Chapter 10

The first five cases are filled with clumsy black ware, ornamented in some cases with figures in relief, and extracted from tombs discovered on the site of the oldest Etruscan towns, which circumstance has led antiquaries to allow the Etruscans the honour of having fashioned these rude specimens of pottery; but as the samples display a higher degree of skill they refuse to allow the Etruscans the merit of having improved the clumsiness of their early handiwork. In the sixth and seventh cases are pale vases with deep red figures, chiefly of animals upon them, chiefly from Canino and Vulci. The exertions of the Prince of Canino in excavating on his estate in search of Etruscan tombs and their treasures are well known; and the enthusiasm with which Sir William Hamilton, while on his embassy at Naples, bought the curiosities of Etruscan tombs, should be remembered. Few Englishmen, however, can think pleasantly of those times when the Hamiltons were at Naples, when Lady Hamilton did her country great services; then recall the picture of the poor woman fed by a charitable neighbour at Calais, think of Horatio's last words, and then of the country that forgets the woman's service, and the hero's dying words. Well, the visitor may pass on his way amidst these spoils from Etruscan tombs, and forgetting the family to whom we owe many of them, serenely watch the gradual improvement in the manufacture. The best have black figures upon a dark ground. The glass cases in the centre of the room contain those vases which are painted on both sides. On the walls of the room above the cases are fac-similes of paintings from some of the Etruscan tombs. Some of them represent dances and games; but one represents a female in the act of covering the head of a man who has just expired, while a male figure is drawing a covering over the feet, and two spectators are in attitudes of grief in the neighbourhood. Having roamed amid the spoils of Etruscan tombs, the search after which is now a settled business in parts of Italy, the visitor may take a southerly direction through two empty rooms into that at the southern extremity of the western wing. Here a few miscellaneous objects are deposited, amongst which in the eastern cases he should notice some curious old enamels, and the frescoes from St. Stephen's Chapel, Westminster, and on the floor, a model of the Victory. He should then turn in an easternly direction into the Ethnographical room, which, to the visitor without a guide has very much the appearance of a confined curiosity shop; but on inspection proves to be an interesting compartment of the Museum, in which curiosities illustrative of the civilisation of various countries and continents are arranged. Before applying himself to the wall cases, however, the visitor would do well to advance to the eastern extremity of the room, noticing the objects deposited in the central space by the way. These consist of Flaxman's cast of the shield of Achilles; a model of the Thugs fashioned at Madras by a native artist; a model of a moveable temple; her Majesty's present to the museum of a great Chinese bell, surmounted by the Chinese national dragon, and decorated with figures of Buddh, from a temple near Ningpo; and various cromlechs or sepulchres of the ancient Britons, ruder in their construction than those with which the visitor has lately busied himself. Having arrived at the eastern end of the room, the visitor should advance to the northern wall cases, and begin his inspection. He will at once remark that the first five cases (1-5) are devoted to

CHINESE CURIOSITIES.

These are distributed with particular regard to the economy of space, and accordingly the visitor may see at a glance objects huddled together, the uses of which are of the most opposite nature. On the first shelf of cases 1, 2, are distributed the tally of a Chinese soldier describing his age and place of residence; ladies' gloves; military boots; bows and arrows; and the mock spears shown above the walls of Woosang in 1842 to intimidate the British forces. The second shelf exhibits the grotesque varieties of Chinese deities and leaders of sects; and in other parts of the cases are endless Chinese curiosities, including Chinese scales and weights; padlocks; mirrors; a pair of Chinese spectacles in a leather case; shoe brushes from Shanghai; chopsticks; a brass pipe; Chinese mariners' compasses; a Chinese bank-note, value one dollar; Chinese needles; agricultural implements; joss sticks; the sea-weed eaten by the Chinese; ancient bronze bell; vase in shape of a lotus leaf; and an advertisement for quack pills. The visitor should remark the great royal wicker shield that is on the top of the case, ornamented with the head of a tiger; and the model of a junk. The third case contains Chinese divinities, of which the goddess of Mercy, Kwan-yin, on the first shelf, is the most noticeable figure. The two last cases 4 and 5 given up to Chinese, are filled chiefly with Chinese musical instruments, including the pair of sticks used by Chinese beggars as castanets to attract attention to their petitions; Chinese shuttlecocks, made of feathers and lead, the Chinese battledores being the soles of their feet, suggestive of vigorous exercise; fly-flaps; surgical instruments; paints; boxes; and Japanese shoes. Over these cases is a circular stand, in twenty-two parts, representing, in relief, the chief deities of the Hindoo mythology. The four next cases (6-9) are given up to

INDIAN CURIOSITIES.

Among the miscellaneous collection of objects crowded into these four cases are many figures of Buddha in earthenware, wood, alabaster and ivory; bronze divinities of the Hindoo Pantheon; Hindoo playing cards; copper-plates containing grants of land; a Hindoo mathematical instrument; a powder-horn from Burtpoor; Affghan cloak and pistol; bows and arrows; baggage and accommodation boats; and early Arabian bronze water ewers inlaid with silver. Over the Indian cases are figures of Hindoo deities, including a bronze figure of Siva with four arms, and Lakshmi, the wife of Vishnu. The four following cases (10-13) are chiefly filled with

AFRICAN CURIOSITIES

of a miscellaneous description, and from various parts of the continent. These include, in cases 10, 11, Nubian and Abyssinian baskets; Arabic quadrants; Egyptian water-bottles; sandals, and a variety of other manufactures from Ashantee, including a shuttle, and specimens of native cotton cloth; an iron bar used as a medium of exchange, and worth about one shilling on the African coast; gourd boxes and calabashes; cloths and other curiosities collected on the Niger Expedition; specimens of native silk from Egga; a skin bottle for holding galena to colour the eyelids; opaque glass beads from Abyssinia; all kinds of arms from French Guiana, Fernando Po, Abyssinia, and Nubia, including a Nubian spear, enveloped with a snake's skin from Thebes. Over the cases an Ashantee loom for weaving narrow cloth, and Abyssinian baskets, and at the side an Indian inlaid cabinet. Passing from these cases, the visitor at once reaches those devoted to

AMERICAN CURIOSITIES.

The cases numbered from 14-21 are filled with articles illustrative of the life and climate of the Esquimaux, and the extreme northern regions of America, including the native fishing-hooks and lines; models of canoes; skin dresses, men's boots from Kotzebue's Sound; Lapland trousers; utensils made of the horn of the musk ox; Esquimaux woman's hair ornaments; over the cases hereabouts the sledge which Sir E. Parry brought from Baffin's Bay, and a canoe from Behring's Straits; waterproof fishing jackets, made from the intestines of the whale; harpoons of bone tipped with meteoric iron; specimens of rude sculpture from these northern regions; clubs; hatchets; the magic dome of an Iceland witch; baskets and mats; calumets of peace; scalps; a model of a cradle, showing the method adopted by the Indians of the Columbia River to flatten their children's heads. The cases 23, 24, are filled with curiosities from more southernly parts of the North American continent; and chiefly with various objects from the most interesting of the old inhabitants of America--the Mexicans. The collection from Mexico, including their divinities, specimens of their arts, &c., are arranged in seven cases (24-30). The objects from Guiana occupy the greater part of cases 31-34; and the remarkable objects in the 35th case are the dried body of a female, from New Granada; a mummy from New Granada wrapped in cotton cloths; a curious Peruvian mummy of a child, the legs curiously bound up; and silver and gold Peruvian sepulchral ornaments. The cases marked 36, 37, are devoted to objects from South America, including black earthern vessels from cemeteries in Peru; bows and poisoned arrows; and a sacrificial bason, ornamented with serpents, supposed to be one from the temple of the Sun at Cuzco. The rest of the cases contain miscellaneous objects from groups of islands. The contributions from the Marquesas and Sandwich Islands are in cases 53-56; the war dresses, of feathers, &c., from Tahiti, in case 57; and the nets and baskets, clubs and tatooing instruments from the Friendly Islands will be found arranged in cases 65, 66. On the second shelf of cases 66, 67, is deposited a tortoise-shell bonnet, made in imitation of an European bonnet from Navigator's Island. Cases 68, 69, are devoted to objects from New Zealand; and those marked 70, 71, were collected during an exploring expedition into Central Australia. The last cases are devoted to miscellaneous objects from the Fiji Islands, Borneo, and other localities; and with these the visitor should close his second visit to the Museum; regaining the ante-room to the Southern Zoological gallery, by passing out of the Ethnographical room through its eastern opening. He has now completed the examination of the galleries of the Museum with the exception of the print and medal rooms, which are not open to the public generally, but are reserved for the use of artists and antiquarians. He has dipped into many sciences on his two journeys; made some acquaintance with the history of the animals that frequent the different parts of the world; dwelt amid the fossil fragments of long ages past; examined the elementary substances of which the earth's crust is composed; been with the dust of men that lived before Jerusalem was made for ever memorable; surveyed the spoils of Etruscan tombs; and lingered amid the varieties of household things from the barbarous nations of the present hour; and not wholly profitless have the journeys been, even if the scientific mysticism be not mastered, so that there remains in the mind a general impression of the time that has gone by, the great laws that govern the universe, and the humility that becomes man, when he sees his individuality, in relation with the mighty past, and the great progresses of Nature.

END OF THE SECOND VISIT.

VISIT THE THIRD.

The visitor, on entering the British Museum for the third time, will commence his examination of the massive Antiquities, which are scattered throughout the noble galleries that stretch along the western basement of the building. His spirit must again wander to the remote past. Again must he recur to the ancient civilisation of southern Europe, and the busy people that covered the valley of the Nile before Alexander breathed. He has already examined the household utensils, the bodies, the ornaments, and the food of the ancient Egyptians, and has had more than a glimpse of the artistic excellence to which they attained long before our Christian era. Of the sepulchral caves of Thebes, of the massive pyramids sacred to the ancient Pharaohs, of the strange images of beasts and men, of the sacred beetles, and the universal Ibis, he has already examined minute specimens arranged in the cases of the Egyptian Room; but he has yet to witness those evidences of power, and scorn of difficulties, exhibited in the colossal works of the Egyptian people.

On entering the Museum for the third time, the visitor should turn to the left, and passing under the staircase, enter the galleries devoted to Ancient Sculpture. He will at once be struck with the strange allegorical figures clustered on all sides, the broken bodies, the fragments of arms and legs, the corners of slabs, and other dilapidations. Here a fine figure is without a nose, there Theseus holds aloft two handless arms, and legs without feet. The visitor who has not the least insight into the heart of all these collections of fragments from tombs, and temples, and neglected ruins, is perhaps inclined to laugh at the enthusiasm with which they are generally examined, and the rapturous strains in which the greatest critics have written of them. Not to all people is the enthusiasm of Lord Elgin comprehensible. Why not allow the fragments of the Parthenon to be ground into fine white mortar, and the busts of ancient heroes to be targets for the weapons of Turkish youths? are questions which a few utilitarians may be inclined to ask; and it would certainly be difficult to show, for instance in figures, the gain the country has made by expending 35,000£. on the Elgin marbles: in the same way that it is difficult to appraise the beneficial influence of beauty, or to test the developments of the universe by double entry.

But let the visitor pace these noble galleries of his national museum with a reverent heart, let him learn from these beautiful labours of long ago, that not only to him and his fellows of the proud nineteenth century, when fiery words are flashing through the seas, and steam fights like a demon with time, were the living years pregnant with the glories of art; but that the Egyptian, with his rude bronze chisel, cut his native rocks with no unskilful hand, before the Son of God lay cradled in a manger.

Past the bewildering fragments of art in the south-western gallery to the south-western corner of the building, then south like an arrow to the northern end of the sculpture rooms, should the visitor at once proceed. He will pass by fragments of Assyrian, Greek, and Roman art, but to these he should now pay little heed, as his immediate business is with the fine gallery of

EGYPTIAN SCULPTURE,

which is the most northernly apartment or gallery of the western wing. Here he will at once notice the rows of Sarcophagi, which are ranged on either side of the central passage of the gallery. These colossal outer-coffins contained the mummies of distinguished Egyptians. Along the walls of the room are ranged the sepulchral tablets, or tombstones of ancient Egyptians, and the inscriptions generally record the name and age of a deceased person; and in some cases, points of domestic history and pious sentences. Their dates range over a space of time amounting to more than twenty centuries. Interspersed with these are other sculptures, chiefly of Egyptian deities; but the attention of the visitor will be probably attracted first to the

EGYPTIAN OUTER COFFINS.

The visitor, having reached the northern end of the Egyptian Saloon, should turn to the south, and begin a minute examination of its contents. The sarcophagi, or outer coffins of stone, in which the rich ancient Egyptians deposited the embalmed bodies of their relations, occupy the greater part of the ground space of the saloon. They are massive shells, hewn from the solid rock, polished and engraved skilfully with hieroglyphics, which, so far as the learned have been able to decipher, record the exploits of the great men they contained. Some of them are in the shape of common boxes with raised lids; while in others, attempts to represent the features of the deceased, and a rough outline of a mummy are apparent. These massive coffins, which are upwards of three thousand years old, and are eloquent with the mystic written language of that remote antiquity, deserve more than a transient notice even from the unscientific visitor. Mummies were found in most of these, proving their use. Some were discovered placed in an erect, and others in a recumbent posture, in the tombs of Thebes, or on the sites of ancient cities.

Of the sarcophagi or coffins, fashioned in the shape of a mummy, the visitor should notice that in calcareous stone, numbered 47, which was discovered at Tana; another, with the paintings restored, marked 39; another in green basalt, marked 33, known to be that of a female called Auch, decorated with the embalming deities, and inscribed with a prayer on behalf of the deceased woman; and one of later date which has held the remains of a member of the priestly class, numbered 17. To arrive at a fair estimate of the average art displayed in these ancient sepulchral remains, it is worth the trouble of the visitor to wander a little about the saloon from one specimen to the next immediately connected with, or proximately resembling it. Having examined the coffins shaped like mummies, the visitor should next direct his attention to the massive oblong cases which lie upon the ground on either side of him.

The first of these which he may examine is that marked 32. This sarcophagus was excavated from the back of the palace of Sesostris, near Thebes. Athor appears in bas-relief upon the lid; the sun is represented in the interior, together with Heaven represented as a female, and a repetition of the goddess Athor.

The names of several royal ladies have been deciphered from the inscriptions, which are the addresses of deities. The black granite chest of a sarcophagus, numbered 23, is that of a royal scribe named Hapimen. Here the well-known figures of the Amenti, the embalmer Anubis, and other deities and symbols, will remind the visitor of the Egyptian room up stairs, with its strange green little images of figures half human and half bestial. Round the interior are the deities to whom the various parts of the human body were severally dedicated. Since this massive granite was the coffin of Hapimen, it has been known to the Turks as the "Lover's Fountain," and used by them as a cistern. The Syenite sarcophagus of a standard-bearer, is marked 18. The chest of a royal sarcophagus that was taken from the mosque of St. Athanasius at Alexandria, and which contained the mummy of a king of the twenty-eighth dynasty, is marked number 10. On the exterior, the Sun is represented, attended by appropriate deities travelling through the hours of the day; and on the interior the visitor will recognise the quaint symbolic forms of the usual sepulchral gods and goddesses. The two remaining sarcophagi are those of a scribe and priest of the acropolis of Memphis, and a bard. That of the former, marked 3, is covered with the figures of Egyptian divinities and inscriptions to the deceased; that of the latter, in arragonite, is in the form of a mummy, like those first examined by the visitor. This coffin has five distinct lines of hieroglyphics engraved down the front, expressing a chapter of the funeral ritual: and the face bears evidence of having been gilt.

Having sufficiently examined these massive coffins, upon which the proudest undertaker of modern times must look humbly, and deplore the decline of his business as an art, the visitor should at once turn to other specimens of the sepulchral art of the ancient Egyptians. Of these, the most interesting are the sepulchral tablets, which are literally

ANCIENT EGYPTIAN TOMBSTONES.

Our modern tombstones record only the virtues of the dead. If future generations have to rely upon the revelations of our churchyards for facts connected with the people of modern times, they will write that we were all of us faultless as fathers, irreproachable as husbands, and devoted and self-sacrificial as children. Every tombstone is engraved with a catalogue of human virtues; and idlers wandering round about our country churches, find themselves surrounded by the ashes of fond husbands, innocent angels, and adored wives. These prattlings of sorrow have their happy significance, since they show the universal forgiveness that follows even the worst and basest of mankind to the grave. But viewed as historical records, tombstones are sadly erring guides. They tell histories of men, written by their mistresses or their children. The sculpture which adorns the graves of modern races in this country, generally represents urns, or weeping cherubims, broken flowers, or fractured columns, or grieving angels. These symbols of death and grief contrast often oddly with the hopeful scriptural sentences which they surmount. In some instances the occupation or calling of the deceased is typified on his tomb--the unstrung lyre telling the whereabouts of a dead musician; and a palette indicating the resting-place of a defunct painter. Little that is great in sculpture has of late marked burial-places.

The Egyptians, on the contrary, employed their choicest workmen to decorate their tombs. The visitor may, gathering together the scattered fragments from this saloon, picture to himself one of the massive solemn vaults of the old Egyptians--the walls decorated with sepulchral tablets, and beneath each tablet a massive sarcophagus, containing the mummy of the deceased whose actions the tablet records. Not altogether unlike the vaults of the present day, save that perishable materials suffice for modern notions; whereas the Egyptian provided comforts for the long, long rest, that, according to his creed, would elapse, before the mummy would shake off its bandages, and walk forth bodily once more. The Egyptian tablets, of which there are a great number scattered about the saloon, are, as the visitor will perceive, of small dimensions, but crowded with mystic hieroglyphics, and ornamental groups of the funereal deities and other subjects. The writing records the actions and the name of the deceased, together with various religious sentiments; and is therefore, in form and spirit, not unlike the modern epitaph. This resemblance is not so wonderful as it at first appears, seeing that the same circumstances acted upon the dictator of the old Egyptian epitaph, as those which make the modern widow eloquent. The most modern of the tablets in the present collection are those executed while Egypt was a Roman state, many are of the time of the Ptolemies, and one is believed to be of a date before the time of Abraham. This tablet is to the memory of a state officer: it is marked 212. The examination of the sarcophagi, will have led the visitor to the southern end of the saloon; and from this point he should once more turn to the north, and examine the sepulchral tablets on the eastern and western walls. He will notice that numbers of them exactly resemble one another in certain forms; that certain sepulchral scenes are frequently repeated, and that therefore the tablets cannot be said in many cases with certainty, to represent either passages in the life of the deceased, or symbolic images of his career.