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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..79f0fe8 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #53290 (https://www.gutenberg.org/ebooks/53290) diff --git a/old/53290-0.txt b/old/53290-0.txt deleted file mode 100644 index 07006f3..0000000 --- a/old/53290-0.txt +++ /dev/null @@ -1,2229 +0,0 @@ -The Project Gutenberg EBook of Engravings of Lions, Tigers, Panthers, -Leopards, Dogs, &c., by Thomas Landseer - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Engravings of Lions, Tigers, Panthers, Leopards, Dogs, &c. - -Author: Thomas Landseer - -Illustrator: Edwin Henry Landseer - -Release Date: October 16, 2016 [EBook #53290] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ENGRAVINGS OF LIONS, TIGERS *** - - - - -Produced by MWS, ellinora and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/Canadian Libraries) - - - - - - - - - - Transcriber’s Note - - Obvious typos and missing punctuation corrected. - - Antiquated use of ‘V’ for ‘U’, older spellings (e.g. opake), - inconsistent spellings (e.g. artist names and work titles), and some - inconsistencies in formatting of text have been retained. - - Work titles “Tiger Hunt” and “Tiger taking the Water” have been added - to the captions of Plates XXXVI and XXXVII respectively. - - Small caps in the original are represented by ALL CAPS. - - Italics in the original are represented by underscores surrounding the - _italic text_. - - Superscripts in the original are represented by a caret ^ preceding the - raised character. - - The first plate shows a lion’s head breaking through an engraved - tablet, removing some of the letters in the middle. - ------------------------------------------------------------------------- - -[Illustration: 1 - - TWENTY ENGRAVINGS - of - LIONS TIGERS - PANTHERS & LEOPARDS - BY THO LANDSEER -from ORIGINALS by STVBBS -RVBENS SPILSBVRY. -REMBRANT & EDWIN -REYDINGER LANDSEER -with an ESSAY on 1823 -the CARNIVORA -by J. Lan] - ------------------------------------------------------------------------- - - - - - ENGRAVINGS - - OF - - LIONS, TIGERS, - PANTHERS, LEOPARDS - DOGS, &c. - - CHIEFLY AFTER THE DESIGNS OF - - SIR EDWIN LANDSEER, - - BY HIS BROTHER, - - THOMAS LANDSEER. - - PRINTED FROM THE ORIGINAL PLATES PUBLISHED BETWEEN 1823 AND 1828. - - - LONDON: - HENRY G. BOHN, YORK STREET, COVENT GARDEN. - MDCCCLIII. - ------------------------------------------------------------------------- - - - - - LIST OF PLATES. - - - DESIGNER ENGRAVER - - 1 Lion couchant, _Frontispiece_ EDWIN _T. Landseer_ - LANDSEER - - 2 Leopard, after Ridinger SPILSBURY _T. Landseer_ - - 3 Lions, after Rubens SPILSBURY _T. Landseer_ - - 4 Tiger, from Nature SPILSBURY _T. Landseer_ - - 5 Leopards, after Rubens SPILSBURY _T. Landseer_ - - 6 Contending Group, from Nature EDWIN _T. Landseer_ - LANDSEER - - 7 Lion and Snake, from Nature SPILSBURY _T. Landseer_ - - 8 Senegal Lion and Lioness, after SPILSBURY _T. Landseer_ - Ridinger - - 9 Lion and Tiger, after Stubbs SPILSBURY _T. Landseer_ - - 10 Tigress, from Nature T. LANDSEER _T. Landseer_ - - 11 Lions, after Rubens SPILSBURY _T. Landseer_ - - 12 Panthers, after Stubbs SPILSBURY _T. Landseer_ - - 13 Panthers, after Stubbs SPILSBURY _T. Landseer_ - - 14 Leopards and Panthers, after Stubbs SPILSBURY _T. Landseer_ - - 15 Lions, after Rubens SPILSBURY _T. Landseer_ - - 16 Lions, after Rubens SPILSBURY _T. Landseer_ - - 17 Lioness and Bitch, from Cross’s EDWIN _T. Landseer_ - Menagerie LANDSEER - - 18 Lion, after Ridinger SPILSBURY _T. Landseer_ - - 19 Tiger and Indian Bullock, from Nature EDWIN _T. Landseer_ - LANDSEER - - 20 { Senegal Lion, after Ridinger } - { Black-maned Lion, after Rembrandt } SPILSBURY _T. Landseer_ - { Lioness, after Ridinger } - - 21 Neptune, a Newfoundland Dog EDWIN _T. Landseer_ - LANDSEER - - 22 Brutus, a Terrier EDWIN _T. Landseer_ - LANDSEER - - 23 Portrait of a Cross of the Dog and Fox EDWIN _T. Landseer_ - LANDSEER - - 24 Dogs setting a Hare EDWIN _T. Landseer_ - LANDSEER - - 25 Vixen, a Scotch Terrier EDWIN _T. Landseer_ - LANDSEER - - 26 Fox Hounds of the Hatfield Hunt EDWIN _T. Landseer_ - LANDSEER - - 27 Proctor, Study of a Blood-hound’s Head EDWIN _T. Landseer_ - LANDSEER - - 28 Bob, a favourite Terrier EDWIN _T. Landseer_ - LANDSEER - - 29 The Poacher, “The Wily Fox” EDWIN _T. Landseer_ - LANDSEER - - 30 Alpine Mastiff EDWIN _T. Landseer_ - LANDSEER - - 31 Old Dog looks like a Picture EDWIN _J. Webb_ - LANDSEER - - 32 Fight between “Jacko Maccacco,” } - a celebrated Monkey, } T. - and Mr. Thos. Cribb’s } LANDSEER _T. Landseer_ - well known bitch “Puss” } - - 33 Little Billy, a celebrated Bull Dog T. LANDSEER _T. Landseer_ - - 34 Black Cap, a Harrier’s head G. H. LAPORTE _T. Landseer_ - - 35 Dead Red Deer EDWIN _J. R. Scott_ - LANDSEER - - 36 Tiger Hunt T. LANDSEER _T. Landseer_ - - 37 Tiger taking the Water SIR C. _T. Landseer_ - D’OYLY, Bart. - - 38 Elephants returning from the Hunt SIR C. _T. Landseer_ - D’OYLY, Bart. - - 39 Red Deer R. HILLS _T. Landseer_ - ------------------------------------------------------------------------- - - - - - CARNIVOROUS QUADRUPEDS. - - - DESCRIPTION OF THE PLATES. - -That there has hitherto existed no good book of Engravings of the nobler -wild animals, to assist the progress of the student in that department -of Art, is to be regretted. The talents of Mr. JOHN SCOTT, brought into -action by those of GILPIN, COOPER, and the REINAGLES, have presented the -public with excellent representations of the distinguished ornaments of -the turf: the sports of the field, and the habits and manners of the -canine race, were also duly honoured: but of the ferocious TIGER tribe, -and the lordly LION, we have nothing extant that would bear critical -inspection, beyond a few detached prints:—nothing like a collection of -figures, whose justness and accuracy of form, action, character, and -expression, might be relied on. - -Does any reader imagine that the various Etchings which have been -performed—chiefly abroad—by Artists of no mean ability, may be -considered as exceptions? They are not exceptions: or at best, the -number which might be so regarded is but small, and those, for the most -part, of dimensions not accommodated to the drawer of the cabinet, or -the shelf of the library. - -But they are not objectionable on this ground alone. Speaking of them in -the aggregate, the heavier charge lies against them of being -insufficient to those purposes of taste and information which are the -ends of Art. Even those after TITIAN and after RUBENS (the latter of -whom has perhaps painted a greater number than any other of the old -masters) are far more deficient in form, character, and expression, than -is generally supposed, or than will be easily believed, by those who -have not actually compared them with the Lions, Leopards, and Tigers of -Nature. They have been taken too much on the credit which attaches to -the great names of their authors.—Nor is this intended to impugn the -merits, as historical or poetical painters, of those distinguished -Artists, but simply as an assertion of truth. It is possible, that as a -painter of allegory, RUBENS might consider that strong infusion of -_human_ form, character, and expression, by which his Lions, for -example, are distinguished, as necessary, or conducive, to his -allegorical purposes; or, it is possible that his knowledge of this -animal may not have been thoroughly well-grounded, and that he may have -laboured under early prejudice of mind, or of vision, in this part of -his education as a Painter, and may not have seen Lions as they really -are. This is what the writer is most inclined to believe, (though not to -insist); for even in treating the subject of Daniel in the den of -Lions—the scene of which, by the way, he has not represented as a royal -menagerie, but as a wild, rocky cavern—his animals partake of the -artificial character of which we cannot bring ourselves to approve. - -Of this fact, however, we purpose to exhibit proof with our assertion. -Improved versions, to the best abilities of our Artists, of some of -these Lions of RUBENS and the Assyrian king, will here be introduced, -which the reader, who pleases, may compare with the originals. Our -second, third, and fourth Plates are of the number. - -The Lions of RUBENS are _humanized_. We do not intend to discuss at -length whether the ideality of allegorical painting required this: we -only state the fact: yet the opinions which we felt at liberty to form -on the subject, we feel at liberty to utter. So much in apology for -using the licence of asserting that the heads of many of the Lions of -RUBENS rather resemble those of frowning old gentlemen decorated with -Ramillies wigs; as if Nature’s journeymen had made _manes_, and not made -them well. There is a profusion of flowing and curling hair, which seems -rather to solicit the unguents of the perfumer, than to have endured the -torrid heats of the desert, or the rough storms of the forest. The shag -of a Lion’s mane is a very different sort of thing. - -However such dressed Lions may be thought to accord with Allegory, they -are demonstrably at variance with Nature. To be sure, what might become -a Lion in the procession of the Cardinal Virtues, might be rather -unsuitable in his den, or within the precincts of those wild haunts, -where he is accustomed to roam in his natural state. We have often read -of the fabled Men-bulls, or (Minotaurs,) and we find such on the coinage -of Crete. These allegorical creatures of RUBENS, which, alas! have -sometimes been _quoted_ by Artists without half his genius, and placed -in savage conflicts, or beside their Britannias—are a species of -Men-lions. Placed among the Sabæan sculptures, they might pass for -incarnations of Sol in Leo; but would very ill pass for Leo alone. - -Among the observers of this poetic improvement, or this natural and -unpoetical deficiency, on the part of RUBENS, TITIAN, JULIO ROMANO, and -other painters, both ancient and modern; and of the consequent -_desideratum_ on the part of the public, of a cabinet or library -collection of the nobler wild animals in a state of Nature, so as to -answer the purposes of reference, while they conduced to the pleasures -of Taste, were Mr. EDGAR SPILSBURY and Mr. THOMAS LANDSEER. Whether or -not the public “looked up to them for light” on that subject, (to use -the language of STERNE,) they thought the Public “deserved it;” and they -therefore, as the best practical means of eliciting that light, first -copied the general forms and attitudes of most of the wild animals that -appear in this book, from the old masters—generally speaking, from works -that are well known—and then, went to Nature and corrected the details. -They carried with them what, in those ancient masters, was meritorious -in composition, attitude and chiaroscuro, and brought away, to the best -of their ability—superadding it to, and blending it with, the -above—accuracy of detail. - ------------------------------------------------------------------------- - -[Illustration: 2 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -LEOPARD after REYDINGER.] - ------------------------------------------------------------------------- - -Every artist does best, that which he is best qualified and best -disposed to do. In completing the number of plates that has been found -necessary for the Work, Mr. EDWIN LANDSEER has chosen to proceed toward -the same purpose, upon a different principle. He has gone, without any -introductory medium, directly to the living animals, and has exhibited -the savage manners and habits of these quadrupeds, according to his own -ideas and observations. - -On the distinction between CHARACTER and EXPRESSION, we shall now -deliver our opinion. By the _Character_ of an animal, we mean those -permanencies of his look and features which he always offers to view -when in a placid, or unimpassioned state: by his _Expression_, the -variations of muscular action superinduced on character, to which he is -liable, as the storms of passion sweep by, and his mind becomes agitated -by external circumstances acting on the ardours of his instinct. - -The former, seems to hold its court in the solid and massy parts: the -latter, agitates, ofttimes rebelliously, the nerves and muscles. -Character is ever present, both in the animal countenance, and in the -“human face divine.” The most violent expression does not proscribe, or -obliterate, character. Individuality consists of it, as far as concerns -external appearance; and it forms the system of vowels of the language -of Nature, without which no Expression could be. - -Whoever regards the faces of a flock of Sheep, will see in them an -infinite variety of Character, with very little Expression, and that -little without diversity: and if we descend a step lower in the scale of -being, and contemplate the finny tribe, where Character is not wanting, -we find no Expression at all. Even Trees and inanimate objects, possess -Character. We recollect a poetical friend of ours, now in Italy, saying -that every tree and every rock had a _face_—but of this we are not so -certain; though very certain, that there is enough of _Character_ in -rocks and trees, to make a poet think so. - -_Character_ and _Expression_, in the carnivorous class of animals, to -which we here solicit attention, are always co-existent—their -proportions varying with the existing occasions—in pictorial exhibitions -of such subjects. - - - No. II. - -There is much Character, and little Expression, in the reposing Leopard -with his sheathed claws, which is shewn in the present engraving, copied -by Mr. SPILSBURY from RIDINGER, and corrected from Nature. RIDINGER was -an artist of great power, who studied wild animals in their sequestered -haunts, as is shewn in his grand forest back-grounds; and who, generally -speaking, left little or no room for others to improve, except on some -few of his inferior works. The present is an interesting and beautiful -animal, yet there is a latent capability of mischief characterised in -his countenance, and we might ask, in the language of Job, “Who shall -dare to rouse him up?” - - - No. III. - -TWO COUCHANT LIONS, AFTER RUBENS, taken from his celebrated picture -before alluded to, of the Prophet Daniel incarcerated in the den. The -Lions are here supposed to be miraculously held in a state of -tranquillity. Here, too, is not much Expression, but an extraordinary -grandeur of Character, suited to the greatness of an occasion where the -Deity himself especially interferes to seal up the voracious energies of -the most terrible of his creatures, in calm submission. There is a -character of royal dignity mingled with this submission, which is very -impressive, and even sublime. - -The writer esteems this to be a successful restoration of the Nature -that was wanting in the prints of this subject, (which has often been -engraved by PICART and others,) after RUBENS. The original picture it -has been our ill-fortune never to have seen. The shaggy manes, and the -latent terror that sits gloomily enthroned in the open eyes of the -superior Lion—suited to the darkness of the den, and the nature of this -animal’s sense of vision,—are as well thought of, as they are executed; -and are varied with much address from the closed eyes of the couching -Lion beyond, of which also the character is most happily marked. A -powerful and divine spell possesses them both. - - - No. IV. - -THE TIGER WHICH MARCHES IN OUR PROCESSION, without an object before him -to call forth emotion, possesses a calm character, combined with the -resistless strength of that dreadful quadruped; whose very tranquillity, -in his leisure sauntering, when no excitement is acting on his nerves, -has an appalling effect.—His brow is clouded, though his claws are -sheathed. There is a possibility of a dreadful storm which may not be -far distant, and that is enough to stamp the Tiger’s character. None -shall dare to arouse his energies, nor to encounter them when aroused. - - - No. V. - -THIS GROUP OF PLAYFUL LEOPARDS, AFTER RUBENS, must be supposed to belong -to the jocund train of Bacchus, since they are luxuriating at their -ease, among grapes and vine branches. These Leopards are doubtless -intended to have a degree of playful expression—induced perhaps by the -exhilarating juice of the grape: and we should “guess” (as _Jonathan_ -says) that this group was studied from a litter of half-grown kittens. -Few, however, except the sailors who were accustomed to gambol with the -Tiger-cub on board the Pitt East-Indiaman, would like to venture to -frolic _with_ them. - ------------------------------------------------------------------------- - -[Illustration: 3 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -LIONS after RUBENS.] - ------------------------------------------------------------------------- - -[Illustration: 4 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -TIGER after NATURE.] - ------------------------------------------------------------------------- - -[Illustration: 5 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -LEOPARDS after RUBENS.] - ------------------------------------------------------------------------- - -[Illustration: 6 - -_E. Landseer del^t._ _T. Landseer sculp^t._ - -CONTENDING GROUP after NATURE.] - ------------------------------------------------------------------------- - - - No. VI. - -In this GROUP by MR. EDWIN LANDSEER there is much of violent animal -_Expression_, and Character fades before it, or rather, is absorbed in -it. It tells a story of the past as well as the present, and is pregnant -with a catastrophe not difficult to anticipate from the actions and -expressions of the parties engaged. A FAWN has been seized by a LEOPARD, -who has been despoiled of his prey by a more powerful TIGER. The Tiger -in his turn becomes the victim of an enraged LION. - -The expression of the wounded Leopard is that of painful suffering -mingled with dread. Together, they amount to agony. He shrieks while he -submits. The Tiger is still enraged and resisting, though astounded with -the power and suddenness of the Lion’s attack. He is losing his energy -of resistance, and is beginning to feel that all resistance is vain. He -roars with anguish; while his expression is that of terror, and -indignation not yet subdued. - -The Lion, who has just made his thundering spring, appears conscious of -having fatally seized his adversary, and luxuriates fearlessly in his -victory; and with a powerful and just expression of carnivorous -enjoyment.—Meanwhile the characters of the animals, severally, are -faithfully and specifically represented. - -Although our main purpose be to exhibit rather a pictorial than a -physiological view of the subject: having descanted on the word -Character, we shall probably be expected to add, at least a word or two, -on the leading characteristics of the carnivorous class of quadrupeds. - -The generic characters of the Feline, or Cat, kind, are easily -enumerated in the concise language of the naturalists. Their heads are -round; their visages short: they have six cutting teeth, and two canine, -in either jaw: their tongues are aculeated, the prickles inclining -backward; their claws sharp, hooked, and retractile; their ears small -and acuminated; they have five toes on each of the fore-feet, and four -only on those behind. - -Of this genera of Cats, we here exhibit the four principal species, -Lions, Tigers, Leopards, and Panthers, of which the Lion is justly -placed at the head—at least, the unanimous voice of ages has pronounced -him to be the king of beasts, and we have enthroned him accordingly in -our Title-page, (No. I.) They form a tribe that is especially and -properly _Carnivorous_, being the only class of quadrupeds that are -exclusively _flesh-eaters_. Their jaws are very completely armed for -this purpose; their canine teeth being very long and angular, with the -edges of the angles turned toward the inside of their mouths; so that -when the animal has caused them to meet, or cross each other in the -flesh of its prey, these formidable teeth will cut or tear a way -through, by drawing them back without opening his mouth. - -Their claws, and the formation of their feet, too, are eminently -conducive to their predacious and carnivorous habits. They walk on their -toes: yet not so much from that habitual stealthiness of pace, by which -they advance unperceived till within a spring of their prey; as because -it is also the means of that celerity of motion which is necessary to -the very existence of animals that can feed only on flesh. - -Their claws are exceedingly powerful; and they are enabled to draw them -up into sheaths between their toes, so as to prevent their points from -touching the ground; whence they are called retractile; and those claws -are, in consequence, always kept sharp, unworn, and ready for active -service. - -The eyes of the Feline tribe—of every face in nature a striking and -important feature—vary in the different species, and are capable of much -alteration in the same animal; as instinctive impulse, or internal -emotion, changes the expression of his countenance; and also from the -degrees of light which act upon their pupils. Of Lions the pupils of the -eyes are circular, and not of a yellow colour, as has been stated in the -most diffuse modern dissertations on the Carnivora, but black. It is the -iris of the Lion’s eye that is yellow. They appear to be best suited to -nocturnal, or twilight, vision; and hence the Lion rarely hunts his prey -while the sun is above the horizon—perhaps never, but when pressed by -hunger in an extraordinary degree. The Tiger, on the contrary, will seek -his prey by day as well as by night; and during twilight the colour of -his eyes is that of a blue-green flame. If a stranger passes near a -Tiger in a menagerie, the colour of the animal’s eyes will sometimes -alter suddenly, from yellow-green to blue-green; not from any alteration -in the degree of light acting upon them, but from mental excitement, and -from a certain natural facility of expansion and contraction of the -eye-pupils. - -Hence a characteristic difference between the Lion and the Tiger. The -habits of the latter are diurnal, and he disregards night-fires: the -Lion, on the contrary, whose eyes are not calculated for the glare of -day, cannot bear to encounter fire-light at night. Yet these physical -conformations are sometimes overcome by the rage of hunger; and hence, -in MR. EDWIN LANDSEER’S contending group, the Lion is represented as -attacking the Tiger although it be day. - -MR. BELL treats learnedly, and we believe with much originality, of the -facial-muscles of this class of quadrupeds, in his “Anatomy of -Expression.”—We shall offer a few extracts, by which the reader will -perceive how limited are their powers of expression of countenance, when -compared with those of human nature, notwithstanding their superiority -over all other quadrupeds. - -“The violent passions mark themselves so distinctly on the countenances -both of men and of animals, that we are apt in the first instance to -consider the movements by which they are indicated, as certain signs or -characters provided by Nature, for the express purpose of intimating the -internal emotion; and to suppose that they are interpreted by the -observer in consequence of a peculiar and instinctive faculty. This view -of things, however, so natural at first sight, is not altogether -satisfactory to philosophy; and a more jealous observation of the facts, -seems to suggest an opposite theory, in which instinctive agency is -rejected, and the appearances are explained from a consideration of the -necessities and voluntary exertions of the animal. With regard to the -observer, it has been asserted, that it is by experience alone that he -distinguishes the signs of the passions; that we learn, while infants, -to consider smiles as expressions of kindness, because they are -accompanied by acts of beneficence and by endearments; and frowns as the -contrary, because we find them followed by blows; that the expression of -anger in a brute, is only that which has been observed to precede his -biting; and that of fondness, his fawning and licking of the hand. With -regard to the creature itself, it is said, what has been called the -external signs of passion, are merely the concomitants of those -voluntary movements, which the passions or habits suggest; that the -glare of the Lion’s eye, for example, is the consequence of a voluntary -exertion to see his prey more clearly—his grin, or snarl, the natural -motion of uncasing his fangs before he uses them. This, however, is not -quite true of all animals and of all expression of passion.” - -“Attending merely to the evidence furnished by anatomical investigation, -all that I shall venture to affirm is this: that a remarkable difference -is to be found between the anatomy and range of expression, in man and -in animals: that in the former there seems to be a systematic provision -for that mode of communication and that natural language, which is to be -read in the changes of the countenance: that there is no emotion in the -mind of man which has not its appropriate signs; and that there are even -muscles in the human face to which no other use can be assigned than to -serve as the organs of this language: that, on the other hand, there is -in the lower animals no range of expression which is not fairly -referable as a mere accessary to the voluntary or needful actions of the -animal; and that this accessary expression does not appear to be in any -degree commensurate to the variety and extent of the animal’s passions.” - -“There appears to me (continues MR. BELL) to be no expression in the -face of any animal lower in the scale of being than quadrupeds; and in -them the strongest and most marked expression is that of rage; the -object of which is opposition, resistance, and defence. But on -examination it will be found (consistently with the position, that this -is merely an accessary of the motions natural to the accomplishment of -the object which the animal has in view) that the strength of the -expression is in exact proportion to the strength of the principal -action in the creature when thus excited. - -“The gramnivorous animals, which seek their subsistence, not by preying -upon others, nor by the ferocity, contest, and victory which supply the -carnivorous with food, have in their features no strong expression of -rage. Their expression is chiefly confined indeed to the effect produced -on the general system. Thus the inflamed eye and the breathing nostrils -of the Bull, are induced only by the general excitement. His only proper -expression of rage, is in the position of the head, with the horns -turned obliquely to the ground, ready to strike: and indeed it may be -observed in general that animals which strike with the horns, shew -little indication of fear or rage, except in the position of the head. -In all gramnivorous animals, the skin of the head is closely attached to -the skull, and capable only of very limited motion: the eye is almost -uniformly mild, and the lips unmoved by passion. - -“It is in carnivorous animals, with whose habits and manner of life, -ferocity is instinctively connected, as the great means of their -subsistence, that rage is distinguished by the most remarkable strength -of expression. The eye-ball is terrible, and the retraction of the flesh -of the lips indicates the most savage fury. But the first, is merely the -exerted attention of the animal; and the other a preparatory exposure of -the canine teeth. The great animals of prey—the Lion and the Tiger—are -quite incapable of any other expression of feature, than this particular -display of ferociousness. When they fawn upon their keeper, there is no -motion in their features that indicates affection.” - -In this assertion, that the countenances of the great animals of prey -are incapable of any other than ferocious expression, we do not quite -coincide with our learned physiologist. When they fawn upon their -keeper, we think that indications of affection are exhibited; and find -ourselves ready to ask what else than kindly expression is that “licking -of the hand” which our author has before mentioned. If, however, we -should grant that they may not be capable of affectionate expression -toward their keeper, we can scarcely doubt that—toward their young—if we -could observe them in their wild state, and in their moments of playful -intercourse and enjoyment among each other—they are: at least, we think -there are motions in their features that indicate affection, as well as -fear, enquiry, surprise, gratitude, pleasurable wantonness, and some -other sentiments, or emotions. This is our conviction: at the same time, -we perceive that the range of their ferocious expression far exceeds the -savage circle of their domestic charities. Are not even the least of -these observable in the habits and manners of the domestic Cat, who -belongs to the Tiger genera? But we have even seen a Tiger in his den, -who looked good-natured enough to be stroked and patted: and of the -Lion, of whom MR. GRIFFITH relates the following anecdote, what can be -said or thought? - -“Hearing some noise under his cage, the Lion passed his paw between the -bars, and actually hauled up his keeper who was cleaning beneath; but as -soon as he perceived that he had thus ill used his master, he instantly -lay down upon his back in an attitude of complete submission.” - -Or what can be said of the circumstance mentioned by SENECA (of which he -was personally witness), of a Lion, to whom a man, who had formerly been -his keeper, was exposed for destruction in the amphitheatre at Rome; and -who was not only instantly recognised, but defended and protected by the -grateful beast?—Or of the story related by DR. SOUTHEY, of the Lion who -had broken loose, submitting to the Cid, and allowing himself to be led -back peaceably to his place of confinement? - ------------------------------------------------------------------------- - -[Illustration: 7 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -LION & SNAKE after NATURE.] - ------------------------------------------------------------------------- - -Could any painter of talent proceed to represent either of these -_facts_, without finding in the countenance of the Lion, the muscles and -the means of expressing a corresponding gentleness, or generosity, of -feeling? - -What could be said or thought of these things? Why it may be said, and -will be thought, by all those who take both sides of the argument fairly -into the question—that MR. BELL has discovered and declared, that the -muscles of affection, do not exist in the carnivora. Ergo, that the -sentiment which we so translate or acknowledge—the appearances (that is) -with which we may find ourselves affected—can only be expression of a -negative kind; resulting from the relaxation of those muscles whose -tension is necessary to the purposes, or the expression, of ferocity: -that “the force of Nature can no further go;” and that the painter—the -supposed painter, of such subjects, who is appealed to above—in order to -be in any degree successful, must “make a third, by joining the former -two”—that is to say, by mingling a portion of human nature with that of -the animal: which brings us round to the practice and the probable -theory of RUBENS; of which it affords more justification, and of a -higher kind, than superficial reasoners can be aware of. - -But, when muscles of affection are mentioned, do we talk of a positive -and acknowledged certainty; or only of a construction that has been put -upon certain muscles of the face, by those who have an hypothesis to -maintain, or who can trace affectionate expression in no other? And, are -we thence to infer the exhaustion of the subject, and non-entity of the -expression? - - - No. VII. - -MR. SPILSBURY’S LION, who has turned round his head to look at a Snake, -affords a delineated example in point. Here is no more, we think, than -the latent capability of ferocity: just so much as cannot be separated -from the native character of this noble quadruped.—The eye-ball is here, -not “terrible;” nor is “the most savage fury” indicated by the -retraction of the lips, although the lower canine teeth are exposed. -Here is a general sense of dignity; but the leading, present expression -of the moment, (as it strikes us,) is that of curiosity, or excited -attention; mingled with some degree of surprise that a contemptible -little Snake should presume to roll his puny volumes in the royal -presence. It would appear that the Lion has heard something hiss, and -cares a little, to know what it may be. - -Will it be further objected that this is _Art_?—To be sure it is. But we -think that such Lion-looks are to be seen in Nature; and that such were -seen, when the Dog which appealed to, and obtained, the _royal_ pity, -was first thrown into the Lion’s den at the Tower. We believe that this -representation of the Lion and Snake is not taken from any old master, -but is MR. SPILSBURY’S own design. - - - No. VIII. - -Neither is there any expression of ferocity, but of home comfort, in -these two maneless Lions—or LION and LIONESS of SENEGAL. That which is -asleep, however, rather illustrates our definition of _Character_, and -is so far out of the question. The Lioness—who is awake, is a kind of -_Belle-Sauvage_. Entirely without ferocity, she has some little -expression of attention gently aroused by some slight cause—less -important, we should think than the distant cry of a Chacal—a noise in -the den, perhaps, not loud enough to make it worth while to wake her -companion in order to see what’s the matter. But her expression of -countenance, is almost as mild as that of a kitten in a chimney -corner.—In fact, they seem—notwithstanding their Herculean strength—a -kind of hearth-rug Lions.[1] - -Footnote 1: - - This was written before the beautiful hearth-rug Lion introduced to us - by Mr. Crosse of Leeds, and which is equal to the finest painting. - -After venturing to express this slight difference of opinion (if it -amount to so much) with our distinguished anatomist of Expression, we -return, with becoming respect, to his valuable Treatise: though as we do -not propose to exhibit, like him, an anatomical and comparative view of -the Carnivorous and Gramnivorous genera, we shall confine ourselves to a -short extract or two, relating to the Carnivora alone— - -“It is of man alone that we can with strict propriety say the -countenance is an index of the mind, having expression corresponding -with each emotion of the soul. Other animals have no expression but that -which arises by mere accident, the concomitant of the emotions necessary -to the accomplishment of the object of the passions.”— - -“I have to remark, as relative to painting, (my original subject of -enquiry) that this remarkable difference between the expression in man, -and animals, naturally leads us to investigate what are the -peculiarities of mere animal expression. - -“In order to see distinctly what the peculiarities of mere animal -expression are, it seems proper to reduce the muscles of expression in -animals, to their proper classes. These muscles, as they appear in the -several quadrupeds, may be distinguished into—1. Those which raise the -lips from the teeth: 2. Those which surround the eye-lids: and 3. Those -which move the nostrils.” - -He next proceeds to state that “in the Carnivorous animal, the muscles -of the lip are so directed as to raise the lip from the canine -teeth;”—and these he distinguishes by the name of “_Ringentes_, or -snarling muscles.” - ------------------------------------------------------------------------- - -[Illustration: 8 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -SENEGAL LION & LIONESS after REYDINGER.] - ------------------------------------------------------------------------- - -[Illustration: 9 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -LION & TIGER after STUBBS.] - ------------------------------------------------------------------------- - -The snarling muscles take their origin from the margin of the orbit of -the eye, and from the upper jaw, and are inserted into that part of the -upper lip from which the whiskers grow, and which is opposite to the -canine teeth; and although they are assisted in this office by other -muscles, (the masticating and zygomatic muscles,) I have ventured to -distinguish them particularly as the muscles of snarling. This action of -snarling is quite peculiar to the ferocious and carnivorous animals. - -“2. Muscles which surround the eye-lid. In man the upper eye-lid is -raised by a muscle coming from the bottom of the orbit. But, besides -this muscle, animals of prey in whom there is that peculiar and -ferocious splendour of the eye, which we distinguish in the Tiger, for -example, or the Lion—have three muscles infixed in the eye-lids, which -drawing the eye-lids backward upon the peculiarly prominent eye-ball, -produce the fixed straining of the eye, and by stretching the coats, -give a greater brilliancy to the reflection. These muscles may be -classed under the term _Scintillantes_. - -“3. The muscles of the nostril are not less distinct and peculiar, in -different classes of animals, than those of the eyes and lips. In the -Carnivorous animals, the nose is comparatively insignificant, provision -being made in the open mouth for any occasional increase of respiration -above the uniform play of the lungs.” - -Taking respectful, friendly, and reluctant leave of MR. BELL, we trust -that conformity will be found between these pictorial remarks and -anatomical elucidations of his, and our engraved representations of the -Carnivora. - - - No. IX. - -The interior of a rocky den, where the LION dares to intrude on the -retired repose of a ROYAL TIGER, copied by MR. SPILSBURY from the -Sketch-book of STUBBS. On the part of the Tiger, there is expressed a -certain half frantic suspension of purpose. His look is fierce, though -apprehensive, and as if his mind was not made up whether to become the -assailant, or stand on the defensive. He is evidently taken by surprise; -and if he does not fear, he is thoroughly conscious (as DR. JOHNSON -said, when he was to meet LORD THURLOW) that “there is something to -_encounter_:” while the Lion, feeling also that he has met with his -match, is arousing his terrible energies. The heroes are threatening: -the storm has gathered: and is about to burst in fury. - -With regard to the “ferocious splendour of their eyes,” and the exposure -of their canine teeth by means of the _Ringentes_, the reader will find -here a strict accordance with MR. BELL’S theory. - - - No. X. - -The TIGRESS of BENGAL, which has been designed, as well as etched, by -MR. THOMAS LANDSEER, from that at the Exeter ’Change Menagerie, affords -also a pertinent illustration of the principles which MR. BELL had -derived from combining study with dissection: theory with practice. The -“three muscles infixed in the eye-lids, which, drawing the eye-lids -backward upon the peculiarly prominent eye-ball, produce the fixed -straining of the eye, and by stretching the coats, give a greater -brilliancy to the reflection,” are here brought into action by a violent -and unexpected outrage done to the maternal feelings. Here too is -exemplified the origin, insertion, and physical use, of those snarling -muscles, which are so properly named and defined by our learned -anatomist. We cannot but wish, however, that he had written also of -those of the lower jaw, which so powerfully conduce to this snarling and -dreadful expression. - -The mother has arrived at a fortunate conjuncture for her cubs, which -lie sleeping below, in a small den or dark recess of the bank, whither a -Serpent has stolen. Twisted among the jungle, which affords an -advantageous post both of attack and defence for the Serpent—the Tigress -has reason to dread an enemy so powerful and insidious; and, as in the -preceding Engraving, both parties are prepared for the encounter, and -fully aware of the importance of a first blow. - - - No. XI. - -THESE RAMPANT LIONS, bear the name of RUBENS as their author. SIR JOHN -SEBRIGHT, we believe, has the original picture. It would neither -deteriorate from its intrinsic merit as a work of art, nor from its -nominal value (we suspect), should it turn out to be from the pencil of -SNYDERS; or a performance of RUBENS and SNYDERS in conjunction. They not -unfrequently painted on the same canvas; but the high reputation and -rank of RUBENS, has in some measure absorbed that of his coadjutor, -except among first-rate connoisseurs—whereas, in all that relates to the -details of Nature, SNYDERS was the superior painter of _animals_: and -our reasons for thinking that he had at least a hand in this picture of -the rampant Lions, are, 1st, The superior attention which is here paid -to the details of Nature. 2ndly, That the action of the nearest of the -two Lions, is precisely that of the same animal, in SNYDERS’ very -capital picture from the fable of the Lion liberated by the Mouse, now -in the Cabinet of THOMAS FRANKLIN, Esq. 3rdly, That the study in oil of -a dead Lion, in the collection of G. WATSON TAYLOR, Esq. also believed -to be from the hand of SNYDERS, bears internal evidence of being -painted, not only from Nature, but from the very same individual Lion, -with the above. They are all portraits of the same animal. It appears as -if SNYDERS, having obtained possession of a dead Lion, after making the -study now belonging to MR. TAYLOR, had put him in this rampant attitude, -and painted from him as long as he lasted. But perhaps RUBENS and -SNYDERS did this in concert: for on the other hand may be recollected a -masterly sketch in oil of the heads only of these rampant Lions, which -was exhibited at the British Gallery two seasons ago, bearing the _name_ -of RUBENS. If this name was written by RUBENS himself, the probability -is as above stated, that both artists painted at the same time from the -same model. On this point we do but sum up such evidence as is before -us, leaving the verdict to the reader. - ------------------------------------------------------------------------- - -[Illustration: 10 - -_Tho^s. Landseer del^t. et sculp^t._ - -TIGRESS after NATURE.] - ------------------------------------------------------------------------- - -[Illustration: 11 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -LIONS after RUBENS.] - ------------------------------------------------------------------------- - -We believe that this subject also, has passed through the medium of an -Etching by BLOTELING, for it differs in some minor respects from the -picture in the gallery of SIR JOHN SEBRIGHT. It however affords further -illustration of the theory of expression laid down by MR. BELL, while it -embodies the Scriptural idea of a “ramping and roaring Lion seeking whom -he may devour.” - -We have mentioned above, our having been disposed, on a certain occasion -of visiting a public menagerie, to pat and stroke a Royal Tiger as he -lay in his den with his nose toward the spectator, and whose looks, -though certainly far from angelic, we could almost have called amiable: -yet this is very far from being the character of the Tiger. To stroke, -or pat, or touch them in any way, however, no person should ever -venture, except their keepers; even the tame Tigers, that are sometimes -brought up almost without animal food by the mendicant priests of -Hindostan, are strictly prohibited from being touched—“under the utmost -rigours of religious anathema,” says COL. WILLIAMSON, who relates a -circumstance of his having visited a Faukeer who kept a Tiger of this -kind in the wilds of Colgong. - - - No. XII. - -The amiable-looking Tiger of whom we have spoken, lay something in the -attitude and manner of the principal PANTHER, in the present picturesque -group which MR. SPILSBURY copied from the Sketch-book of that admirable -painter and anatomist of animals, STUBBS. - -Perhaps this sentiment of ours, may be ascribed—in part at least—to the -undulations of form, glossiness of surface, and brilliancy of colours, -of these interesting creatures, reviving the early mental impressions -which we remember to have received at the sight of shining and speckled -shells, butterflies’ wings, and other objects of pure beauty; and in -part to our having associated ideas of innocence and domesticated habits -and comfort, with the “sympathetic mirth” (as GOLDSMITH’S phrase is) of -sportive kittens. - -It may not be unworthy of our best philosophy to pause here, and observe -how Nature contrives to mingle, and seems to insist on mingling, -sentiments and mental impressions, which analysing man is so fond of -reducing to first elements—as he calls them. Surely there is, about -these Carnivorous and terrible creatures, a saving grace—a beauty in -their dreadfulness, which is exceedingly interesting, although it -co-exist with cruelty: for if they are cruel, their cruelty is -involuntary, and not implacable; and therefore, if not pardonable, not -hateful—while the external beauty which they possess, is of a positive -nature. - -Reverting here to our own scholastic distinction, we think that Nature -has, in the instance of this species of quadrupeds, mingled with similar -success, energy of character, with a degree of mildness of expression. -The natural character of the Panther is fearfully ferocious, yet a -superinduced kindly expression may be seen in this group from the pencil -of STUBBS—a sworn disciple of Nature—which may shew that in their home -retiredness, they have not been left destitute of the means of letting -each other see that they are sociable, friendly, and not entirely -without the means of expressing the gentler emotions. Men are perhaps -too exclusively disposed to look at the objects around them, as those -objects immediately concern themselves: MR. STUBBS, in composing this -capital group, took a more extensive and genuine view of things; and -notwithstanding the Panther is larger and more formidable than the -Leopard (from which quadruped he is not always easily distinguishable), -has depicted them as scarcely less mild and gentle than the domestic -Cat. - -The evidence of facts, however, when set in apposition, affords, in all -probability, the most efficacious and convincing means of manifesting -such principles as we are here submitting, while they exhibit the -_varieties_ of animal expression to the best advantage; and we therefore -introduce another GROUP of PANTHERS, from the same Sketch-book, by -STUBBS, more malignant in their aspects. - ------------------------------------------------------------------------- - -[Illustration: 12 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -PANTHERS after STUBBS.] - ------------------------------------------------------------------------- - -[Illustration: 13 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -PANTHERS after STUBBS.] - ------------------------------------------------------------------------- - - - No. XIII. - -This is what one might call a domestic, or family, group; but they seem -here to be meditating prey, and by no means so good-humoured as in the -former instance, where they might be fancied to be quietly enjoying -themselves after a sufficient repast. The two groups, when viewed -together, seem very much to assist our perceptions of the capability of -this animal of gentle, as well as of savage, expression.—They are -contrasted, indeed, though without the direct opposition of violent -brutal action, to calm repose: the eye being the chief seat of the -difference. But neither the gentle, nor the more ferocious and -malignant-looking, Panthers, or Tigers, will bear any comparison for -commanding majesty of appearance with the regal Lion, whether in a calm -or an excited state—as the vignette of our title-page is ready to bear -witness. - -There is good chiaroscuro in both of the above groups; and the scene of -rocky wildness in which the latter are placed, as well as the rich -colouring of the fur of the animals, are ably indicated. - -The reader may perhaps not be displeased to attend here for a moment, to -a short epitome of what the Naturalists have said concerning the -distinctive marks of this interesting quadruped, the Panther: nor to be -informed or reminded of the strong resemblance which he bears to the -Leopard. - -DR. SHAW observes that LINNÆUS himself has confounded the Panther with -the Leopard; but adds, that “a true distinctive mark between them, is by -no means easy to communicate either by description or even by figure.” -He thinks that the Leopard is the smaller of the two species of animals, -and its colour a paler yellow: and MR. GRIFFITH, in his “Carnivora,” -says, “A very fine animal is now exhibiting at Exeter ’Change under the -name of Leopard, which is much larger as well as brighter than any other -Leopard in that Menagerie, and should, therefore, according to SHAW, -seem to be the Panther. But I am informed that the animal in question -was taken in India, and that all those which come from Asia, are much -brighter in colour than those from Africa, which is confirmed by -inspection of the African specimens there; and that the females have -more white about them than the other sex: and MR. CROSS, who has had -opportunities of inspecting probably some hundreds of specimens, insists -that he has never observed any specific difference between those brought -from Asia and Africa, among themselves, except that the Asiatic are -generally larger and brighter.” - -LICHTENSTEIN, in a note communicated to MAJOR SMITH, describes the -Panther as resembling the Jaguar, in having the same number of rows of -spots, but different in having no full spots, on the dorsal line. If -this be correct, then is the existence of the Panther established as -being distinct from the Leopard: but I do not find that full spots on -the dorsal line always make a specific difference of the Jaguar. When, -therefore, it is said, that the Panther much resembles the Jaguar, it is -always strongly to be suspected that the type whence the observations -are taken is an American animal. If the contrary be clearly established, -and the animal be found to have large round or oval open marks of black, -with a central spot on the sides and back, and a tail longer than from -its insertion to the ground, it may be concluded that it is the real -Panther. - -Lastly, that indefatigable investigator, CUVIER, says he was long in -doubt whether the Panther and Leopard were distinct: but a comparison of -a great number of skins, as well as observations on the numerous animals -sent to the French Museum, have satisfied him that they are different; -and he accordingly describes the Panther as having six or seven rows of -rose-like spots in transverse lines, the tail longer and the head larger -than the Jaguar, and the ground-colour of the fur paler. The Leopard he -describes as a little less than the Panther, though with the same -proportions; but the spots, as much more numerous, forming ten -transverse lines. - -The opinion of CUVIER is certainly deserving of the greatest attention; -but it may be observed that his enumeration of the six or seven rows of -spots in the Panther, and of ten in the Leopard, is not so certainly -intelligible as might be desired, when it is considered that the spots -or marks in question have really little or no parallelism. -Notwithstanding, therefore, this respectable authority, it seems very -probable that the Panther and Leopard are one and the same species, -which branches into two varieties, the Asiatic and the African; the -former of which is brighter in colour, and probably something larger -than the latter; and that the females of both are paler and less than -the other sex. CICERO, in his letters to ATTICUS, speaks of the Panther -of Africa, and the Asiatic Panther; as if they were different. - -The ancient naturalists were not a whit more successful in -distinguishing these two quadrupeds, than the moderns, notwithstanding -the opportunities which they possessed of inspecting so many. MR. -GRIFFITH comments on SHAW, LICHTENSTEIN, and CUVIER; so did CICERO and -PLINY, on ARISTOTLE. Hence their _Panthera_, _Pardus_, and the -_Leopardus_ of the later ages of Rome (the last of which plainly -indicates their supposition that a Lion or Lioness had been concerned in -the generation of this spotted animal.) - -It is surprising to reflect on the great number of Panthers, which in -those later ages of Rome, were brought from the deserts of Africa for -their public shows. SCAURUS exhibited an hundred and fifty of them at -one time; POMPEY, four hundred and ten; and AUGUSTUS, four hundred and -twenty! They probably thinned the province of Mauritania almost to -extirpation; which may account for the superior abundance of these -quadrupeds, as well as of Lions, at present, in Guinea, and the more -southern parts of Africa. - -It would appear, that after all that has been accomplished by the spot -and row-counting philosophers, the distinction between Panthers and -Leopards is by no means made out; and we take it, that whenever Nature -means to mark a distinction of this sort, she always does it with a -firmer hand, and more decisive line. - ------------------------------------------------------------------------- - -[Illustration: 14 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -LEOPARD & PANTHER after STUBBS.] - ------------------------------------------------------------------------- - - - No. XIV. - -STUBBS, who had most likely paid sufficient attention to what the -naturalists had previously said on the subject—and whom no naturalist -has exceeded in accuracy of observation—appears to have here sketched -out the differences, and the resemblances, between these two animals—if -two they may be termed. It will be observed that the one which we esteem -to be the LEOPARD—the nearer figure of the two—is somewhat smaller than -the other, and that the dark spots on her body are not clustered in -roselets, or oilettes, as they have sometimes been called; while on the -body of the PANTHER, they are, and indeed everywhere, excepting on his -head and fore-legs. In short, STUBBS’S delineation agrees best with the -definition of CUVIER, whose discernment and philosophical tact are by no -means inferior to that indefatigability for which he is praised by -GRIFFITH. - -Of this Leopard and Panther, the actions and expression (although not -the character—their noses and mouths being of longer and larger -proportions) are very much those of the common domestic Cat, when in a -playful mood. Something there is of burlesque clumsiness in their -play—resembling HERCULES with the distaff; and something of that assumed -look which may be observed among Cats while frolicking with their young. -And these kindly and droll expressions of countenance—these “quips and -cranks, and wanton wiles,”—are doubtless very well understood among the -carnivorous comedians, notwithstanding that to some of ourselves, they -may not appear to amount to much: yet the difference of these our -engraved heads of a playful Leopard and Panther, and the ocular -expressions of such animals when raging with hunger, or rendered angry -by opposition, is immense, and could not fail, if presented together, to -be strikingly obvious to those who are in the least studious of the -physiognomical variations of the ferocious tribe. Let the reader compare -them with the threatening LION and defying TIGER among the rocks, after -the same master, which we have numbered 19. - -Horse-play is proverbially unwelcome: Panther-play must be worse. We -cannot associate the idea of the endurance of it within reach of man. -But where Cats and Kittens are occasionally permitted in the parlour, -there is comparative harmlessness. And who has not witnessed with -delight, among the rat-catching carnivora in their joyous moments, those -spontaneous and electrical kindlings of various and rapid fun, which -must have made HERACLITUS laugh, could he have seen them, and have been -a lesson to LAVATER. - - - No. XV. - -A LION and LIONESS, after RUBENS, where we esteem the execution—more -especially of the parts which are brought into muscular action, and the -rich hairy texture of the fur—to be highly creditable to the artists -concerned. In these respects, it transcends beyond all comparison the -Etching by PICART of the same subject. We were about to say more of -these things, and to request attention more particularly to the hinder -parts of the female, but the knit brow and threatening eye of the Lion -glares upon us with its high claims, and terrible truth, and we cannot -but perceive a broad, pervading, and dextrous display of light, shade, -and expression of texture.—Now, where there is just harmony of parts, it -is the _whole_ which merits praise; and this praise is of a higher kind -than could possibly be bestowed with propriety on any part. - -The Expression of the Lion is not here so self-possessed and majestic as -in some of the examples which we have passed. His magnanimity is -exchanged for that dark treachery and cruel-mindedness, which some -modern authors ascribe to him. Nor is the Lioness more amiable: both -seem lurking, malicious, and as if animated by some horrid hope. - -RUBENS seems to have let them into his Assyrian den, in order to let the -world see from how dreadful animals Providence was protecting its -favoured minister. - - - No. XVI. - -RUBENS has here painted one Lion as scowling, another as if in a sort of -mysterious meditation, and a third yawning with ennui—no doubt to -diversify a composition wherein he was of necessity obliged to introduce -a considerable number of animals of the same kind. - -The Lion has been, of all quadrupeds whatever, the most idealised by the -Arts, and the most variously represented. The tide of opinion ran for -centuries in his favour. Kings took their designations from him: amongst -whom have been our first RICHARD; but of late years very reputable -travellers and other authors have appeared, who would bring down the -poetic generosity, the reputation of which the Lion has so long enjoyed, -to the plain prose craft and cruelty of the rest of the feline race. - -The noble disdain with which a Lioness, though half famished, and “with -udders all drawn dry,”—scorned to prey on a sleeping man—Must we part -with the sentiment? Must we also disbelieve the story which has been -commemorated by a large French engraving, of a Lion gently taking up in -his mouth a fallen infant, and as gently setting it down again, to the -infinite delight of its terrified mother?—Such anecdotes have pleased -and flattered us; but may possibly have gained undeserved credit because -they pleased, and have pleased because they flattered—_human_ nature. - ------------------------------------------------------------------------- - -[Illustration: 15 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -LIONS after RUBENS.] - ------------------------------------------------------------------------- - -[Illustration: 16 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -LIONS after RUBENS.] - ------------------------------------------------------------------------- - -[Illustration: 17 - -_Edwin Landseer delin^t._ _T. Landseer sculp^t._ - -LIONESS & BITCH from CROSS’S MENAGERIE.] - ------------------------------------------------------------------------- - - - No. XVII. - -Repeated instances of FRIENDSHIPS BETWEEN THE LION AND THE DOG, have -occurred at the Menagerie at the Tower, as well as elsewhere in England: -and we have pleasure in adding a corroborating fact of a novel -character. Mr. EDWIN LANDSEER made it the subject of a Drawing from -Nature, and we here present the public with an Engraving after it, -executed by his brother, and numbered in our collection, 16. - -A female whelp was accidentally found, quite young, and even before its -eye-lids were unclosed, in an African forest not far from the sea shore. -It was brought on board ship by some sailors, where a smallish black -bitch, by birth quite an ignoble cur, having recently pupped, the -experiment was successfully made, of ascertaining whether she would -suckle the young Lioness, who was christened _Charlotte_.—_Charlotte_ -soon began to thrive, and to play kitten frolics; and continued to be -thus nurtured, till, at no great length of time, she became so much -larger than her foster-parent, and required so much food, as to induce -the necessity of weaning her. - -But the two quadrupeds continued, ever after, to live together on the -most friendly and affectionate terms; constantly inhabiting the same -cage, and habitually partaking of the same messes of provision. The -Lioness, though now grown large, having never seen any other mother, -continued through life to shew marks of daughterly obedience, and the -bitch, of maternal regard. Mr. EDWIN LANDSEER, as well as many others, -has frequently seen them caressing each other in their cage at the -Exeter ’Change Menagerie, in the manner which he has represented: the -Drawing, which exhibits portraits both of the LIONESS and BITCH, having -been done some years ago. - -And these kitten frolics, or the youthful disposition to indulge in -them, continued on the part of the Lioness, till her older and graver -nurse became tired of the lion-play, and would sometimes snarl and bark -forbiddingly. It was very entertaining, and an interesting chapter in -Natural History, to behold this; for the Bitch ever retained an -ascendancy, and much of the authority, of a parent: so that her -foster-daughter, though so much larger, and so tremendously powerful, -would retire obediently to the farther corner of the cage, waiting a -favourable change of temper, on the part of her senior, before she -renewed her playful familiarities. - -On a principle of prudence, however, and because it was judged that if -these inmates of the same refectory, ever quarrelled, it would be at a -meal-time, they were of late separately fed: that is to say, not at -separate times, or tables, but, at opposite corners of the apartment: -but the Bitch has often been known to help herself out of _Charlotte’s_ -portion, without fear or ceremony, and her majesty to shew no -resentment, nor any kind of royal displeasure or hurt feeling, at the -indecorum. - -We esteem this Engraving to afford a fair example of the positive, or -negative, power of the sovereign of the forest, of physiognomically -expressing the gentler emotions. But it occurs to us here—and we mention -it in reference to an argument maintained in an earlier part of this -dissertation—that perhaps licking with the tongue may belong to the dumb -language of quadrupedal expression of affection. But the Dog, and the -Cat, kind, express themselves in this way; and amongst each other, it -cannot be misunderstood—the affectionate idea being impressed at the -period of their very earliest susceptibilities, and associated—perhaps -as indissolubly as the human endearments of smiles and kissing—with -their youngest, purest, and most permanent recollections. - - - No. XVIII. - -In this plate the ideas of expeditious motion, and quest, are admirably -depicted:—kept up from stem to stern; he is evidently bent on -destruction.—This is he that appeared to the terrified imagination of -COLLINS’S Oriental camel-driver, who, in his beautiful Eclogue, -exclaims— - - “What, if the LION _in his rage_ I meet!” - -And the determined purpose which pervades the whole frame and the mind -of the sallying hero, is seen in his resolute look, as well as in every -motion of his muscular limbs—aye, to the very tuft at the extremity of -his tail. All is expressive of his plenitude of animation, and prey is -obviously his purpose. None can mistake him. - -This will probably be thought another of the instances in which the -present artists have been eminently successful in the execution of their -subject. (For the design they were indebted to the etching-needle of -RIDINGER.) The shag of the mane is characteristically varied from the -short hair which covers the face, body, and limbs; the anatomy is ably -indicated; and the chiaroscuro is vigorous. - ------------------------------------------------------------------------- - -[Illustration: 18 - -_E. Spilsbury del^t._ _T. Landseer sculp^t._ - -LION after REYDINGER.] - ------------------------------------------------------------------------- - -The hunters say that a dozen or fifteen dogs, trained to the sport, will -overpower a Lion before he can strike many blows: but these are the -limbs which “at every blow destroy an enemy.” - -We have next to treat of the ROYAL TIGER OF BENGAL, beautiful, powerful, -fierce, and unrelenting.—Terrible, yet admirable! - -Mr. BEWICK says that the Tiger “is the most rapacious and destructive of -all carnivorous animals. Fierce without provocation, and cruel without -necessity, its thirst for blood is insatiable. Though glutted with -slaughter, it continues its carnage; it fears neither the sight nor the -opposition of man, whom it frequently makes its prey; and it is even -said to prefer human flesh to that of any other animal:” a fact which is -confirmed by COLONEL WILLIAMSON, and Mr. PAUL of Daudpore, the latter of -whom has the reputation of having killed as many Tigers as any hundred -other men in India. - -The strength of this animal is so great, that when it has killed a Deer, -it carries it off with much ease. WOOD relates a story, on good -authority, of a Buffalo being carried off by one; but it had previously -refreshed itself by sucking the Buffalo’s blood. The latter had been -hampered, and was weakened by its struggles in a quagmire; and the Tiger -let fall its prey, and fled at the approach of some Indian peasants. We -must suppose, too, this Tiger to have been one of the largest, and of -extraordinary power, for COLONEL WILLIAMSON reports that in the public -combats that are sometimes exhibited in India, between Tigers and -Buffaloes, the latter is commonly the victor. - -But the eagerness of its voracity is believed to transcend that of any -other creature whatever. If undisturbed at the commencement of its meal, -it plunges its head into the body of its reeking victim, up to the very -eyes, in order to glut itself with the bloody enjoyment. Oysters are not -opened and swallowed with more zest and avidity. - - - No. XIX. - -The commencement of such A CARNIVOROUS FEAST, where the TIGER has seized -and slain—not a wild Buffalo, but a BULLOCK, from the tame herds of -Hindostan. As the cattle descend toward the river to drink, their crafty -enemy lies in ambush among the jungle, or creeps along cautiously and -unseen; and, watching a favourable opportunity, makes his murderous -spring. - -Although WILLIAMSON corroborates MR. BEWICK’S account of the Tiger’s -fondness of human flesh, he does not agree to that of its fearlessness. -On the contrary, he thinks that on occasions where Tigers have seemed -fearless, momentary anguish or resentment, has been their real stimulus; -and adds, that “the Tiger is, of all beasts of prey, the most cowardly; -its treacherous disposition induces it, almost without exception, to -conceal itself until its prey may arrive within reach of its spring, be -its victim either bulky or diminutive. Size seems to occasion no -deviation in the Tiger’s system of attack, which is founded on the art -of surprising. We find, accordingly, that such as happen to keep the -opposite side of a road, by which they are somewhat beyond the first -spring, often escape injury; the Tiger being unwilling to be seen before -he is felt. Hence it is rarely that a Tiger pursues; but, if the -situation permit, his cunning will not fail to effect his purpose, he -will steal along the road-side among the bushes parallel with the -traveller’s course, until one of the many chances which present -themselves of finding him within reach, induces to the attack. Often, -where the country is rather too open to allow his proceeding in this -manner, the Tiger will take a sweep among underwood or through ravines, -in order to meet the traveller again at a spot whence he may make his -spring. - -“Tigers are extremely partial to such sites as command a road, selecting -one rather less frequented, in preference to one that is much in use. In -the former, they are certain of finding as much as will answer their -daily wants. If, however, the haunt be on a public road, it is usually -at some spot abounding with grass or bushes, especially the _prauss_, -and in the vicinity of some ample cover supplied with water, to which -the prey can be dragged. There, in some low, opake spot, the sanguinary -meal is consummated in gloomy silence. - -“It should be observed, that for the most part the Tiger chooses his -station on that side of the road which is opposite to his haunt; so -that, when he seizes his prey, he proceeds straight forward, without -having occasion to turn, and thus drags it across mostly at a trot. If -he misses his aim, he will rarely return, unless attacked; but, in a -sullen manner, either skulks through the cover; or, if the country be -not sufficiently close to conceal his motions, he moves on at a canter.” - ------------------------------------------------------------------------- - -[Illustration: 19 - -_E. Landseer del^t._ _T. Landseer sculp^t._ - -TIGER & INDIAN BULLOCK after NATURE.] - ------------------------------------------------------------------------- - -[Illustration: 20 - -SENEGAL LION after REYDINGER. - -BLACK-MANED LION after REMBRANDT. - -LIONESS after REYDINGER. - -_E. Spilsbury del^t._ _T. Landseer sculp^t._] - ------------------------------------------------------------------------- - -Finding the same anecdotes of Lions and Tigers repeated from book to -book, the present writer has in general avoided to reiterate what he -conceived would in most instances prove to have been already read: but -he cannot wholly pass that in which a lady—next to the Royal Tiger -himself—was the principal figure; more especially as it illustrates a -fact of natural history not useless for Oriental travellers to be -acquainted with—namely, the susceptibility of the Tiger of sudden alarm. - -Some ladies and gentlemen being on a party of pleasure, under a shade of -trees on the banks of a river in Bengal, were suddenly surprised at -seeing a Tiger ready to make its fatal spring. One of the ladies, with -amazing presence of mind, laid hold of an umbrella, and unfurling it -directly in the animal’s face, it instantly retired. - -The following also confirms WILLIAMSON’S account of the Tigers which are -brought up tame by some of the mendicant Indian priests who inhabit the -banks of the Ganges. - -A beautiful young male Tiger was brought from China, some twenty years -ago in the Pitt East Indiaman: at the age of ten months it was so far -domesticated, as to admit every kind of familiarity from the people on -board. It seemed to be quite harmless, and was as playful as a kitten. -It frequently slept with the sailors in their hammocks, and would suffer -two or three of them to repose their heads upon its back, as upon a -pillow, whilst it lay stretched out upon the deck. In return for this, -it would, however, now and then steal their meat. Having one day taken a -piece of beef from the carpenter, he followed the animal, took the meat -out of its mouth, and beat it severely for the theft; which punishment -it suffered with all the patience of a dog. It would frequently run out -on the bowsprit; climb about the ship like a cat; and perform a number -of tricks with an agility that was truly astonishing. There was a Dog on -board the ship, with which it would often play in the most diverting -manner. But it ought to be remembered at the time this Tiger was taken -on board the ship, it was only a month or six weeks old; and when -arrived in this country, it had not quite completed a year. - - - No. XX. - -THREE small LIONS, on a single Plate; forming a sort of tail-piece, and -bringing up the rear of our carnivorous procession. - -This plate exhibits three different VARIETIES. THE LION OF SENEGAL, -nearly in profile, reclined, but under the influence of some slight -degree of irritation; the black-maned LION of AFRICA; and the common -LIONESS of ASIA, regaling herself on a dead bird. - -The upper and lower subjects, are after RIDINGER. The African Lion, in -the middle, is originally from REMBRANDT, but has passed through the -medium of an indifferent Etching by PICART; and, like the rest, has -finally been corrected by a reference to Nature.—We believe it was -corrected from the specimen that was some few years ago presented to -LADY CASTLEREAGH; which was exhibited at Exeter ’Change, and of which -MR. EDWIN LANDSEER and MR. THOMAS CHRISTMAS had the _post-obit_ -reversion. - - - G. NORMAN, PRINTER, MAIDEN LANE, COVENT GARDEN. - ------------------------------------------------------------------------- - - - - - SUPPLEMENTARY PLATES. - - - PLATE XXI. - NEPTUNE, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER. - -A beautiful and highly characteristic engraving of a favourite -Newfoundland Dog. It is engraved by Mr. Thomas Landseer from a drawing -by his brother Edwin, and highly admired as a faithful likeness of the -original. - - - PLATE XXII. - BRUTUS, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER. - -The property of Edwin Landseer, Esq. Good judges may at once perceive in -this portrait the points that constitute a thorough good one of the -breed. Rough, wiry and strong, with eyes almost concealed, Brutus is yet -active, vigilant and courageous, possessing in great perfection the -qualities most desirable in the terrier. - - - PLATE XXIII. - A CROSS OF THE DOG AND FOX, PAINTED BY E. LANDSEER, ENGRAVED BY T. - LANDSEER. - -The subject of this fine engraving had occasioned much doubt in the -minds of naturalists, but the question as to its reality was decided, by -the fact of the animal whose portrait we give, having been produced from -a tan terrier bitch and a tame dog fox. - - - PLATE XXIV. - DOGS SETTING A HARE, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER. - -Two dogs having caught the side wind of a hare are making a highly -characteristic point. Nothing can more forcibly express that mute -animation which gives so highly-toned a finish to the abilities of the -setting dog as this vigorous and faithful delineation of their -countenances. The Pointer is placed in a very interesting attitude -admirably contrasted with the well chosen position of the setter his -companion; while the hare, the object of their attraction, is not only -judiciously placed, but the representation is strikingly true to nature. -This representation of dogs setting a hare displays not only a correct -knowledge of the subject but is one of those faithful delineations that -cannot fail to merit the most unqualified approbation. - - - PLATE XXV. - VIXEN, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER. - -A thorough-bred Scottish terrier, a favourite portrait by Mr. Edwin -Landseer who has repeated her in several of his pictures. - - - PLATE XXVI. -FOX HOUNDS OF THE HATFIELD HUNT, PAINTED BY E. LANDSEER, ENGRAVED BY T. - LANDSEER. - -This sketch contains portraits of five of the principal fox hounds -belonging to the above Hunt. - - - PLATE XXVII. - PROCTOR, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER. - -Study of a head of a Blood-hound. This engraving is of a very celebrated -dog, and the character of its peculiar species is well delineated. - - - PLATE XXVIII. - BOB, A FAVOURITE TERRIER, PAINTED BY E. LANDSEER, ENGRAVED BY T. - LANDSEER. - -This engraving represents a fine wire-haired specimen of his race, -engaged in his favourite pursuit in his native wilds. - - - PLATE XXIX. - THE POACHER, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER. - -Is not one of those who - - “Take delight of a shiny night, - In the season of the year,” - -to pop pheasants from their perches with an air gun, or who sets -“springes to catch woodcocks,” but it is he who - - “Skulks along - Sleek at the shepherd’s cost, and plump with meals - Purloined;” - -“The wily Fox,” and a very beautiful animal Mr. Landseer has made of -him. The description we have quoted, finds in the picture an apt -illustration. - - - PLATE XXX. - ALPINE MASTIFF, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER. - -The drawing from which the present plate was engraved, was made from a -very noble Alpine mastiff, which at that time although not full grown, -was the largest dog in England. - - - PLATE XXXI. - OLD DOG, LOOKS LIKE A PICTURE, PAINTED BY E. LANDSEER, ENGRAVED BY J. - WEBB. - -An expressive picture, which betokens the subject, old in honour and -years, and still following his favourite pursuit. - - - PLATE XXXII. - FIGHT BETWEEN JACKO AND PUSS, SKETCHED AND ETCHED BY T. LANDSEER. - -The animals here so cleverly represented, and at the spot of their -actual and sanguinary contest, were etched by T. Landseer, from a sketch -made at the time by himself. - - - PLATE XXXIII. - LITTLE BILLY, DRAWN AND ENGRAVED BY T. LANDSEER. - -The spirited and faithful style in which Mr. Landseer has executed this -embellishment, presents us a portrait of a species of animal which was a -great favourite with our ancestors, and was as ferocious to an enemy as -faithful to a friend. - - - PLATE XXXIV. - BLACK CAP, PAINTED BY G. H. LAPORTE, ENGRAVED BY T. LANDSEER. - -Is a clever specimen of a perfect Harrier’s head, ably treated. - - - PLATE XXXV. - DEAD RED DEER, PAINTED BY E. LANDSEER, ENGRAVED BY J. R. SCOTT. - -Gives us the spoils of the chase lifeless and rigid; the accessories to -the picture are well told. - - - PLATE XXXVI. - TIGER HUNT, PAINTED AND ENGRAVED BY T. LANDSEER. - -Tigers are hunted in India by Elephants assisted by fleet horses. We -have in this clever picture a Tiger couching amongst the jungle -seemingly undetermined whether to spring or to make off, the horse -scared and frightened evidently has come upon him unexpectedly; an -Elephant at a little distance is hastening towards the spot. - - - PLATE XXXVII. - TIGER TAKING THE WATER, PAINTED BY SIR CHARLES D’OYLY, ENGRAVED BY T. - LANDSEER. - -The Tiger having been driven from the jungle and hunted over the plain, -as a last resort takes to the water. He is here represented just after -having entered, his powerful paws half above the water preparing to make -a stroke, whilst his tail stiff and outstretched serves the purpose of a -rudder. The hunters on their elephants from the bank of the river are -taking a deliberate aim at him. - - - PLATE XXXVIII. - ELEPHANTS RETURNING FROM THE HUNT, PAINTED BY SIR CHARLES D’OYLY, - ENGRAVED BY T. LANDSEER. - -The Hunter seemingly tired of hunting on horseback has dismounted, and -is climbing up the side of an elephant who kneels, whilst the fruit of -the chase is upon the back of another, and a third is making his way -through the jungle. - - - PLATE XXXIX. - RED DEER, PAINTED BY R. HILLS, ENGRAVED BY T. LANDSEER. - -A very clever work of Art upon which the great and universally -acknowledged taste and talents of Mr. Thomas Landseer have been -carefully bestowed. Both Painter and Engraver have done justice to the -subject; few things can be finer than the stag in the foreground, or -more effective than the brace of Does approaching upwards, as it were, -from a romantic and obscure retirement. - ------------------------------------------------------------------------- - -[Illustration: 21 - -_Engraved by T. Landseer from a Drawing by his Brother Edwin._ - -_Neptune, the property of W. E. Gosling Esq^r._] - ------------------------------------------------------------------------- - -[Illustration: 22 - -_Painted by E. Landseer & Engraved by T. Landseer._ - -BRUTUS.] - ------------------------------------------------------------------------- - -[Illustration: 23 - -_Engraved by T. Landseer from a Sketch by his brother Edwin._ - -_Portrait of a Cross of the Dog and Fox, in the possession of Lord - Cranley._] - ------------------------------------------------------------------------- - -[Illustration: 24 - -_Engraved by T. Landseer from a Drawing by his Brother Edwin._ - -_Dogs Setting a Hare._] - ------------------------------------------------------------------------- - -[Illustration: 25 - -_Eng^d. by T. Landseer from a Painting by his Brother._ - -_Vixen, a Thorough bred Scotch Terrier._] - ------------------------------------------------------------------------- - -[Illustration: 26 - -_Elliner_ _Lettager_ _Strider_ _Rachell_ _Adamant_ - -_Fox Hounds, of the Hatfield Hunt._ -_Engraved by Tho^s. Landseer from a Painting by his Brother Edwin._] - ------------------------------------------------------------------------- - -[Illustration: 27 - -_Eng^d. by T. Landseer from a Painting by his Brother Edwin._ - -PROCTER. -_Study of a Blood hounds Head._] - ------------------------------------------------------------------------- - -[Illustration: 28 - -_Engraved by T. Landseer from a Painting by his Brother Edwin._ - -_Bob, a favourite Terrier the property of W. E. Gosling Esq^r._] - ------------------------------------------------------------------------- - -[Illustration: 29 - -_Eng^d. by T. Landseer from a Drawing by his Brother Edwin._ - -_The Poacher._] - ------------------------------------------------------------------------- - -[Illustration: 30 - -_Eng^d. by T. Landseer from a Drawing by his Brother._ - -_Alpine Mastiff._] - ------------------------------------------------------------------------- - -[Illustration: 31 - -Painted by E. Landseer R. A. Engraved by J. Webb. - -THE OLD DOG LOOKS LIKE A PICTURE.] - ------------------------------------------------------------------------- - -[Illustration: 32 - -_Etch’d by T. Landseer, from a sketch made at the time by himself._ - -_Fight between “Jacko Maccacco,” a celebrated Monkey, and M^r. Tho^s. - Cribb’s well known bitch “Puss.”_] - ------------------------------------------------------------------------- - -[Illustration: 33 - -_Drawn and Engraved by Thomas Landseer._ - -LITTLE BILLY, A Celebrated Bull Dog.] - ------------------------------------------------------------------------- - -[Illustration: 34 - -_Eng^d. by T. Landseer, from a Painting by G. H. Laporte._ - -BLACK CAP.] - ------------------------------------------------------------------------- - -[Illustration: 35 - -DEAD RED DEER.] - ------------------------------------------------------------------------- - -[Illustration: 36 - -TIGER HUNT] - ------------------------------------------------------------------------- - -[Illustration: 37 - -TIGER TAKING THE WATER] - ------------------------------------------------------------------------- - -[Illustration: 38 - -ELEPHANTS RETURNING FROM THE HUNT.] - ------------------------------------------------------------------------- - -[Illustration: 39 - -_Engraved by M^r. T. Landseer, from a Painting by M^r. R. Hills._ - -RED DEER.] - - - - - -End of the Project Gutenberg EBook of Engravings of Lions, Tigers, Panthers, -Leopards, Dogs, &c., by Thomas Landseer - -*** END OF THIS PROJECT GUTENBERG EBOOK ENGRAVINGS OF LIONS, TIGERS *** - -***** This file should be named 53290-0.txt or 53290-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/3/2/9/53290/ - -Produced by MWS, ellinora and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/Canadian Libraries) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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} - @media handheld {.plateid { float:right; font-size: x-small; } } - .space2 { padding-right: 1.5em; } - .space6 { padding-right: 6em; } - .space9 { padding-right: 8.5em; } - .space10 { padding-right: 10.25em; } - .space11 { padding-right: 11em; } - .space12 { padding-right: 12em; } - .left { float: left; } - @media handheld {.left { float: left; } } - .in3 { float: left; padding-left: 3em; } - @media handheld {.in3 { float: left; padding-left: 3em; } } - </style> - </head> - <body> - - -<pre> - -The Project Gutenberg EBook of Engravings of Lions, Tigers, Panthers, -Leopards, Dogs, &c., by Thomas Landseer - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Engravings of Lions, Tigers, Panthers, Leopards, Dogs, &c. - -Author: Thomas Landseer - -Illustrator: Edwin Henry Landseer - -Release Date: October 16, 2016 [EBook #53290] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ENGRAVINGS OF LIONS, TIGERS *** - - - - -Produced by MWS, ellinora and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/Canadian Libraries) - - - - - - -</pre> - - -<div class='nf-center-c1'> -<div class='nf-center c000'> - <div>Transcriber’s Note</div> - </div> -</div> - - <ul class='ul_1'> - <li>Obvious typos and missing punctuation corrected. - </li> - <li class='c001'>Antiquated use of ‘V’ for ‘U’, older spellings (e.g. - opake), inconsistent spellings (e.g. artist names and work titles), and some - inconsistencies in formatting of text have been retained. - </li> - <li class='c001'>Work titles “Tiger Hunt” and “Tiger taking the Water” have - been added to the captions of Plates XXXVI and XXXVII respectively. - </li> - <li class='c001'>Images of Plates may be clicked on to bring up a larger - version of the image if the device used allows. - </li> - <li class='c001'>The cover has been created by the transcriber using part of - the Frontispiece and is placed in the public domain. - </li> - </ul> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div class='figcenter id001'> -<img src='images/cover.jpg' alt='' class='ig001' /> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p1' class='figcenter id002'> -<a href='images/imagep1_lg.jpg'><img src='images/imagep1.jpg' alt='frontispiece' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s1'>1</a></span><br />TWENTY ENGRAVINGS<br />of<br />LIONS TIGERS<br />PANTHERS & LEOPARDS<br />BY <span class="space6">THO</span> LANDSEER<br /><span class="left">from <span class="space9">ORIGINALS</span> by STVBBS</span><br /><span class="left"><span class="space12">RVBENS</span> SPILSBVRY.</span><br /><span class="left"><span class="space11">REMBRANT</span> & EDWIN</span><br /><span class="left"><span class="space10">REYDINGER</span> LANDSEER</span><br /><span class="left">with an ESSAY <span class="space10">on</span> 1823</span><br /><span class="left">the CARNIVORA</span><br /><span class="in3">by J. Lan</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div> - <h1 class='c002'>ENGRAVINGS <br /> <br /> <span class='small'>OF</span> <br /> <br /> <span class='xlarge'>LIONS, TIGERS, <br /> PANTHERS, LEOPARDS <br /> DOGS, &c.</span></h1> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div><span class='small'>CHIEFLY AFTER THE DESIGNS OF</span></div> - <div class='c001'><span class='large'>SIR EDWIN LANDSEER</span>,</div> - <div class='c001'><span class='small'>BY HIS BROTHER,</span></div> - <div class='c001'><span class='large'>THOMAS LANDSEER</span>.</div> - <div class='c001'><span class='small'>PRINTED FROM THE ORIGINAL PLATES PUBLISHED BETWEEN 1823 AND 1828.</span></div> - <div class='c003'>LONDON:</div> - <div>HENRY G. BOHN, YORK STREET, COVENT GARDEN.</div> - <div>MDCCCLIII.</div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div class='chapter'> - <h2 class='c004'>LIST OF PLATES.</h2> -</div> - -<table class='table0' summary=''> - <tr> - <th class='c005'></th> - <th class='c006'> </th> - <th class='c007'><span class='sc'>Designer</span></th> - <th class='c008'><span class='sc'>Engraver</span></th> - </tr> - <tr> - <td class='c005'><a href='#s1'>1</a></td> - <td class='c006'><a href='#p1'>Lion couchant</a>, <i>Frontispiece</i></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s2'>2</a></td> - <td class='c006'><a href='#p2'>Leopard, after Ridinger</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s3'>3</a></td> - <td class='c006'><a href='#p3'>Lions, after Rubens</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s4'>4</a></td> - <td class='c006'><a href='#p4'>Tiger, from Nature</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s5'>5</a></td> - <td class='c006'><a href='#p5'>Leopards, after Rubens</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s6'>6</a></td> - <td class='c006'><a href='#p6'>Contending Group, from Nature</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s7'>7</a></td> - <td class='c006'><a href='#p7'>Lion and Snake, from Nature</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s8'>8</a></td> - <td class='c006'><a href='#p8'>Senegal Lion and Lioness, after Ridinger</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s9'>9</a></td> - <td class='c006'><a href='#p9'>Lion and Tiger, after Stubbs</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s10'>10</a></td> - <td class='c006'><a href='#p10'>Tigress, from Nature</a></td> - <td class='c006'><span class='sc'>T. Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s11'>11</a></td> - <td class='c006'><a href='#p11'>Lions, after Rubens</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s12'>12</a></td> - <td class='c006'><a href='#p12'>Panthers, after Stubbs</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s13'>13</a></td> - <td class='c006'><a href='#p13'>Panthers, after Stubbs</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s14'>14</a></td> - <td class='c006'><a href='#p14'>Leopards and Panthers, after Stubbs</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s15'>15</a></td> - <td class='c006'><a href='#p15'>Lions, after Rubens</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s16'>16</a></td> - <td class='c006'><a href='#p16'>Lions, after Rubens</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s17'>17</a></td> - <td class='c006'><a href='#p17'>Lioness and Bitch, from Cross’s Menagerie</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s18'>18</a></td> - <td class='c006'><a href='#p18'>Lion, after Ridinger</a></td> - <td class='c006'><span class='sc'>Spilsbury</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s19'>19</a></td> - <td class='c006'><a href='#p19'>Tiger and Indian Bullock, from Nature</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s20'>20</a></td> - <td class='c006'>{ <a href='#p20'>Senegal Lion, after Ridinger</a><br /> { <a href='#p20'>Black-maned Lion, after Rembrandt</a><br /> { <a href='#p20'>Lioness, after Ridinger</a></td> - <td class='c006'>}<br />} <span class='sc'>Spilsbury</span><br />}</td> - <td class='c009'><br /><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s21'>21</a></td> - <td class='c006'><a href='#p21'>Neptune, a Newfoundland Dog</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s22'>22</a></td> - <td class='c006'><a href='#p22'>Brutus, a Terrier</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s23'>23</a></td> - <td class='c006'><a href='#p23'>Portrait of a Cross of the Dog and Fox</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s24'>24</a></td> - <td class='c006'><a href='#p24'>Dogs setting a Hare</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s25'>25</a></td> - <td class='c006'><a href='#p25'>Vixen, a Scotch Terrier</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s26'>26</a></td> - <td class='c006'><a href='#p26'>Fox Hounds of the Hatfield Hunt</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s27'>27</a></td> - <td class='c006'><a href='#p27'>Proctor, Study of a Blood-hound’s Head</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s28'>28</a></td> - <td class='c006'><a href='#p28'>Bob, a favourite Terrier</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s29'>29</a></td> - <td class='c006'><a href='#p29'>The Poacher, “The Wily Fox”</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s30'>30</a></td> - <td class='c006'><a href='#p30'>Alpine Mastiff</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s31'>31</a></td> - <td class='c006'><a href='#p31'>Old Dog looks like a Picture</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>J. Webb</i></td> - </tr> - <tr> - <td class='c005'><a href='#s32'>32</a></td> - <td class='c006'><a href='#p32'>Fight between “Jacko Maccacco,”<br /> a celebrated Monkey,<br /> and Mr. Thos. Cribb’s<br /> well known bitch “Puss”</a></td> - <td class='c006'>}<br />} T.<br />} <span class='sc'>Landseer</span><br />}</td> - <td class='c009'><br /><br /><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s33'>33</a></td> - <td class='c006'><a href='#p33'>Little Billy, a celebrated Bull Dog</a></td> - <td class='c006'><span class='sc'>T. Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s34'>34</a></td> - <td class='c006'><a href='#p34'>Black Cap, a Harrier’s head</a></td> - <td class='c006'><span class='sc'>G. H. Laporte</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s35'>35</a></td> - <td class='c006'><a href='#p35'>Dead Red Deer</a></td> - <td class='c006'><span class='sc'>Edwin Landseer</span></td> - <td class='c009'><i>J. R. Scott</i></td> - </tr> - <tr> - <td class='c005'><a href='#s36'>36</a></td> - <td class='c006'><a href='#p36'>Tiger Hunt</a></td> - <td class='c006'><span class='sc'>T. Landseer</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s37'>37</a></td> - <td class='c006'><a href='#p37'>Tiger taking the Water</a></td> - <td class='c006'><span class='sc'>Sir C. D’Oyly</span>, Bart.</td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s38'>38</a></td> - <td class='c006'><a href='#p38'>Elephants returning from the Hunt</a></td> - <td class='c006'><span class='sc'>Sir C. D’Oyly</span>, Bart.</td> - <td class='c009'><i>T. Landseer</i></td> - </tr> - <tr> - <td class='c005'><a href='#s39'>39</a></td> - <td class='c006'><a href='#p39'>Red Deer</a></td> - <td class='c006'><span class='sc'>R. Hills</span></td> - <td class='c009'><i>T. Landseer</i></td> - </tr> -</table> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div class='chapter'> - <h2 class='c004'>CARNIVOROUS QUADRUPEDS.</h2> -</div> - -<h3 class='c010'>DESCRIPTION OF THE PLATES.</h3> - -<p class='c011'>That there has hitherto existed no good book of Engravings of the nobler wild animals, -to assist the progress of the student in that department of Art, is to be regretted. The talents -of Mr. <span class='sc'>John Scott</span>, brought into action by those of <span class='sc'>Gilpin</span>, <span class='sc'>Cooper</span>, and the <span class='sc'>Reinagles</span>, -have presented the public with excellent representations of the distinguished ornaments of the -turf: the sports of the field, and the habits and manners of the canine race, were also duly -honoured: but of the ferocious <span class='sc'>Tiger</span> tribe, and the lordly <span class='sc'>Lion</span>, we have nothing extant that -would bear critical inspection, beyond a few detached prints:—nothing like a collection of -figures, whose justness and accuracy of form, action, character, and expression, might be -relied on.</p> - -<p class='c012'>Does any reader imagine that the various Etchings which have been performed—chiefly -abroad—by Artists of no mean ability, may be considered as exceptions? They are not exceptions: -or at best, the number which might be so regarded is but small, and those, for the most part, of -dimensions not accommodated to the drawer of the cabinet, or the shelf of the library.</p> - -<p class='c012'>But they are not objectionable on this ground alone. Speaking of them in the aggregate, the -heavier charge lies against them of being insufficient to those purposes of taste and information -which are the ends of Art. Even those after <span class='sc'>Titian</span> and after <span class='sc'>Rubens</span> (the latter of whom has -perhaps painted a greater number than any other of the old masters) are far more deficient in -form, character, and expression, than is generally supposed, or than will be easily believed, by -those who have not actually compared them with the Lions, Leopards, and Tigers of Nature. -They have been taken too much on the credit which attaches to the great names of their authors.—Nor -is this intended to impugn the merits, as historical or poetical painters, of those distinguished -Artists, but simply as an assertion of truth. It is possible, that as a painter of allegory, <span class='sc'>Rubens</span> -might consider that strong infusion of <em>human</em> form, character, and expression, by which his Lions, -for example, are distinguished, as necessary, or conducive, to his allegorical purposes; or, it is possible -that his knowledge of this animal may not have been thoroughly well-grounded, and that he -may have laboured under early prejudice of mind, or of vision, in this part of his education as a -Painter, and may not have seen Lions as they really are. This is what the writer is most inclined -to believe, (though not to insist); for even in treating the subject of Daniel in the den of Lions—the -<span class='pageno' id='Page_2'>2</span>scene of which, by the way, he has not represented as a royal menagerie, but as a wild, -rocky cavern—his animals partake of the artificial character of which we cannot bring ourselves to -approve.</p> - -<p class='c012'>Of this fact, however, we purpose to exhibit proof with our assertion. Improved versions, to -the best abilities of our Artists, of some of these Lions of <span class='sc'>Rubens</span> and the Assyrian king, will here -be introduced, which the reader, who pleases, may compare with the originals. Our second, third, -and fourth Plates are of the number.</p> - -<p class='c012'>The Lions of <span class='sc'>Rubens</span> are <em>humanized</em>. We do not intend to discuss at length whether the -ideality of allegorical painting required this: we only state the fact: yet the opinions which we -felt at liberty to form on the subject, we feel at liberty to utter. So much in apology for using the -licence of asserting that the heads of many of the Lions of <span class='sc'>Rubens</span> rather resemble those of frowning -old gentlemen decorated with Ramillies wigs; as if Nature’s journeymen had made <em>manes</em>, and not -made them well. There is a profusion of flowing and curling hair, which seems rather to solicit -the unguents of the perfumer, than to have endured the torrid heats of the desert, or the rough -storms of the forest. The shag of a Lion’s mane is a very different sort of thing.</p> - -<p class='c012'>However such dressed Lions may be thought to accord with Allegory, they are demonstrably -at variance with Nature. To be sure, what might become a Lion in the procession of the Cardinal -Virtues, might be rather unsuitable in his den, or within the precincts of those wild haunts, where he -is accustomed to roam in his natural state. We have often read of the fabled Men-bulls, or (Minotaurs,) -and we find such on the coinage of Crete. These allegorical creatures of <span class='sc'>Rubens</span>, which, -alas! have sometimes been <em>quoted</em> by Artists without half his genius, and placed in savage conflicts, -or beside their Britannias—are a species of Men-lions. Placed among the Sabæan sculptures, -they might pass for incarnations of Sol in Leo; but would very ill pass for Leo alone.</p> - -<p class='c012'>Among the observers of this poetic improvement, or this natural and unpoetical deficiency, on -the part of <span class='sc'>Rubens</span>, <span class='sc'>Titian</span>, <span class='sc'>Julio Romano</span>, and other painters, both ancient and modern; and -of the consequent <span lang="la" xml:lang="la"><i>desideratum</i></span> on the part of the public, of a cabinet or library collection of the -nobler wild animals in a state of Nature, so as to answer the purposes of reference, while they conduced -to the pleasures of Taste, were Mr. <span class='sc'>Edgar Spilsbury</span> and Mr. <span class='sc'>Thomas Landseer</span>. -Whether or not the public “looked up to them for light” on that subject, (to use the language of -<span class='sc'>Sterne</span>,) they thought the Public “deserved it;” and they therefore, as the best practical means -of eliciting that light, first copied the general forms and attitudes of most of the wild animals that -appear in this book, from the old masters—generally speaking, from works that are well known—and -then, went to Nature and corrected the details. They carried with them what, in those -ancient masters, was meritorious in composition, attitude and chiaroscuro, and brought away, -to the best of their ability—superadding it to, and blending it with, the above—accuracy of -detail.</p> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p2' class='figcenter id002'> -<a href='images/imagep2_lg.jpg'><img src='images/imagep2.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s2'>2</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib"><i>T. Landseer sculp<sup>t</sup>.</i></span><br /><span class='large'><span class='sc'>Leopard</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Reydinger</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<p class='c012'><span class='pageno' id='Page_3'>3</span>Every artist does best, that which he is best qualified and best disposed to do. In completing -the number of plates that has been found necessary for the Work, Mr. <span class='sc'>Edwin Landseer</span> -has chosen to proceed toward the same purpose, upon a different principle. He has gone, without -any introductory medium, directly to the living animals, and has exhibited the savage manners and -habits of these quadrupeds, according to his own ideas and observations.</p> - -<p class='c012'>On the distinction between <span class='sc'>Character</span> and <span class='sc'>Expression</span>, we shall now deliver our opinion. -By the <em>Character</em> of an animal, we mean those permanencies of his look and features which he -always offers to view when in a placid, or unimpassioned state: by his <em>Expression</em>, the variations -of muscular action superinduced on character, to which he is liable, as the storms of passion sweep -by, and his mind becomes agitated by external circumstances acting on the ardours of his instinct.</p> - -<p class='c012'>The former, seems to hold its court in the solid and massy parts: the latter, agitates, ofttimes -rebelliously, the nerves and muscles. Character is ever present, both in the animal countenance, -and in the “human face divine.” The most violent expression does not proscribe, or -obliterate, character. Individuality consists of it, as far as concerns external appearance; and it -forms the system of vowels of the language of Nature, without which no Expression could be.</p> - -<p class='c012'>Whoever regards the faces of a flock of Sheep, will see in them an infinite variety of Character, -with very little Expression, and that little without diversity: and if we descend a step lower in -the scale of being, and contemplate the finny tribe, where Character is not wanting, we find no -Expression at all. Even Trees and inanimate objects, possess Character. We recollect a poetical -friend of ours, now in Italy, saying that every tree and every rock had a <em>face</em>—but of this we are -not so certain; though very certain, that there is enough of <em>Character</em> in rocks and trees, to make -a poet think so.</p> - -<p class='c012'><em>Character</em> and <em>Expression</em>, in the carnivorous class of animals, to which we here solicit -attention, are always co-existent—their proportions varying with the existing occasions—in -pictorial exhibitions of such subjects.</p> - -<h3 id='s2' class='c010'><a href='#p2'>No. II.</a></h3> - -<p class='c011'>There is much Character, and little Expression, in the reposing Leopard with his sheathed -claws, which is shewn in the present engraving, copied by Mr. <span class='sc'>Spilsbury</span> from <span class='sc'>Ridinger</span>, and -corrected from Nature. <span class='sc'>Ridinger</span> was an artist of great power, who studied wild animals in -their sequestered haunts, as is shewn in his grand forest back-grounds; and who, generally -speaking, left little or no room for others to improve, except on some few of his inferior works. -The present is an interesting and beautiful animal, yet there is a latent capability of mischief -characterised in his countenance, and we might ask, in the language of Job, “Who shall dare to -rouse him up?”</p> - -<div> - <span class='pageno' id='Page_4'>4</span> - <h3 id='s3' class='c010'><a href='#p3'>No. III.</a></h3> -</div> - -<p class='c011'><span class='sc'>Two Couchant Lions, after Rubens</span>, taken from his celebrated picture before alluded -to, of the Prophet Daniel incarcerated in the den. The Lions are here supposed to be miraculously -held in a state of tranquillity. Here, too, is not much Expression, but an extraordinary grandeur -of Character, suited to the greatness of an occasion where the Deity himself especially interferes -to seal up the voracious energies of the most terrible of his creatures, in calm submission. There -is a character of royal dignity mingled with this submission, which is very impressive, and even -sublime.</p> - -<p class='c012'>The writer esteems this to be a successful restoration of the Nature that was wanting in the -prints of this subject, (which has often been engraved by <span class='sc'>Picart</span> and others,) after <span class='sc'>Rubens</span>. The -original picture it has been our ill-fortune never to have seen. The shaggy manes, and the latent -terror that sits gloomily enthroned in the open eyes of the superior Lion—suited to the darkness of -the den, and the nature of this animal’s sense of vision,—are as well thought of, as they are -executed; and are varied with much address from the closed eyes of the couching Lion beyond, -of which also the character is most happily marked. A powerful and divine spell possesses -them both.</p> - -<h3 id='s4' class='c010'><a href='#p4'>No. IV.</a></h3> - -<p class='c011'><span class='sc'>The Tiger which marches in our procession</span>, without an object before him to call -forth emotion, possesses a calm character, combined with the resistless strength of that dreadful -quadruped; whose very tranquillity, in his leisure sauntering, when no excitement is acting on his -nerves, has an appalling effect.—His brow is clouded, though his claws are sheathed. There is a -possibility of a dreadful storm which may not be far distant, and that is enough to stamp the -Tiger’s character. None shall dare to arouse his energies, nor to encounter them when aroused.</p> - -<h3 id='s5' class='c010'><a href='#p5'>No. V.</a></h3> - -<p class='c011'><span class='sc'>This group of playful Leopards, after Rubens</span>, must be supposed to belong to the -jocund train of Bacchus, since they are luxuriating at their ease, among grapes and vine branches. -These Leopards are doubtless intended to have a degree of playful expression—induced perhaps by -the exhilarating juice of the grape: and we should “guess” (as <em>Jonathan</em> says) that this group -was studied from a litter of half-grown kittens. Few, however, except the sailors who were -accustomed to gambol with the Tiger-cub on board the Pitt East-Indiaman, would like to venture -to frolic <em>with</em> them.</p> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p3' class='figcenter id002'> -<a href='images/imagep3_lg.jpg'><img src='images/imagep3.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s3'>3</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Lions</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Rubens</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p4' class='figcenter id002'> -<a href='images/imagep4_lg.jpg'><img src='images/imagep4.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s4'>4</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Tiger</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Nature</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p5' class='figcenter id002'> -<a href='images/imagep5_lg.jpg'><img src='images/imagep5.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s5'>5</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Leopards</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Rubens</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p6' class='figcenter id002'> -<a href='images/imagep6_lg.jpg'><img src='images/imagep6.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s6'>6</a></span><br /><span class="leftattrib">T. Landseer del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Contending Group</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Nature</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div> - <span class='pageno' id='Page_5'>5</span> - <h3 id='s6' class='c010'><a href='#p6'>No. VI.</a></h3> -</div> - -<p class='c011'>In this <span class='fss'>GROUP</span> by <span class='sc'>Mr. Edwin Landseer</span> there is much of violent animal <em>Expression</em>, and -Character fades before it, or rather, is absorbed in it. It tells a story of the past as well as the -present, and is pregnant with a catastrophe not difficult to anticipate from the actions and -expressions of the parties engaged. A <span class='sc'>Fawn</span> has been seized by a <span class='sc'>Leopard</span>, who has been -despoiled of his prey by a more powerful <span class='sc'>Tiger</span>. The Tiger in his turn becomes the victim of an -enraged <span class='sc'>Lion</span>.</p> - -<p class='c012'>The expression of the wounded Leopard is that of painful suffering mingled with dread. -Together, they amount to agony. He shrieks while he submits. The Tiger is still enraged and -resisting, though astounded with the power and suddenness of the Lion’s attack. He is losing his -energy of resistance, and is beginning to feel that all resistance is vain. He roars with anguish; -while his expression is that of terror, and indignation not yet subdued.</p> - -<p class='c012'>The Lion, who has just made his thundering spring, appears conscious of having fatally seized -his adversary, and luxuriates fearlessly in his victory; and with a powerful and just expression of -carnivorous enjoyment.—Meanwhile the characters of the animals, severally, are faithfully and -specifically represented.</p> - -<p class='c012'>Although our main purpose be to exhibit rather a pictorial than a physiological view of the -subject: having descanted on the word Character, we shall probably be expected to add, at least -a word or two, on the leading characteristics of the carnivorous class of quadrupeds.</p> - -<p class='c012'>The generic characters of the Feline, or Cat, kind, are easily enumerated in the concise -language of the naturalists. Their heads are round; their visages short: they have six cutting -teeth, and two canine, in either jaw: their tongues are aculeated, the prickles inclining backward; -their claws sharp, hooked, and retractile; their ears small and acuminated; they have five toes on -each of the fore-feet, and four only on those behind.</p> - -<p class='c012'>Of this genera of Cats, we here exhibit the four principal species, Lions, Tigers, Leopards, -and Panthers, of which the Lion is justly placed at the head—at least, the unanimous voice of ages -has pronounced him to be the king of beasts, and we have enthroned him accordingly in our <a id='s1'></a>Title-page, -(<a href='#p1'>No. I.</a>) They form a tribe that is especially and properly <em>Carnivorous</em>, being the only -class of quadrupeds that are exclusively <em>flesh-eaters</em>. Their jaws are very completely armed for -this purpose; their canine teeth being very long and angular, with the edges of the angles turned -toward the inside of their mouths; so that when the animal has caused them to meet, or cross each -other in the flesh of its prey, these formidable teeth will cut or tear a way through, by drawing -them back without opening his mouth.</p> - -<p class='c012'>Their claws, and the formation of their feet, too, are eminently conducive to their predacious -<span class='pageno' id='Page_6'>6</span>and carnivorous habits. They walk on their toes: yet not so much from that habitual stealthiness -of pace, by which they advance unperceived till within a spring of their prey; as because it is also -the means of that celerity of motion which is necessary to the very existence of animals that can -feed only on flesh.</p> - -<p class='c012'>Their claws are exceedingly powerful; and they are enabled to draw them up into sheaths -between their toes, so as to prevent their points from touching the ground; whence they are -called retractile; and those claws are, in consequence, always kept sharp, unworn, and ready for -active service.</p> - -<p class='c012'>The eyes of the Feline tribe—of every face in nature a striking and important feature—vary -in the different species, and are capable of much alteration in the same animal; as instinctive -impulse, or internal emotion, changes the expression of his countenance; and also from the -degrees of light which act upon their pupils. Of Lions the pupils of the eyes are circular, and -not of a yellow colour, as has been stated in the most diffuse modern dissertations on the -Carnivora, but black. It is the iris of the Lion’s eye that is yellow. They appear to be best -suited to nocturnal, or twilight, vision; and hence the Lion rarely hunts his prey while the sun -is above the horizon—perhaps never, but when pressed by hunger in an extraordinary degree. -The Tiger, on the contrary, will seek his prey by day as well as by night; and during twilight the -colour of his eyes is that of a blue-green flame. If a stranger passes near a Tiger in a menagerie, -the colour of the animal’s eyes will sometimes alter suddenly, from yellow-green to blue-green; -not from any alteration in the degree of light acting upon them, but from mental excitement, and -from a certain natural facility of expansion and contraction of the eye-pupils.</p> - -<p class='c012'>Hence a characteristic difference between the Lion and the Tiger. The habits of the latter -are diurnal, and he disregards night-fires: the Lion, on the contrary, whose eyes are not calculated -for the glare of day, cannot bear to encounter fire-light at night. Yet these physical conformations -are sometimes overcome by the rage of hunger; and hence, in <span class='sc'>Mr. Edwin Landseer’s</span> -contending group, the Lion is represented as attacking the Tiger although it be day.</p> - -<p class='c012'><span class='sc'>Mr. Bell</span> treats learnedly, and we believe with much originality, of the facial-muscles of -this class of quadrupeds, in his “Anatomy of Expression.”—We shall offer a few extracts, by -which the reader will perceive how limited are their powers of expression of countenance, when -compared with those of human nature, notwithstanding their superiority over all other quadrupeds.</p> - -<p class='c012'>“The violent passions mark themselves so distinctly on the countenances both of men and -of animals, that we are apt in the first instance to consider the movements by which they are -indicated, as certain signs or characters provided by Nature, for the express purpose of intimating -the internal emotion; and to suppose that they are interpreted by the observer in consequence of a -peculiar and instinctive faculty. This view of things, however, so natural at first sight, is not -altogether satisfactory to philosophy; and a more jealous observation of the facts, seems to suggest -<span class='pageno' id='Page_7'>7</span>an opposite theory, in which instinctive agency is rejected, and the appearances are explained from -a consideration of the necessities and voluntary exertions of the animal. With regard to the -observer, it has been asserted, that it is by experience alone that he distinguishes the signs of the -passions; that we learn, while infants, to consider smiles as expressions of kindness, because they -are accompanied by acts of beneficence and by endearments; and frowns as the contrary, because -we find them followed by blows; that the expression of anger in a brute, is only that which has -been observed to precede his biting; and that of fondness, his fawning and licking of the hand. -With regard to the creature itself, it is said, what has been called the external signs of passion, are -merely the concomitants of those voluntary movements, which the passions or habits suggest; that -the glare of the Lion’s eye, for example, is the consequence of a voluntary exertion to see his prey -more clearly—his grin, or snarl, the natural motion of uncasing his fangs before he uses them. -This, however, is not quite true of all animals and of all expression of passion.”</p> - -<p class='c012'>“Attending merely to the evidence furnished by anatomical investigation, all that I shall -venture to affirm is this: that a remarkable difference is to be found between the anatomy and -range of expression, in man and in animals: that in the former there seems to be a systematic -provision for that mode of communication and that natural language, which is to be read in the -changes of the countenance: that there is no emotion in the mind of man which has not its -appropriate signs; and that there are even muscles in the human face to which no other use can be -assigned than to serve as the organs of this language: that, on the other hand, there is in the lower -animals no range of expression which is not fairly referable as a mere accessary to the voluntary -or needful actions of the animal; and that this accessary expression does not appear to be in any -degree commensurate to the variety and extent of the animal’s passions.”</p> - -<p class='c012'>“There appears to me (continues <span class='sc'>Mr. Bell</span>) to be no expression in the face of any animal -lower in the scale of being than quadrupeds; and in them the strongest and most marked -expression is that of rage; the object of which is opposition, resistance, and defence. But on -examination it will be found (consistently with the position, that this is merely an accessary of -the motions natural to the accomplishment of the object which the animal has in view) that the -strength of the expression is in exact proportion to the strength of the principal action in the -creature when thus excited.</p> - -<p class='c012'>“The gramnivorous animals, which seek their subsistence, not by preying upon others, nor by -the ferocity, contest, and victory which supply the carnivorous with food, have in their features no -strong expression of rage. Their expression is chiefly confined indeed to the effect produced on the -general system. Thus the inflamed eye and the breathing nostrils of the Bull, are induced only -by the general excitement. His only proper expression of rage, is in the position of the head, -with the horns turned obliquely to the ground, ready to strike: and indeed it may be observed -in general that animals which strike with the horns, shew little indication of fear or rage, except in -<span class='pageno' id='Page_8'>8</span>the position of the head. In all gramnivorous animals, the skin of the head is closely attached to -the skull, and capable only of very limited motion: the eye is almost uniformly mild, and the lips -unmoved by passion.</p> - -<p class='c012'>“It is in carnivorous animals, with whose habits and manner of life, ferocity is instinctively -connected, as the great means of their subsistence, that rage is distinguished by the most -remarkable strength of expression. The eye-ball is terrible, and the retraction of the flesh of the -lips indicates the most savage fury. But the first, is merely the exerted attention of the animal; -and the other a preparatory exposure of the canine teeth. The great animals of prey—the Lion -and the Tiger—are quite incapable of any other expression of feature, than this particular display -of ferociousness. When they fawn upon their keeper, there is no motion in their features that -indicates affection.”</p> - -<p class='c012'>In this assertion, that the countenances of the great animals of prey are incapable of any -other than ferocious expression, we do not quite coincide with our learned physiologist. When -they fawn upon their keeper, we think that indications of affection are exhibited; and find -ourselves ready to ask what else than kindly expression is that “licking of the hand” which our -author has before mentioned. If, however, we should grant that they may not be capable of -affectionate expression toward their keeper, we can scarcely doubt that—toward their young—if -we could observe them in their wild state, and in their moments of playful intercourse and -enjoyment among each other—they are: at least, we think there are motions in their features that -indicate affection, as well as fear, enquiry, surprise, gratitude, pleasurable wantonness, and some -other sentiments, or emotions. This is our conviction: at the same time, we perceive that the -range of their ferocious expression far exceeds the savage circle of their domestic charities. Are -not even the least of these observable in the habits and manners of the domestic Cat, who belongs -to the Tiger genera? But we have even seen a Tiger in his den, who looked good-natured enough -to be stroked and patted: and of the Lion, of whom <span class='sc'>Mr. Griffith</span> relates the following anecdote, -what can be said or thought?</p> - -<p class='c012'>“Hearing some noise under his cage, the Lion passed his paw between the bars, and actually -hauled up his keeper who was cleaning beneath; but as soon as he perceived that he had thus ill -used his master, he instantly lay down upon his back in an attitude of complete submission.”</p> - -<p class='c012'>Or what can be said of the circumstance mentioned by <span class='sc'>Seneca</span> (of which he was personally -witness), of a Lion, to whom a man, who had formerly been his keeper, was exposed for destruction -in the amphitheatre at Rome; and who was not only instantly recognised, but defended and -protected by the grateful beast?—Or of the story related by <span class='sc'>Dr. Southey</span>, of the Lion who had -broken loose, submitting to the Cid, and allowing himself to be led back peaceably to his place of -confinement?</p> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p7' class='figcenter id002'> -<a href='images/imagep7_lg.jpg'><img src='images/imagep7.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s7'>7</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Lion</span></span> & <span class='large'><span class='sc'>Snake</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Nature</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> -<p class='c012'><span class='pageno' id='Page_9'>9</span>Could any painter of talent proceed to represent either of these <i>facts</i>, without finding in the -countenance of the Lion, the muscles and the means of expressing a corresponding gentleness, -or generosity, of feeling?</p> - -<p class='c012'>What could be said or thought of these things? Why it may be said, and will be -thought, by all those who take both sides of the argument fairly into the question—that <span class='sc'>Mr. -Bell</span> has discovered and declared, that the muscles of affection, do not exist in the carnivora. -Ergo, that the sentiment which we so translate or acknowledge—the appearances (that is) with -which we may find ourselves affected—can only be expression of a negative kind; resulting from -the relaxation of those muscles whose tension is necessary to the purposes, or the expression, of -ferocity: that “the force of Nature can no further go;” and that the painter—the supposed painter, -of such subjects, who is appealed to above—in order to be in any degree successful, must “make -a third, by joining the former two”—that is to say, by mingling a portion of human nature with -that of the animal: which brings us round to the practice and the probable theory of <span class='sc'>Rubens</span>; -of which it affords more justification, and of a higher kind, than superficial reasoners can be -aware of.</p> - -<p class='c012'>But, when muscles of affection are mentioned, do we talk of a positive and acknowledged -certainty; or only of a construction that has been put upon certain muscles of the face, by those -who have an hypothesis to maintain, or who can trace affectionate expression in no other? -And, are we thence to infer the exhaustion of the subject, and non-entity of the expression?</p> - -<h3 id='s7' class='c010'><a href='#p7'>No. VII.</a></h3> - -<p class='c011'><span class='sc'>Mr. Spilsbury’s Lion</span>, who has turned round his head to look at a Snake, affords a delineated -example in point. Here is no more, we think, than the latent capability of ferocity: -just so much as cannot be separated from the native character of this noble quadruped.—The -eye-ball is here, not “terrible;” nor is “the most savage fury” indicated by the retraction of the -lips, although the lower canine teeth are exposed. Here is a general sense of dignity; but the -leading, present expression of the moment, (as it strikes us,) is that of curiosity, or excited -attention; mingled with some degree of surprise that a contemptible little Snake should presume -to roll his puny volumes in the royal presence. It would appear that the Lion has heard -something hiss, and cares a little, to know what it may be.</p> - -<p class='c012'>Will it be further objected that this is <em>Art</em>?—To be sure it is. But we think that such -Lion-looks are to be seen in Nature; and that such were seen, when the Dog which appealed to, -and obtained, the <em>royal</em> pity, was first thrown into the Lion’s den at the Tower. We believe -that this representation of the Lion and Snake is not taken from any old master, but is <span class='sc'>Mr. -Spilsbury’s</span> own design.</p> - -<div> - <span class='pageno' id='Page_10'>10</span> - <h3 id='s8' class='c010'><a href='#p8'>No. VIII.</a></h3> -</div> - -<p class='c011'>Neither is there any expression of ferocity, but of home comfort, in these two maneless -Lions—or <span class='sc'>Lion</span> and <span class='sc'>Lioness</span> of <span class='sc'>Senegal</span>. That which is asleep, however, rather illustrates our -definition of <em>Character</em>, and is so far out of the question. The Lioness—who is awake, is a kind -of <span lang="fr" xml:lang="fr"><em>Belle-Sauvage</em></span>. Entirely without ferocity, she has some little expression of attention gently -aroused by some slight cause—less important, we should think than the distant cry of a Chacal—a -noise in the den, perhaps, not loud enough to make it worth while to wake her companion in -order to see what’s the matter. But her expression of countenance, is almost as mild as that of -a kitten in a chimney corner.—In fact, they seem—notwithstanding their Herculean strength—a -kind of hearth-rug Lions.<a id='r1' /><a href='#f1' class='c013'><sup>[1]</sup></a></p> - -<p class='c012'>After venturing to express this slight difference of opinion (if it amount to so much) with -our distinguished anatomist of Expression, we return, with becoming respect, to his valuable -Treatise: though as we do not propose to exhibit, like him, an anatomical and comparative view -of the Carnivorous and Gramnivorous genera, we shall confine ourselves to a short extract or two, -relating to the Carnivora alone—</p> - -<p class='c012'>“It is of man alone that we can with strict propriety say the countenance is an index of the -mind, having expression corresponding with each emotion of the soul. Other animals have no -expression but that which arises by mere accident, the concomitant of the emotions necessary to -the accomplishment of the object of the passions.”—</p> - -<p class='c012'>“I have to remark, as relative to painting, (my original subject of enquiry) that this remarkable -difference between the expression in man, and animals, naturally leads us to investigate what -are the peculiarities of mere animal expression.</p> - -<p class='c012'>“In order to see distinctly what the peculiarities of mere animal expression are, it seems -proper to reduce the muscles of expression in animals, to their proper classes. These muscles, as -they appear in the several quadrupeds, may be distinguished into—1. Those which raise the -lips from the teeth: 2. Those which surround the eye-lids: and 3. Those which move the -nostrils.”</p> - -<p class='c012'>He next proceeds to state that “in the Carnivorous animal, the muscles of the lip are so -directed as to raise the lip from the canine teeth;”—and these he distinguishes by the name of -“<i>Ringentes</i>, or snarling muscles.”</p> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p8' class='figcenter id002'> -<a href='images/imagep8_lg.jpg'><img src='images/imagep8.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s8'>8</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Senegal Lion</span></span> & <span class='large'><span class='sc'>Lioness</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Reydinger</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p9' class='figcenter id002'> -<a href='images/imagep9_lg.jpg'><img src='images/imagep9.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s9'>9</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Lion</span></span> & <span class='large'><span class='sc'>Tiger</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Stubbs</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<p class='c012'><span class='pageno' id='Page_11'>11</span>The snarling muscles take their origin from the margin of the orbit of the eye, and from -the upper jaw, and are inserted into that part of the upper lip from which the whiskers grow, and -which is opposite to the canine teeth; and although they are assisted in this office by other -muscles, (the masticating and zygomatic muscles,) I have ventured to distinguish them particularly -as the muscles of snarling. This action of snarling is quite peculiar to the ferocious and carnivorous -animals.</p> - -<p class='c012'>“2. Muscles which surround the eye-lid. In man the upper eye-lid is raised by a muscle -coming from the bottom of the orbit. But, besides this muscle, animals of prey in whom there is -that peculiar and ferocious splendour of the eye, which we distinguish in the Tiger, for example, -or the Lion—have three muscles infixed in the eye-lids, which drawing the eye-lids backward -upon the peculiarly prominent eye-ball, produce the fixed straining of the eye, and by stretching -the coats, give a greater brilliancy to the reflection. These muscles may be classed under the term -<i>Scintillantes</i>.</p> - -<p class='c012'>“3. The muscles of the nostril are not less distinct and peculiar, in different classes of -animals, than those of the eyes and lips. In the Carnivorous animals, the nose is comparatively -insignificant, provision being made in the open mouth for any occasional increase of respiration -above the uniform play of the lungs.”</p> - -<p class='c012'>Taking respectful, friendly, and reluctant leave of <span class='sc'>Mr. Bell</span>, we trust that conformity will -be found between these pictorial remarks and anatomical elucidations of his, and our engraved -representations of the Carnivora.</p> - -<h3 id='s9' class='c010'><a href='#p9'>No. IX.</a></h3> - -<p class='c011'>The interior of a rocky den, where the <span class='sc'>Lion</span> dares to intrude on the retired repose of a -<span class='sc'>Royal Tiger</span>, copied by <span class='sc'>Mr. Spilsbury</span> from the Sketch-book of <span class='sc'>Stubbs</span>. On the part -of the Tiger, there is expressed a certain half frantic suspension of purpose. His look is fierce, -though apprehensive, and as if his mind was not made up whether to become the assailant, or -stand on the defensive. He is evidently taken by surprise; and if he does not fear, he is -thoroughly conscious (as <span class='sc'>Dr. Johnson</span> said, when he was to meet <span class='sc'>Lord Thurlow</span>) that “there -is something to <em>encounter</em>:” while the Lion, feeling also that he has met with his match, is -arousing his terrible energies. The heroes are threatening: the storm has gathered: and is about -to burst in fury.</p> - -<p class='c012'>With regard to the “ferocious splendour of their eyes,” and the exposure of their canine -teeth by means of the <i>Ringentes</i>, the reader will find here a strict accordance with <span class='sc'>Mr. Bell’s</span> -theory.</p> - -<div> - <span class='pageno' id='Page_12'>12</span> - <h3 id='s10' class='c010'><a href='#p10'>No. X.</a></h3> -</div> - -<p class='c011'>The <span class='sc'>Tigress</span> of <span class='sc'>Bengal</span>, which has been designed, as well as etched, by <span class='sc'>Mr. Thomas -Landseer</span>, from that at the Exeter ’Change Menagerie, affords also a pertinent illustration of -the principles which <span class='sc'>Mr. Bell</span> had derived from combining study with dissection: theory with -practice. The “three muscles infixed in the eye-lids, which, drawing the eye-lids backward upon -the peculiarly prominent eye-ball, produce the fixed straining of the eye, and by stretching the -coats, give a greater brilliancy to the reflection,” are here brought into action by a violent and -unexpected outrage done to the maternal feelings. Here too is exemplified the origin, insertion, -and physical use, of those snarling muscles, which are so properly named and defined by our -learned anatomist. We cannot but wish, however, that he had written also of those of the -lower jaw, which so powerfully conduce to this snarling and dreadful expression.</p> - -<p class='c012'>The mother has arrived at a fortunate conjuncture for her cubs, which lie sleeping below, in a -small den or dark recess of the bank, whither a Serpent has stolen. Twisted among the jungle, -which affords an advantageous post both of attack and defence for the Serpent—the Tigress has -reason to dread an enemy so powerful and insidious; and, as in the preceding Engraving, both -parties are prepared for the encounter, and fully aware of the importance of a first blow.</p> - -<h3 id='s11' class='c010'><a href='#p11'>No. XI.</a></h3> - -<p class='c011'><span class='sc'>These rampant Lions</span>, bear the name of <span class='sc'>Rubens</span> as their author. <span class='sc'>Sir John Sebright</span>, -we believe, has the original picture. It would neither deteriorate from its intrinsic merit as a -work of art, nor from its nominal value (we suspect), should it turn out to be from the pencil of -<span class='sc'>Snyders</span>; or a performance of <span class='sc'>Rubens</span> and <span class='sc'>Snyders</span> in conjunction. They not unfrequently -painted on the same canvas; but the high reputation and rank of <span class='sc'>Rubens</span>, has in some measure -absorbed that of his coadjutor, except among first-rate connoisseurs—whereas, in all that relates to -the details of Nature, <span class='sc'>Snyders</span> was the superior painter of <em>animals</em>: and our reasons for -thinking that he had at least a hand in this picture of the rampant Lions, are, 1st, The superior -attention which is here paid to the details of Nature. 2ndly, That the action of the nearest of the -two Lions, is precisely that of the same animal, in <span class='sc'>Snyders’</span> very capital picture from the fable of -the Lion liberated by the Mouse, now in the Cabinet of <span class='sc'>Thomas Franklin</span>, Esq. 3rdly, That -the study in oil of a dead Lion, in the collection of <span class='sc'>G. Watson Taylor</span>, Esq. also believed to be -from the hand of <span class='sc'>Snyders</span>, bears internal evidence of being painted, not only from Nature, but -from the very same individual Lion, with the above. They are all portraits of the same -animal. It appears as if <span class='sc'>Snyders</span>, having obtained possession of a dead Lion, after making the -study now belonging to <span class='sc'>Mr. Taylor</span>, had put him in this rampant attitude, and painted from -him as long as he lasted. But perhaps <span class='sc'>Rubens</span> and <span class='sc'>Snyders</span> did this in concert: for on the -other hand may be recollected a masterly sketch in oil of the heads only of these rampant Lions, -which was exhibited at the British Gallery two seasons ago, bearing the <em>name</em> of <span class='sc'>Rubens</span>. If -this name was written by <span class='sc'>Rubens</span> himself, the probability is as above stated, that both artists -painted at the same time from the same model. On this point we do but sum up such evidence as -is before us, leaving the verdict to the reader.</p> -<div class='pbb'> - <hr class='pb c001' /> -</div> -<div id='p10' class='figcenter id002'> -<a href='images/imagep10_lg.jpg'><img src='images/imagep10.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s10'>10</a></span><br /><span class="leftattrib">Tho<sup>s</sup>. Landseer del<sup>t</sup>. et sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Tigress</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Nature</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p11' class='figcenter id002'> -<a href='images/imagep11_lg.jpg'><img src='images/imagep11.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s11'>11</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Lions</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Rubens</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<p class='c012'><span class='pageno' id='Page_13'>13</span>We believe that this subject also, has passed through the medium of an Etching by <span class='sc'>Bloteling</span>, -for it differs in some minor respects from the picture in the gallery of <span class='sc'>Sir John Sebright</span>. -It however affords further illustration of the theory of expression laid down by <span class='sc'>Mr. Bell</span>, while -it embodies the Scriptural idea of a “ramping and roaring Lion seeking whom he may devour.”</p> - -<p class='c012'>We have mentioned above, our having been disposed, on a certain occasion of visiting a -public menagerie, to pat and stroke a Royal Tiger as he lay in his den with his nose toward the -spectator, and whose looks, though certainly far from angelic, we could almost have called -amiable: yet this is very far from being the character of the Tiger. To stroke, or pat, or touch -them in any way, however, no person should ever venture, except their keepers; even the tame -Tigers, that are sometimes brought up almost without animal food by the mendicant priests of -Hindostan, are strictly prohibited from being touched—“under the utmost rigours of religious -anathema,” says <span class='sc'>Col. Williamson</span>, who relates a circumstance of his having visited a Faukeer -who kept a Tiger of this kind in the wilds of Colgong.</p> - -<div> - <span class='pageno' id='Page_14'>14</span> - <h3 id='s12' class='c010'><a href='#p12'>No. XII.</a></h3> -</div> - -<p class='c011'>The amiable-looking Tiger of whom we have spoken, lay something in the attitude and -manner of the principal <span class='sc'>Panther</span>, in the present picturesque group which <span class='sc'>Mr. Spilsbury</span> -copied from the Sketch-book of that admirable painter and anatomist of animals, <span class='sc'>Stubbs</span>.</p> - -<p class='c012'>Perhaps this sentiment of ours, may be ascribed—in part at least—to the undulations of -form, glossiness of surface, and brilliancy of colours, of these interesting creatures, reviving the -early mental impressions which we remember to have received at the sight of shining and speckled -shells, butterflies’ wings, and other objects of pure beauty; and in part to our having associated -ideas of innocence and domesticated habits and comfort, with the “sympathetic mirth” (as -<span class='sc'>Goldsmith’s</span> phrase is) of sportive kittens.</p> - -<p class='c012'>It may not be unworthy of our best philosophy to pause here, and observe how Nature -contrives to mingle, and seems to insist on mingling, sentiments and mental impressions, which -analysing man is so fond of reducing to first elements—as he calls them. Surely there is, -about these Carnivorous and terrible creatures, a saving grace—a beauty in their dreadfulness, -which is exceedingly interesting, although it co-exist with cruelty: for if they are cruel, their -cruelty is involuntary, and not implacable; and therefore, if not pardonable, not hateful—while -the external beauty which they possess, is of a positive nature.</p> - -<p class='c012'>Reverting here to our own scholastic distinction, we think that Nature has, in the instance of -this species of quadrupeds, mingled with similar success, energy of character, with a degree of -mildness of expression. The natural character of the Panther is fearfully ferocious, yet a superinduced -kindly expression may be seen in this group from the pencil of <span class='sc'>Stubbs</span>—a sworn disciple -of Nature—which may shew that in their home retiredness, they have not been left destitute of -the means of letting each other see that they are sociable, friendly, and not entirely without the -means of expressing the gentler emotions. Men are perhaps too exclusively disposed to look at -the objects around them, as those objects immediately concern themselves: <span class='sc'>Mr. Stubbs</span>, in -composing this capital group, took a more extensive and genuine view of things; and notwithstanding -the Panther is larger and more formidable than the Leopard (from which quadruped he -is not always easily distinguishable), has depicted them as scarcely less mild and gentle than the -domestic Cat.</p> - -<p class='c012'>The evidence of facts, however, when set in apposition, affords, in all probability, the most -efficacious and convincing means of manifesting such principles as we are here submitting, while -they exhibit the <em>varieties</em> of animal expression to the best advantage; and we therefore introduce -another <span class='fss'>GROUP</span> of <span class='sc'>Panthers</span>, from the same Sketch-book, by <span class='sc'>Stubbs</span>, more malignant -in their aspects.</p> -<div class='pbb'> - <hr class='pb c001' /> -</div> -<div id='p12' class='figcenter id002'> -<a href='images/imagep12_lg.jpg'><img src='images/imagep12.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s12'>12</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Panthers</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Stubbs</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p13' class='figcenter id002'> -<a href='images/imagep13_lg.jpg'><img src='images/imagep13.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s13'>13</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Panthers</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Stubbs</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div> - <span class='pageno' id='Page_15'>15</span> - <h3 id='s13' class='c010'><a href='#p13'>No. XIII.</a></h3> -</div> - -<p class='c011'>This is what one might call a domestic, or family, group; but they seem here to be -meditating prey, and by no means so good-humoured as in the former instance, where they might -be fancied to be quietly enjoying themselves after a sufficient repast. The two groups, when -viewed together, seem very much to assist our perceptions of the capability of this animal of -gentle, as well as of savage, expression.—They are contrasted, indeed, though without the direct -opposition of violent brutal action, to calm repose: the eye being the chief seat of the difference. -But neither the gentle, nor the more ferocious and malignant-looking, Panthers, or Tigers, will -bear any comparison for commanding majesty of appearance with the regal Lion, whether in a -calm or an excited state—as the vignette of our title-page is ready to bear witness.</p> - -<p class='c012'>There is good chiaroscuro in both of the above groups; and the scene of rocky wildness in -which the latter are placed, as well as the rich colouring of the fur of the animals, are ably -indicated.</p> - -<p class='c012'>The reader may perhaps not be displeased to attend here for a moment, to a short epitome of -what the Naturalists have said concerning the distinctive marks of this interesting quadruped, the -Panther: nor to be informed or reminded of the strong resemblance which he bears to the -Leopard.</p> - -<p class='c012'><span class='sc'>Dr. Shaw</span> observes that <span class='sc'>Linnæus</span> himself has confounded the Panther with the Leopard; -but adds, that “a true distinctive mark between them, is by no means easy to communicate either -by description or even by figure.” He thinks that the Leopard is the smaller of the two species -of animals, and its colour a paler yellow: and <span class='sc'>Mr. Griffith</span>, in his “Carnivora,” says, “A very -fine animal is now exhibiting at Exeter ’Change under the name of Leopard, which is much -larger as well as brighter than any other Leopard in that Menagerie, and should, therefore, -according to <span class='sc'>Shaw</span>, seem to be the Panther. But I am informed that the animal in question was -taken in India, and that all those which come from Asia, are much brighter in colour than those -from Africa, which is confirmed by inspection of the African specimens there; and that the -females have more white about them than the other sex: and <span class='sc'>Mr. Cross</span>, who has had opportunities -of inspecting probably some hundreds of specimens, insists that he has never observed any -specific difference between those brought from Asia and Africa, among themselves, except that the -Asiatic are generally larger and brighter.”</p> - -<p class='c012'><span class='sc'>Lichtenstein</span>, in a note communicated to <span class='sc'>Major Smith</span>, describes the Panther as -resembling the Jaguar, in having the same number of rows of spots, but different in having no -full spots, on the dorsal line. If this be correct, then is the existence of the Panther established -as being distinct from the Leopard: but I do not find that full spots on the dorsal line always -make a specific difference of the Jaguar. When, therefore, it is said, that the Panther much -<span class='pageno' id='Page_16'>16</span>resembles the Jaguar, it is always strongly to be suspected that the type whence the observations are -taken is an American animal. If the contrary be clearly established, and the animal be found to -have large round or oval open marks of black, with a central spot on the sides and back, and a tail -longer than from its insertion to the ground, it may be concluded that it is the real Panther.</p> - -<p class='c012'>Lastly, that indefatigable investigator, <span class='sc'>Cuvier</span>, says he was long in doubt whether the -Panther and Leopard were distinct: but a comparison of a great number of skins, as well as -observations on the numerous animals sent to the French Museum, have satisfied him that they -are different; and he accordingly describes the Panther as having six or seven rows of rose-like -spots in transverse lines, the tail longer and the head larger than the Jaguar, and the ground-colour -of the fur paler. The Leopard he describes as a little less than the Panther, though with the same -proportions; but the spots, as much more numerous, forming ten transverse lines.</p> - -<p class='c012'>The opinion of <span class='sc'>Cuvier</span> is certainly deserving of the greatest attention; but it may be -observed that his enumeration of the six or seven rows of spots in the Panther, and of ten in the -Leopard, is not so certainly intelligible as might be desired, when it is considered that the spots or -marks in question have really little or no parallelism. Notwithstanding, therefore, this respectable -authority, it seems very probable that the Panther and Leopard are one and the same species, -which branches into two varieties, the Asiatic and the African; the former of which is brighter -in colour, and probably something larger than the latter; and that the females of both are paler -and less than the other sex. <span class='sc'>Cicero</span>, in his letters to <span class='sc'>Atticus</span>, speaks of the Panther of Africa, -and the Asiatic Panther; as if they were different.</p> - -<p class='c012'>The ancient naturalists were not a whit more successful in distinguishing these two -quadrupeds, than the moderns, notwithstanding the opportunities which they possessed of -inspecting so many. <span class='sc'>Mr. Griffith</span> comments on <span class='sc'>Shaw</span>, <span class='sc'>Lichtenstein</span>, and <span class='sc'>Cuvier</span>; so did -<span class='sc'>Cicero</span> and <span class='sc'>Pliny</span>, on <span class='sc'>Aristotle</span>. Hence their <i>Panthera</i>, <i>Pardus</i>, and the <i>Leopardus</i> of the -later ages of Rome (the last of which plainly indicates their supposition that a Lion or Lioness -had been concerned in the generation of this spotted animal.)</p> - -<p class='c012'>It is surprising to reflect on the great number of Panthers, which in those later ages of Rome, -were brought from the deserts of Africa for their public shows. <span class='sc'>Scaurus</span> exhibited an hundred -and fifty of them at one time; <span class='sc'>Pompey</span>, four hundred and ten; and <span class='sc'>Augustus</span>, four hundred -and twenty! They probably thinned the province of Mauritania almost to extirpation; which -may account for the superior abundance of these quadrupeds, as well as of Lions, at present, in -Guinea, and the more southern parts of Africa.</p> - -<p class='c012'>It would appear, that after all that has been accomplished by the spot and row-counting -philosophers, the distinction between Panthers and Leopards is by no means made out; and we -take it, that whenever Nature means to mark a distinction of this sort, she always does it with a -firmer hand, and more decisive line.</p> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p14' class='figcenter id002'> -<a href='images/imagep14_lg.jpg'><img src='images/imagep14.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s14'>14</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Leopard</span></span> & <span class='large'><span class='sc'>Panther</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Stubbs</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div> - <span class='pageno' id='Page_17'>17</span> - <h3 id='s14' class='c010'><a href='#p14'>No. XIV.</a></h3> -</div> - -<p class='c011'><span class='sc'>Stubbs</span>, who had most likely paid sufficient attention to what the naturalists had previously -said on the subject—and whom no naturalist has exceeded in accuracy of observation—appears to -have here sketched out the differences, and the resemblances, between these two animals—if two -they may be termed. It will be observed that the one which we esteem to be the <span class='sc'>Leopard</span>—the -nearer figure of the two—is somewhat smaller than the other, and that the dark spots on her body -are not clustered in roselets, or oilettes, as they have sometimes been called; while on the body of -the <span class='sc'>Panther</span>, they are, and indeed everywhere, excepting on his head and fore-legs. In short, -<span class='sc'>Stubbs’s</span> delineation agrees best with the definition of <span class='sc'>Cuvier</span>, whose discernment and -philosophical tact are by no means inferior to that indefatigability for which he is praised by -<span class='sc'>Griffith</span>.</p> - -<p class='c012'>Of this Leopard and Panther, the actions and expression (although not the character—their -noses and mouths being of longer and larger proportions) are very much those of the common -domestic Cat, when in a playful mood. Something there is of burlesque clumsiness in their play—resembling -<span class='sc'>Hercules</span> with the distaff; and something of that assumed look which may be -observed among Cats while frolicking with their young. And these kindly and droll expressions -of countenance—these “quips and cranks, and wanton wiles,”—are doubtless very well understood -among the carnivorous comedians, notwithstanding that to some of ourselves, they may not appear -to amount to much: yet the difference of these our engraved heads of a playful Leopard and -Panther, and the ocular expressions of such animals when raging with hunger, or rendered angry -by opposition, is immense, and could not fail, if presented together, to be strikingly obvious to those -who are in the least studious of the physiognomical variations of the ferocious tribe. Let the -reader compare them with the threatening <span class='sc'>Lion</span> and defying <span class='sc'>Tiger</span> among the rocks, after the -same master, which we have numbered 19.</p> - -<p class='c012'>Horse-play is proverbially unwelcome: Panther-play must be worse. We cannot associate -the idea of the endurance of it within reach of man. But where Cats and Kittens are occasionally -permitted in the parlour, there is comparative harmlessness. And who has not witnessed with -delight, among the rat-catching carnivora in their joyous moments, those spontaneous and electrical -kindlings of various and rapid fun, which must have made <span class='sc'>Heraclitus</span> laugh, could he have seen -them, and have been a lesson to <span class='sc'>Lavater</span>.</p> - -<div> - <span class='pageno' id='Page_18'>18</span> - <h3 id='s15' class='c010'><a href='#p15'>No. XV.</a></h3> -</div> - -<p class='c011'>A <span class='sc'>Lion</span> and <span class='sc'>Lioness</span>, after <span class='sc'>Rubens</span>, where we esteem the execution—more especially of the -parts which are brought into muscular action, and the rich hairy texture of the fur—to be highly -creditable to the artists concerned. In these respects, it transcends beyond all comparison the -Etching by <span class='sc'>Picart</span> of the same subject. We were about to say more of these things, and to -request attention more particularly to the hinder parts of the female, but the knit brow and threatening -eye of the Lion glares upon us with its high claims, and terrible truth, and we cannot but -perceive a broad, pervading, and dextrous display of light, shade, and expression of texture.—Now, -where there is just harmony of parts, it is the <em>whole</em> which merits praise; and this praise is -of a higher kind than could possibly be bestowed with propriety on any part.</p> - -<p class='c012'>The Expression of the Lion is not here so self-possessed and majestic as in some of the examples -which we have passed. His magnanimity is exchanged for that dark treachery and cruel-mindedness, -which some modern authors ascribe to him. Nor is the Lioness more amiable: both seem -lurking, malicious, and as if animated by some horrid hope.</p> - -<p class='c012'><span class='sc'>Rubens</span> seems to have let them into his Assyrian den, in order to let the world see from how -dreadful animals Providence was protecting its favoured minister.</p> - -<h3 id='s16' class='c010'><a href='#p16'>No. XVI.</a></h3> - -<p class='c011'><span class='sc'>Rubens</span> has here painted one Lion as scowling, another as if in a sort of mysterious -meditation, and a third yawning with ennui—no doubt to diversify a composition wherein he was -of necessity obliged to introduce a considerable number of animals of the same kind.</p> - -<p class='c012'>The Lion has been, of all quadrupeds whatever, the most idealised by the Arts, and the most -variously represented. The tide of opinion ran for centuries in his favour. Kings took their -designations from him: amongst whom have been our first <span class='sc'>Richard</span>; but of late years very reputable -travellers and other authors have appeared, who would bring down the poetic generosity, the -reputation of which the Lion has so long enjoyed, to the plain prose craft and cruelty of the rest -of the feline race.</p> - -<p class='c012'>The noble disdain with which a Lioness, though half famished, and “with udders all drawn -dry,”—scorned to prey on a sleeping man—Must we part with the sentiment? Must we also -disbelieve the story which has been commemorated by a large French engraving, of a Lion gently -taking up in his mouth a fallen infant, and as gently setting it down again, to the infinite delight -of its terrified mother?—Such anecdotes have pleased and flattered us; but may possibly have -gained undeserved credit because they pleased, and have pleased because they flattered—<em>human</em> -nature.</p> -<div class='pbb'> - <hr class='pb c001' /> -</div> -<div id='p15' class='figcenter id002'> -<a href='images/imagep15_lg.jpg'><img src='images/imagep15.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s15'>15</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Lions</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Rubens</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p16' class='figcenter id002'> -<a href='images/imagep16_lg.jpg'><img src='images/imagep16.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s16'>16</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Lions</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Rubens</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p17' class='figcenter id002'> -<a href='images/imagep17_lg.jpg'><img src='images/imagep17.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s17'>17</a></span><br /><span class="leftattrib">Edwin Landseer delin<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Lioness</span></span> & <span class='large'><span class='sc'>Bitch</span></span> <span class='small'>from</span> <span class='large'><span class='sc'>Cross’s Menagerie</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div> - <span class='pageno' id='Page_19'>19</span> - <h3 id='s17' class='c010'><a href='#p17'>No. XVII.</a></h3> -</div> - -<p class='c011'>Repeated instances of <span class='sc'>Friendships between the Lion and the Dog</span>, have occurred at the -Menagerie at the Tower, as well as elsewhere in England: and we have pleasure in adding a corroborating -fact of a novel character. Mr. <span class='sc'>Edwin Landseer</span> made it the subject of a Drawing from -Nature, and we here present the public with an Engraving after it, executed by his brother, and -numbered in our collection, 16.</p> - -<p class='c012'>A female whelp was accidentally found, quite young, and even before its eye-lids were unclosed, -in an African forest not far from the sea shore. It was brought on board ship by some sailors, -where a smallish black bitch, by birth quite an ignoble cur, having recently pupped, the experiment -was successfully made, of ascertaining whether she would suckle the young Lioness, who -was christened <i>Charlotte</i>.—<i>Charlotte</i> soon began to thrive, and to play kitten frolics; and continued -to be thus nurtured, till, at no great length of time, she became so much larger than her -foster-parent, and required so much food, as to induce the necessity of weaning her.</p> - -<p class='c012'>But the two quadrupeds continued, ever after, to live together on the most friendly and -affectionate terms; constantly inhabiting the same cage, and habitually partaking of the same -messes of provision. The Lioness, though now grown large, having never seen any other mother, -continued through life to shew marks of daughterly obedience, and the bitch, of maternal regard. -Mr. <span class='sc'>Edwin Landseer</span>, as well as many others, has frequently seen them caressing each other -in their cage at the Exeter ’Change Menagerie, in the manner which he has represented: the -Drawing, which exhibits portraits both of the <span class='sc'>Lioness</span> and <span class='sc'>Bitch</span>, having been done some -years ago.</p> - -<p class='c012'>And these kitten frolics, or the youthful disposition to indulge in them, continued on the part of -the Lioness, till her older and graver nurse became tired of the lion-play, and would sometimes snarl -and bark forbiddingly. It was very entertaining, and an interesting chapter in Natural History, to -behold this; for the Bitch ever retained an ascendancy, and much of the authority, of a parent: so -that her foster-daughter, though so much larger, and so tremendously powerful, would retire -<span class='pageno' id='Page_20'>20</span>obediently to the farther corner of the cage, waiting a favourable change of temper, on the part of -her senior, before she renewed her playful familiarities.</p> - -<p class='c012'>On a principle of prudence, however, and because it was judged that if these inmates of the -same refectory, ever quarrelled, it would be at a meal-time, they were of late separately fed: that -is to say, not at separate times, or tables, but, at opposite corners of the apartment: but the Bitch -has often been known to help herself out of <i>Charlotte’s</i> portion, without fear or ceremony, and her -majesty to shew no resentment, nor any kind of royal displeasure or hurt feeling, at the indecorum.</p> - -<p class='c012'>We esteem this Engraving to afford a fair example of the positive, or negative, power of the -sovereign of the forest, of physiognomically expressing the gentler emotions. But it occurs to us -here—and we mention it in reference to an argument maintained in an earlier part of this dissertation—that -perhaps licking with the tongue may belong to the dumb language of quadrupedal -expression of affection. But the Dog, and the Cat, kind, express themselves in this way; and -amongst each other, it cannot be misunderstood—the affectionate idea being impressed at the -period of their very earliest susceptibilities, and associated—perhaps as indissolubly as the human -endearments of smiles and kissing—with their youngest, purest, and most permanent recollections.</p> - -<h3 id='s18' class='c010'><a href='#p18'>No. XVIII.</a></h3> - -<p class='c011'>In this plate the ideas of expeditious motion, and quest, are admirably depicted:—kept up -from stem to stern; he is evidently bent on destruction.—This is he that appeared to the terrified -imagination of <span class='sc'>Collins’s</span> Oriental camel-driver, who, in his beautiful Eclogue, exclaims—</p> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>“What, if the <span class='sc'>Lion</span> <em>in his rage</em> I meet!”</div> - </div> -</div> - -<p class='c012'>And the determined purpose which pervades the whole frame and the mind of the sallying hero, is -seen in his resolute look, as well as in every motion of his muscular limbs—aye, to the very tuft at -the extremity of his tail. All is expressive of his plenitude of animation, and prey is obviously his -purpose. None can mistake him.</p> - -<p class='c012'>This will probably be thought another of the instances in which the present artists have been -eminently successful in the execution of their subject. (For the design they were indebted to the -etching-needle of <span class='sc'>Ridinger</span>.) The shag of the mane is characteristically varied from the short -hair which covers the face, body, and limbs; the anatomy is ably indicated; and the chiaroscuro -is vigorous.</p> -<div class='pbb'> - <hr class='pb c001' /> -</div> -<div id='p18' class='figcenter id002'> -<a href='images/imagep18_lg.jpg'><img src='images/imagep18.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s18'>18</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Lion</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Reydinger</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<p class='c012'><span class='pageno' id='Page_21'>21</span>The hunters say that a dozen or fifteen dogs, trained to the sport, will overpower a Lion before -he can strike many blows: but these are the limbs which “at every blow destroy an enemy.”</p> - -<p class='c012'>We have next to treat of the <span class='sc'>Royal Tiger of Bengal</span>, beautiful, powerful, fierce, and -unrelenting.—Terrible, yet admirable!</p> - -<p class='c012'>Mr. <span class='sc'>Bewick</span> says that the Tiger “is the most rapacious and destructive of all carnivorous -animals. Fierce without provocation, and cruel without necessity, its thirst for blood is insatiable. -Though glutted with slaughter, it continues its carnage; it fears neither the sight nor the opposition -of man, whom it frequently makes its prey; and it is even said to prefer human flesh to that -of any other animal:” a fact which is confirmed by <span class='sc'>Colonel Williamson</span>, and Mr. <span class='sc'>Paul</span> of Daudpore, -the latter of whom has the reputation of having killed as many Tigers as any hundred other -men in India.</p> - -<p class='c012'>The strength of this animal is so great, that when it has killed a Deer, it carries it off -with much ease. <span class='sc'>Wood</span> relates a story, on good authority, of a Buffalo being carried off -by one; but it had previously refreshed itself by sucking the Buffalo’s blood. The latter had -been hampered, and was weakened by its struggles in a quagmire; and the Tiger let fall its -prey, and fled at the approach of some Indian peasants. We must suppose, too, this Tiger -to have been one of the largest, and of extraordinary power, for <span class='sc'>Colonel Williamson</span> reports -that in the public combats that are sometimes exhibited in India, between Tigers and Buffaloes, -the latter is commonly the victor.</p> - -<p class='c012'>But the eagerness of its voracity is believed to transcend that of any other creature whatever. -If undisturbed at the commencement of its meal, it plunges its head into the body of its reeking -victim, up to the very eyes, in order to glut itself with the bloody enjoyment. Oysters are not -opened and swallowed with more zest and avidity.</p> - -<div> - <span class='pageno' id='Page_22'>22</span> - <h3 id='s19' class='c010'><a href='#p19'>No. XIX.</a></h3> -</div> - -<p class='c011'>The commencement of such <span class='sc'>a Carnivorous Feast</span>, where the <span class='sc'>Tiger</span> has seized and -slain—not a wild Buffalo, but a <span class='sc'>Bullock</span>, from the tame herds of Hindostan. As the cattle -descend toward the river to drink, their crafty enemy lies in ambush among the jungle, or -creeps along cautiously and unseen; and, watching a favourable opportunity, makes his -murderous spring.</p> - -<p class='c012'>Although <span class='sc'>Williamson</span> corroborates <span class='sc'>Mr. Bewick’s</span> account of the Tiger’s fondness of -human flesh, he does not agree to that of its fearlessness. On the contrary, he thinks that on -occasions where Tigers have seemed fearless, momentary anguish or resentment, has been their -real stimulus; and adds, that “the Tiger is, of all beasts of prey, the most cowardly; its treacherous -disposition induces it, almost without exception, to conceal itself until its prey may arrive within -reach of its spring, be its victim either bulky or diminutive. Size seems to occasion no deviation -in the Tiger’s system of attack, which is founded on the art of surprising. We find, accordingly, -that such as happen to keep the opposite side of a road, by which they are somewhat beyond the -first spring, often escape injury; the Tiger being unwilling to be seen before he is felt. Hence -it is rarely that a Tiger pursues; but, if the situation permit, his cunning will not fail to effect his -purpose, he will steal along the road-side among the bushes parallel with the traveller’s course, -until one of the many chances which present themselves of finding him within reach, induces to -the attack. Often, where the country is rather too open to allow his proceeding in this manner, -the Tiger will take a sweep among underwood or through ravines, in order to meet the traveller -again at a spot whence he may make his spring.</p> - -<p class='c012'>“Tigers are extremely partial to such sites as command a road, selecting one rather -less frequented, in preference to one that is much in use. In the former, they are certain of -finding as much as will answer their daily wants. If, however, the haunt be on a public road, it -is usually at some spot abounding with grass or bushes, especially the <i>prauss</i>, and in the vicinity -of some ample cover supplied with water, to which the prey can be dragged. There, in some low, -opake spot, the sanguinary meal is consummated in gloomy silence.</p> - -<p class='c012'>“It should be observed, that for the most part the Tiger chooses his station on that side of -the road which is opposite to his haunt; so that, when he seizes his prey, he proceeds straight -forward, without having occasion to turn, and thus drags it across mostly at a trot. If he misses -his aim, he will rarely return, unless attacked; but, in a sullen manner, either skulks through -the cover; or, if the country be not sufficiently close to conceal his motions, he moves on at a -canter.”</p> -<div class='pbb'> - <hr class='pb c001' /> -</div> -<div id='p19' class='figcenter id002'> -<a href='images/imagep19_lg.jpg'><img src='images/imagep19.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s19'>19</a></span><br /><span class="leftattrib">E. Landseer del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Tiger</span></span> & <span class='large'><span class='sc'>Indian Bullock</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Nature</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p20' class='figcenter id003'> -<a href='images/imagep20_lg.jpg'><img src='images/imagep20.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s20'>20</a></span><br /><span class="leftattrib">E. Spilsbury del<sup>t</sup>.</span> <span class="rightattrib">T. Landseer sculp<sup>t</sup>.</span><br /><span class='large'><span class='sc'>Senegal Lion</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Reydinger</span></span>.<br /><span class='large'><span class='sc'>Black-maned Lion</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Rembrandt</span></span>.<br /><span class='large'><span class='sc'>Lioness</span></span> <span class='small'>after</span> <span class='large'><span class='sc'>Reydinger</span></span>.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<p class='c012'><span class='pageno' id='Page_23'>23</span>Finding the same anecdotes of Lions and Tigers repeated from book to book, the present -writer has in general avoided to reiterate what he conceived would in most instances prove to have -been already read: but he cannot wholly pass that in which a lady—next to the Royal Tiger -himself—was the principal figure; more especially as it illustrates a fact of natural history not -useless for Oriental travellers to be acquainted with—namely, the susceptibility of the Tiger of -sudden alarm.</p> - -<p class='c012'>Some ladies and gentlemen being on a party of pleasure, under a shade of trees on the -banks of a river in Bengal, were suddenly surprised at seeing a Tiger ready to make its fatal -spring. One of the ladies, with amazing presence of mind, laid hold of an umbrella, and unfurling -it directly in the animal’s face, it instantly retired.</p> - -<p class='c012'>The following also confirms <span class='sc'>Williamson’s</span> account of the Tigers which are brought up tame -by some of the mendicant Indian priests who inhabit the banks of the Ganges.</p> - -<p class='c012'>A beautiful young male Tiger was brought from China, some twenty years ago in the Pitt -East Indiaman: at the age of ten months it was so far domesticated, as to admit every kind of -familiarity from the people on board. It seemed to be quite harmless, and was as playful as a -kitten. It frequently slept with the sailors in their hammocks, and would suffer two or three of -them to repose their heads upon its back, as upon a pillow, whilst it lay stretched out upon the -deck. In return for this, it would, however, now and then steal their meat. Having one day -taken a piece of beef from the carpenter, he followed the animal, took the meat out of its mouth, -and beat it severely for the theft; which punishment it suffered with all the patience of a dog. It -would frequently run out on the bowsprit; climb about the ship like a cat; and perform a number -of tricks with an agility that was truly astonishing. There was a Dog on board the ship, with -which it would often play in the most diverting manner. But it ought to be remembered at the -time this Tiger was taken on board the ship, it was only a month or six weeks old; and when -arrived in this country, it had not quite completed a year.</p> - -<h3 id='s20' class='c010'><a href='#p20'>No. XX.</a></h3> - -<p class='c011'><span class='sc'>Three</span> small <span class='sc'>Lions</span>, on a single Plate; forming a sort of tail-piece, and bringing up the -rear of our carnivorous procession.</p> - -<p class='c012'>This plate exhibits three different <span class='fss'>VARIETIES</span>. <span class='sc'>The Lion of Senegal</span>, nearly in profile, -reclined, but under the influence of some slight degree of irritation; the black-maned <span class='sc'>Lion</span> of -<span class='sc'>Africa</span>; and the common <span class='sc'>Lioness</span> of <span class='sc'>Asia</span>, regaling herself on a dead bird.</p> - -<p class='c012'><span class='pageno' id='Page_24'>24</span>The upper and lower subjects, are after <span class='sc'>Ridinger</span>. The African Lion, in the middle, is -originally from <span class='sc'>Rembrandt</span>, but has passed through the medium of an indifferent Etching by -<span class='sc'>Picart</span>; and, like the rest, has finally been corrected by a reference to Nature.—We believe it -was corrected from the specimen that was some few years ago presented to <span class='sc'>Lady Castlereagh</span>; -which was exhibited at Exeter ’Change, and of which <span class='sc'>Mr. Edwin Landseer</span> and <span class='sc'>Mr. Thomas -Christmas</span> had the <em>post-obit</em> reversion.</p> - -<div class='nf-center-c1'> -<div class='nf-center c003'> - <div><span class='small'>G. NORMAN, PRINTER, MAIDEN LANE, COVENT GARDEN.</span></div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_25'>25</span> - <h2 class='c004'>SUPPLEMENTARY PLATES.</h2> -</div> - -<h3 id='s21' class='c010'><a href='#p21'>PLATE XXI.</a> <br /> <span class='sc'>Neptune, Painted by E. Landseer, Engraved by T. Landseer.</span></h3> - -<p class='c011'>A beautiful and highly characteristic engraving of a favourite Newfoundland Dog. -It is engraved by Mr. Thomas Landseer from a drawing by his brother Edwin, and highly -admired as a faithful likeness of the original.</p> - -<h3 id='s22' class='c010'><a href='#p22'>PLATE XXII.</a> <br /> <span class='sc'>Brutus, Painted by E. Landseer, Engraved by T. Landseer.</span></h3> - -<p class='c011'>The property of Edwin Landseer, Esq. Good judges may at once perceive in this portrait -the points that constitute a thorough good one of the breed. Rough, wiry and strong, with eyes -almost concealed, Brutus is yet active, vigilant and courageous, possessing in great perfection -the qualities most desirable in the terrier.</p> - -<h3 id='s23' class='c010'><a href='#p23'>PLATE XXIII.</a> <br /> <span class='sc'>A cross of the Dog and Fox, Painted by E. Landseer, Engraved by T. Landseer.</span></h3> - -<p class='c011'>The subject of this fine engraving had occasioned much doubt in the minds of naturalists, -but the question as to its reality was decided, by the fact of the animal whose portrait we give, -having been produced from a tan terrier bitch and a tame dog fox.</p> - -<h3 id='s24' class='c010'><a href='#p24'>PLATE XXIV.</a> <br /> <span class='sc'>Dogs setting a Hare, Painted by E. Landseer, Engraved by T. Landseer.</span></h3> - -<p class='c011'>Two dogs having caught the side wind of a hare are making a highly characteristic point. -Nothing can more forcibly express that mute animation which gives so highly-toned a finish to -the abilities of the setting dog as this vigorous and faithful delineation of their countenances. -The Pointer is placed in a very interesting attitude admirably contrasted with the well chosen -position of the setter his companion; while the hare, the object of their attraction, is not only -judiciously placed, but the representation is strikingly true to nature. This representation of -dogs setting a hare displays not only a correct knowledge of the subject but is one of those faithful -delineations that cannot fail to merit the most unqualified approbation.</p> - -<div> - <span class='pageno' id='Page_26'>26</span> - <h3 id='s25' class='c010'><a href='#p25'>PLATE XXV.</a> <br /> <span class='sc'>Vixen, Painted by E. Landseer, Engraved by T. Landseer.</span></h3> -</div> - -<p class='c011'>A thorough-bred Scottish terrier, a favourite portrait by Mr. Edwin Landseer who has -repeated her in several of his pictures.</p> - -<h3 id='s26' class='c010'><a href='#p26'>PLATE XXVI.</a> <br /> <span class='sc'>Fox Hounds of the Hatfield Hunt, Painted by E. Landseer, Engraved by T. Landseer.</span></h3> - -<p class='c011'>This sketch contains portraits of five of the principal fox hounds belonging to the above -Hunt.</p> - -<h3 id='s27' class='c010'><a href='#p27'>PLATE XXVII.</a> <br /> <span class='sc'>Proctor, Painted by E. Landseer, Engraved by T. Landseer.</span></h3> - -<p class='c011'>Study of a head of a Blood-hound. This engraving is of a very celebrated dog, and the -character of its peculiar species is well delineated.</p> - -<h3 id='s28' class='c010'><a href='#p28'>PLATE XXVIII.</a> <br /> <span class='sc'>Bob, a favourite Terrier, Painted by E. Landseer, Engraved by T. Landseer.</span></h3> - -<p class='c011'>This engraving represents a fine wire-haired specimen of his race, engaged in his favourite -pursuit in his native wilds.</p> - -<h3 id='s29' class='c010'><a href='#p29'>PLATE XXIX.</a> <br /> <span class='sc'>The Poacher, Painted by E. Landseer, Engraved by T. Landseer.</span></h3> - -<p class='c011'>Is not one of those who</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>“Take delight of a shiny night,</div> - <div class='line'>In the season of the year,”</div> - </div> - </div> -</div> - -<p class='c012'>to pop pheasants from their perches with an air gun, or who sets “springes to catch woodcocks,” -but it is he who</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line in28'>“Skulks along</div> - <div class='line'>Sleek at the shepherd’s cost, and plump with meals</div> - <div class='line'>Purloined;”</div> - </div> - </div> -</div> - -<p class='c012'>“The wily Fox,” and a very beautiful animal Mr. Landseer has made of him. The description -we have quoted, finds in the picture an apt illustration.</p> - -<div> - <span class='pageno' id='Page_27'>27</span> - <h3 id='s30' class='c010'><a href='#p30'>PLATE XXX.</a> <br /> <span class='sc'>Alpine Mastiff, Painted by E. Landseer, Engraved by T. Landseer.</span></h3> -</div> - -<p class='c011'>The drawing from which the present plate was engraved, was made from a very noble -Alpine mastiff, which at that time although not full grown, was the largest dog in England.</p> - -<h3 id='s31' class='c010'><a href='#p31'>PLATE XXXI.</a> <br /> <span class='sc'>Old Dog, looks like a picture, Painted by E. Landseer, Engraved by J. Webb.</span></h3> - -<p class='c011'>An expressive picture, which betokens the subject, old in honour and years, and still -following his favourite pursuit.</p> - -<h3 id='s32' class='c010'><a href='#p32'>PLATE XXXII.</a> <br /> <span class='sc'>Fight between Jacko and Puss, Sketched and Etched by T. Landseer.</span></h3> - -<p class='c011'>The animals here so cleverly represented, and at the spot of their actual and sanguinary -contest, were etched by T. Landseer, from a sketch made at the time by himself.</p> - -<h3 id='s33' class='c010'><a href='#p33'>PLATE XXXIII.</a> <br /> <span class='sc'>Little Billy, drawn and engraved by T. Landseer.</span></h3> - -<p class='c011'>The spirited and faithful style in which Mr. Landseer has executed this embellishment, -presents us a portrait of a species of animal which was a great favourite with our ancestors, and -was as ferocious to an enemy as faithful to a friend.</p> - -<h3 id='s34' class='c010'><a href='#p34'>PLATE XXXIV.</a> <br /> <span class='sc'>Black Cap, Painted by G. H. Laporte, Engraved by T. Landseer.</span></h3> - -<p class='c011'>Is a clever specimen of a perfect Harrier’s head, ably treated.</p> - -<h3 id='s35' class='c010'><a href='#p35'>PLATE XXXV.</a> <br /> <span class='sc'>Dead Red Deer, Painted by E. Landseer, Engraved by J. R. Scott.</span></h3> - -<p class='c011'>Gives us the spoils of the chase lifeless and rigid; the accessories to the picture are well told.</p> - -<div> - <span class='pageno' id='Page_28'>28</span> - <h3 id='s36' class='c010'><a href='#p36'>PLATE XXXVI.</a> <br /> <span class='sc'>Tiger Hunt, Painted and Engraved by T. Landseer.</span></h3> -</div> - -<p class='c011'>Tigers are hunted in India by Elephants assisted by fleet horses. We have in this clever -picture a Tiger couching amongst the jungle seemingly undetermined whether to spring or to make -off, the horse scared and frightened evidently has come upon him unexpectedly; an Elephant at a -little distance is hastening towards the spot.</p> - -<h3 id='s37' class='c010'><a href='#p37'>PLATE XXXVII.</a> <br /> <span class='sc'>Tiger taking the water, Painted by Sir Charles D’Oyly, Engraved by T. Landseer.</span></h3> - -<p class='c011'>The Tiger having been driven from the jungle and hunted over the plain, as a last resort -takes to the water. He is here represented just after having entered, his powerful paws half -above the water preparing to make a stroke, whilst his tail stiff and outstretched serves the -purpose of a rudder. The hunters on their elephants from the bank of the river are taking a -deliberate aim at him.</p> - -<h3 id='s38' class='c010'><a href='#p38'>PLATE XXXVIII.</a> <br /> <span class='sc'>Elephants returning from the Hunt, Painted by Sir Charles D’Oyly, Engraved by T. Landseer.</span></h3> - -<p class='c011'>The Hunter seemingly tired of hunting on horseback has dismounted, and is climbing up -the side of an elephant who kneels, whilst the fruit of the chase is upon the back of another, and a -third is making his way through the jungle.</p> - -<h3 id='s39' class='c010'><a href='#p39'>PLATE XXXIX.</a> <br /> <span class='sc'>Red Deer, Painted by R. Hills, Engraved by T. Landseer.</span></h3> - -<p class='c011'>A very clever work of Art upon which the great and universally acknowledged taste and -talents of Mr. Thomas Landseer have been carefully bestowed. Both Painter and Engraver have -done justice to the subject; few things can be finer than the stag in the foreground, or more -effective than the brace of Does approaching upwards, as it were, from a romantic and obscure -retirement.</p> -<div class='pbb'> - <hr class='pb c001' /> -</div> -<div id='p21' class='figcenter id004'> -<a href='images/imagep21_lg.jpg'><img src='images/imagep21.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s21'>21</a></span><br /><span class="leftattrib">Engraved by T. Landseer from a Drawing by his Brother Edwin.</span><br /><span class='large'><i>Neptune, the property of W. E. Gosling Esq<sup>r</sup>.</i></span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p22' class='figcenter id002'> -<a href='images/imagep22_lg.jpg'><img src='images/imagep22.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s22'>22</a></span><br /><span class="leftattrib">Painted by E. Landseer & Engraved by T. Landseer.</span><br /><span class='large'><span class='sc'>Brutus.</span></span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p23' class='figcenter id002'> -<a href='images/imagep23_lg.jpg'><img src='images/imagep23.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s23'>23</a></span><br /><span class="leftattrib">Engraved by T. Landseer from a Sketch by his brother Edwin.</span><br /><span class='large'><i>Portrait of a Cross of the Dog and Fox, in the possession of Lord Cranley.</i></span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p24' class='figcenter id002'> -<a href='images/imagep24_lg.jpg'><img src='images/imagep24.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s24'>24</a></span><br /><span class="leftattrib">Engraved by T. Landseer from a Drawing by his Brother Edwin.</span><br /><span class='large'><i>Dogs Setting a Hare.</i></span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p25' class='figcenter id002'> -<a href='images/imagep25_lg.jpg'><img src='images/imagep25.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s25'>25</a></span><br /><span class="leftattrib">Eng<sup>d</sup>. by T. Landseer from a Painting by his Brother.</span><br /><i>Vixen, a Thorough bred Scotch Terrier.</i></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p26' class='figcenter id002'> -<a href='images/imagep26_lg.jpg'><img src='images/imagep26.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s26'>26</a></span><br /><span class="space2"><i>Elliner</i></span> <span class="space2"><i>Lettager</i></span> <span class="space2"><i>Strider</i></span> <span class="space2"><i>Rachell</i></span> <i>Adamant</i><br /><span class='large'><i>Fox Hounds, of the Hatfield Hunt.</i></span><br /><span class="leftattrib">Engraved by Tho<sup>s</sup>. Landseer from a Painting by his Brother Edwin.</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p27' class='figcenter id002'> -<a href='images/imagep27_lg.jpg'><img src='images/imagep27.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s27'>27</a></span><br /><span class="leftattrib">Eng<sup>d</sup>. by T. Landseer from a Painting by his Brother Edwin.</span><br /><span class='large'><span class='sc'>Procter.</span></span><br /><span class='large'><i>Study of a Blood hounds Head.</i></span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p28' class='figcenter id002'> -<a href='images/imagep28_lg.jpg'><img src='images/imagep28.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s28'>28</a></span><br /><span class="leftattrib">Engraved by T. Landseer from a Painting by his Brother Edwin.</span><br /><span class='large'><i>Bob, a favourite Terrier the property of W. E. Gosling Esq<sup>r</sup>.</i></span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p29' class='figcenter id002'> -<a href='images/imagep29_lg.jpg'><img src='images/imagep29.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s29'>29</a></span><br /><span class="leftattrib">Eng<sup>d</sup>. by T. Landseer from a Drawing by his Brother Edwin.</span><br /><span class='large'><i>The Poacher.</i></span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p30' class='figcenter id002'> -<a href='images/imagep30_lg.jpg'><img src='images/imagep30.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s30'>30</a></span><br /><span class="leftattrib"><i>Eng<sup>d</sup>. by T. Landseer from a Drawing by his Brother.</i></span><br /><span class='large'><i>Alpine Mastiff.</i></span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p31' class='figcenter id002'> -<a href='images/imagep31_lg.jpg'><img src='images/imagep31.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s31'>31</a></span><br /><span class="leftattribnoital">Painted by E. Landseer R. A.</span> <span class="rightattribnoital">Engraved by J. Webb.</span><br /><span class='large'>THE OLD DOG LOOKS LIKE A PICTURE.</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p32' class='figcenter id002'> -<a href='images/imagep32_lg.jpg'><img src='images/imagep32.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s32'>32</a></span><br /><span class="leftattrib">Etch'd by T. Landseer, from a sketch made at the time by himself.</span><br /><span class='large'><i>Fight between “Jacko Maccacco,” a celebrated Monkey, and M<sup>r</sup>. Tho<sup>s</sup>. Cribb’s well known bitch “Puss.”</i></span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p33' class='figcenter id002'> -<a href='images/imagep33_lg.jpg'><img src='images/imagep33.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s33'>33</a></span><br /><span class="leftattrib">Drawn and Engraved by Thomas Landseer.</span><br /><span class='large'><span class='sc'>Little Billy</span></span>, A Celebrated Bull Dog.</p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p34' class='figcenter id002'> -<a href='images/imagep34_lg.jpg'><img src='images/imagep34.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s34'>34</a></span><br /><span class="leftattrib">Eng<sup>d</sup>. by T. Landseer, from a Painting by G. H. Laporte.</span><br /><span class='large'>BLACK CAP.</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p35' class='figcenter id002'> -<a href='images/imagep35_lg.jpg'><img src='images/imagep35.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s35'>35</a></span><br /><span class='large'>DEAD RED DEER.</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p36' class='figcenter id002'> -<a href='images/imagep36_lg.jpg'><img src='images/imagep36.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s36'>36</a></span><br /><span class='large'>TIGER HUNT</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p37' class='figcenter id002'> -<a href='images/imagep37_lg.jpg'><img src='images/imagep37.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s37'>37</a></span><br /><span class='large'>TIGER TAKING THE WATER</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p38' class='figcenter id002'> -<a href='images/imagep38_lg.jpg'><img src='images/imagep38.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s38'>38</a></span><br /><span class='large'>ELEPHANTS RETURNING FROM THE HUNT.</span></p> -</div> -</div> -<div class='pbb'> - <hr class='pb c001' /> -</div> - -<div id='p39' class='figcenter id005'> -<a href='images/imagep39_lg.jpg'><img src='images/imagep39.jpg' alt='' class='ig001' /></a> -<div class='ic002'> -<p><span class="plateid"><a href='#s39'>39</a></span><br /><span class='small'><i>Engraved by M<sup>r</sup>. T. Landseer, from a Painting by M<sup>r</sup>. R. Hills.</i></span><br /><span class='large'>RED DEER.</span></p> -</div> -</div> -<div class='footnote' id='f1'> -<p class='c012'><span class='label'><a href='#r1'>1</a>. </span>This was written before the beautiful hearth-rug Lion introduced to us by Mr. Crosse of Leeds, and which is equal to -the finest painting.</p> -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Engravings of Lions, Tigers, Panthers, -Leopards, Dogs, &c., by Thomas Landseer - -*** END OF THIS PROJECT GUTENBERG EBOOK ENGRAVINGS OF LIONS, TIGERS *** - -***** This file should be named 53290-h.htm or 53290-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/3/2/9/53290/ - -Produced by MWS, ellinora and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/Canadian Libraries) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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