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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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