"></a><a href="images/fig179-full.png"><img src="images/fig179.png" alt="Fig. 179." title="Fig. 179." style="width: 112px; height: 97px"></a><br> <span class="caption">Fig. 179.</span></td> </tr> </table> <p>We have already alluded to the old Eastern tale of “The Fish and the -Ring,” invented some thousands of years since. It has<span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span> survived to our +Ring,” invented some thousands of years since. It has<span class='pagenum'><a id="Page_146">[146]</a></span> survived to our own day, and is still related and believed by the commonalty to the east of London. In the church at Stepney is a tomb to the memory of Lady Rebecca Berry, who died 1696, in whose coat-of-arms a fish and an @@ -3704,20 +3697,20 @@ abided his revenge, until one day discovering the soldier asleep by the banks of the Clyde, he took the ring from his finger and threw it in the stream. He then demanded of his queen a sight of his old love gift, a request she was utterly unable to comply with. In despair, she confessed -all to St. Kentigern, vowing a purer life in future. The saint<span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span> went to +all to St. Kentigern, vowing a purer life in future. The saint<span class='pagenum'><a id="Page_147">[147]</a></span> went to the river, caught a salmon, and took from its stomach the missing ring, -which restored peace to all parties.<a name="FNanchor_147-1_25" id="FNanchor_147-1_25"></a><a href="#Footnote_147-1_25" class="fnanchor">147-*</a></p> +which restored peace to all parties.<a id="FNanchor_147-1_25"></a><a href="#Footnote_147-1_25" class="fnanchor">147-*</a></p> <p>The occurrence of the fish and ring in the arms of Glasgow and in the Stepney monument, is “confirmation strong as proofs of holy writ” of the truth of these stories, in the minds of the vulgar, who would regard scepticism in the same light as religious infidelity.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 180 and 181"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig180" id="fig180"></a><a href="images/fig180-full.png"><img src="images/fig180.png" width="98" height="126" alt="Fig. 180." title="Fig. 180." /></a><br /> + <td class="tdc"><a id="fig180"></a><a href="images/fig180-full.png"><img src="images/fig180.png" alt="Fig. 180." title="Fig. 180." style="width: 98px; height: 126px"></a><br> <span class="caption">Fig. 180.</span></td> - <td class="tdc"><a name="fig181" id="fig181"></a><a href="images/fig181-full.png"><img src="images/fig181.png" width="91" height="108" alt="Fig. 181." title="Fig. 181." /></a><br /> + <td class="tdc"><a id="fig181"></a><a href="images/fig181-full.png"><img src="images/fig181.png" alt="Fig. 181." title="Fig. 181." style="width: 91px; height: 108px"></a><br> <span class="caption">Fig. 181.</span></td> </tr> </table> @@ -3729,7 +3722,7 @@ adherent of King Charles I., when such devotion was dangerous. A table-cut diamond is set within an oval rim, acting as a lid to a small case opening by means of a spring, and revealing a portrait of Charles executed in enamel. The face of the ring, its back, and side portions -of<span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span> the shank, are decorated with engraved scroll-work, filled in with +of<span class='pagenum'><a id="Page_148">[148]</a></span> the shank, are decorated with engraved scroll-work, filled in with black enamel. “Relics” of this kind are consecrated by much higher associations than what the mere crust of time bestows upon them; and even were they not sufficiently old to excite the notice of the @@ -3756,7 +3749,7 @@ golden ornaments shaped like coffins, holding enamelled skeletons, hung from the neck; and watches made to fit in little silver skulls were attached to the waist.</p> -<p><span class='pagenum'><a name="Page_149" id="Page_149">[149]</a></span>In the Duke of Newcastle’s comedy, <i>The Country Captain</i>, 1649, a lady +<p><span class='pagenum'><a id="Page_149">[149]</a></span>In the Duke of Newcastle’s comedy, <i>The Country Captain</i>, 1649, a lady of title is told that when she resides in the country a great show of finger-rings will not be necessary: “Shew your white hand with but one diamond when you carve, and be not ashamed to wear your own wedding @@ -3784,14 +3777,14 @@ compare the countenance of Holophernes to “a death’s face in a ring. have already adverted to a similar ring worn by one of Shakspere’s fellow townsmen.</p> -<p><span class='pagenum'><a name="Page_150" id="Page_150">[150]</a></span></p> +<p><span class='pagenum'><a id="Page_150">[150]</a></span></p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 182, 183, and 184"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig182" id="fig182"></a><a href="images/fig182-full.png"><img src="images/fig182.png" width="100" height="116" alt="Fig. 182." title="Fig. 182." /></a><br /> + <td class="tdc"><a id="fig182"></a><a href="images/fig182-full.png"><img src="images/fig182.png" alt="Fig. 182." title="Fig. 182." style="width: 100px; height: 116px"></a><br> <span class="caption">Fig. 182.</span> </td> - <td class="tdc"><a name="fig183" id="fig183"></a><a name="fig184" id="fig184"></a><a href="images/fig183-184-full.png"><img src="images/fig183-184.png" width="123" height="105" alt="Figs. 183 and 184." title="Figs. 183 and 184." /></a><br /> + <td class="tdc"><a id="fig183"></a><a id="fig184"></a><a href="images/fig183-184-full.png"><img src="images/fig183-184.png" alt="Figs. 183 and 184." title="Figs. 183 and 184." style="width: 123px; height: 105px"></a><br> <span class="caption">Figs. 183 and 184.</span></td> </tr> </table> @@ -3809,11 +3802,11 @@ Londesborough collection, from whence we obtain <a href="#fig184">Fig. 184</a>, specimen of a mourning ring of the early part of the last century, with which we take leave of this branch of the subject.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 185 and 186"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig185" id="fig185"></a><a href="images/fig185-full.png"><img src="images/fig185.png" width="112" height="75" alt="Fig. 185." title="Fig. 185." /></a><br /> + <td class="tdc"><a id="fig185"></a><a href="images/fig185-full.png"><img src="images/fig185.png" alt="Fig. 185." title="Fig. 185." style="width: 112px; height: 75px"></a><br> <span class="caption">Fig. 185.</span></td> - <td class="tdc"><a name="fig186" id="fig186"></a><a href="images/fig186-full.png"><img src="images/fig186.png" width="100" height="61" alt="Fig. 186." title="Fig. 186." /></a><br /> + <td class="tdc"><a id="fig186"></a><a href="images/fig186-full.png"><img src="images/fig186.png" alt="Fig. 186." title="Fig. 186." style="width: 100px; height: 61px"></a><br> <span class="caption">Fig. 186.</span></td> </tr> </table> @@ -3823,7 +3816,7 @@ attention on design as their predecessors did. Rings appear to have reached their highest excellence in design and execution in the <i>ateliers</i> of Venice. We meet with little originality of conception, and certainly great inferiority of execution, in the works then issued. In -southern Europe, where jewellery is<span class='pagenum'><a name="Page_151" id="Page_151">[151]</a></span> deemed almost a necessary of life, +southern Europe, where jewellery is<span class='pagenum'><a id="Page_151">[151]</a></span> deemed almost a necessary of life, and the poorest will wear it in profusion, though only made of copper, greater scope was given to invention. <a href="#fig185">Fig. 185</a> is a Spanish silver ring of the early part of the century. In its centre it has a heart, winged @@ -3833,11 +3826,11 @@ ring of more modern manufacture, but of very light and elegant design. The flowers are formed of rubies and diamonds, and the effect is extremely pleasing.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 187 and 188"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig187" id="fig187"></a><a href="images/fig187-full.png"><img src="images/fig187.png" width="113" height="74" alt="Fig. 187." title="Fig. 187." /></a><br /> + <td class="tdc"><a id="fig187"></a><a href="images/fig187-full.png"><img src="images/fig187.png" alt="Fig. 187." title="Fig. 187." style="width: 113px; height: 74px"></a><br> <span class="caption">Fig. 187.</span></td> - <td class="tdc"><a name="fig188" id="fig188"></a><a href="images/fig188-full.png"><img src="images/fig188.png" width="101" height="73" alt="Fig. 188." title="Fig. 188." /></a><br /> + <td class="tdc"><a id="fig188"></a><a href="images/fig188-full.png"><img src="images/fig188.png" alt="Fig. 188." title="Fig. 188." style="width: 101px; height: 73px"></a><br> <span class="caption">Fig. 188.</span></td> </tr> </table> @@ -3848,14 +3841,14 @@ being here copied in Figs. <a href="#fig187">187</a> and <a href="#fig188">188</ English works of the seventeenth and eighteenth centuries, and appear to have been used as guards, or “keepers,” to the wedding-ring. They are of pleasing floriated design, and of very delicate execution. Much taste -may be<span class='pagenum'><a name="Page_152" id="Page_152">[152]</a></span> exhibited in the selection of coloured stones for the flowers of +may be<span class='pagenum'><a id="Page_152">[152]</a></span> exhibited in the selection of coloured stones for the flowers of such rings, which are certainly a great ornament to the hand.</p> -<table border="0" cellpadding="0" cellspacing="0" summary="figs. 189, 190, and 191"> +<table style="border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig189" id="fig189"></a><a href="images/fig189-full.png"><img src="images/fig189.png" width="135" height="106" alt="Fig. 189." title="Fig. 189." /></a><br /> + <td class="tdc"><a id="fig189"></a><a href="images/fig189-full.png"><img src="images/fig189.png" alt="Fig. 189." title="Fig. 189." style="width: 135px; height: 106px"></a><br> <span class="caption">Fig. 189.</span></td> - <td class="tdc"><a name="fig190" id="fig190"></a><a name="fig191" id="fig191"></a><a href="images/fig190-191-full.png"><img src="images/fig190-191.png" width="101" height="94" alt="Figs. 190 and 191." title="Figs. 190 and 191." /></a><br /> + <td class="tdc"><a id="fig190"></a><a id="fig191"></a><a href="images/fig190-191-full.png"><img src="images/fig190-191.png" alt="Figs. 190 and 191." title="Figs. 190 and 191." style="width: 101px; height: 94px"></a><br> <span class="caption">Figs. 190 and 191.</span></td> </tr> </table> @@ -3868,14 +3861,14 @@ but the humbler classes, who equally love display, are content with them in cast silver. Such a ring is engraved, <a href="#fig189">Fig. 189</a>, from an original in the British Museum, from whence we also obtain the two specimens of rings beside it, being such as are worn by the humblest classes. <a href="#fig190">Fig. -190</a> is of<span class='pagenum'><a name="Page_153" id="Page_153">[153]</a></span> brass, <a href="#fig191">Fig. 191</a> of silver, the latter boasting a sort of +190</a> is of<span class='pagenum'><a id="Page_153">[153]</a></span> brass, <a href="#fig191">Fig. 191</a> of silver, the latter boasting a sort of apology for a jewelled centre.</p> -<table border="0" cellpadding="0" cellspacing="0" summary="figs. 192, 193, and 194"> +<table style="border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig192" id="fig192"></a><a href="images/fig192-full.png"><img src="images/fig192.png" width="104" height="96" alt="Fig. 192." title="Fig. 192." /></a><br /> + <td class="tdc"><a id="fig192"></a><a href="images/fig192-full.png"><img src="images/fig192.png" alt="Fig. 192." title="Fig. 192." style="width: 104px; height: 96px"></a><br> <span class="caption">Fig. 192.</span></td> - <td class="tdc"><a name="fig193" id="fig193"></a><a name="fig194" id="fig194"></a><a href="images/fig193-194-full.png"><img src="images/fig193-194.png" width="124" height="130" alt="Figs. 193 and 194." title="Figs. 193 and 194." /></a><br /> + <td class="tdc"><a id="fig193"></a><a id="fig194"></a><a href="images/fig193-194-full.png"><img src="images/fig193-194.png" alt="Figs. 193 and 194." title="Figs. 193 and 194." style="width: 124px; height: 130px"></a><br> <span class="caption">Figs. 193 and 194.</span></td> </tr> </table> @@ -3906,20 +3899,20 @@ are valued as the manufacture of the silversmiths of Mecca, that sacred city being supposed to exert a holy influence on all the works it originates.</p> -<p><span class='pagenum'><a name="Page_154" id="Page_154">[154]</a></span>There is also a curious ring, with a double “keeper,” worn by Egyptian +<p><span class='pagenum'><a id="Page_154">[154]</a></span>There is also a curious ring, with a double “keeper,” worn by Egyptian men, as shown in <a href="#fig197">Fig. 197</a>. It is composed entirely of common cast silver, set with mineral stone. The lowermost keeper of twisted wire is first put on the finger, then follows the ring, the second keeper is then brought down upon it; the two being held by a brace which passes at the back of the ring, and gives security to the whole.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 500px;" summary="figs. 195, 196, and 197"> +<table style="width: 500px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig195" id="fig195"></a><a href="images/fig195-full.png"><img src="images/fig195.png" width="115" height="135" alt="Fig. 195." title="Fig. 195." /></a><br /> + <td class="tdc"><a id="fig195"></a><a href="images/fig195-full.png"><img src="images/fig195.png" alt="Fig. 195." title="Fig. 195." style="width: 115px; height: 135px"></a><br> <span class="caption">Fig. 195.</span></td> - <td class="tdc"><a name="fig196" id="fig196"></a><a href="images/fig196-full.png"><img src="images/fig196.png" width="89" height="126" alt="Fig. 196." title="Fig. 196." /></a><br /> + <td class="tdc"><a id="fig196"></a><a href="images/fig196-full.png"><img src="images/fig196.png" alt="Fig. 196." title="Fig. 196." style="width: 89px; height: 126px"></a><br> <span class="caption">Fig. 196.</span></td> - <td class="tdc"><a name="fig197" id="fig197"></a><a href="images/fig197-full.png"><img src="images/fig197.png" width="137" height="134" alt="Fig. 197." title="Fig. 197." /></a><br /> + <td class="tdc"><a id="fig197"></a><a href="images/fig197-full.png"><img src="images/fig197.png" alt="Fig. 197." title="Fig. 197." style="width: 137px; height: 134px"></a><br> <span class="caption">Fig. 197.</span></td> </tr> </table> @@ -3940,7 +3933,7 @@ thus:—</p> <li>D—Diamond.</li> </ul> -<p><span class='pagenum'><a name="Page_155" id="Page_155">[155]</a></span>These pleasing and agreeable <i>gages d’amitie</i> originated with the French +<p><span class='pagenum'><a id="Page_155">[155]</a></span>These pleasing and agreeable <i>gages d’amitie</i> originated with the French jewellers, and were soon made to spell proper names. Where precious stones could not be obtained with the necessary initial, mineral stones, such as <i>lapis-lazuli</i>, and <i>verde antique</i>, were pressed into the @@ -3948,11 +3941,11 @@ service. These rings are now occasionally made. Her Royal Highness the Princess of Wales is said to possess one having the familiar name of the Prince, “Bertie,” spelt thus upon it.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 198 and 199"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig198" id="fig198"></a><a href="images/fig198-full.png"><img src="images/fig198.png" width="103" height="102" alt="Fig. 198." title="Fig. 198." /></a><br /> + <td class="tdc"><a id="fig198"></a><a href="images/fig198-full.png"><img src="images/fig198.png" alt="Fig. 198." title="Fig. 198." style="width: 103px; height: 102px"></a><br> <span class="caption">Fig. 198.</span></td> - <td class="tdc"><a name="fig199" id="fig199"></a><a href="images/fig199-full.png"><img src="images/fig199.png" width="103" height="102" alt="Fig. 199." title="Fig. 199." /></a><br /> + <td class="tdc"><a id="fig199"></a><a href="images/fig199-full.png"><img src="images/fig199.png" alt="Fig. 199." title="Fig. 199." style="width: 103px; height: 102px"></a><br> <span class="caption">Fig. 199.</span></td> </tr> </table> @@ -3966,13 +3959,13 @@ in separate settings, is held by the heads and outstretched wings of <i>Chimeras</i>, whose breasts are also jewelled. Both are excellent designs.</p> <div class="figleft" style="width: 121px;"> -<a name="fig200" id="fig200"></a><a href="images/fig200-full.png"><img src="images/fig200.png" width="121" height="118" alt="Fig. 200." title="" /></a> +<a id="fig200"></a><a href="images/fig200-full.png"><img src="images/fig200.png" alt="Fig. 200." title="" style="width: 121px; height: 118px"></a> <span class="caption">Fig. 200.</span> </div> <p>The last ring we shall bring before the reader’s notice (<a href="#fig200">Fig. 200</a>) is the famous “Fisherman’s ring” of the Pope. It is a signet ring of steel -used for the briefs issued from the Romish Court.<span class='pagenum'><a name="Page_156" id="Page_156">[156]</a></span> “When a brief is +used for the briefs issued from the Romish Court.<span class='pagenum'><a id="Page_156">[156]</a></span> “When a brief is written to any distinguished personage, or has relation to religious or general important matter, the impression from the Fisherman’s ring is said to be made upon a gold surface; in some other cases it appears upon @@ -3995,7 +3988,7 @@ the ring with a golden hammer, and an officer destroys the figure of Peter by the use of a file. From this moment all the authority and acts of the late pope pass to the College or Conclave of Cardinals. When a new pope is consecrated, it is always the Cardinal Chancellor, or -Chamberlain,<span class='pagenum'><a name="Page_157" id="Page_157">[157]</a></span> who presents the renewed Fisherman’s ring, and this +Chamberlain,<span class='pagenum'><a id="Page_157">[157]</a></span> who presents the renewed Fisherman’s ring, and this presentation is accompanied by imposing ceremonies.”</p> <p>The facts we have gathered about finger-rings are scattered over the @@ -4006,33 +3999,33 @@ and country of other works of their class, if brought to them for comparison.</p> <div class="figcenter" style="width: 95px;"> -<img src="images/illus-157.png" width="95" height="74" alt="decorative" title="decorative" /> +<img src="images/illus-157.png" alt="decorative" title="decorative" style="width: 95px; height: 74px"> </div> <div class="footnotes"> -<p class="footnote"><a name="Footnote_74-1_5" id="Footnote_74-1_5"></a><a href="#FNanchor_74-1_5"><span class="label">74-*</span></a> “History and Poetry of Finger-rings.”</p> +<p class="footnote"><a id="Footnote_74-1_5"></a><a href="#FNanchor_74-1_5"><span class="label">74-*</span></a> “History and Poetry of Finger-rings.”</p> -<p class="footnote"><a name="Footnote_74-2_6" id="Footnote_74-2_6"></a><a href="#FNanchor_74-2_6"><span class="label">74-†</span></a> Genesis, chap. xxxviii.</p> +<p class="footnote"><a id="Footnote_74-2_6"></a><a href="#FNanchor_74-2_6"><span class="label">74-†</span></a> Genesis, chap. xxxviii.</p> -<p class="footnote"><a name="Footnote_75-1_7" id="Footnote_75-1_7"></a><a href="#FNanchor_75-1_7"><span class="label">75-*</span></a> “Manners and Customs of the Ancient Egyptians,” vol. +<p class="footnote"><a id="Footnote_75-1_7"></a><a href="#FNanchor_75-1_7"><span class="label">75-*</span></a> “Manners and Customs of the Ancient Egyptians,” vol. iii. p. 373.</p> -<p class="footnote"><a name="Footnote_82-1_8" id="Footnote_82-1_8"></a><a href="#FNanchor_82-1_8"><span class="label">82-*</span></a> Barrera, “History of Gems and Jewels.”</p> +<p class="footnote"><a id="Footnote_82-1_8"></a><a href="#FNanchor_82-1_8"><span class="label">82-*</span></a> Barrera, “History of Gems and Jewels.”</p> -<p class="footnote"><a name="Footnote_83-1_9" id="Footnote_83-1_9"></a><a href="#FNanchor_83-1_9"><span class="label">83-*</span></a> “Decline and Fall of the Roman Empire,” chap. xxv.</p> +<p class="footnote"><a id="Footnote_83-1_9"></a><a href="#FNanchor_83-1_9"><span class="label">83-*</span></a> “Decline and Fall of the Roman Empire,” chap. xxv.</p> -<p class="footnote"><a name="Footnote_83-2_10" id="Footnote_83-2_10"></a><a href="#FNanchor_83-2_10"><span class="label">83-†</span></a> “The History and Poetry of Finger-rings,” by Charles +<p class="footnote"><a id="Footnote_83-2_10"></a><a href="#FNanchor_83-2_10"><span class="label">83-†</span></a> “The History and Poetry of Finger-rings,” by Charles Edwards.</p> -<p class="footnote"><a name="Footnote_89-1_11" id="Footnote_89-1_11"></a><a href="#FNanchor_89-1_11"><span class="label">89-*</span></a> “Antiquité Expliquée et Representée en Figures.”</p> +<p class="footnote"><a id="Footnote_89-1_11"></a><a href="#FNanchor_89-1_11"><span class="label">89-*</span></a> “Antiquité Expliquée et Representée en Figures.”</p> -<p class="footnote"><a name="Footnote_96-1_12" id="Footnote_96-1_12"></a><a href="#FNanchor_96-1_12"><span class="label">96-*</span></a> “Account of Excavations at Harnham Hill.” <i>Archæologia</i>, +<p class="footnote"><a id="Footnote_96-1_12"></a><a href="#FNanchor_96-1_12"><span class="label">96-*</span></a> “Account of Excavations at Harnham Hill.” <i>Archæologia</i>, vol. xxxv.</p> -<p class="footnote"><a name="Footnote_96-2_13" id="Footnote_96-2_13"></a><a href="#FNanchor_96-2_13"><span class="label">96-†</span></a> “Remains of Pagan Saxondom,” p. 71.</p> +<p class="footnote"><a id="Footnote_96-2_13"></a><a href="#FNanchor_96-2_13"><span class="label">96-†</span></a> “Remains of Pagan Saxondom,” p. 71.</p> -<p class="footnote"><a name="Footnote_97-1_14" id="Footnote_97-1_14"></a><a href="#FNanchor_97-1_14"><span class="label">97-*</span></a> In the museum at Augsburg are several which were found +<p class="footnote"><a id="Footnote_97-1_14"></a><a href="#FNanchor_97-1_14"><span class="label">97-*</span></a> In the museum at Augsburg are several which were found in cutting for the railway near that city. A large series of personal ornaments is also preserved there, which are so exactly similar to others found near Richborough, in Kent, that they would appear to have @@ -4040,44 +4033,44 @@ come from the same manufactory. As the Romans introduced their arts wherever they went, so the Saxons seem to have continued theirs in all their colonies.</p> -<p class="footnote"><a name="Footnote_98-1_15" id="Footnote_98-1_15"></a><a href="#FNanchor_98-1_15"><span class="label">98-*</span></a> See the “Inventorium Sepulchrale: an Account of some +<p class="footnote"><a id="Footnote_98-1_15"></a><a href="#FNanchor_98-1_15"><span class="label">98-*</span></a> See the “Inventorium Sepulchrale: an Account of some Antiquities dug up by the Rev. Bryan Faussett, of Heppington, Kent.” Edited by C. Roach Smith.</p> -<p class="footnote"><a name="Footnote_100-1_16" id="Footnote_100-1_16"></a><a href="#FNanchor_100-1_16"><span class="label">100-*</span></a> Engraved as an illustration to the volume describing +<p class="footnote"><a id="Footnote_100-1_16"></a><a href="#FNanchor_100-1_16"><span class="label">100-*</span></a> Engraved as an illustration to the volume describing the congress of the British Archæological Association at Winchester, in 1845.</p> -<p class="footnote"><a name="Footnote_108-1_17" id="Footnote_108-1_17"></a><a href="#FNanchor_108-1_17"><span class="label">108-*</span></a> He was elected 1418, and died 1464.</p> +<p class="footnote"><a id="Footnote_108-1_17"></a><a href="#FNanchor_108-1_17"><span class="label">108-*</span></a> He was elected 1418, and died 1464.</p> -<p class="footnote"><a name="Footnote_115-1_18" id="Footnote_115-1_18"></a><a href="#FNanchor_115-1_18"><span class="label">115-*</span></a> J. Y. Akerman on Gnostic Gems, in <i>Archæologia</i>, vol. +<p class="footnote"><a id="Footnote_115-1_18"></a><a href="#FNanchor_115-1_18"><span class="label">115-*</span></a> J. Y. Akerman on Gnostic Gems, in <i>Archæologia</i>, vol. xxxii.</p> -<p class="footnote"><a name="Footnote_116-1_19" id="Footnote_116-1_19"></a><a href="#FNanchor_116-1_19"><span class="label">116-*</span></a> T. Wright, M.A., &c., in <i>Archæologia</i>, vol. xxx.</p> +<p class="footnote"><a id="Footnote_116-1_19"></a><a href="#FNanchor_116-1_19"><span class="label">116-*</span></a> T. Wright, M.A., &c., in <i>Archæologia</i>, vol. xxx.</p> -<p class="footnote"><a name="Footnote_117-1_20" id="Footnote_117-1_20"></a><a href="#FNanchor_117-1_20"><span class="label">117-*</span></a> Masarius, quoted in Topsel’s “History of Serpents,” +<p class="footnote"><a id="Footnote_117-1_20"></a><a href="#FNanchor_117-1_20"><span class="label">117-*</span></a> Masarius, quoted in Topsel’s “History of Serpents,” 1611.</p> -<p class="footnote"><a name="Footnote_136-1_21" id="Footnote_136-1_21"></a><a href="#FNanchor_136-1_21"><span class="label">136-*</span></a> He was a draper; and his seal has a device upon it +<p class="footnote"><a id="Footnote_136-1_21"></a><a href="#FNanchor_136-1_21"><span class="label">136-*</span></a> He was a draper; and his seal has a device upon it consisting of a skull with a bone in the mouth; the letters W. S. are under it, and very small. This ring was most probably of silver. It is unlikely that a small trader like Smith should wear a heavy gold ring, like this which claims to be Shakspere’s.</p> -<p class="footnote"><a name="Footnote_136-2_22" id="Footnote_136-2_22"></a><a href="#FNanchor_136-2_22"><span class="label">136-†</span></a> The concluding words of the will are—“in witness +<p class="footnote"><a id="Footnote_136-2_22"></a><a href="#FNanchor_136-2_22"><span class="label">136-†</span></a> The concluding words of the will are—“in witness whereof I have hereunto put my seale,” the last word being struck through with a pen, and <i>hand</i> substituted.</p> -<p class="footnote"><a name="Footnote_137-1_23" id="Footnote_137-1_23"></a><a href="#FNanchor_137-1_23"><span class="label">137-*</span></a> Heminge was the old stage-manager, who, like Shakspere, +<p class="footnote"><a id="Footnote_137-1_23"></a><a href="#FNanchor_137-1_23"><span class="label">137-*</span></a> Heminge was the old stage-manager, who, like Shakspere, became very wealthy by the profession. Burbage was the great tragedian, and the original performer of Richard III. Condell was a comedian, part-proprietor of the Globe Theatre; it is to him and Heminge we are indebted for the first complete edition of Shakspere’s works, the folio of 1623.</p> -<p class="footnote"><a name="Footnote_144-1_24" id="Footnote_144-1_24"></a><a href="#FNanchor_144-1_24"><span class="label">144-*</span></a> Motley’s “Rise of the Dutch Republic.”</p> +<p class="footnote"><a id="Footnote_144-1_24"></a><a href="#FNanchor_144-1_24"><span class="label">144-*</span></a> Motley’s “Rise of the Dutch Republic.”</p> -<p class="footnote"><a name="Footnote_147-1_25" id="Footnote_147-1_25"></a><a href="#FNanchor_147-1_25"><span class="label">147-*</span></a> In the Koran this wild version of the story +<p class="footnote"><a id="Footnote_147-1_25"></a><a href="#FNanchor_147-1_25"><span class="label">147-*</span></a> In the Koran this wild version of the story occurs:—“Solomon entrusted his signet with one of his concubines, which the devil obtained from her, and sat on the throne in Solomon’s shape. After forty days the devil departed, and threw the ring into the sea. @@ -4086,21 +4079,21 @@ Solomon, the ring was found in its belly, and thus he recovered his kingdom.”—<span class="smcap">Sale’s</span> <i>Koran</i>, chap. xxxviii.</p> </div> -<p><span class='pagenum'><a name="Page_158" id="Page_158">[158]</a></span></p> +<p><span class='pagenum'><a id="Page_158">[158]</a></span></p> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_159" id="Page_159">[159]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_159">[159]</a></span></p> <h2 class="chapterdivider">ANCIENT BROOCHES AND DRESS FASTENINGS.</h2> -<p><span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span></p> +<p><span class='pagenum'><a id="Page_160">[160]</a></span></p> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_161" id="Page_161">[161]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_161">[161]</a></span></p> <h2 class="chapterhead">ANCIENT BROOCHES AND DRESS FASTENINGS.</h2> -<hr class="decorative" /> +<hr class="decorative"> <p class="noindent"><span class="dropcape"><span class="hide">E</span></span><span class="upper">very</span> artist who paints an historical picture knows the difficulty of obtaining the necessary <i>minutiæ</i>, in order to give <i>vraisemblance</i> to @@ -4120,7 +4113,7 @@ characteristic of Greek costume, even after it had long been adopted by the Romans, as may be understood from a passage of Suetonius in his life of Augustus. “He distributed among various other persons, togæ and pallia, and made a law that the Romans should wear the Greek habit, and -the Greeks the<span class='pagenum'><a name="Page_162" id="Page_162">[162]</a></span> Roman habit;” that is, that the Greeks should wear the +the Greeks the<span class='pagenum'><a id="Page_162">[162]</a></span> Roman habit;” that is, that the Greeks should wear the toga, and the Romans the pallium. Now, though it is certain that the pallium, or cloak, was peculiar to the Greeks, and that many authors, besides Suetonius, testify the same, yet it is as evident that this @@ -4128,7 +4121,7 @@ article of dress became afterwards the common habit of Greeks and Romans.</p> <div class="figcenter" style="width: 214px;"> -<a name="fig201" id="fig201"></a><a href="images/fig201-full.png"><img src="images/fig201.png" width="214" height="192" alt="Fig. 201." title="Fig. 201." /></a> +<a id="fig201"></a><a href="images/fig201-full.png"><img src="images/fig201.png" alt="Fig. 201." title="Fig. 201." style="width: 214px; height: 192px"></a> <span class="caption">Fig. 201.</span> </div> @@ -4143,20 +4136,20 @@ shoulder, leaving the right arm free. There is a very beautiful and well-known antique statue of Diana, representing the goddess fastening her mantel in the same manner.</p> -<p><span class='pagenum'><a name="Page_163" id="Page_163">[163]</a></span>The character of this outer garment varied with the seasons, but whether +<p><span class='pagenum'><a id="Page_163">[163]</a></span>The character of this outer garment varied with the seasons, but whether heavy and warm, or light and cool, it was usually plain in its character, or simply decorated with a border, and corner ornament. Sometimes, when worn by great personages, it appears to have been decorated with needlework, and shot with threads of gold. Such a one is described in the Odyssey (book xix.) as worn by Ulysses:—</p> -<p class="poem"><span class="i7">“In ample mode</span><br /> -A robe of military purple flow’d<br /> -O’er all his frame: illustrious on his breast<br /> -The double-clasping gold the king confest.<br /> -In the rich woof a hound, mosaic drawn,<br /> -Bore on full stretch, and seized a dappled fawn:<br /> -Deep in the neck his fangs indent their hold;<br /> +<p class="poem"><span class="i7">“In ample mode</span><br> +A robe of military purple flow’d<br> +O’er all his frame: illustrious on his breast<br> +The double-clasping gold the king confest.<br> +In the rich woof a hound, mosaic drawn,<br> +Bore on full stretch, and seized a dappled fawn:<br> +Deep in the neck his fangs indent their hold;<br> They pant and struggle in the moving gold.”</p> <p>When the brooch secured the short military cloak of the Romans, it was @@ -4174,7 +4167,7 @@ the way that Diana,</p> became also ornaments of much cost and splendour. The art of the goldsmith was devoted to enrichments for them; that of the enameller to brilliant colouring. They increased in size greatly, and became -distinctive of rank and wealth. The influence<span class='pagenum'><a name="Page_164" id="Page_164">[164]</a></span> of Eastern taste, when +distinctive of rank and wealth. The influence<span class='pagenum'><a id="Page_164">[164]</a></span> of Eastern taste, when the seat of royalty was transferred from Rome to Constantinople, was visible in the jewellery afterwards usually worn; nor was the taste by any means confined to the fair sex, the men in the East being still as @@ -4200,7 +4193,7 @@ over, and fixed his residence in York. He died two years afterwards, and his son, Constantine the Great, by Helena, a British princess, succeeded him, being proclaimed emperor by the army at York, where he was at the time of his father’s death. The first of these elegant brooches is of -circular form (<a href="#fig202">Fig. 202</a>), like a raised shield divided<span class='pagenum'><a name="Page_165" id="Page_165">[165]</a></span> into several +circular form (<a href="#fig202">Fig. 202</a>), like a raised shield divided<span class='pagenum'><a id="Page_165">[165]</a></span> into several compartments. The side view placed with it will enable the reader to understand the arrangement of the pin, which moves freely on a pivot, the point held by a curve in the lower projecting bar. The second @@ -4212,16 +4205,16 @@ fasten a finer kind of material than the preceding one, which from its width would take in a coarser texture.</p> <div class="figcenter" style="width: 303px;"> -<a name="fig202" id="fig202"></a><a href="images/fig202-full.png"><img src="images/fig202.png" width="303" height="143" alt="Fig. 202." title="Fig. 202." /></a> +<a id="fig202"></a><a href="images/fig202-full.png"><img src="images/fig202.png" alt="Fig. 202." title="Fig. 202." style="width: 303px; height: 143px"></a> <span class="caption">Fig. 202.</span> </div> <div class="figcenter" style="width: 308px;"> -<a name="fig203" id="fig203"></a><a href="images/fig203-full.png"><img src="images/fig203.png" width="308" height="179" alt="Fig. 203." title="Fig. 203." /></a> +<a id="fig203"></a><a href="images/fig203-full.png"><img src="images/fig203.png" alt="Fig. 203." title="Fig. 203." style="width: 308px; height: 179px"></a> <span class="caption">Fig. 203.</span> </div> -<p><span class='pagenum'><a name="Page_166" id="Page_166">[166]</a></span>The use of enamel colours as enrichments to metal ornaments belongs to +<p><span class='pagenum'><a id="Page_166">[166]</a></span>The use of enamel colours as enrichments to metal ornaments belongs to the later days of Rome. Sometimes the work is very coarse, but specimens occur (though rarely) of extremely delicate execution. It was executed in what the French antiquaries term the <i>champ-levé</i> manner; that is, @@ -4236,7 +4229,7 @@ Boxes, and small articles of furniture, were also inlaid with enamelled plaques of metal.</p> <div class="figright" style="width: 190px;"> -<a name="fig204" id="fig204"></a><a href="images/fig204-full.png"><img src="images/fig204.png" width="190" height="94" alt="Fig. 204." title="" /></a> +<a id="fig204"></a><a href="images/fig204-full.png"><img src="images/fig204.png" alt="Fig. 204." title="" style="width: 190px; height: 94px"></a> <span class="caption">Fig. 204.</span> </div> @@ -4251,7 +4244,7 @@ kind is here given, copied from the original, which was discovered about twenty years ago by labourers employed on the railway near the town of Amiens, at a spot where other objects of the Gallo-Roman period were met with. The place may probably have been the cemetery of the town, when -the masters of the world<span class='pagenum'><a name="Page_167" id="Page_167">[167]</a></span> ruled there. The workmen found a leaden coffin +the masters of the world<span class='pagenum'><a id="Page_167">[167]</a></span> ruled there. The workmen found a leaden coffin of great thickness, which contained two skeletons, the smaller having within it many articles of female ornament. These consisted of a pair of gold ear-rings of very peculiar and original design; a gold ring set @@ -4274,15 +4267,15 @@ traced in so insignificant an article as a breast-pin.</p> <p>Figs. <a href="#fig205">205</a> and <a href="#fig206">206</a> represent two of the most ordinary forms of the bronze bow-shaped fibulæ, as worn by the ordinary classes. <a href="#fig205">Fig. 205</a> was found -at Strood, in Kent, in a brick-<span class='pagenum'><a name="Page_168" id="Page_168">[168]</a></span>field opposite Rochester Castle, on the +at Strood, in Kent, in a brick-<span class='pagenum'><a id="Page_168">[168]</a></span>field opposite Rochester Castle, on the other side of the Medway, which field had been the cemetery of the city when the Romans ruled it.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 500px;" summary="figs. 205 and 206"> +<table style="width: 500px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig205" id="fig205"></a><a href="images/fig205-full.png"><img src="images/fig205.png" width="230" height="70" alt="Fig. 205." title="Fig. 205." /></a><br /> + <td class="tdc"><a id="fig205"></a><a href="images/fig205-full.png"><img src="images/fig205.png" alt="Fig. 205." title="Fig. 205." style="width: 230px; height: 70px"></a><br> <span class="caption">Fig. 205.</span></td> - <td class="tdc"><a name="fig206" id="fig206"></a><a href="images/fig206-full.png"><img src="images/fig206.png" width="178" height="77" alt="Fig. 206." title="Fig. 206." /></a><br /> + <td class="tdc"><a id="fig206"></a><a href="images/fig206-full.png"><img src="images/fig206.png" alt="Fig. 206." title="Fig. 206." style="width: 178px; height: 77px"></a><br> <span class="caption">Fig. 206.</span></td> </tr> </table> @@ -4306,16 +4299,16 @@ in Yorkshire—caves that are conjectured to have been the homes of the old Britons who once lived a semi-savage life in them.</p> <p>In the excellent museum at Boulogne are preserved many articles found in -the immediate neighbourhood, and belonging to<span class='pagenum'><a name="Page_169" id="Page_169">[169]</a></span> the Gallo-Roman period. +the immediate neighbourhood, and belonging to<span class='pagenum'><a id="Page_169">[169]</a></span> the Gallo-Roman period. Among them is the bronze fibula <a href="#fig208">Fig. 208</a>, which shows the very decided arc formed by the upper part, and the mode by which the point of the pin was secured in the sheath below.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 300px;" summary="figs. 207 and 208"> +<table style="width: 300px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig207" id="fig207"></a><a href="images/fig207-full.png"><img src="images/fig207.png" width="91" height="136" alt="Fig. 207." title="Fig. 207." /></a><br /> + <td class="tdc"><a id="fig207"></a><a href="images/fig207-full.png"><img src="images/fig207.png" alt="Fig. 207." title="Fig. 207." style="width: 91px; height: 136px"></a><br> <span class="caption">Fig. 207.</span></td> - <td class="tdc"><a name="fig208" id="fig208"></a><a href="images/fig208-full.png"><img src="images/fig208.png" width="106" height="140" alt="Fig. 208." title="Fig. 208." /></a><br /> + <td class="tdc"><a id="fig208"></a><a href="images/fig208-full.png"><img src="images/fig208.png" alt="Fig. 208." title="Fig. 208." style="width: 106px; height: 140px"></a><br> <span class="caption">Fig. 208.</span></td> </tr> </table> @@ -4332,13 +4325,13 @@ skin mantle, some greater protection against the inclemency of the weather than their southern conquerors required.</p> <div class="figleft" style="width: 216px;"> -<a name="fig209" id="fig209"></a><a href="images/fig209-full.png"><img src="images/fig209.png" width="216" height="129" alt="Fig. 209." title="Fig. 209." /></a> +<a id="fig209"></a><a href="images/fig209-full.png"><img src="images/fig209.png" alt="Fig. 209." title="Fig. 209." style="width: 216px; height: 129px"></a> <span class="caption">Fig. 209.</span> </div> <p>Allusion has already been made to the extreme taste for showy jewellery, and gaudy personal decoration, indulged in by the later Roman rulers, -after the seat of government had been removed<span class='pagenum'><a name="Page_170" id="Page_170">[170]</a></span> to Constantinople. It +after the seat of government had been removed<span class='pagenum'><a id="Page_170">[170]</a></span> to Constantinople. It seems to have increased as their power decayed: for the rude paintings and mosaics of the eighth and ninth centuries depict emperors and empresses in dresses literally covered with ornament and @@ -4349,7 +4342,7 @@ her portrait to put as many jewels on her stomacher “as he could for the money.”</p> <div class="figleft" style="width: 160px;"> -<a name="fig210" id="fig210"></a><a href="images/fig210-full.png"><img src="images/fig210.png" width="160" height="216" alt="Fig. 210." title="Fig. 210." /></a> +<a id="fig210"></a><a href="images/fig210-full.png"><img src="images/fig210.png" alt="Fig. 210." title="Fig. 210." style="width: 160px; height: 216px"></a> <span class="caption">Fig. 210.</span> </div> @@ -4362,7 +4355,7 @@ as really worn by the emperor, was most probably much more so, by chasing, enamel, and jewels which the artist had not space, or perhaps ability, to express. From it hang three chains, which were most probably formed of hollow gold beads, cast in an ornamental matrix; such having -been found in Crimean graves; and<span class='pagenum'><a name="Page_171" id="Page_171">[171]</a></span> less frequently in those of the +been found in Crimean graves; and<span class='pagenum'><a id="Page_171">[171]</a></span> less frequently in those of the Germanic and Gaulish chieftains and aristocrats. To the ends of these chains were affixed circular ornaments, sometimes decorated with enamel, like the York fibulæ already described, and sometimes with cameos, set @@ -4381,7 +4374,7 @@ chain that passed across the breast, and completely covered that part of the person with decoration.</p> <div class="figcenter" style="width: 236px;"> -<a name="fig211" id="fig211"></a><a href="images/fig211-full.png"><img src="images/fig211.png" width="236" height="285" alt="Fig. 211." title="Fig. 211." /></a> +<a id="fig211"></a><a href="images/fig211-full.png"><img src="images/fig211.png" alt="Fig. 211." title="Fig. 211." style="width: 236px; height: 285px"></a> <span class="caption">Fig. 211.</span> </div> @@ -4393,7 +4386,7 @@ article of jewellery, according to the usual habit of his craft. Mr. C. Roach Smith, who first published this curious monument in his “Collectanea Antiqua,” observes that “she had evidently dressed for the portrait.” She wears a vest, fitting closely to the arms and bust, and -at the neck<span class='pagenum'><a name="Page_172" id="Page_172">[172]</a></span> gathered to a frill, which is enclosed by a torque, or gold +at the neck<span class='pagenum'><a id="Page_172">[172]</a></span> gathered to a frill, which is enclosed by a torque, or gold necklet. Over this hangs a garment, which falls gracefully down in front, and is crossed at the breast over the left arm. The jewellery of the widow is of no common description, nor niggardly bestowed. Upon the @@ -4404,12 +4397,12 @@ above the elbow; an armlet encircles the right arm, and bracelets the wrist. <a href="#fig211">Fig. 211</a> gives the upper portion of the form of this lady: judging from the style of her head-dress she may have lived in the reign of the Emperor Hadrian. Probably many years younger than her -sailor-husband,<span class='pagenum'><a name="Page_173" id="Page_173">[173]</a></span> she appears to have tempered her grief with judgment, +sailor-husband,<span class='pagenum'><a id="Page_173">[173]</a></span> she appears to have tempered her grief with judgment, and to have taken advantage of his death to set herself forth to the world in her gayest costume.</p> <div class="figcenter" style="width: 233px;"> -<a name="fig212" id="fig212"></a><a name="fig213" id="fig213"></a><a name="fig214" id="fig214"></a><a href="images/fig212-214-full.png"><img src="images/fig212-214.png" width="233" height="154" alt="Figs. 212-214." title="Figs. 212-214." /></a> +<a id="fig212"></a><a id="fig213"></a><a id="fig214"></a><a href="images/fig212-214-full.png"><img src="images/fig212-214.png" alt="Figs. 212-214." title="Figs. 212-214." style="width: 233px; height: 154px"></a> <span class="caption">Figs. 212-214.</span> </div> @@ -4418,7 +4411,7 @@ absurd forms were invented, and made more grotesque by unnatural enamel colours. Birds, fish, men on horseback, formed the face of these brooches, which would never have been understood by a modern eye, had they not been found with the pins attached to them behind. Three -examples from the great work of Montfaucon are given in <a name="corr2" id="corr2"></a>Figs. <a href="#fig212">212</a>, <a href="#fig213">213</a>, +examples from the great work of Montfaucon are given in <a id="corr2"></a>Figs. <a href="#fig212">212</a>, <a href="#fig213">213</a>, and <a href="#fig214">214</a>, they were found in Italy and Germany. The first represents a combination of two warlike implements on one handle—the upper one an axe, the lower a bipennis. The second specimen is made like a bird: we @@ -4426,20 +4419,20 @@ have given it at an angle, to show the way the pin was fastened at the back of it. The third specimen is a fish, which might pass as a fair representation of some member of the finny tribe, whose proper name need not be too curiously asked for; but unluckily the designer of the -brooch, indulging in the<span class='pagenum'><a name="Page_174" id="Page_174">[174]</a></span> grotesque, has represented some monstrous bird +brooch, indulging in the<span class='pagenum'><a id="Page_174">[174]</a></span> grotesque, has represented some monstrous bird with bat’s ears emerging from one side of the fish.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 215 and 216"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig215" id="fig215"></a><a href="images/fig215-full.png"><img src="images/fig215.png" width="130" height="71" alt="Fig. 215." title="Fig. 215." /></a><br /> + <td class="tdc"><a id="fig215"></a><a href="images/fig215-full.png"><img src="images/fig215.png" alt="Fig. 215." title="Fig. 215." style="width: 130px; height: 71px"></a><br> <span class="caption">Fig. 215.</span></td> - <td class="tdc"><a name="fig216" id="fig216"></a><a href="images/fig216-full.png"><img src="images/fig216.png" width="109" height="90" alt="Fig. 216." title="Fig. 216." /></a><br /> + <td class="tdc"><a id="fig216"></a><a href="images/fig216-full.png"><img src="images/fig216.png" alt="Fig. 216." title="Fig. 216." style="width: 109px; height: 90px"></a><br> <span class="caption">Fig. 216.</span></td> </tr> </table> <p>We give two specimens, one from the banks of the Rhine, the other found -opposite our own shores. <a name="corr3" id="corr3"></a><a href="#fig215">Fig. 215</a> represents a bird, probably of the +opposite our own shores. <a id="corr3"></a><a href="#fig215">Fig. 215</a> represents a bird, probably of the hawk kind, whose eye has been made the socket for a garnet, and the extremity of his tail a receptacle for another piece of jewellery. It was found on the site of the Roman station at Cologne. <a href="#fig216">Fig. 216</a>, which @@ -4448,7 +4441,7 @@ it was discovered, with many other curious antiquities, at Etaples, near Boulogne, and is preserved in the museum of the latter town.</p> <div class="figleft" style="width: 176px;"> -<a name="fig217" id="fig217"></a><a href="images/fig217-full.png"><img src="images/fig217.png" width="176" height="176" alt="Fig. 217." title="Fig. 217." /></a> +<a id="fig217"></a><a href="images/fig217-full.png"><img src="images/fig217.png" alt="Fig. 217." title="Fig. 217." style="width: 176px; height: 176px"></a> <span class="caption">Fig. 217.</span> </div> @@ -4458,7 +4451,7 @@ nations that once inhabited the British Isles.</p> <p>A curious discovery of the fibula, <a href="#fig217">Fig. 217</a>, was made at Stamford, Lincolnshire. It was found in the process of enlarging a stone-pit in the parish of Castle Bytham. It is described by Mr. Akerman, in his -“Pagan Saxondom,” as “a<span class='pagenum'><a name="Page_175" id="Page_175">[175]</a></span> ring fibula, of white metal, gilt, in very +“Pagan Saxondom,” as “a<span class='pagenum'><a id="Page_175">[175]</a></span> ring fibula, of white metal, gilt, in very excellent preservation, and set with four gems closely resembling carbuncles. An irregular interlacing pattern is worked over the whole front surface, but it is perfectly plain behind.” Mr. Akerman is @@ -4466,13 +4459,13 @@ inclined to think that it has a Scandinavian character, and favours the supposition that its owner was a Danish lady.</p> <div class="figright" style="width: 246px;"> -<a name="fig218" id="fig218"></a><a href="images/fig218-full.png"><img src="images/fig218.png" width="246" height="358" alt="Fig. 218." title="Fig. 218." /></a> +<a id="fig218"></a><a href="images/fig218-full.png"><img src="images/fig218.png" alt="Fig. 218." title="Fig. 218." style="width: 246px; height: 358px"></a> <span class="caption">Fig. 218.</span> </div> <p>This supposition seems borne out by the researches of Dr. Davies, in his interesting ethnographical sketch of the various ancient populations who -have invaded and inhabited Anglia<span class='pagenum'><a name="Page_176" id="Page_176">[176]</a></span> in pre-historic times, prefixed to +have invaded and inhabited Anglia<span class='pagenum'><a id="Page_176">[176]</a></span> in pre-historic times, prefixed to that very valuable work, the “Crania Britannica.” He is of opinion that about the time of Cæsar, the population of our island throughout the northern and midland counties was derived from the tribes of Jutland and @@ -4488,27 +4481,27 @@ been found of enormous size, eight inches in length by six in breadth. I imagine these very large brooches fastened the heavy outer cloak, the smaller being used for lighter portions of the dress.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 350px;" summary="figs. 219 and 220"> +<table style="width: 350px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig219" id="fig219"></a><a href="images/fig219-full.png"><img src="images/fig219.png" width="118" height="132" alt="Fig. 219." title="Fig. 219." /></a><br /> + <td class="tdc"><a id="fig219"></a><a href="images/fig219-full.png"><img src="images/fig219.png" alt="Fig. 219." title="Fig. 219." style="width: 118px; height: 132px"></a><br> <span class="caption">Fig. 219.</span></td> - <td class="tdc"><a name="fig220" id="fig220"></a><a href="images/fig220-full.png"><img src="images/fig220.png" width="141" height="142" alt="Fig. 220." title="Fig. 220." /></a><br /> + <td class="tdc"><a id="fig220"></a><a href="images/fig220-full.png"><img src="images/fig220.png" alt="Fig. 220." title="Fig. 220." style="width: 141px; height: 142px"></a><br> <span class="caption">Fig. 220.</span></td> </tr> </table> <p>The ordinary form of brooch worn by the humbler classes is shown in the -two specimens (Figs. <a href="#fig219">219</a> and <a href="#fig220">220</a>), both are of bronze,<span class='pagenum'><a name="Page_177" id="Page_177">[177]</a></span> with very slight +two specimens (Figs. <a href="#fig219">219</a> and <a href="#fig220">220</a>), both are of bronze,<span class='pagenum'><a id="Page_177">[177]</a></span> with very slight attempt at ornament, and were found by labourers employed in repairing the road on the line of the Watling Street, about a mile from the Romano-British settlement at Cesterover, between Bensford Bridge and the road leading from Rugby to Lutterworth.</p> -<table border="0" cellpadding="0" cellspacing="0" style="width: 500px;" summary="figs. 221 and 222"> +<table style="width: 500px; border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig221" id="fig221"></a><a href="images/fig221-full.png"><img src="images/fig221.png" width="206" height="200" alt="Fig. 221." title="Fig. 221." /></a><br /> + <td class="tdc"><a id="fig221"></a><a href="images/fig221-full.png"><img src="images/fig221.png" alt="Fig. 221." title="Fig. 221." style="width: 206px; height: 200px"></a><br> <span class="caption">Fig. 221.</span></td> - <td class="tdc"><a name="fig222" id="fig222"></a><a href="images/fig222-full.png"><img src="images/fig222.png" width="199" height="197" alt="Fig. 222." title="Fig. 222." /></a><br /> + <td class="tdc"><a id="fig222"></a><a href="images/fig222-full.png"><img src="images/fig222.png" alt="Fig. 222." title="Fig. 222." style="width: 199px; height: 197px"></a><br> <span class="caption">Fig. 222.</span></td> </tr> </table> @@ -4523,7 +4516,7 @@ They appear as if made by the same workmen.</p> <p>These fibulæ are generally much enriched on the upper surface. A soft enamel, or slices of pearl (which have generally perished), probably -filled the outer rim in <a href="#fig221">Fig. 221</a>; the centre<span class='pagenum'><a name="Page_178" id="Page_178">[178]</a></span> is here raised, and is +filled the outer rim in <a href="#fig221">Fig. 221</a>; the centre<span class='pagenum'><a id="Page_178">[178]</a></span> is here raised, and is formed of pearl, in the centre of which is a garnet, and slices of garnet are cut to fit the triangular ornaments; to give them greater brilliancy, they are laid on a thin piece of gold foil. <a href="#fig222">Fig. 222</a> is of @@ -4548,12 +4541,12 @@ chain, exactly similar to such as were universally fashionable a few years ago. Though fashion may be “ever changing,” it is not “ever new.”</p> <div class="figcenter" style="width: 252px;"> -<a name="fig223" id="fig223"></a><a href="images/fig223-full.png"><img src="images/fig223.png" width="252" height="355" alt="Fig. 223." title="Fig. 223." /></a> +<a id="fig223"></a><a href="images/fig223-full.png"><img src="images/fig223.png" alt="Fig. 223." title="Fig. 223." style="width: 252px; height: 355px"></a> <span class="caption">Fig. 223.</span> </div> <p>The ancient Irish brooch was unlike others worn in Scotland or England. -It had a long central pin, with an open ring at its<span class='pagenum'><a name="Page_179" id="Page_179">[179]</a></span> summit, allowing +It had a long central pin, with an open ring at its<span class='pagenum'><a id="Page_179">[179]</a></span> summit, allowing free motion to the bar which passed through it, and formed a half-circle, supporting a lunette-shaped pendant, covered with elaborate decoration and jewellery. They varied in size and decoration according @@ -4561,13 +4554,13 @@ to the rank of the wearer. The highest price of a silver one for a king, according to Vallancey, was thirty heifers, when made of refined silver; the lowest value attached to them being three heifers. I have seen a very large specimen, of the intrinsic value of three pounds. The pin is -9½ inches long, and the circular brooch 5 inches in diameter.<span class='pagenum'><a name="Page_180" id="Page_180">[180]</a></span> Larger +9½ inches long, and the circular brooch 5 inches in diameter.<span class='pagenum'><a id="Page_180">[180]</a></span> Larger specimens have been found and mistaken for poniards. They were made thus large and strong to pass easily through the thick woollen garments necessary to the cold, wet climate.</p> <div class="figcenter" style="width: 466px;"> -<a name="fig224" id="fig224"></a><a href="images/fig224-full.png"><img src="images/fig224.png" width="466" height="340" alt="Fig. 224." title="Fig. 224." /></a> +<a id="fig224"></a><a href="images/fig224-full.png"><img src="images/fig224.png" alt="Fig. 224." title="Fig. 224." style="width: 466px; height: 340px"></a> <span class="caption">Fig. 224.</span> </div> @@ -4576,7 +4569,7 @@ the twelfth or thirteenth century—in fact, until the inhabitants had destroyed its civilisation by internecine war. Many works, like the bell of St. Patrick at Belfast, might, at the first glance, be attributed to the same era as the famous “Durham book,” or book of St. Cuthbert, now -one of the chief treasures of the British Museum library, and which is<span class='pagenum'><a name="Page_181" id="Page_181">[181]</a></span> +one of the chief treasures of the British Museum library, and which is<span class='pagenum'><a id="Page_181">[181]</a></span> believed to have been executed as early as the seventh century by Eadfrith, afterwards of Lindisfarne, who died in 721. We are, however, certain as to the date of the bell, for an inscription is upon it, @@ -4584,12 +4577,12 @@ stating it was made to the order of Donnell O’Lochlain, one of the old Irish kings, who came to the throne in 1083, and died in 1121.</p> <div class="figcenter" style="width: 257px;"> -<a name="fig225" id="fig225"></a><a href="images/fig225-full.png"><img src="images/fig225.png" width="257" height="371" alt="Fig. 225." title="Fig. 225." /></a> +<a id="fig225"></a><a href="images/fig225-full.png"><img src="images/fig225.png" alt="Fig. 225." title="Fig. 225." style="width: 257px; height: 371px"></a> <span class="caption">Fig. 225.</span> </div> <p>The first brooch discovered in Ireland is in the possession of Mr. -Waterhouse, the goldsmith, of Dublin. It is represented in<span class='pagenum'><a name="Page_182" id="Page_182">[182]</a></span> <a href="#fig224">Fig. 224</a>, +Waterhouse, the goldsmith, of Dublin. It is represented in<span class='pagenum'><a id="Page_182">[182]</a></span> <a href="#fig224">Fig. 224</a>, and is engraved the full size of the original, but the length of the long plain pin has been curtailed. It was found accidentally by a peasant near Drogheda. It is of bronze, decorated with gems and ornament @@ -4597,7 +4590,7 @@ in enamel, and may probably be of no earlier date than the bell just alluded to.</p> <div class="figcenter" style="width: 225px;"> -<a name="fig226" id="fig226"></a><a href="images/fig226-full.png"><img src="images/fig226.png" width="225" height="223" alt="Fig. 226." title="Fig. 226." /></a> +<a id="fig226"></a><a href="images/fig226-full.png"><img src="images/fig226.png" alt="Fig. 226." title="Fig. 226." style="width: 225px; height: 223px"></a> <span class="caption">Fig. 226.</span> </div> @@ -4609,7 +4602,7 @@ old man’s head at its summit: it is of bronze, gilt. As we descend in the scale of rank, these pins become plainer, the poorer classes using them of bone, roughly fashioned by themselves.</p> -<p>The common kind of Scottish pins was of very similar<span class='pagenum'><a name="Page_183" id="Page_183">[183]</a></span> character, as the +<p>The common kind of Scottish pins was of very similar<span class='pagenum'><a id="Page_183">[183]</a></span> character, as the example placed beside those last described will show. The head of the pin <i>c</i> projects some distance in advance of it, as seen in the side view. A small cross is in the centre of the upper part; the other @@ -4633,35 +4626,35 @@ through many generations as heirlooms, which no pecuniary inducement would tempt their humblest owner to part with.”</p> <div class="figcenter" style="width: 91px;"> -<img src="images/illus-183.png" width="91" height="62" alt="decorative" title="decorative" /> +<img src="images/illus-183.png" alt="decorative" title="decorative" style="width: 91px; height: 62px"> </div> -<p><span class='pagenum'><a name="Page_184" id="Page_184">[184]</a></span></p> +<p><span class='pagenum'><a id="Page_184">[184]</a></span></p> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_185" id="Page_185">[185]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_185">[185]</a></span></p> <h2 class="chapterdivider">ALBERT DÜRER: HIS WORKS, HIS COMPATRIOTS, AND HIS TIMES.</h2> -<p><span class='pagenum'><a name="Page_186" id="Page_186">[186]</a></span></p> +<p><span class='pagenum'><a id="Page_186">[186]</a></span></p> -<hr class="pagebreak" /> -<p><span class='pagenum'><a name="Page_187" id="Page_187">[187]</a></span></p> +<hr class="pagebreak"> +<p><span class='pagenum'><a id="Page_187">[187]</a></span></p> <div class="figcenter" style="width: 463px;"> -<a name="fig227" id="fig227"></a><a href="images/fig227-full.png"><img src="images/fig227.png" width="463" height="428" alt="DURER’S WIFE. ALBERT DURER. PIRKHEIMER." title="DURER’S WIFE. ALBERT DURER. PIRKHEIMER." /></a> +<a id="fig227"></a><a href="images/fig227-full.png"><img src="images/fig227.png" alt="DURER’S WIFE. ALBERT DURER. PIRKHEIMER." title="DURER’S WIFE. ALBERT DURER. PIRKHEIMER." style="width: 463px; height: 428px"></a> <span class="caption">DURER’S WIFE. ALBERT DURER. PIRKHEIMER.</span> </div> <h2 style="font-weight: normal; margin-top: 2em;">ALBERT DÜRER: HIS WORKS, HIS COMPATRIOTS, AND HIS TIMES.</h2> -<hr class="decorative" /> +<hr class="decorative"> <p class="noindent"><span class="dropcapd"><span class="hide">D</span></span><span class="upper">ürer</span> is the one great name which represents early German art in its pure nationality. In his works we see all its peculiarities and may study all its merits. It is not without its defects also, but as they may be honestly considered a part of the whole, it becomes a necessary -thing to<span class='pagenum'><a name="Page_188" id="Page_188">[188]</a></span> consider them with the beauties to which they may be +thing to<span class='pagenum'><a id="Page_188">[188]</a></span> consider them with the beauties to which they may be conjoined; nor must we be deterred in our search for the latter quality by such occasional drawbacks, if we would investigate the efforts of the artist-mind toward excellence, for that was its characteristic feature @@ -4685,7 +4678,7 @@ dark age they lived in, how earnestly they wished to soar above that position. The archaisms of old Greece are not better than such works; and as we can trace the onward course of those ancient masters of art from the rude outlines on the vases of Etruria, to the glorious works of -Phidias and Praxiteles—even so, if we wish to know the true course of<span class='pagenum'><a name="Page_189" id="Page_189">[189]</a></span> +Phidias and Praxiteles—even so, if we wish to know the true course of<span class='pagenum'><a id="Page_189">[189]</a></span> the revival of modern art, must we trace it in the sculpture, wall-painting, and missal-drawing, of the middle ages, until we find it assume a more definite and better-regulated style in the fifteenth @@ -4712,7 +4705,7 @@ is no unworthy study of the human mind in its onward course toward excellence, nor should we allow prejudice to weigh with us in contemplating these labours. It has been well observed that “in art as in many other branches of human knowledge and industry, exclusiveness, -or the tendency to depreciate that which<span class='pagenum'><a name="Page_190" id="Page_190">[190]</a></span> does not conform to our own +or the tendency to depreciate that which<span class='pagenum'><a id="Page_190">[190]</a></span> does not conform to our own taste and feelings, is a fertile source of error and mischief. Such a disposition deprives mankind of the free and unrestrained enjoyment of much that is calculated to cheer and improve them. The <i>naïveté</i> of the @@ -4721,7 +4714,7 @@ they conceived and expressed the devotional subjects treated by them, and the moral beauty of the subjects themselves, may excite our admiration, without disqualifying us for duly admiring the brilliant breadth of light and shadow of Rembrandt, or the genuine truth and -humour of Wilkie.”<a name="FNanchor_190-1_26" id="FNanchor_190-1_26"></a><a href="#Footnote_190-1_26" class="fnanchor">190-*</a> In this spirit must we study the works of the +humour of Wilkie.”<a id="FNanchor_190-1_26"></a><a href="#Footnote_190-1_26" class="fnanchor">190-*</a> In this spirit must we study the works of the early native artists of the northern schools, and in this way comprehend their true philosophic position, and the æsthetics of their style.</p> @@ -4735,15 +4728,15 @@ perfection. He became the representative of German art at this period.” To himself and his works, therefore, must we look for a true knowledge of the German school; and to Nürnberg, as it was in his epoch, for an acquaintance with the characteristics of the refined life of the German -people. It is no unprofitable labour to unveil these ancient<span class='pagenum'><a name="Page_191" id="Page_191">[191]</a></span> and +people. It is no unprofitable labour to unveil these ancient<span class='pagenum'><a id="Page_191">[191]</a></span> and forgotten times; much in man’s history, great and good, is hidden in the pages of old chronicles, and it is a worthy task to call back forgotten glories that may induce modern emulation, or at least vindicate the true position of the great departed.</p> -<p class="poem">“From the barred visor of antiquity,<br /> -Reflected, shines the eternal light of truth<br /> -As from a mirror.”<a name="FNanchor_191-1_27" id="FNanchor_191-1_27"></a><a href="#Footnote_191-1_27" class="fnanchor">191-*</a></p> +<p class="poem">“From the barred visor of antiquity,<br> +Reflected, shines the eternal light of truth<br> +As from a mirror.”<a id="FNanchor_191-1_27"></a><a href="#Footnote_191-1_27" class="fnanchor">191-*</a></p> <p>The modern traveller who visits Nürnberg will see an old city most singularly unaltered. For the last two centuries it would seem to have @@ -4761,7 +4754,7 @@ protecting its chief gates upon all sides. There is a strange scarcely feel that we have arrived at the nineteenth century as we indulge in the thoughts they call forth. It is a place to dream in over the past, to carry one’s mind away from the bustle of modern life to the -thoughtful contemplation of that once enjoyed here by generations long<span class='pagenum'><a name="Page_192" id="Page_192">[192]</a></span> +thoughtful contemplation of that once enjoyed here by generations long<span class='pagenum'><a id="Page_192">[192]</a></span> departed. It seems no place for the actual realities of our railroad days, and there is a sort of impertinence in bringing us by such means close to its quiet old walls; you feel thrown, as it were, from the @@ -4772,32 +4765,32 @@ denizens, like Longfellow,—and how admirably in a few lines has he described the feeling it engenders, and the aspect of the city and its suburbs!—</p> -<p class="poem">“In the valley of the Pegnitz, where across broad meadow lands,<br /> +<p class="poem">“In the valley of the Pegnitz, where across broad meadow lands,<br> Rise the blue Franconian mountains, Nürnberg, the ancient, stands.</p> -<p class="poem"><span class='pagenum'><a name="Page_193" id="Page_193">[193]</a></span>Quaint old town of toil and traffic, quaint old town of art and song,<br /> +<p class="poem"><span class='pagenum'><a id="Page_193">[193]</a></span>Quaint old town of toil and traffic, quaint old town of art and song,<br> Memories haunt thy pointed gables, like the rooks that round them throng.</p> -<p class="poem">Memories of the middle ages, when the emperors, rough and bold,<br /> +<p class="poem">Memories of the middle ages, when the emperors, rough and bold,<br> Had their dwelling in thy castle, time-defying, centuries old.</p> -<p class="poem">And thy brave and thrifty burghers boasted in their uncouth rhyme,<br /> +<p class="poem">And thy brave and thrifty burghers boasted in their uncouth rhyme,<br> That their great imperial city stretched its hand through every clime.”</p> <div class="figcenter" style="width: 470px;"> -<a name="fig228" id="fig228"></a><a href="images/fig228-full.png"><img src="images/fig228.png" width="470" height="328" alt="Fig. 228.—The Town Walls, Nürnberg." title="Fig. 228.—The Town Walls, Nürnberg." /></a> +<a id="fig228"></a><a href="images/fig228-full.png"><img src="images/fig228.png" alt="Fig. 228.—The Town Walls, Nürnberg." title="Fig. 228.—The Town Walls, Nürnberg." style="width: 470px; height: 328px"></a> <span class="caption">Fig. 228.—The Town Walls, Nürnberg.</span> </div> <p>The “uncouth rhyme” was the familiar old proverb which told of the universal trade of the old city, couched in the few words—</p> -<p class="poem"><i>Nürnberg’s hand,<br /> +<p class="poem"><i>Nürnberg’s hand,<br> Geht durch alle land;</i></p> <p class="noindent">and which may be rendered in our modern vernacular—</p> -<p class="poem">“Nürnberg’s hand<br /> +<p class="poem">“Nürnberg’s hand<br> Goes through every land.”</p> <p class="noindent">This proud boast was more truthful than boasts are in general; its @@ -4810,7 +4803,7 @@ convenient central position in Europe enabling its traders to distribute such produce, and all others coming to it, by means of the Danube and the Rhine to the north and west of Europe. Its own manufacturers were also much esteemed, and their works in metal highly valued, whether -consisting of armour for the knight or bijouterie for his lady. The<span class='pagenum'><a name="Page_194" id="Page_194">[194]</a></span> +consisting of armour for the knight or bijouterie for his lady. The<span class='pagenum'><a id="Page_194">[194]</a></span> city, in fact, held within its warehouses the combined results of the taste, luxury, and necessities of the age, and was busied in exchanging them with the great trading towns of the low countries,—Bruges, Ghent, @@ -4822,18 +4815,18 @@ commencement of the seventeenth century, and when peace was again restored, prosperity had flown in the turmoil.</p> <div class="figcenter" style="width: 457px;"> -<a name="fig229" id="fig229"></a><a href="images/fig229-full.png"><img src="images/fig229.png" width="457" height="332" alt="Fig. 229.—The Castle, Nürnberg." title="Fig. 229.—The Castle, Nürnberg." /></a> +<a id="fig229"></a><a href="images/fig229-full.png"><img src="images/fig229.png" alt="Fig. 229.—The Castle, Nürnberg." title="Fig. 229.—The Castle, Nürnberg." style="width: 457px; height: 332px"></a> <span class="caption">Fig. 229.—The Castle, Nürnberg.</span> </div> -<p><span class='pagenum'><a name="Page_195" id="Page_195">[195]</a></span>It was during the fifteenth and sixteenth centuries that Nürnberg +<p><span class='pagenum'><a id="Page_195">[195]</a></span>It was during the fifteenth and sixteenth centuries that Nürnberg attained its greatest prosperity. At this time it was a free city of the German empire, possessing an independent domain around it extending twenty-three German miles, and was enabled to furnish the Emperor with six thousand soldiers. Its castle had been the home of these rulers from the twelfth century: memories of such inhabitants may still be traced.</p> -<p class="poem">“In the court-yard of the castle, bound with many an iron band,<br /> +<p class="poem">“In the court-yard of the castle, bound with many an iron band,<br> Stands the mighty linden, planted by Queen Cunigunde’s hand.”</p> <p class="noindent">The old tree still overshadows the inner yard of the castle, and the @@ -4850,14 +4843,14 @@ the proud home of Germany’s proudest rulers.</p> <p>But why dwell on the past glories of the warlike great? rather let us again quote the words of Longfellow, and exclaim</p> -<p class="poem">“Not thy councils, not thy Kaisers, win for thee the world’s regard;<br /> +<p class="poem">“Not thy councils, not thy Kaisers, win for thee the world’s regard;<br> But thy painter Albert Dürer, and Hans Sachs the cobbler bard.”</p> -<p>Of the latter worthy we shall discourse anon; but the place of<span class='pagenum'><a name="Page_196" id="Page_196">[196]</a></span> honour +<p>Of the latter worthy we shall discourse anon; but the place of<span class='pagenum'><a id="Page_196">[196]</a></span> honour and our primary attention must now be given to the artist.</p> <div class="figcenter" style="width: 464px;"> -<a name="fig230" id="fig230"></a><a href="images/fig230-full.png"><img src="images/fig230.png" width="464" height="543" alt="Fig. 230." title="Fig. 230." /></a> +<a id="fig230"></a><a href="images/fig230-full.png"><img src="images/fig230.png" alt="Fig. 230." title="Fig. 230." style="width: 464px; height: 543px"></a> <span class="caption">Fig. 230.</span> </div> @@ -4883,9 +4876,9 @@ furnish designs for their artisans. Hence the great variety and flow of fancy exhibited in their works. This intercommunication benefited both parties, and should be a lesson to modern exclusiveness, as it is a sort of key to the reason why the artistic beauty of the past eclipses much -of the artisan’s work of the present age; and why also it<span class='pagenum'><a name="Page_197" id="Page_197">[197]</a></span> displays an +of the artisan’s work of the present age; and why also it<span class='pagenum'><a id="Page_197">[197]</a></span> displays an abundance of creative ingenuity, which can scarcely be compatible with -the narrow studio a modern workshop<span class='pagenum'><a name="Page_198" id="Page_198">[198]</a></span> has made itself. The early +the narrow studio a modern workshop<span class='pagenum'><a id="Page_198">[198]</a></span> has made itself. The early intercourse of young Dürer with art and artists, spurred him on to desire to occupy himself in greater works than he could find himself employed upon in his father’s house. He had learned nearly all he could @@ -4909,7 +4902,7 @@ will of his own genius, when he considered the old course the best. He had rested on the hope of his son’s aid, which he saw he was well able to give him; and the prospect of his quietly succeeding him as a thrifty goldsmith of Nürnberg he thought enough to satisfy the most ardent hope. -It was long<span class='pagenum'><a name="Page_199" id="Page_199">[199]</a></span> before he could patiently listen to his son’s contrary mode +It was long<span class='pagenum'><a id="Page_199">[199]</a></span> before he could patiently listen to his son’s contrary mode of reasoning, and it was not until the young Albert, by reiterated attacks of earnest argument, closely but carefully enforced, had in some degree shaken him, that he would turn a willing ear to his wishes. Once @@ -4925,7 +4918,7 @@ It was ultimately arranged that the young Albert should be bound to him for the term of three years to learn the art of painting.</p> <div class="figcenter" style="width: 214px;"> -<a name="fig231" id="fig231"></a><a href="images/fig231-full.png"><img src="images/fig231.png" width="214" height="256" alt="Fig. 231.—Michael Wohlgemuth." title="Fig. 231.—Michael Wohlgemuth." /></a> +<a id="fig231"></a><a href="images/fig231-full.png"><img src="images/fig231.png" alt="Fig. 231.—Michael Wohlgemuth." title="Fig. 231.—Michael Wohlgemuth." style="width: 214px; height: 256px"></a> <span class="caption">Fig. 231.—Michael Wohlgemuth.</span> </div> @@ -4938,7 +4931,7 @@ exhibiting the exaggeration of form and attitude which makes early art look grotesque: he was fond of stern drawing, and generally painted a firm black outline to his figures, which has a very harsh effect. His colouring is equally positive, and his saints are generally arrayed in -prismatic tints, relieved by the gold backgrounds which prevailed so<span class='pagenum'><a name="Page_200" id="Page_200">[200]</a></span> +prismatic tints, relieved by the gold backgrounds which prevailed so<span class='pagenum'><a id="Page_200">[200]</a></span> constantly in early art. His portrait painted by Dürer at a later period of his life, is characteristic of the man. It is now in the Pinacothek at Munich, and has been well described by Dr. Kügler, as delineating “a @@ -4951,7 +4944,7 @@ who was great in his own day, to observe that he occasionally rises above the level of the bald style above indicated; and the eminent writer we have just now quoted, observes,—“whenever tranquil feeling is to be shown, he then exhibits many indications of a sense for grace in -form, and tenderness in expression;” and at a later<span class='pagenum'><a name="Page_201" id="Page_201">[201]</a></span> period of his +form, and tenderness in expression;” and at a later<span class='pagenum'><a id="Page_201">[201]</a></span> period of his life,—“the sharp cutting style, which strikes us so disagreeably in his early works, is much softened: the colouring is also warm and powerful.” He was certainly the best of the Nürnberg painters until his pupil @@ -4976,14 +4969,14 @@ and the bold leading lines of the composition unbroken by such minutiæ, which are secondary to the main idea. It represents St. Anne (the mother of the Virgin) clasping her hands in anguish at the refusal of the high priest to accept the offering of herself and husband in the temple at -Jerusalem, and occurs in the<span class='pagenum'><a name="Page_202" id="Page_202">[202]</a></span> first of Dürer’s series of woodcuts +Jerusalem, and occurs in the<span class='pagenum'><a id="Page_202">[202]</a></span> first of Dürer’s series of woodcuts illustrating the life of the Virgin.</p> -<table border="0" cellpadding="0" cellspacing="0" summary="figs. 232 and 233"> +<table style="border: none; padding: 0px; border-spacing: 0px;"> <tr> - <td class="tdc"><a name="fig232" id="fig232"></a><a href="images/fig232-full.png"><img src="images/fig232.png" width="168" height="420" alt="Fig. 232.—St. Margaret, after Wohlgemuth." title="Fig. 232.—St. Margaret, after Wohlgemuth." /></a><br /> + <td class="tdc"><a id="fig232"></a><a href="images/fig232-full.png"><img src="images/fig232.png" alt="Fig. 232.—St. Margaret, after Wohlgemuth." title="Fig. 232.—St. Margaret, after Wohlgemuth." style="width: 168px; height: 420px"></a><br> <span class="caption">Fig. 232.—St. Margaret, after Wohlgemuth.</span></td> - <td class="tdc"><a name="fig233" id="fig233"></a><a href="images/fig233-full.png"><img src="images/fig233.png" width="180" height="361" alt="Fig. 233.—St. Anne, after Dürer." title="Fig. 233.—St. Anne, after Dürer." /></a><br /> + <td class="tdc"><a id="fig233"></a><a href="images/fig233-full.png"><img src="images/fig233.png" alt="Fig. 233.—St. Anne, after Dürer." title="Fig. 233.—St. Anne, after Dürer." style="width: 180px; height: 361px"></a><br> <span class="caption">Fig. 233.—St. Anne, after Dürer.</span></td> </tr> </table> @@ -4991,7 +4984,7 @@ illustrating the life of the Virgin.</p> <p>This striking peculiarity of treatment adopted by the early German artists in their draperies, was once explained to us by an old native artist, who assured us that it was entirely caused by the models for -study which they universally employed. These were<span class='pagenum'><a name="Page_203" id="Page_203">[203]</a></span> small lay figures, +study which they universally employed. These were<span class='pagenum'><a id="Page_203">[203]</a></span> small lay figures, over which draperies were cast formed in <i>wet paper</i>, disposed according to the artist’s fancy, and allowed to dry and set in the rigid form we see in their pictures. We have nowhere met with this key to the mode of @@ -5020,7 +5013,7 @@ style of a master who evidently valued positive drawing at a higher rate than the blandishments of colour; this, indeed, has always been a characteristic of German art.</p> -<p><span class='pagenum'><a name="Page_204" id="Page_204">[204]</a></span>The three years of Dürer’s pupilage having expired, in conformity with +<p><span class='pagenum'><a id="Page_204">[204]</a></span>The three years of Dürer’s pupilage having expired, in conformity with the usual German custom, he travelled to see the world and improve himself. Of the early works of his genius we have no certain trace. That he was a good portrait painter we may be assured by the examination of @@ -5044,7 +5037,7 @@ scriptural visions might easily have led the artist astray, as has indeed frequently happened in the case of others who have attempted these subjects.” In artistic effects these cuts are inferior to his latter works, and the drawing is sometimes more defective; but in -inventive power they are master-pieces, and no<span class='pagenum'><a name="Page_205" id="Page_205">[205]</a></span> artist before or since +inventive power they are master-pieces, and no<span class='pagenum'><a id="Page_205">[205]</a></span> artist before or since has so successfully treated these mysteries. The reputation of Dürer was well-established by these cuts, and gave him a good position in his native town, which he never left afterwards, except for a journey to @@ -5069,12 +5062,12 @@ head-dress, whom he has introduced in his “Marriage of the Virgin,” been absolutely copied from nature; the original sketch, made by his own hand from a Nürnberg damsel, is preserved with many similar studies by him in the British Museum. He was untiring in his converse with nature -as he saw it around him; and the minutely careful sketches which now<span class='pagenum'><a name="Page_206" id="Page_206">[206]</a></span> +as he saw it around him; and the minutely careful sketches which now<span class='pagenum'><a id="Page_206">[206]</a></span> enrich our national collection, testify to his industry and anxiety for truth as the basis of his labours.</p> <div class="figcenter" style="width: 461px;"> -<a name="fig234" id="fig234"></a><a href="images/fig234-full.png"><img src="images/fig234.png" width="461" height="329" alt="Fig. 234.—View from Dürer’s House." title="Fig. 234.—View from Dürer’s House." /></a> +<a id="fig234"></a><a href="images/fig234-full.png"><img src="images/fig234.png" alt="Fig. 234.—View from Dürer’s House." title="Fig. 234.—View from Dürer’s House." style="width: 461px; height: 329px"></a> <span class="caption">Fig. 234.—View from Dürer’s House.</span> </div> @@ -5085,7 +5078,7 @@ churches were lavishly adorned with paintings and sculpture, as well as with other riches of art connected with the service of religion. In its quaint old streets might be studied the fruits of the faith and feeling of its inhabitants. Numerous figures of the Holy Mother decorated the -street corners, or were<span class='pagenum'><a name="Page_207" id="Page_207">[207]</a></span> enshrined over the portals of the doors of the +street corners, or were<span class='pagenum'><a id="Page_207">[207]</a></span> enshrined over the portals of the doors of the merchantmen, the light burning before each serving the double purpose of religion and utility, in a city of dark tortuous lanes. The ingenuity of the mason and sculptor was taxed in varied inventions for the further @@ -5096,11 +5089,11 @@ as to luxury, and at every step in Nürnberg the attention will still be arrested by its influence.</p> <div class="figcenter" style="width: 462px;"> -<a name="fig235" id="fig235"></a><a href="images/fig235-full.png"><img src="images/fig235.png" width="462" height="334" alt="Fig. 235.—The Residence of Albert Dürer." title="Fig. 235.—The Residence of Albert Dürer." /></a> +<a id="fig235"></a><a href="images/fig235-full.png"><img src="images/fig235.png" alt="Fig. 235.—The Residence of Albert Dürer." title="Fig. 235.—The Residence of Albert Dürer." style="width: 462px; height: 334px"></a> <span class="caption">Fig. 235.—The Residence of Albert Dürer.</span> </div> -<p>Dürer lived in a large mansion at one extremity of the town,<span class='pagenum'><a name="Page_208" id="Page_208">[208]</a></span> close to +<p>Dürer lived in a large mansion at one extremity of the town,<span class='pagenum'><a id="Page_208">[208]</a></span> close to the gate from whence he could in a few minutes escape from the pent-up city to the open fields. His house is one of those roomy buildings in which there is enough timber to build at least a dozen modern houses. @@ -5125,13 +5118,13 @@ has also been done to them, but there still remains enough to show the ability of their conception and execution.</p> <div class="figcenter" style="width: 460px;"> -<a name="fig236" id="fig236"></a><a href="images/fig236-full.png"><img src="images/fig236.png" width="460" height="330" alt="Fig. 236.—The Himmelsthor, Nürnberg Castle." title="Fig. 236.—The Himmelsthor, Nürnberg Castle." /></a> +<a id="fig236"></a><a href="images/fig236-full.png"><img src="images/fig236.png" alt="Fig. 236.—The Himmelsthor, Nürnberg Castle." title="Fig. 236.—The Himmelsthor, Nürnberg Castle." style="width: 460px; height: 330px"></a> <span class="caption">Fig. 236.—The Himmelsthor, Nürnberg Castle.</span> </div> <p>The castle comprises the somewhat rambling series of buildings of all ages, styles, and dates, which crown the rock above. The singular manner -in which this isolated mass of stone suddenly<span class='pagenum'><a name="Page_209" id="Page_209">[209]</a></span> rises from the sandy +in which this isolated mass of stone suddenly<span class='pagenum'><a id="Page_209">[209]</a></span> rises from the sandy plain may have induced the first foundation of the city, by the secure locality it afforded the castle of a ruler in days of old. Its early history is shrouded in obscurity—one of its towers has been attributed @@ -5140,7 +5133,7 @@ the chapels of Sts. Ottmar and Margaret, from which time it received alterations and additions of all kinds, ending in leaving it the picturesque assemblage of quaint old buildings which it at present remains. The Himmelsthor, or “tower of heaven,” is the name given to the -large round tower which is built within the castle precincts on the<span class='pagenum'><a name="Page_210" id="Page_210">[210]</a></span> +large round tower which is built within the castle precincts on the<span class='pagenum'><a id="Page_210">[210]</a></span> highest point of the rock, and which, as its title implies, soars toward heaven, and forms a prominent feature in all views of Nürnberg. The panorama from its summit is singularly striking, comprising the entire @@ -5163,7 +5156,7 @@ him by such as had preceded him. In this way alone can we form a right judgment of his powers, and award him his due place in art.</p> <div class="figcenter" style="width: 447px;"> -<a name="fig237" id="fig237"></a><a href="images/fig237-full.png"><img src="images/fig237.png" width="447" height="305" alt="Fig. 237.—Entrance Hall of Dürer’s House." title="Fig. 237.—Entrance Hall of Dürer’s House." /></a> +<a id="fig237"></a><a href="images/fig237-full.png"><img src="images/fig237.png" alt="Fig. 237.—Entrance Hall of Dürer’s House." title="Fig. 237.—Entrance Hall of Dürer’s House." style="width: 447px; height: 305px"></a> <span class="caption">Fig. 237.—Entrance Hall of Dürer’s House.</span> </div> @@ -5171,7 +5164,7 @@ judgment of his powers, and award him his due place in art.</p> “die Zisselgasse;” it is now appropriately named after the great artist himself. When he lived and worked in his roomy old mansion, Nürnberg was not quite so crowded within its own walls as it has since become by the -pressure of<span class='pagenum'><a name="Page_211" id="Page_211">[211]</a></span> modern exigencies; and Dürer’s house appears to have had +pressure of<span class='pagenum'><a id="Page_211">[211]</a></span> modern exigencies; and Dürer’s house appears to have had out-buildings, and, most probably, a small garden, such as was awarded to better-class houses in mediæval times. Dr. Frederick Campe tells us that he bought, in 1826, from the proprietor of the house, a balcony in @@ -5180,12 +5173,12 @@ commanded some sheltered space wherein a few trees might grow. The house has since been purchased by a society of artists, who honour themselves by that act, and do honour to Dürer by preserving it as much as possible in the state in which he left it, and exhibiting his works in the rooms. -The interior of the house has undergone some renovation, but it<span class='pagenum'><a name="Page_212" id="Page_212">[212]</a></span> has +The interior of the house has undergone some renovation, but it<span class='pagenum'><a id="Page_212">[212]</a></span> has been done cautiously, and in strict character with the original portions: it chiefly consists of new panelling and new doors, and they are quaintly carved in the style of the sixteenth century. The external door of the house still retains its old ironwork and lock -fittings.<a name="FNanchor_212-1_28" id="FNanchor_212-1_28"></a><a href="#Footnote_212-1_28" class="fnanchor">212-*</a> We pass through from the street, and enter a roomy +fittings.<a id="FNanchor_212-1_28"></a><a href="#Footnote_212-1_28" class="fnanchor">212-*</a> We pass through from the street, and enter a roomy hall, with a wide passage on one side, and an equally wide staircase on the other, which leads to the upper floors. A ponderous beam supports the ceiling, and a massive wooden pillar props the centre of this beam. @@ -5196,15 +5189,15 @@ flagged with stones; a small parlour is to the right; we pass it, and midway in the passage come to a low door leading into a small square room,—it was the studio of Dürer.</p> -<p class="poem">“Here, when art was still religion, with a simple, reverent heart,<br /> -Lived and laboured Albert Dürer, the Evangelist of Art.”<a name="FNanchor_212-2_29" id="FNanchor_212-2_29"></a><a href="#Footnote_212-2_29" class="fnanchor">212-†</a></p> +<p class="poem">“Here, when art was still religion, with a simple, reverent heart,<br> +Lived and laboured Albert Dürer, the Evangelist of Art.”<a id="FNanchor_212-2_29"></a><a href="#Footnote_212-2_29" class="fnanchor">212-†</a></p> <p class="noindent">It is lighted from the street by a long narrow window about five feet from the ground inserted in the top of an arch in the wall, as seen from the inside, beneath which is a shelf of capacious breadth. A small richly-carved altar-piece is now placed within it, and a few chairs. It is a quiet secluded room, having no communication with any other. The -top of the walls and turrets of the old town,<span class='pagenum'><a name="Page_213" id="Page_213">[213]</a></span> and a small patch of sky, +top of the walls and turrets of the old town,<span class='pagenum'><a id="Page_213">[213]</a></span> and a small patch of sky, may be seen by an upward glance at the window; but there is no feature to distract the denizen of the apartment: it is a place for concentration of mind, and such must have been Dürer’s habits, as the @@ -5213,7 +5206,7 @@ farther, we reach the quaintly constructed kitchen, with its enormous fire-place half filling the apartment. The one small window to the street lets in a gleam of light such as Rembrandt would have admired. The arched door is fitted with a lock of that peculiar form and -character which assure the spectator that it is the handwork of an<span class='pagenum'><a name="Page_214" id="Page_214">[214]</a></span> +character which assure the spectator that it is the handwork of an<span class='pagenum'><a id="Page_214">[214]</a></span> ingenious smith of Dürer’s day; its broad plate is decorated with a simple ornament consisting of the favourite gnarled twigs and leaves, so constantly adopted in German decorations of all kinds, at the end of the @@ -5223,7 +5216,7 @@ pleasant view of the small <i>Platz</i> opposite the house, as it fronts the Thiergartenthor, and the castled crag rises grandly over the houses beside it. The walls are panelled, and the beams across the wooden ceiling chamfered, and slightly carved. The aspect of the whole room is -striking,<span class='pagenum'><a name="Page_215" id="Page_215">[215]</a></span> and it is rendered more impressive by the many examples of +striking,<span class='pagenum'><a id="Page_215">[215]</a></span> and it is rendered more impressive by the many examples of Dürer’s genius placed within it, as well as of others by his master Wohlgemuth. The woodcuts are framed, and comprise the best examples of both masters; there is also an original drawing on vellum testifying to @@ -5237,24 +5230,24 @@ sketches had been parts of a finished picture; his unwearied assiduity in his profession has never been exceeded.</p> <div class="figcenter" style="width: 452px; margin-bottom: 1em;"> -<a name="fig238" id="fig238"></a><a href="images/fig238-full.png"><img src="images/fig238.png" width="452" height="320" alt="Fig. 238.—Dürer’s Studio." title="Fig. 238.—Dürer’s Studio." /></a> +<a id="fig238"></a><a href="images/fig238-full.png"><img src="images/fig238.png" alt="Fig. 238.—Dürer’s Studio." title="Fig. 238.—Dürer’s Studio." style="width: 452px; height: 320px"></a> <span class="caption">Fig. 238.—Dürer’s Studio.</span> </div> <div class="figcenter" style="width: 452px; margin-top: 1em;"> -<a name="fig239" id="fig239"></a><a href="images/fig239-full.png"><img src="images/fig239.png" width="452" height="315" alt="Fig. 239.—Kitchen in Dürer’s House." title="Fig. 239.—Kitchen in Dürer’s House." /></a> +<a id="fig239"></a><a href="images/fig239-full.png"><img src="images/fig239.png" alt="Fig. 239.—Kitchen in Dürer’s House." title="Fig. 239.—Kitchen in Dürer’s House." style="width: 452px; height: 315px"></a> <span class="caption">Fig. 239.—Kitchen in Dürer’s House.</span> </div> <p>Nürnberg contains fewer of Dürer’s works than a stranger might be led to -expect.<a name="FNanchor_215-1_30" id="FNanchor_215-1_30"></a><a href="#Footnote_215-1_30" class="fnanchor">215-*</a> The print-room of our British Museum, with its great +expect.<a id="FNanchor_215-1_30"></a><a href="#Footnote_215-1_30" class="fnanchor">215-*</a> The print-room of our British Museum, with its great number of engravings and drawings, and its wonderful sculpture in hone-stone by him, is a far better place to study the works of this artist. There is, however, one work of singular interest preserved in the old city, which is worth a long journey to see. It is the portrait of the old Nürnberg patrician—Jerome Holzschuher, the friend and patron of the artist. It represents a cheerful, healthy man over whose head -fifty-seven years have<span class='pagenum'><a name="Page_216" id="Page_216">[216]</a></span> passed without diminishing his freshness and +fifty-seven years have<span class='pagenum'><a id="Page_216">[216]</a></span> passed without diminishing his freshness and buoyancy of spirit; the clear complexion, searching eye, and general vigour which characterise the features, almost seem to contradict the white hair that falls in thick masses over the forehead. For freshness, @@ -5280,7 +5273,7 @@ house.</p> <p>It is at Florence, Vienna, and Munich, that Dürer’s paintings are principally located. The Castle at Nürnberg possesses his portraits of the Emperors Charlemagne and Sigismund. In the Moritzkapelle is the -picture which he painted for the church of St.<span class='pagenum'><a name="Page_217" id="Page_217">[217]</a></span> Sebald in Nürnberg, by +picture which he painted for the church of St.<span class='pagenum'><a id="Page_217">[217]</a></span> Sebald in Nürnberg, by the order of Holzschuher. It represents the dead Saviour just removed from the cross, and mourned over by his mother and friends. It is peculiarly brilliant in colour, and there is considerable force in the @@ -5305,13 +5298,13 @@ beset with difficulties, and it is seldom that any artist has entirely surmounted them. State allegories present small fascinations to any but the statesman glorified; but Dr. Kügler in his criticism of this work, while he acknowledges its defects, is prepared to say that some of the -figures “display motives of extraordinary beauty, such as<span class='pagenum'><a name="Page_218" id="Page_218">[218]</a></span> might have -proceeded from the graceful simplicity of Raphael.”<a name="FNanchor_218-1_31" id="FNanchor_218-1_31"></a><a href="#Footnote_218-1_31" class="fnanchor">218-*</a> This painting +figures “display motives of extraordinary beauty, such as<span class='pagenum'><a id="Page_218">[218]</a></span> might have +proceeded from the graceful simplicity of Raphael.”<a id="FNanchor_218-1_31"></a><a href="#Footnote_218-1_31" class="fnanchor">218-*</a> This painting has suffered from time, and “restoration;” the design may be best studied in the woodcut made from it.</p> <div class="figcenter" style="width: 240px;"> -<a name="fig240" id="fig240"></a><a href="images/fig240-full.png"><img src="images/fig240.png" width="240" height="331" alt="Fig. 240.—House of Melchior Pfintzing." title="Fig. 240.—House of Melchior Pfintzing." /></a> +<a id="fig240"></a><a href="images/fig240-full.png"><img src="images/fig240.png" alt="Fig. 240.—House of Melchior Pfintzing." title="Fig. 240.—House of Melchior Pfintzing." style="width: 240px; height: 331px"></a> <span class="caption">Fig. 240.—House of Melchior Pfintzing.</span> </div> @@ -5332,7 +5325,7 @@ days; its beautiful oriel and open balcony still testify to the taste of mediæval architects. It is but a short distance from Dürer’s house, and he must have frequently visited here. Here also, came the emperor to examine the progress of these works: and the great interest he took in -superintending them has been recorded; for it is said that during<span class='pagenum'><a name="Page_219" id="Page_219">[219]</a></span> the +superintending them has been recorded; for it is said that during<span class='pagenum'><a id="Page_219">[219]</a></span> the time when Jerome Retzsch was engaged in engraving on wood the triumphal car from the drawing by Dürer, the emperor was almost a daily visitant to his house. This anecdote may naturally lead here to the consideration @@ -5342,7 +5335,7 @@ considered that all cuts bearing an artist’s mark are engraved by that artist, but this is in reality an error resulting from modern practice. It is now the custom for wood-engravers to place <i>their</i> names or marks on their cuts, and very seldom those of the artists who draw the designs -for<span class='pagenum'><a name="Page_220" id="Page_220">[220]</a></span> them upon the wood. It was the reverse in the old time; then it was +for<span class='pagenum'><a id="Page_220">[220]</a></span> them upon the wood. It was the reverse in the old time; then it was usual to place that of the designer alone, and as he drew upon wood every line to be engraved, after the manner of a pen-and-ink drawing, the engraver had little else to do than cut the wood from between the @@ -5366,9 +5359,9 @@ imperial library at Vienna; the names of others are incidentally preserved; and among the drawings by Dürer in the British Museum, is one of a young lady, whom he has designated “wood engraver,” and who was most probably employed by him. There is also a sufficient difference in -the style<span class='pagenum'><a name="Page_221" id="Page_221">[221]</a></span> and manner of cutting his designs, which shows they must have +the style<span class='pagenum'><a id="Page_221">[221]</a></span> and manner of cutting his designs, which shows they must have been done by different hands. It is not possible to note here a tithe of -the cuts done from his drawings.<a name="FNanchor_221-1_32" id="FNanchor_221-1_32"></a><a href="#Footnote_221-1_32" class="fnanchor">221-*</a> His great serials are the +the cuts done from his drawings.<a id="FNanchor_221-1_32"></a><a href="#Footnote_221-1_32" class="fnanchor">221-*</a> His great serials are the “Apocalypse,” published in 1498, the two series of the “Passion of Christ,” and the “Life of the Virgin” (from which we give a specimen, <a href="#fig241">Fig. 241</a>, “Christ bidding Farewell to his Mother”), all published in @@ -5379,7 +5372,7 @@ pasted together, forming a large print ten feet high. It is a work of great labour, and displays considerable invention.</p> <div class="figcenter" style="width: 411px;"> -<a name="fig241" id="fig241"></a><a href="images/fig241-full.png"><img src="images/fig241.png" width="411" height="574" alt="Fig. 241.—Christ bidding farewell to his Mother." title="Fig. 241.—Christ bidding farewell to his Mother." /></a> +<a id="fig241"></a><a href="images/fig241-full.png"><img src="images/fig241.png" alt="Fig. 241.—Christ bidding farewell to his Mother." title="Fig. 241.—Christ bidding farewell to his Mother." style="width: 411px; height: 574px"></a> <span class="caption">Fig. 241.—Christ bidding farewell to his Mother.</span> </div> @@ -5392,7 +5385,7 @@ addition to his other labours he executed several pieces of sculpture, one of which, the “Naming of John the Baptist,” we have already alluded to as preserved in the British Museum, and some few others in hone-stone, bearing his well-known mark, exist. He also wrote on Art, -and a portion of the original manuscripts of his book on<span class='pagenum'><a name="Page_223" id="Page_223">[223]</a></span><span class='pagenum'><a name="Page_222" id="Page_222">[222]</a></span> the +and a portion of the original manuscripts of his book on<span class='pagenum'><a id="Page_223">[223]</a></span><span class='pagenum'><a id="Page_222">[222]</a></span> the proportions of the human figure, is still preserved in the library of the old Dominican monastery at Nürnberg. He was a good mathematician, he also studied engineering, and is believed to have designed and @@ -5401,7 +5394,7 @@ castle, which are remarkable as the earliest examples of the more modern system of defence, which originated in the south of Europe, and with which Dürer became acquainted during his sojourn in Venice, and the fruits of which he thus practically brought to the service of his native -city.<a name="FNanchor_223-1_33" id="FNanchor_223-1_33"></a><a href="#Footnote_223-1_33" class="fnanchor">223-*</a> He published too an essay on the fortification of towns. In +city.<a id="FNanchor_223-1_33"></a><a href="#Footnote_223-1_33" class="fnanchor">223-*</a> He published too an essay on the fortification of towns. In fact, there were few subjects to which his mind was directed that he did not make himself complete master of.</p> @@ -5414,7 +5407,7 @@ things which pleased me eleven years ago please me no longer.” He also notes the popularity which had preceded him, and says, “the Italian artists counterfeit my works in the churches and wherever else they can find them, and yet they blame them, and declare that as they are not in -accordance with ancient art they are worthless.”<a name="FNanchor_223-2_34" id="FNanchor_223-2_34"></a><a href="#Footnote_223-2_34" class="fnanchor">223-†</a> But though<span class='pagenum'><a name="Page_224" id="Page_224">[224]</a></span> +accordance with ancient art they are worthless.”<a id="FNanchor_223-2_34"></a><a href="#Footnote_223-2_34" class="fnanchor">223-†</a> But though<span class='pagenum'><a id="Page_224">[224]</a></span> subjected to the slights of the unworthy, Dürer gratefully records the nobler acts of nobler men, and notes that Giovanni Bellini publicly praised him before many gentlemen, “so that I am full of affection for @@ -5428,7 +5421,7 @@ attest this, as well as his request to Pirkheimer to help them with loans which he would repay.</p> <div class="figcenter" style="width: 234px;"> -<a name="fig242" id="fig242"></a><a href="images/fig242-full.png"><img src="images/fig242.png" width="234" height="331" alt="Fig. 242.—Gate of Pirkheimer’s House." title="Fig. 242.—Gate of Pirkheimer’s House." /></a> +<a id="fig242"></a><a href="images/fig242-full.png"><img src="images/fig242.png" alt="Fig. 242.—Gate of Pirkheimer’s House." title="Fig. 242.—Gate of Pirkheimer’s House." style="width: 234px; height: 331px"></a> <span class="caption">Fig. 242.—Gate of Pirkheimer’s House.</span> </div> @@ -5445,13 +5438,13 @@ advices of his friend were the few happy relaxations Dürer enjoyed. Pirkheimer was a learned man, and cheerful withal, as his facetious book “<i>Laus Podagræ</i>,” or the “Praise of the Gout,” can testify. The house in which he resided is still pointed out in the <i>Egidien Platz</i>; it has -undergone alterations, but the old<span class='pagenum'><a name="Page_225" id="Page_225">[225]</a></span> doorway remains intact, through +undergone alterations, but the old<span class='pagenum'><a id="Page_225">[225]</a></span> doorway remains intact, through which Dürer must have frequently passed to consult his friend. “What is more touching in the history of men of genius than that deep and constant attachment they have shown to their early patrons?” asks Mrs. -Jameson.<a name="FNanchor_225-1_35" id="FNanchor_225-1_35"></a><a href="#Footnote_225-1_35" class="fnanchor">225-*</a> How many men have been immortalised by friendships of +Jameson.<a id="FNanchor_225-1_35"></a><a href="#Footnote_225-1_35" class="fnanchor">225-*</a> How many men have been immortalised by friendships of this kind; how many of the greatest been rendered greater and happier -thereby? When the Elector John Frederick of Saxony<span class='pagenum'><a name="Page_226" id="Page_226">[226]</a></span> met with his +thereby? When the Elector John Frederick of Saxony<span class='pagenum'><a id="Page_226">[226]</a></span> met with his reverses in 1547, was driven from his palace, and was imprisoned for five years, the painter Lucas Cranach, whom he had patronised in his days of prosperity, shared his adversity and his prison with him, giving @@ -5477,13 +5470,13 @@ limited; their world a small select circle; few can sympathise with their cares or their more exquisite sensibilities; they must, therefore, be content with the few whose minds respond to theirs, and they ought not to make the narrow circle narrower, by unworthy jealousies or -captious criticism. Well would it be for<span class='pagenum'><a name="Page_227" id="Page_227">[227]</a></span> us all, and infinitely better +captious criticism. Well would it be for<span class='pagenum'><a id="Page_227">[227]</a></span> us all, and infinitely better for the world of art, if we practised still more</p> -<p class="poem">“Those gentler charities which draw<br /> -<span class="i1">Man closer with his kind,</span><br /> -Those sweet humilities which make<br /> -<span class="i1">The music which they find.”<a name="FNanchor_227-1_36" id="FNanchor_227-1_36"></a><a href="#Footnote_227-1_36" class="fnanchor">227-*</a></span></p> +<p class="poem">“Those gentler charities which draw<br> +<span class="i1">Man closer with his kind,</span><br> +Those sweet humilities which make<br> +<span class="i1">The music which they find.”<a id="FNanchor_227-1_36"></a><a href="#Footnote_227-1_36" class="fnanchor">227-*</a></span></p> <p>Dürer was essentially a man to love. His nature was kindly and open; he knew no envy, and was never known to condemn the work of another @@ -5491,13 +5484,13 @@ artist,—which, if bad, he would only criticise with a smile, and a “Well! the master has done his best.” His general information was so good, that it was declared of him by a contemporary, that his power as an artist was his least qualification. His personal appearance was -dignified, and his face eminently handsome.<a name="FNanchor_227-2_37" id="FNanchor_227-2_37"></a><a href="#Footnote_227-2_37" class="fnanchor">227-†</a> Yet, with all these +dignified, and his face eminently handsome.<a id="FNanchor_227-2_37"></a><a href="#Footnote_227-2_37" class="fnanchor">227-†</a> Yet, with all these means of being happy, and making others so, few men endured more misery. In an evil hour his family made a match for him in the household of Hans Frei, whose daughter Agnes he married, and scarcely knew peace after. She was a heartless, selfish woman, who could have no feeling in common with her husband, and who only valued his art according to the money it -realised. “She urged him to labour day and night solely to earn money,<span class='pagenum'><a name="Page_228" id="Page_228">[228]</a></span> +realised. “She urged him to labour day and night solely to earn money,<span class='pagenum'><a id="Page_228">[228]</a></span> even at the cost of his life, that he might leave it to her,” says Pirkheimer, in one of his letters to Tscherte, their mutual friend the Viennese architect. All his friends she insulted and drove from the @@ -5508,7 +5501,7 @@ Venice are sad, and show no pleasant home-thoughts. Yet he did much for the bad woman to whom he was wedded, and seems to have thought of her gratification by numerous presents. His amiable heart would not allow him to separate from her, thus he bore her ill humours for his life, and -patiently endured his lot.<a name="FNanchor_228-1_38" id="FNanchor_228-1_38"></a><a href="#Footnote_228-1_38" class="fnanchor">228-*</a> There were few men more adapted to +patiently endured his lot.<a id="FNanchor_228-1_38"></a><a href="#Footnote_228-1_38" class="fnanchor">228-*</a> There were few men more adapted to make a woman happy than Dürer: he had a handsome person, much fame, good friends, great talent, and the most kindly amiability; but his wife was perhaps the worst on record, on whom all this was thrown away. Yet she @@ -5518,7 +5511,7 @@ who conducts herself in an agreeable manner, than a fretful, jealous, scolding wife, however devout she may be.”</p> <p>Banished from the society of friends, Dürer’s only solace was in his -art. Here only he found peace and pleasure. How earnestly<span class='pagenum'><a name="Page_229" id="Page_229">[229]</a></span> and deeply he +art. Here only he found peace and pleasure. How earnestly<span class='pagenum'><a id="Page_229">[229]</a></span> and deeply he laboured, the long catalogue of his productions can prove. The truthfulness of his style is shown in his patient studies from nature, and his works are the reflex of such a habit. The figure of the burly @@ -5530,7 +5523,7 @@ certain <i>naïveté</i>. The figure is an evident study of an honest of Nürnberg, and is as little like an ancient Jew as possible, though admirable as a transcript from nature. Of far higher order are the figures of the apostles, John, Peter, Mark, and Paul, which he painted -in 1526, and presented to his native city.<a name="FNanchor_229-1_39" id="FNanchor_229-1_39"></a><a href="#Footnote_229-1_39" class="fnanchor">229-*</a> We engrave the figure +in 1526, and presented to his native city.<a id="FNanchor_229-1_39"></a><a href="#Footnote_229-1_39" class="fnanchor">229-*</a> We engrave the figure of Paul, the drapery of which is simple and majestic. A study for this drapery, made as early as 1523, is in the collection of the Archduke Charles of Austria. In these pictures, which are painted of life-size, @@ -5539,26 +5532,26 @@ own which might interfere with the greatness of his design. “These pictures are the fruit of the deepest thought which then stirred the mind of Dürer, and are executed with overpowering force. Finished as they are they form the first complete work of art produced by -Protestantism.<a name="FNanchor_229-2_40" id="FNanchor_229-2_40"></a><a href="#Footnote_229-2_40" class="fnanchor">229-†</a> What<span class='pagenum'><a name="Page_230" id="Page_230">[230]</a></span> dignity and sublimity pervade those heads -of such varied character!<a name="FNanchor_230-1_41" id="FNanchor_230-1_41"></a><a href="#Footnote_230-1_41" class="fnanchor">230-*</a> What simplicity and majesty in the +Protestantism.<a id="FNanchor_229-2_40"></a><a href="#Footnote_229-2_40" class="fnanchor">229-†</a> What<span class='pagenum'><a id="Page_230">[230]</a></span> dignity and sublimity pervade those heads +of such varied character!<a id="FNanchor_230-1_41"></a><a href="#Footnote_230-1_41" class="fnanchor">230-*</a> What simplicity and majesty in the lines of the drapery! what sublime and statue-like repose in their attitudes! Here we no longer find any disturbing element: there are no -small angular breaks in the folds, no arbitrary or fantastic<span class='pagenum'><a name="Page_231" id="Page_231">[231]</a></span> features +small angular breaks in the folds, no arbitrary or fantastic<span class='pagenum'><a id="Page_231">[231]</a></span> features in the countenances, or even in the fall of the hair. The colouring too is very perfect, true to nature in its power and warmth. There is scarcely any trace of the bright glazing, or of those sharply defined forms seen in other works by him, but everywhere a free pure impasto. Well might the artist now close his eyes, he had in this picture attained the summit of his art—here he stands side by side with the -greatest masters known in history.”<a name="FNanchor_231-1_42" id="FNanchor_231-1_42"></a><a href="#Footnote_231-1_42" class="fnanchor">231-*</a></p> +greatest masters known in history.”<a id="FNanchor_231-1_42"></a><a href="#Footnote_231-1_42" class="fnanchor">231-*</a></p> -<table border="0" cellpadding="0" cellspacing="0" summary="figs. 243 and 244"> +<table style="border: none; padding: 0px; border-spacing: 0px;"> <tr> <td class="tdc"> -<a name="fig243" id="fig243"></a><a href="images/fig243-full.png"><img src="images/fig243.png" width="182" height="327" alt="Fig. 243.—Figure from Dürer’s Life of the Virgin." title="Fig. 243.—Figure from Dürer’s Life of the Virgin." /></a><br /> +<a id="fig243"></a><a href="images/fig243-full.png"><img src="images/fig243.png" alt="Fig. 243.—Figure from Dürer’s Life of the Virgin." title="Fig. 243.—Figure from Dürer’s Life of the Virgin." style="width: 182px; height: 327px"></a><br> <span class="caption">Fig. 243.—Figure from Dürer’s Life of the Virgin.</span></td> <td class="tdc"> -<a name="fig244" id="fig244"></a><a href="images/fig244-full.png"><img src="images/fig244.png" width="165" height="329" alt="Fig. 244.—St. Paul, after Dürer." title="Fig. 244.—St. Paul, after Dürer." /></a><br /> +<a id="fig244"></a><a href="images/fig244-full.png"><img src="images/fig244.png" alt="Fig. 244.—St. Paul, after Dürer." title="Fig. 244.—St. Paul, after Dürer." style="width: 165px; height: 329px"></a><br> <span class="caption">Fig. 244.—St. Paul, after Dürer.</span></td> </tr> </table> @@ -5574,11 +5567,11 @@ in all its beauty in the elegant church dedicated to the saint. The shrine encloses, amid the most florid Gothic architecture, the oaken chest encased with silver plates, containing the body of the venerated saint; this rests on an altar decorated with basso-relievos, depicting -his miracles.<a name="FNanchor_231-2_43" id="FNanchor_231-2_43"></a><a href="#Footnote_231-2_43" class="fnanchor">231-†</a> The architectural<span class='pagenum'><a name="Page_232" id="Page_232">[232]</a></span> portion of this exquisite +his miracles.<a id="FNanchor_231-2_43"></a><a href="#Footnote_231-2_43" class="fnanchor">231-†</a> The architectural<span class='pagenum'><a id="Page_232">[232]</a></span> portion of this exquisite shrine partakes of the characteristics of the Renaissance forms engrafted on the mediæval, by the influence of Italian art. Indeed, the latter school is visible as the leading agent throughout the entire -composition. The figures of the<span class='pagenum'><a name="Page_233" id="Page_233">[233]</a></span> Twelve Apostles and others placed +composition. The figures of the<span class='pagenum'><a id="Page_233">[233]</a></span> Twelve Apostles and others placed around it, scarcely seem to belong to German art: they are quite worthy of the best Trans-alpine master. The grandeur, breadth and repose of these wonderful statues cannot be excelled. Vischer seems to have @@ -5586,7 +5579,7 @@ completely freed his mind from the conventionalities of his native schools: we have here none of the constrained “crumpled draperies,” the home-studies for face and form, so strikingly present in nearly all the works of art of this era; but noble figures of the men elevated above -the earthly standard by companionship<span class='pagenum'><a name="Page_234" id="Page_234">[234]</a></span> with the Saviour, exhibiting +the earthly standard by companionship<span class='pagenum'><a id="Page_234">[234]</a></span> with the Saviour, exhibiting their high destiny by a noble bearing, worthy of the solemn and glorious duties they were devoted to fulfil. We gaze on these figures as we do on the works of Giotto and Fra Angelico, until we feel human nature may @@ -5600,12 +5593,12 @@ latent glories. Here we feel the truth of the scriptural phrase—“In own image made He them.”</p> <div class="figcenter" style="width: 428px; margin-bottom: 1em;"> -<a name="fig245" id="fig245"></a><a href="images/fig245-full.png"><img src="images/fig245.png" width="428" height="415" alt="Fig. 245.—Shrine of St. Sebald." title="Fig. 245.—Shrine of St. Sebald." /></a> +<a id="fig245"></a><a href="images/fig245-full.png"><img src="images/fig245.png" alt="Fig. 245.—Shrine of St. Sebald." title="Fig. 245.—Shrine of St. Sebald." style="width: 428px; height: 415px"></a> <span class="caption">Fig. 245.—Shrine of St. Sebald.</span> </div> <div class="figcenter" style="width: 345px; margin-top: 1em;"> -<a name="fig246" id="fig246"></a><a href="images/fig246-full.png"><img src="images/fig246.png" width="345" height="361" alt="Fig. 246.—Peter Vischer’s House." title="Fig. 246.—Peter Vischer’s House." /></a> +<a id="fig246"></a><a href="images/fig246-full.png"><img src="images/fig246.png" alt="Fig. 246.—Peter Vischer’s House." title="Fig. 246.—Peter Vischer’s House." style="width: 345px; height: 361px"></a> <span class="caption">Fig. 246.—Peter Vischer’s House.</span> </div> @@ -5613,9 +5606,9 @@ own image made He them.”</p> street in which his house is situated, like that in which Dürer’s stands, has lost its original name, and is now only known as “Peter Vischer’s Strasse;” but these two artists are the only ones thus -distinguished.<a name="FNanchor_234-1_44" id="FNanchor_234-1_44"></a><a href="#Footnote_234-1_44" class="fnanchor">234-*</a> Vischer was born in 1460, and died in 1529. He +distinguished.<a id="FNanchor_234-1_44"></a><a href="#Footnote_234-1_44" class="fnanchor">234-*</a> Vischer was born in 1460, and died in 1529. He was employed by the warden of St. Sebald’s, and magistrate of Nürnberg, -Sebald Schreyer, to construct this work in<span class='pagenum'><a name="Page_235" id="Page_235">[235]</a></span> honour of his patron saint; +Sebald Schreyer, to construct this work in<span class='pagenum'><a id="Page_235">[235]</a></span> honour of his patron saint; he began it in 1506, and finished it in 1519. Thirteen years of labour were thus devoted to its completion, for which he received seven hundred and seventy florins. “According to tradition, Vischer was @@ -5623,7 +5616,7 @@ miserably paid for this great work of labour and art; and he has himself recorded in an inscription upon the monument, that ‘he completed it for the praise of God Almighty alone, and the honour of St. Sebald, Prince of Heaven, by the aid of pious persons, paid by -their voluntary contributions.’”<a name="FNanchor_235-1_45" id="FNanchor_235-1_45"></a><a href="#Footnote_235-1_45" class="fnanchor">235-*</a> The elaboration of the entire +their voluntary contributions.’”<a id="FNanchor_235-1_45"></a><a href="#Footnote_235-1_45" class="fnanchor">235-*</a> The elaboration of the entire work is marvellous; it abounds with fanciful figures, seventy-two in number, disposed among the ornaments, or acting as supporters to the general composition. Syrens hold candelabra at the angles; and the @@ -5636,12 +5629,12 @@ such sympathies as are justly due to one who laboured so lovingly and so well.</p> <div class="figcenter" style="width: 194px; margin-bottom: 1em;"> -<a name="fig247" id="fig247"></a><a href="images/fig247-full.png"><img src="images/fig247.png" width="194" height="424" alt="Fig. 247.—Peter Vischer." title="Fig. 247.—Peter Vischer." /></a> +<a id="fig247"></a><a href="images/fig247-full.png"><img src="images/fig247.png" alt="Fig. 247.—Peter Vischer." title="Fig. 247.—Peter Vischer." style="width: 194px; height: 424px"></a> <span class="caption">Fig. 247.—Peter Vischer.</span> </div> <div class="figcenter" style="width: 232px; margin-top: 1em;"> -<a name="fig248" id="fig248"></a><a href="images/fig248-full.png"><img src="images/fig248.png" width="232" height="436" alt="Fig. 248.—Adam Krafft’s Sacramentshauslein." title="Fig. 248.—Adam Krafft’s Sacramentshauslein." /></a> +<a id="fig248"></a><a href="images/fig248-full.png"><img src="images/fig248.png" alt="Fig. 248.—Adam Krafft’s Sacramentshauslein." title="Fig. 248.—Adam Krafft’s Sacramentshauslein." style="width: 232px; height: 436px"></a> <span class="caption">Fig. 248.—Adam Krafft’s Sacramentshauslein.</span> </div> @@ -5649,19 +5642,19 @@ so well.</p> one as a worker in metal, the other in stone) stands Adam Krafft, whose works are still the principal ornaments of the city. To him were his fellow-townsmen indebted for the grand gate of the Frauenkirche, -the series of sculptures on the “Via Dolorosa,”<span class='pagenum'><a name="Page_236" id="Page_236">[236]</a></span> numerous others in +the series of sculptures on the “Via Dolorosa,”<span class='pagenum'><a id="Page_236">[236]</a></span> numerous others in the churches and public buildings, but principally for the “Sacramentshauslein,” in the Church of St. Laurence (<a href="#fig248">Fig. 248</a>). This marvellous work is placed against a pillar beside the high altar, and is intended as a receptacle for the consecrated bread and wine in its service; a small gallery runs round the lower portion, in which the -“host” is kept; over this the sculpture<span class='pagenum'><a name="Page_237" id="Page_237">[237]</a></span> ascends upwards in a series +“host” is kept; over this the sculpture<span class='pagenum'><a id="Page_237">[237]</a></span> ascends upwards in a series of tapering columns and foliage of the most light and fanciful description, until it reaches the spring of the arched roof, where the crowning pinnacle “bows its beautiful head like the snowdrop on its stem,” in the curve of the arch, gracefully completing a work which, for originality, delicacy, and the most extraordinary elaboration of -design, is a perfect marvel<span class='pagenum'><a name="Page_238" id="Page_238">[238]</a></span> of stone-carving. The foliations are so +design, is a perfect marvel<span class='pagenum'><a id="Page_238">[238]</a></span> of stone-carving. The foliations are so flowing and delicate, that it has given rise to a popular tradition that Krafft was possessed of some secret for making stone plastic. We have nothing so delicate in this country, unless it be some of the @@ -5673,22 +5666,22 @@ necessarily cut away to produce these boldly-flowing enrichments. Krafft was born at Ulm in 1430, and died 1507. His father was the printer, Ulrich Krafft. He commenced this work in the year 1496, and completed it in 1500. In it we see the perfect mastery produced by a -life of labour, and in front of it he has sculptured his own effigy,<span class='pagenum'><a name="Page_239" id="Page_239">[239]</a></span> +life of labour, and in front of it he has sculptured his own effigy,<span class='pagenum'><a id="Page_239">[239]</a></span> kneeling, mallet in hand, and supporting his favourite work. There is a touching simplicity in this union of the artist and his labours, made in these instances all the more impressive by its utter want of pretension. There is no affectation—no studied artistic or classical -<a name="corr4" id="corr4"></a>portraying; we have simply the man and his work before us, appealing -by their dumb native eloquence to that<span class='pagenum'><a name="Page_240" id="Page_240">[240]</a></span> homage and love, which are +<a id="corr4"></a>portraying; we have simply the man and his work before us, appealing +by their dumb native eloquence to that<span class='pagenum'><a id="Page_240">[240]</a></span> homage and love, which are their due by their own inherent greatness.</p> <div class="figcenter" style="width: 199px; margin-bottom: 1em;"> -<a name="fig249" id="fig249"></a><a href="images/fig249-full.png"><img src="images/fig249.png" width="199" height="267" alt="Fig. 249.—Adam Krafft." title="Fig. 249.—Adam Krafft." /></a> +<a id="fig249"></a><a href="images/fig249-full.png"><img src="images/fig249.png" alt="Fig. 249.—Adam Krafft." title="Fig. 249.—Adam Krafft." style="width: 199px; height: 267px"></a> <span class="caption">Fig. 249.—Adam Krafft.</span> </div> <div class="figcenter" style="width: 211px; margin-top: 1em;"> -<a name="fig250" id="fig250"></a><a href="images/fig250-full.png"><img src="images/fig250.png" width="211" height="425" alt="Fig. 250.—The Goose-seller." title="" /></a> +<a id="fig250"></a><a href="images/fig250-full.png"><img src="images/fig250.png" alt="Fig. 250.—The Goose-seller." title="" style="width: 211px; height: 425px"></a> <span class="caption">Fig. 250.—The Goose-seller.</span> </div> @@ -5710,16 +5703,16 @@ its popularity to its perfect truth and simplicity.</p> <p>Another artist of this era, inferior to none in taste and delicacy of sentiment, was Veit Stoss. He was a native of Poland, born at Cracow in 1447; making Nürnberg the city of his adoption, and dying there in -1542.<a name="FNanchor_240-1_46" id="FNanchor_240-1_46"></a><a href="#Footnote_240-1_46" class="fnanchor">240-*</a> The same exquisite grace and purity which characterises the +1542.<a id="FNanchor_240-1_46"></a><a href="#Footnote_240-1_46" class="fnanchor">240-*</a> The same exquisite grace and purity which characterises the works of Vischer is seen in those of Stoss. He devoted himself to sculpture in wood, and in this way is said to have furnished models to -those who worked in stone, as well as<span class='pagenum'><a name="Page_241" id="Page_241">[241]</a></span> to goldsmiths, and other artisans +those who worked in stone, as well as<span class='pagenum'><a id="Page_241">[241]</a></span> to goldsmiths, and other artisans who required designs. “The Crowning of the Virgin,” still preserved in the old castle at Nürnberg, had all the delicacy and grace of the missal paintings of Julio Clovio.</p> <div class="figcenter" style="width: 368px;"> -<a name="fig251" id="fig251"></a><a href="images/fig251-full.png"><img src="images/fig251.png" width="368" height="252" alt="Fig. 251.—“The Nativity,” by Veit Stoss." title="Fig. 251.—“The Nativity,” by Veit Stoss." /></a> +<a id="fig251"></a><a href="images/fig251-full.png"><img src="images/fig251.png" alt="Fig. 251.—“The Nativity,” by Veit Stoss." title="Fig. 251.—“The Nativity,” by Veit Stoss." style="width: 368px; height: 252px"></a> <span class="caption">Fig. 251.—“The Nativity,” by Veit Stoss.</span> </div> @@ -5731,14 +5724,14 @@ an illustration of this, one of the compartments of the “Nativity.” The Virgin in the stable at Bethlehem, piously rejoices in the birth of the Lord, and is about to wrap the sacred infant in the folds of her own garments, having no other clothing. She has reverently -laid the<span class='pagenum'><a name="Page_242" id="Page_242">[242]</a></span> babe in a corner of her mantle, when, penetrated with a sense +laid the<span class='pagenum'><a id="Page_242">[242]</a></span> babe in a corner of her mantle, when, penetrated with a sense of the divinity, she clasps her hands in prayer before the Infant Saviour; while her husband Joseph, who holds the lantern beside her, feeling the same emotion, drops on one knee, and reverently lifts his hat in acknowledgment of the Immortal One.</p> <div class="figcenter" style="width: 359px;"> -<a name="fig252" id="fig252"></a><a href="images/fig252-full.png"><img src="images/fig252.png" width="359" height="309" alt="Fig. 252.—“The Entombment,” by Adam Krafft." title="Fig. 252.—“The Entombment,” by Adam Krafft." /></a> +<a id="fig252"></a><a href="images/fig252-full.png"><img src="images/fig252.png" alt="Fig. 252.—“The Entombment,” by Adam Krafft." title="Fig. 252.—“The Entombment,” by Adam Krafft." style="width: 359px; height: 309px"></a> <span class="caption">Fig. 252.—“The Entombment,” by Adam Krafft.</span> </div> @@ -5746,7 +5739,7 @@ hat in acknowledgment of the Immortal One.</p> which gives vitality to ancient works of art, and is to be felt by all who are not insensible to its agency in the time present. Another touching incident is seen in the sculpture by Adam Krafft over the grave -of Schreyer, representing “The<span class='pagenum'><a name="Page_243" id="Page_243">[243]</a></span> Entombment.”<a name="FNanchor_243-1_47" id="FNanchor_243-1_47"></a><a href="#Footnote_243-1_47" class="fnanchor">243-*</a> The dead body of our +of Schreyer, representing “The<span class='pagenum'><a id="Page_243">[243]</a></span> Entombment.”<a id="FNanchor_243-1_47"></a><a href="#Footnote_243-1_47" class="fnanchor">243-*</a> The dead body of our Saviour is being reverently lifted into the tomb; the sorrowing mother, loving as only mothers love, partially supports the wounded body of her inanimate son; in process of movement the Saviour’s head falls languidly @@ -5768,7 +5761,7 @@ noble not quite allowed to decay, but merely existing shorn of its full glories. “Nürnberg—with its long, narrow, winding, involved streets, its precipitous ascents and descents, its completely Gothic physiognomy—is by far the strangest old city I ever beheld; it has -retained in every<span class='pagenum'><a name="Page_244" id="Page_244">[244]</a></span> part the aspect of the Middle Ages. No two houses +retained in every<span class='pagenum'><a id="Page_244">[244]</a></span> part the aspect of the Middle Ages. No two houses resemble each other: yet, differing in form, in colour, in height, in ornament, all have a family likeness; and with their peaked and carved gables, and projecting central balconies, and painted fronts, stand up @@ -5784,17 +5777,17 @@ chart, is still the house of a map-seller. In the house where cards were first manufactured, cards are now sold. In the very shops where clocks and watches were first seen, you may still buy clocks and watches. The same families have inhabited the same mansions from one generation to -another for four or five centuries.”<a name="FNanchor_244-1_48" id="FNanchor_244-1_48"></a><a href="#Footnote_244-1_48" class="fnanchor">244-*</a></p> +another for four or five centuries.”<a id="FNanchor_244-1_48"></a><a href="#Footnote_244-1_48" class="fnanchor">244-*</a></p> <p>In a city where all its associations of greatness are with the past, and its memories essentially connected with those who have been long numbered with the dead, it is natural we should find a strong tendency to remembrances of events and personages generally forgotten in other -and more stirring cities. The Nürn<span class='pagenum'><a name="Page_245" id="Page_245">[245]</a></span>bergers lovingly preserve all that +and more stirring cities. The Nürn<span class='pagenum'><a id="Page_245">[245]</a></span>bergers lovingly preserve all that will connect them with the glorious days of Kaiser Maximilian, when their “great Imperial City” held the treasures of the Holy Roman empire, the crown and royal insignia of Charlemagne, as well as the still more -precious “relics” which he had brought from the Holy Land.<a name="FNanchor_245-1_49" id="FNanchor_245-1_49"></a><a href="#Footnote_245-1_49" class="fnanchor">245-*</a></p> +precious “relics” which he had brought from the Holy Land.<a id="FNanchor_245-1_49"></a><a href="#Footnote_245-1_49" class="fnanchor">245-*</a></p> <p>Among all their literary magnates none is better remembered than</p> @@ -5809,7 +5802,7 @@ free-school of the town, and at fifteen he was apprenticed to a shoemaker; when the period of servitude had expired, in accordance with the German practice, he set out on his travels to see the world. It was a stirring time, and men’s eyes were rapidly opened to the corruptions -of church<span class='pagenum'><a name="Page_246" id="Page_246">[246]</a></span> and state; the great principles of the Reformation were +of church<span class='pagenum'><a id="Page_246">[246]</a></span> and state; the great principles of the Reformation were making way. Hans possessed much of that stirling common sense, and shrewd practical observation which belong to many of the lower class, and make them outspoken rude despisers of courtiership. On his return he @@ -5831,7 +5824,7 @@ tragedies, comedies and farces, making an astounding sum-total of 6,181 pieces of all kinds. The humour of his tales is not contemptible; he laughs lustily and makes his reader join him; his manner, so far as verse can be compared to prose, is not unlike that of Rabelais, but less -grotesque.”<a name="FNanchor_246-1_50" id="FNanchor_246-1_50"></a><a href="#Footnote_246-1_50" class="fnanchor">246-*</a> His most popular productions<span class='pagenum'><a name="Page_247" id="Page_247">[247]</a></span> were broadsheets with +grotesque.”<a id="FNanchor_246-1_50"></a><a href="#Footnote_246-1_50" class="fnanchor">246-*</a> His most popular productions<span class='pagenum'><a id="Page_247">[247]</a></span> were broadsheets with woodcuts, devoted to all kinds of subjects, sold about the streets, and stuck “like ballads on the wall” of old English cottages; speaking boldly out to the comprehension and tastes of the people on subjects @@ -5856,18 +5849,18 @@ hinder all from entering, except by back-doors, holes, and corners. At this period Nürnberg was torn by religious faction; and it ultimately became enthusiastically Protestant. There is no doubt that Hans Sachs helped greatly to foster the feeling in its favour, as his “broadsides” -told forcibly,<span class='pagenum'><a name="Page_248" id="Page_248">[248]</a></span> and were immensely popular. They were in fact the only +told forcibly,<span class='pagenum'><a id="Page_248">[248]</a></span> and were immensely popular. They were in fact the only books of the poor.</p> <div class="figcenter" style="width: 212px;"> -<a name="fig253" id="fig253"></a><a href="images/fig253-full.png"><img src="images/fig253.png" width="212" height="273" alt="Fig. 253.—Hans Sachs." title="Fig. 253.—Hans Sachs." /></a> +<a id="fig253"></a><a href="images/fig253-full.png"><img src="images/fig253.png" alt="Fig. 253.—Hans Sachs." title="Fig. 253.—Hans Sachs." style="width: 212px; height: 273px"></a> <span class="caption">Fig. 253.—Hans Sachs.</span> </div> <p>The portrait of the old cobbler was painted in 1568 by Hans Hoffman, and is a strikingly characteristic resemblance of a man whose</p> -<p class="poem"><span class="i3">“age is as a lusty winter,</span><br /> +<p class="poem"><span class="i3">“age is as a lusty winter,</span><br> Frosty, but kindly.”</p> <p class="noindent">There is an intensity of expression in the clear, deep-set eye, a shrewd @@ -5875,7 +5868,7 @@ observant look in the entire features, while it shows a capacity of forehead that will make Hans pass muster with modern phrenologists. The cobbler-bard wrote and sung, and mended his neighbours’ boots in an unpretending domicile in a street leading from the principal market, -which street now goes<span class='pagenum'><a name="Page_249" id="Page_249">[249]</a></span> by his name. Since his time the house has been +which street now goes<span class='pagenum'><a id="Page_249">[249]</a></span> by his name. Since his time the house has been almost rebuilt and entirely new fronted. Its old features have been preserved in an etching by Fleischmann, after a sketch by J. A. Klein, at which period it was a beershop known by the sign of the “Golden @@ -5883,18 +5876,18 @@ Bear.” Hans died full of years and honour in the year 1576, and is buried with the great men of his city in the cemetery of St. John.</p> <div class="figcenter" style="width: 237px;"> -<a name="fig254" id="fig254"></a><a href="images/fig254-full.png"><img src="images/fig254.png" width="237" height="337" alt="Fig. 254.—The House of Hans Sachs." title="Fig. 254.—The House of Hans Sachs." /></a> +<a id="fig254"></a><a href="images/fig254-full.png"><img src="images/fig254.png" alt="Fig. 254.—The House of Hans Sachs." title="Fig. 254.—The House of Hans Sachs." style="width: 237px; height: 337px"></a> <span class="caption">Fig. 254.—The House of Hans Sachs.</span> </div> <p>The domestic life of the old Nürnbergers seems to have been characterised by honourable simplicity, and their posterity appear to -follow laudably in their footsteps. They delight in the<span class='pagenum'><a name="Page_250" id="Page_250">[250]</a></span> antiquity of +follow laudably in their footsteps. They delight in the<span class='pagenum'><a id="Page_250">[250]</a></span> antiquity of their city, and reverently preserve the relics of their past glories. Their houses seem built for a past generation, their public edifices for the Middle Ages; their galleries abound in the art of the fifteenth century, and admit nothing more modern than the seventeenth. In the old -garden upon the castle bastion is a quaint quadrangular tower<a name="FNanchor_250-1_51" id="FNanchor_250-1_51"></a><a href="#Footnote_250-1_51" class="fnanchor">250-*</a> +garden upon the castle bastion is a quaint quadrangular tower<a id="FNanchor_250-1_51"></a><a href="#Footnote_250-1_51" class="fnanchor">250-*</a> having its entrance therefrom, and this has been fitted up with antique furniture, to give a true idea of the indoor life of Dürer’s days. It contains a hall hung with tapestries, from which a staircase leads to a @@ -5911,13 +5904,11 @@ over the hands into the basin beneath; an embroidered napkin hangs beside it; and above it is the old-fashioned set of four hour-glasses, so graduated that each ran out a quarter of an hour after the other. The furniture and fittings of the entire building are all equally curious, -and<span class='pagenum'><a name="Page_251" id="Page_251">[251]</a></span> reproduce a faithful picture of old times, worthy of being copied +and<span class='pagenum'><a id="Page_251">[251]</a></span> reproduce a faithful picture of old times, worthy of being copied in National Museums elsewhere.</p> <div class="figcenter" style="width: 457px;"> -<a name="fig255" id="fig255"></a><a href="images/fig255-full.png"><img src="images/fig255.png" width="457" height="333" alt="Fig. 255.—Apartment in the Garden of the Castle of -Nürnberg." title="Fig. 255.—Apartment in the Garden of the Castle of -Nürnberg." /></a> +<a id="fig255"></a><a href="images/fig255-full.png"><img src="images/fig255.png" alt="Fig. 255.—Apartment in the Garden of the Castle of Nürnberg." title="Fig. 255.—Apartment in the Garden of the Castle of Nürnberg." style="width: 457px; height: 333px"></a> <span class="caption">Fig. 255.—Apartment in the Garden of the Castle of Nürnberg.</span> </div> @@ -5929,7 +5920,7 @@ families who, by the privilege granted to them from the thirteenth century, ruled the city entirely. In process of time these privileges assumed the form of a civic tyranny, which was felt to be intolerable by the people, and occasionally opposed by them. The fierce religious wars -of the sixteenth century<span class='pagenum'><a name="Page_252" id="Page_252">[252]</a></span> assisted in destroying this monopoly of power +of the sixteenth century<span class='pagenum'><a id="Page_252">[252]</a></span> assisted in destroying this monopoly of power still more; yet now that it is gone for ever, it has left fearful traces of its irresponsible strength. All who sigh for “the good old times,” should not moralise over the fallen greatness of the city, and its @@ -5954,7 +5945,7 @@ dungeons, little more than six feet square, cased with oak to deaden sounds, and to increase the difficulty of attempted escape. To make these narrow places even more horrible, strong wooden stocks are in some, and day and night prisoners were secured in total darkness, in an -atmosphere<span class='pagenum'><a name="Page_253" id="Page_253">[253]</a></span> which even now seems too oppressive to bear. In close +atmosphere<span class='pagenum'><a id="Page_253">[253]</a></span> which even now seems too oppressive to bear. In close proximity to these dungeons is a strong stone room, about twelve feet wide each way, into which you descend by three steps. It is the torture-chamber. The massive bars before you are all that remain of the @@ -5965,7 +5956,7 @@ torture since removed or sold for old iron. The raised stone bench around the room was for the use of the executioner and attendants. The vaulted roof condensed the voice of the tortured man, and an aperture on one side gave it freedom to ascend into the room above, where the -judicial listeners<span class='pagenum'><a name="Page_254" id="Page_254">[254]</a></span> waited for the faltering words which succeeded the +judicial listeners<span class='pagenum'><a id="Page_254">[254]</a></span> waited for the faltering words which succeeded the agonising screams of their victim. So much we know and still see, but worse horrors were dreamily spoken of by the old Nürnbergers; there was a tradition of a certain something that not only destroyed life, but @@ -5978,7 +5969,7 @@ of swords, arranged so as to cut it to pieces, a running stream below clearing all traces of it away.</p> <div class="figcenter" style="width: 286px;"> -<a name="fig256" id="fig256"></a><a href="images/fig256-full.png"><img src="images/fig256.png" width="286" height="285" alt="Fig. 256.—The Torture-chamber." title="Fig. 256.—The Torture-chamber." /></a> +<a id="fig256"></a><a href="images/fig256-full.png"><img src="images/fig256.png" alt="Fig. 256.—The Torture-chamber." title="Fig. 256.—The Torture-chamber." style="width: 286px; height: 285px"></a> <span class="caption">Fig. 256.—The Torture-chamber.</span> </div> @@ -5995,7 +5986,7 @@ this castle in 1834, and there was the machine; it was formed of bars and hoops covered with sheet iron, representing a Nürnberg maiden of the sixteenth century in the long mantle generally worn. It opened with folding doors, closing again over the victim, and pressing a series of -poignards into the body, two being affixed to<span class='pagenum'><a name="Page_255" id="Page_255">[255]</a></span> the front of the face, to +poignards into the body, two being affixed to<span class='pagenum'><a id="Page_255">[255]</a></span> the front of the face, to penetrate to the brain through the eyes. “That this machine had formerly been used cannot be doubted; because there are evident blood-stains yet visible on its breast and part of the pedestal.” This machine was @@ -6020,11 +6011,11 @@ heavenly mind, and pray God for some other as divinely enlightened.” He then exhorts Erasmus to “come forth, defend the truth, and deserve the martyr’s crown, for thou art already an old man.” Dürer had painted Erasmus’s portrait at Brussels in 1520, and appears to have been -intimate with that great man as<span class='pagenum'><a name="Page_256" id="Page_256">[256]</a></span> he was with Melancthon, who said of +intimate with that great man as<span class='pagenum'><a id="Page_256">[256]</a></span> he was with Melancthon, who said of Dürer, that “his least merit was that of his art.”</p> <div class="figcenter" style="width: 467px;"> -<a name="fig257" id="fig257"></a><a href="images/fig257-full.png"><img src="images/fig257.png" width="467" height="425" alt="Fig. 257.—The Cemetery of St. John." title="Fig. 257.—The Cemetery of St. John." /></a> +<a id="fig257"></a><a href="images/fig257-full.png"><img src="images/fig257.png" alt="Fig. 257.—The Cemetery of St. John." title="Fig. 257.—The Cemetery of St. John." style="width: 467px; height: 425px"></a> <span class="caption">Fig. 257.—The Cemetery of St. John.</span> </div> @@ -6033,10 +6024,10 @@ Nürnberg was tottering to its fall, worn down by mental toil, and withered at heart by one of the worst wives on record, died Albert Dürer at the age of fifty-seven.</p> -<p><span class='pagenum'><a name="Page_257" id="Page_257">[257]</a></span></p> +<p><span class='pagenum'><a id="Page_257">[257]</a></span></p> <div class="figcenter" style="width: 428px;"> -<a name="fig258" id="fig258"></a><a href="images/fig258-full.png"><img src="images/fig258.png" width="427" height="234" alt="Fig. 258.—The Grave of Albert Dürer." title="Fig. 258.—The Grave of Albert Dürer." /></a> +<a id="fig258"></a><a href="images/fig258-full.png"><img src="images/fig258.png" alt="Fig. 258.—The Grave of Albert Dürer." title="Fig. 258.—The Grave of Albert Dürer." style="width: 427px; height: 234px"></a> <span class="caption">Fig. 258.—The Grave of Albert Dürer.</span> </div> @@ -6046,43 +6037,43 @@ direction. Passing out of the town by the gate opposite Dürer’s house the sculptured representations of the scenes of Christ’s Passion, by Adam Krafft, already alluded to, will guide our footsteps on our way. About three-quarters of a mile from the town, we reach the gate beside -which stands Krafft’s group of the Crucifixion.<a name="FNanchor_257-1_52" id="FNanchor_257-1_52"></a><a href="#Footnote_257-1_52" class="fnanchor">257-*</a> We enter, and +which stands Krafft’s group of the Crucifixion.<a id="FNanchor_257-1_52"></a><a href="#Footnote_257-1_52" class="fnanchor">257-*</a> We enter, and stand in a graveyard thickly covered with gravestones. Here the burgher aristocracy of Nürnberg have been buried for centuries.</p> -<p>The heavy slabs which cover the graves are in many instances<span class='pagenum'><a name="Page_258" id="Page_258">[258]</a></span> highly +<p>The heavy slabs which cover the graves are in many instances<span class='pagenum'><a id="Page_258">[258]</a></span> highly enriched by bronze plates elaborately executed, containing coats of arms, emblems, or full-length figures. Each grave is numbered, and that of Dürer is marked 649. The stone had fallen into decay, when Sandrart -the painter had it renewed in 1681.<a name="FNanchor_258-1_53" id="FNanchor_258-1_53"></a><a href="#Footnote_258-1_53" class="fnanchor">258-*</a> This honourable act of love +the painter had it renewed in 1681.<a id="FNanchor_258-1_53"></a><a href="#Footnote_258-1_53" class="fnanchor">258-*</a> This honourable act of love from a living artist to a dead brother, enabled the memorial to stand another century of time. The artists of Nürnberg now look after its conservation; it has recently been repaired by them, and on the anniversary of the Spring morning when the great master departed, they reverently visit his resting-place. The inscription upon it runs thus:—</p> -<p class="titlepage">ME. AL. DU.<br /> -QUICQUID ALBERTI DURERI MORTALE<br /> -FVIT SUB HOC CONDITUR TUMULO.<br /> -EMIGRAVIT. VIII. IDUS. APRILIS<br /> +<p class="titlepage">ME. AL. DU.<br> +QUICQUID ALBERTI DURERI MORTALE<br> +FVIT SUB HOC CONDITUR TUMULO.<br> +EMIGRAVIT. VIII. IDUS. APRILIS<br> M.D.XXVIII.</p> <p class="noindent">The sentiment of this epitaph has been beautifully rendered by Longfellow—</p> -<p class="poem">“<i>Emigravit</i> is the inscription on the tombstone where he lies;<br /> +<p class="poem">“<i>Emigravit</i> is the inscription on the tombstone where he lies;<br> Dead he is not,—but departed—for the artist never dies.”</p> <p>Thus ends our brief review of the life and labours of Dürer and his fellow artists. If it has “called up forgotten glories,” it has not been a labour ill-bestowed. If it should induce others to leave England for Nürnberg, as the writer hereof was induced, he can venture to predict -full satisfaction from the journey. Any one<span class='pagenum'><a name="Page_259" id="Page_259">[259]</a></span> who may ramble through its +full satisfaction from the journey. Any one<span class='pagenum'><a id="Page_259">[259]</a></span> who may ramble through its streets, know its past history, feel its poetic associations, like the American bard we have just quoted, will say, as he has done, of old Nürnberg and the great and good Albert Dürer—</p> -<p class="poem">“Fairer seems the ancient city, and the sunshine seems more fair,<br /> +<p class="poem">“Fairer seems the ancient city, and the sunshine seems more fair,<br> That he once has trod its pavement, that he once has breathed its air!”</p> @@ -6093,45 +6084,45 @@ That he once has trod its pavement, that he once has breathed its air!”</p <div class="footnotes"> -<p class="footnote"><a name="Footnote_190-1_26" id="Footnote_190-1_26"></a><a href="#FNanchor_190-1_26"><span class="label">190-*</span></a> Sir E. Head’s introduction to the English translation +<p class="footnote"><a id="Footnote_190-1_26"></a><a href="#FNanchor_190-1_26"><span class="label">190-*</span></a> Sir E. Head’s introduction to the English translation of Kügler’s “Handbook of Painting.” Part II.</p> -<p class="footnote"><a name="Footnote_191-1_27" id="Footnote_191-1_27"></a><a href="#FNanchor_191-1_27"><span class="label">191-*</span></a> Longfellow’s “Spanish Student.”</p> +<p class="footnote"><a id="Footnote_191-1_27"></a><a href="#FNanchor_191-1_27"><span class="label">191-*</span></a> Longfellow’s “Spanish Student.”</p> -<p class="footnote"><a name="Footnote_212-1_28" id="Footnote_212-1_28"></a><a href="#FNanchor_212-1_28"><span class="label">212-*</span></a> Engravings of these will be found in the <i>Art-Journal</i> +<p class="footnote"><a id="Footnote_212-1_28"></a><a href="#FNanchor_212-1_28"><span class="label">212-*</span></a> Engravings of these will be found in the <i>Art-Journal</i> for 1854, pp. 307-8.</p> -<p class="footnote"><a name="Footnote_212-2_29" id="Footnote_212-2_29"></a><a href="#FNanchor_212-2_29"><span class="label">212-†</span></a> Longfellow.</p> +<p class="footnote"><a id="Footnote_212-2_29"></a><a href="#FNanchor_212-2_29"><span class="label">212-†</span></a> Longfellow.</p> -<p class="footnote"><a name="Footnote_215-1_30" id="Footnote_215-1_30"></a><a href="#FNanchor_215-1_30"><span class="label">215-*</span></a> They have been presented from time to time to such +<p class="footnote"><a id="Footnote_215-1_30"></a><a href="#FNanchor_215-1_30"><span class="label">215-*</span></a> They have been presented from time to time to such potentates as the townsmen wished to conciliate. Thus, his Four Apostles, bequeathed by the artist to his native town, was presented by the council to the Elector Maximilian I., of Bavaria, and are now in the Pinacothek in Munich.</p> -<p class="footnote"><a name="Footnote_218-1_31" id="Footnote_218-1_31"></a><a href="#FNanchor_218-1_31"><span class="label">218-*</span></a> “Guido seems to have availed himself of some of these +<p class="footnote"><a id="Footnote_218-1_31"></a><a href="#FNanchor_218-1_31"><span class="label">218-*</span></a> “Guido seems to have availed himself of some of these figures in his celebrated fresco of the Car of Apollo, preceded by Aurora, and accompanied by the Hours.”—<span class="smcap">Chatto’s</span> <i>History of Wood Engraving</i>, p. 303.</p> -<p class="footnote"><a name="Footnote_221-1_32" id="Footnote_221-1_32"></a><a href="#FNanchor_221-1_32"><span class="label">221-*</span></a> For a general notice of Dürer’s works, and several +<p class="footnote"><a id="Footnote_221-1_32"></a><a href="#FNanchor_221-1_32"><span class="label">221-*</span></a> For a general notice of Dürer’s works, and several engravings of the best of them, see the <i>Art-Journal</i> for 1851, pp. 141-144 and pp. 193-196. See also, “Vignettes d’Albert Dürer,” par George Franz.</p> -<p class="footnote"><a name="Footnote_223-1_33" id="Footnote_223-1_33"></a><a href="#FNanchor_223-1_33"><span class="label">223-*</span></a> These incipient bastions and horn-works may be seen in +<p class="footnote"><a id="Footnote_223-1_33"></a><a href="#FNanchor_223-1_33"><span class="label">223-*</span></a> These incipient bastions and horn-works may be seen in our cut, p. 194.</p> -<p class="footnote"><a name="Footnote_223-2_34" id="Footnote_223-2_34"></a><a href="#FNanchor_223-2_34"><span class="label">223-†</span></a> Marc Antonio had copied Dürer’s cuts on copper, but +<p class="footnote"><a id="Footnote_223-2_34"></a><a href="#FNanchor_223-2_34"><span class="label">223-†</span></a> Marc Antonio had copied Dürer’s cuts on copper, but they are poor substitutes for the originals. They, however, did Dürer an injury of which he complained.</p> -<p class="footnote"><a name="Footnote_225-1_35" id="Footnote_225-1_35"></a><a href="#FNanchor_225-1_35"><span class="label">225-*</span></a> In her “Visits and Sketches of Art at Home and Abroad,” +<p class="footnote"><a id="Footnote_225-1_35"></a><a href="#FNanchor_225-1_35"><span class="label">225-*</span></a> In her “Visits and Sketches of Art at Home and Abroad,” 4 vols. 8vo., 1834.</p> -<p class="footnote"><a name="Footnote_227-1_36" id="Footnote_227-1_36"></a><a href="#FNanchor_227-1_36"><span class="label">227-*</span></a> L. E. L.</p> +<p class="footnote"><a id="Footnote_227-1_36"></a><a href="#FNanchor_227-1_36"><span class="label">227-*</span></a> L. E. L.</p> -<p class="footnote"><a name="Footnote_227-2_37" id="Footnote_227-2_37"></a><a href="#FNanchor_227-2_37"><span class="label">227-†</span></a> Mrs. Jameson speaks of his portrait as “beautiful, +<p class="footnote"><a id="Footnote_227-2_37"></a><a href="#FNanchor_227-2_37"><span class="label">227-†</span></a> Mrs. Jameson speaks of his portrait as “beautiful, like the old heads of our Saviour; and the predominant expression is calm, dignified, intellectual, with a tinge of melancholy. This picture was painted at the age of twenty-eight; he was then suffering from that @@ -6140,14 +6131,14 @@ his heart.” We have engraved this portrait in the head-piece to this subject (p. 187), along with those of his wife and of his friend Pirkheimer.</p> -<p class="footnote"><a name="Footnote_228-1_38" id="Footnote_228-1_38"></a><a href="#FNanchor_228-1_38"><span class="label">228-*</span></a> Leopold Schefer has constructed a <i>novelette</i> on his +<p class="footnote"><a id="Footnote_228-1_38"></a><a href="#FNanchor_228-1_38"><span class="label">228-*</span></a> Leopold Schefer has constructed a <i>novelette</i> on his domestic career, which has been cleverly translated by Mrs. Stodart. It is entitled “The Artist’s Married Life, being that of Albert Dürer.” It teaches much by its pure philosophy.</p> -<p class="footnote"><a name="Footnote_229-1_39" id="Footnote_229-1_39"></a><a href="#FNanchor_229-1_39"><span class="label">229-*</span></a> They are now in the Pinacothek at Munich.</p> +<p class="footnote"><a id="Footnote_229-1_39"></a><a href="#FNanchor_229-1_39"><span class="label">229-*</span></a> They are now in the Pinacothek at Munich.</p> -<p class="footnote"><a name="Footnote_229-2_40" id="Footnote_229-2_40"></a><a href="#FNanchor_229-2_40"><span class="label">229-†</span></a> Dürer had warmly espoused the Reformation, and had +<p class="footnote"><a id="Footnote_229-2_40"></a><a href="#FNanchor_229-2_40"><span class="label">229-†</span></a> Dürer had warmly espoused the Reformation, and had placed quotations from the gospels and epistles of the Apostles beneath each picture, containing pressing warnings not to swerve from the written word, or listen to false prophets and perverters of the truth. @@ -6156,17 +6147,17 @@ Maximilian I., of Bavaria, in 1627, they cut off these inscriptions, and affixed them to the copies they had made for themselves by Vischer, and which are now in the Landauer Gallery at Nürnberg.</p> -<p class="footnote"><a name="Footnote_230-1_41" id="Footnote_230-1_41"></a><a href="#FNanchor_230-1_41"><span class="label">230-*</span></a> There is an old tradition that Dürer intended these +<p class="footnote"><a id="Footnote_230-1_41"></a><a href="#FNanchor_230-1_41"><span class="label">230-*</span></a> There is an old tradition that Dürer intended these figures also as embodiments of the four mental temperaments—John, representing the melancholic; Peter, the meditative, or phlegmatic; Mark, the sanguine; and Paul, the resolute or choleric.</p> -<p class="footnote"><a name="Footnote_231-1_42" id="Footnote_231-1_42"></a><a href="#FNanchor_231-1_42"><span class="label">231-*</span></a> Kügler. Mrs. Jameson, in her “Visits at Home and +<p class="footnote"><a id="Footnote_231-1_42"></a><a href="#FNanchor_231-1_42"><span class="label">231-*</span></a> Kügler. Mrs. Jameson, in her “Visits at Home and Abroad,” also speaks of them as “wonderful! In expression, in calm religious majesty, in suavity of pencilling, and the grand, pure style of the heads and drapery, quite like Raffaelle.”</p> -<p class="footnote"><a name="Footnote_231-2_43" id="Footnote_231-2_43"></a><a href="#FNanchor_231-2_43"><span class="label">231-†</span></a> Among the rest is the very marvellous one performed +<p class="footnote"><a id="Footnote_231-2_43"></a><a href="#FNanchor_231-2_43"><span class="label">231-†</span></a> Among the rest is the very marvellous one performed during a journey in winter, when he was nearly destroyed by cold, and entered a peasant’s cottage, hoping to find relief. The poor man had no fuel, so the saint made up a fire from the icicles which hung around the @@ -6174,7 +6165,7 @@ house, completing his good acts by mending his broken kettle, “by blessing it, at the request of his host,” and converting stones into bread by the same simple process.</p> -<p class="footnote"><a name="Footnote_234-1_44" id="Footnote_234-1_44"></a><a href="#FNanchor_234-1_44"><span class="label">234-*</span></a> Vischer’s house is situated on the other side of the +<p class="footnote"><a id="Footnote_234-1_44"></a><a href="#FNanchor_234-1_44"><span class="label">234-*</span></a> Vischer’s house is situated on the other side of the River Pegnitz, which divides the town; it is in a steep street rising suddenly from the water. The house has undergone some alterations in its external aspect, apparently about the latter half of the seventeenth @@ -6186,21 +6177,21 @@ projecting from the large window in the roof is used as a crane to lift wood and heavy stores to the upper floors, which are the depositaries for such necessities, and not the cellars, as with us.</p> -<p class="footnote"><a name="Footnote_235-1_45" id="Footnote_235-1_45"></a><a href="#FNanchor_235-1_45"><span class="label">235-*</span></a> Murray’s “Handbook of Germany.”</p> +<p class="footnote"><a id="Footnote_235-1_45"></a><a href="#FNanchor_235-1_45"><span class="label">235-*</span></a> Murray’s “Handbook of Germany.”</p> -<p class="footnote"><a name="Footnote_240-1_46" id="Footnote_240-1_46"></a><a href="#FNanchor_240-1_46"><span class="label">240-*</span></a> His grave is in the cemetery of St. John, No. 268.</p> +<p class="footnote"><a id="Footnote_240-1_46"></a><a href="#FNanchor_240-1_46"><span class="label">240-*</span></a> His grave is in the cemetery of St. John, No. 268.</p> -<p class="footnote"><a name="Footnote_243-1_47" id="Footnote_243-1_47"></a><a href="#FNanchor_243-1_47"><span class="label">243-*</span></a> This grave, surrounded by sculpture, forms a little +<p class="footnote"><a id="Footnote_243-1_47"></a><a href="#FNanchor_243-1_47"><span class="label">243-*</span></a> This grave, surrounded by sculpture, forms a little external chapel, at the back of the choir of St. Sebald’s Church. We have already mentioned Schreyer as the originator of Vischer’s shrine in that church.</p> -<p class="footnote"><a name="Footnote_244-1_48" id="Footnote_244-1_48"></a><a href="#FNanchor_244-1_48"><span class="label">244-*</span></a> Mrs. Jameson, “Sketches of Art at Home and Abroad.” The +<p class="footnote"><a id="Footnote_244-1_48"></a><a href="#FNanchor_244-1_48"><span class="label">244-*</span></a> Mrs. Jameson, “Sketches of Art at Home and Abroad.” The curious series of views in Nürnberg, published there by Conrad Monath, about 1650, are remarkably identical with the present aspect of each locality engraved.</p> -<p class="footnote"><a name="Footnote_245-1_49" id="Footnote_245-1_49"></a><a href="#FNanchor_245-1_49"><span class="label">245-*</span></a> The crown and royal robes of Charlemagne were those +<p class="footnote"><a id="Footnote_245-1_49"></a><a href="#FNanchor_245-1_49"><span class="label">245-*</span></a> The crown and royal robes of Charlemagne were those found in his tomb at Aix-la-Chapelle, afterwards used in the coronation of the German emperors for many centuries, and only transferred to Vienna during the great political changes of the last century. “The @@ -6217,28 +6208,28 @@ Baptist; a piece of the coat of St. John the Evangelist; and three links of the chains which bound St. Peter, St. Paul, and St. John in the Roman prison.</p> -<p class="footnote"><a name="Footnote_246-1_50" id="Footnote_246-1_50"></a><a href="#FNanchor_246-1_50"><span class="label">246-*</span></a> Edgar Taylor’s “Lays of the Minnesingers.”</p> +<p class="footnote"><a id="Footnote_246-1_50"></a><a href="#FNanchor_246-1_50"><span class="label">246-*</span></a> Edgar Taylor’s “Lays of the Minnesingers.”</p> -<p class="footnote"><a name="Footnote_250-1_51" id="Footnote_250-1_51"></a><a href="#FNanchor_250-1_51"><span class="label">250-*</span></a> It is seen in our view from Albert Dürer’s house, and +<p class="footnote"><a id="Footnote_250-1_51"></a><a href="#FNanchor_250-1_51"><span class="label">250-*</span></a> It is seen in our view from Albert Dürer’s house, and is close beside the gate of the town.</p> -<p class="footnote"><a name="Footnote_257-1_52" id="Footnote_257-1_52"></a><a href="#FNanchor_257-1_52"><span class="label">257-*</span></a> Our engraving (<a href="#fig257">Fig. 257</a>) is taken from a sketch made on +<p class="footnote"><a id="Footnote_257-1_52"></a><a href="#FNanchor_257-1_52"><span class="label">257-*</span></a> Our engraving (<a href="#fig257">Fig. 257</a>) is taken from a sketch made on this spot, looking back towards the city, and its ancient castle on the rock. Krafft’s sculptures are seen to the left, at intervals, on the road-side.</p> -<p class="footnote"><a name="Footnote_258-1_53" id="Footnote_258-1_53"></a><a href="#FNanchor_258-1_53"><span class="label">258-*</span></a> He also is interred in this cemetery. So is Dürer’s +<p class="footnote"><a id="Footnote_258-1_53"></a><a href="#FNanchor_258-1_53"><span class="label">258-*</span></a> He also is interred in this cemetery. So is Dürer’s friend, Pirkheimer; his grave is No. 1414.</p> </div> -<hr class="pagebreak" /> +<hr class="pagebreak"> <div class="tn"> -<p class="titlepage"><a name="trans_note" id="trans_note"></a><b>Transcriber’s Note</b></p> +<p class="titlepage"><a id="trans_note"></a><b>Transcriber’s Note</b></p> <p class="noindent">The following typographical errors were corrected.</p> -<table style="margin-left: 0%;" cellpadding="2" cellspacing="0" summary="typos"> +<table style="margin-left: 0%; padding: 2px; border-spacing: 0px;"> <tr> <td><b>Page</b></td> <td><b>Error</b></td> @@ -6278,9 +6269,6 @@ friend, Pirkheimer; his grave is No. 1414.</p> </ul> </div> -<pre> - <div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 26449 ***</div> - </body> </html> |