Part 66

James Lynch Fitzstephen was mayor or warden of Galway in 1493; he traded largely with Spain, and sent his son on a voyage thither to purchase and bring back a cargo of wine. Young Lynch, however, spent the money entrusted to him, and obtained credit from the Spaniard, whose nephew accompanied the youth back to Ireland to be paid the debt and establish further intercourse. The ship proceeded on her homeward voyage, and as she drew near the Irish shore, young Lynch conceived the idea of concealing his crime by committing another. Having seduced, or frightened, the crew into becoming participators, the youth was seized and thrown overboard. The father and friends of Lynch received the voyager with joy; and the murderer in a short time became himself a prosperous merchant. Security had lulled every sense of danger, and he proposed for a very beautiful girl, the daughter of a wealthy neighbour, in marriage. The proposal was accepted; but previous to the appointed day, one of the seamen became suddenly ill, and in a fit of remorse summoned old Lynch to the dying-bed, and communicated to him a full relation of the villany of his only and beloved son. Young Lynch was tried, found guilty, and sentenced to execution--the father being his judge. The wretched prisoner, however, had many friends among the people, and his relatives resolved with them that he should not die a shameful death. They determined upon his rescue. We copy the last act of the tragedy from "Hardiman's History of Galway." "Day had scarcely broken when the signal of preparation was heard among the guards without. The father rose, and assisted the executioner to remove the fetters which bound his unfortunate son. Then unlocking the door, he placed him between the priest and himself, leaning upon an arm of each. In this manner they ascended a flight of steps lined with soldiers, and were passing on to gain the street, when a new trial assailed the magistrate for which he appears not to have been unprepared. His wretched wife, whose name was Blake, failing in her personal exertions to save the life of her son, had gone in distraction to the heads of her own family, and prevailed on them, for the honour of their house, to rescue him from ignominy. They flew to arms, and a prodigious concourse soon assembled to support them, whose outcries for mercy to the culprit would have shaken any nerves less firm than those of the mayor of Galway. He exhorted them to yield submission to the laws of their country; but finding all his efforts fruitless to accomplish the ends of justice at the accustomed place, and by the usual hands, he, by a desperate victory over parental feeling, resolved himself to perform the sacrifice which he had vowed to pay on its altar. Still retaining a hold of his unfortunate son, he mounted with him by a winding stair within the building, that led to an arched window overlooking the street, which he saw filled with the populace. Here he secured the end of the rope--which had been previously fixed round the neck of his son--to an iron staple, which projected from the wall, and after taking from him a last embrace, he launched him into eternity. The intrepid magistrate expected instant death from the fury of the populace; but the people seemed so much overawed or confounded by the magnanimous act, that they retired slowly and peaceably to their several dwellings. The innocent cause of this sad tragedy is said to have died soon after of grief, and the unhappy father of Walter Lynch to have secluded himself during the remainder of his life from all society except that of his mourning family. His house still exists in Lombard Street, Galway, which is yet known by the name of 'Dead Man's Lane;' and over the front doorway are to be seen a skull and cross-bones executed in black marble, with the motto, 'Remember Deathe--vaniti of vaniti, and all is but vaniti.'"

The house in which the tragedy is said to have occurred was taken down only so recently as 1849; but the tablet which contains the "skull and cross-bones" bears the date 1624--upwards of a century after the alleged date of the occurrence.

WASHINGTON.

It is something singular, that Washington drew his _last_ breath, in the _last_ hour, of the _last_ day, of the _last_ week, of the _last_ month, of the _last_ year, of the _last_ century. He died on Saturday night, twelve o'clock, December 31st, 1799.

ANCIENT BANNERS AND STANDARDS.

Banners have been in use from the earliest ages. Xenophon gives us the Persian standard as a golden eagle, mounted on a pole or spear. We find banners very early in use among the nations of Europe. In this country the introduction of banners was clearly of a religious origin. Venerable Bede says, that when St. Augustin and his companions came to preach Christianity in Britain in the latter part of the sixth century, and having converted Ethelbert, the Bretwalda of the Anglo-Saxons (his Queen Bertha had already embraced the Christian faith) the monk and his followers entered Canterbury in procession, chanting, "We beseech thee O Lord, of thy mercy, let thy wrath and anger be turned away from this city, and from thy Holy Place, for we have sinned. Hallelujah." And they carried in their hands little banners on which were depicted crosses. The missionaries were allowed to settle in the Isle of Thanet, and Canterbury became the first Christian church.

The raven has been regarded from very early ages as an emblem of God's providence, no doubt from the record in Holy Writ of its being employed to feed Elijah the Prophet, in his seclusion by the brook Cherith; and it was the well-known ensign of the Danes, at the time of their dominion in this country. In the year 742, a great battle was fought at Burford, in Oxfordshire, and the Golden Dragon, the standard of Wessex, was victorious over Ethelbald, the King of Mercia. The banners of several of the Saxon kings were held in great veneration, especially those of Edmund the Martyr, and of Edward the Confessor. The latter king displayed as an ensign a cross flory between five martlets gold, on a blue field, and which may still be seen on a very ancient shield in the south aisle of Westminster Abbey. When William the Norman set out to invade England he had his own ensign, the two lions of Normandy, depicted on the sails of his ships; but on the vessel in which he himself sailed, besides some choice relics, he had a banner at the mast-head with a cross upon it, consecrated by the Pope, to give sanctity to the expedition. Indeed it has been the practice in every age for the Pope to give consecrated banners wherever he wished success to any enterprise, numerous instances of which might be cited in very recent times. And in our own army down to the present day, whenever any regiment receives new banners (or colours, as the modern term is), the regiment is drawn out in parade, the colours are then blessed by the prayers of several clergymen of the Church of England, and afterwards presented to the regiment by the fair hand of a lady of rank.

Caesar has recorded a fine example of patriotism, to the credit of one of his own officers, when he attempted to land his Roman forces on our shores, and meeting with a warmer reception than they anticipated from the Britons, considerable hesitation arose among his troops; but the standard-bearer of the Tenth Legion, with the Roman eagle in his hand, invoking the gods, plunged into the waves, and called on his comrades to follow him, and do their duty to their general and to the republic; and so the whole army made good their landing.

We have in the Nineveh sculptures some highly interesting specimens of the ancient Assyrian standards, consisting principally of two varieties, which are here given. The principal archer appears to be drawing his bow, while the standard-bearer elevates the standard in front of the chariot.

ANCIENT MANNERS OF THE ITALIANS.

About the year 1238, the food of the Italians was very moderate, or, rather scanty. The common people had meat only three days a week. Their dinner consisted of pot-herbs, boiled with meat; their supper, the cold meat left from dinner. The husband and wife eat out of the same dish; and they had but one or two cups in the house. They had no candles made of wax or tallow; but, a torch, held by one of the children, or a servant, gave them light at supper. The men, whose chief pride was in their arms and horses, wore caps made with iron scales, and cloaks of leather, without any other covering. The women wore jackets of stuff, with gowns of linen, and their head-dresses were very simple. Those who possessed a very small sum of money, were thought rich; and the homely dress of the women required only small marriage portions. The nobles were proud of living in towers; and thence the cities were filled with those fortified dwellings.

AMUSEMENTS OF THE LOWER ORDERS IN THE FIFTEENTH CENTURY.

The most popular amusements of the lower orders were wrestling, bowling, quoit and ninepin playing, and games at ball. In wrestling the Cornwall and Devonshire men excelled, and a ram, or sometimes a cock, was the prize of the victor. Bowling alleys were commonly attached to the houses of the wealthy, and to places of public resort. Among the games at ball we find tennis, trap-ball, bat and ball, and the balloon-ball, in which a large ball filled with air was struck from one side to the other by two players with their hands and wrists guarded by bandages. Archery was now on the decline, owing to the introduction of firearms; nor could all the legislative enactments of the day revive its constant use. The quarter-staff was also a favourite weapon of sportive fence, which was a staff about five or six feet long, grasped in the middle with one hand, while the other slid up and down as it was required to strike or to ward a blow.

The citizens of London enjoyed themselves in winter by skating on the Thames, (the old shankbones of sheep having now been superseded by regular skates, probably introduced from the Netherlands,) and in summer with sailing and rowing. Dice and cards, prisoner's base, blind man's buff, battledoor and shuttlecock, bull-baiting, and cock-fighting, a rude species of mumming, the dancing of fools at Christmas, and other games, completed the gratifications of the populace.

NOVEL MODE OF TAKING VENGEANCE.

The Chinese have a book entitled _Si-yuen_, that is to say, "The Washing of the Pit," a work on medical jurisprudence, very celebrated all over the empire, and which should be in the hands of all Chinese magistrates. It is impossible to read the Si-yuen without being convinced that the number of attempts against life in this country is very considerable, and especially that suicide is very common. The extreme readiness with which the Chinese are induced to kill themselves, is almost inconceivable; some mere trifle, a word almost, is sufficient to cause them to hang themselves, or throw themselves to the bottom of a well; the two favourite modes of suicide. In other countries, if a man wishes to wreak his vengeance on an enemy, he tries to kill him; in China, on the contrary, he kills himself. This anomaly depends upon various causes, of which these are the principal:--In the first place, Chinese law throws the responsibility of a suicide on those who may be supposed to be the cause or occasion of it. It follows, therefore, that if you wish to be revenged on an enemy, you have only to kill yourself to be sure of getting him into horrible trouble; for he falls immediately into the hands of _justice_, and will certainly be tortured and ruined, if not deprived of life. The family of the suicide also usually obtains, in these cases, considerable damages; so that it is by no means a rare case for an unfortunate man to commit suicide in the house of a rich one, from a morbid idea of family affection. In killing his enemy, on the contrary, the murderer exposes his own relatives and friends to injury, disgraces them, reduces them to poverty, and deprives himself of funeral honours, a great point for a Chinese, and concerning which he is extremely anxious. It is to be remarked also, that public opinion, so far from disapproving of suicide, honours and glorifies it. The conduct of a man who destroys his own life, to avenge himself on an enemy whom he has no other way of reaching, is regarded as heroic and magnanimous.

PERSECUTION IN THE REIGN OF QUEEN MARY.

The total number of persons who perished in the flames for their religion during this reign has been variously reckoned at 277 and 288, amongst whom were 5 bishops, 21 divines, 8 gentlemen, 84 artificers, 100 husbandmen, servants, and labourers, 26 wives, 20 widows, 9 unmarried women, 2 boys, and 2 infants, of which last one was whipped to death by the savage Bonner, and the other, springing out of its mother's womb, at the stake, was mercilessly thrown back into the fire. The number of those that died in prison was also very great. Yet England may be considered as comparatively free from persecution during this period, for all over the continent the victims of bigotry were reckoned, not by hundreds, but by thousands, and in the Netherlands alone 50,000 persons are said to have lost their lives in the religious wars of the Spaniards.

WAYSIDE MONUMENTS.

The sketch on next page represents a curious custom which still prevails in the neighbourhood of Cong, near Oughterard in Ireland. It is well described in the following account of their tour by Mr. and Mrs. S. C. Hall:--"On the way to Joyce's Country we saw heaps of piled-up stones on either side of the road; these heaps continuing for above a mile, after their commencement a short distance from the western entrance to the town. The artist may convey a better notion of their peculiar character than any written description can do. We left our car to examine them minutely; and learned they were monuments to the memory of "deceased" persons, "erected" by their surviving friends. Upon death occurring, the primitive tumulus is built,--if that may be called building which consists in placing a few large stones upon a spot previously unoccupied. Each relative of the dead adds to the heap; and in time it becomes a "mountain" of tolerable size. Each family knows its own particular monument; and a member of, or a descendant from it, prays and leaves his offering only at that especial one. The custom has endured for many generations: some of the heaps bore tokens of great age; and one was pointed out to us of which there were records, in the transferred memories of the people, for at least 500 years. The bodies are in no instance buried here--it is not consecrated earth; the monuments are merely memorials, and no doubt originated at a period when a Roman Catholic was, according to the provisions of a law equally foolish and cruel, interred, without form or ceremony, in church ground--the ground that had been the property of their ancestors. None of these stone cairns have any masonwork, and they are generally of the rudest forms, or rather without any form, the stones having been carelessly cast one upon another. Upon one of them only could we discover any inscription--this one is introduced into the print; it is built with far more than the usual care; it contained an inscription; "Pray for y{e} soule of John Joyce, & Mary Joyce, his wife, died 1712;" some of them, however, seem to have been constructed with greater care than others, and many of them were topped with a small wooden cross. We estimated that there were at least 500 of these primitive monuments--of all shapes and sizes--along the road. In each of them we observed a small hollow, which the peasants call a "window;" most of these were full of pebbles, and upon inquiry we learned that when one of the race to whom the deceased belonged kneels by the side of this record to his memory and offers up a prayer for the repose of his soul, it is customary to fling a little stone into this "cupboard;" the belief being that gradually as it fills, so, gradually, the soul is relieved from punishment in purgatory; when completely full the soul has entered paradise. We have prolonged our description of this singular and interesting scene, because it seems to have been altogether overlooked by travellers, and because we believe that nothing like it is to be met with in any other part of Ireland; although similar objects are to be found in several other places about Connemara, none of them, however, are so extensive as this which adjoins Cong."

HINDOO ADORATION OF THE SALAGRAM.

Among the many forms which Vishnu is believed by his Hindoo worshippers to have assumed is that of the Salagram--an ammonite-stone, found in the river Gandaka and other streams flowing from the Himalayas. The reason for the worship of this is stated in one of the sacred books. "Vishnu created the nine planets to preside over the fates of men. Sani (Saturn) proposed commencing his reign by taking Brahma under his influence for twelve years. The matter was referred to Vishnu, who being equally averse to be placed under the inauspicious influence of this planet, requested him to call the next day. The next day Saturn could nowhere discover Vishnu, but perceived that he had united himself to the mountain Gandaka; he entered the mountain in the form of a worm called Vajrakita (the thunderbolt worm). He continued to afflict the mountain-formed Vishnu for twelve years, when Vishnu assumed his proper shape, and commanded that the stones of this mountain should be worshipped, and become proper representatives of himself; adding that each should have twenty marks in it, similar to those on his body, and that its name should be Salagram."

The Salagram is usually placed under a tulasi-tree, which is planted on the top of a pillar in the vicinity of a temple of Vishnu, or near a house. Tulasi, a female, desired to become Vishnu's wife, but was metamorphosed by Lakshmi into a tree, a small shrub, called therefore _Tulasi_, or holy basil (Ocymum Sanctum). Vishnu, however, promised to assume the form of a Salagram, and always continue with her. The Vaishnaya priests, therefore, keep one leaf of the shrub under and another over the Salagram, and thus pay their adorations to the stone and the tree. In the evening a lamp is placed near it. In the month of May it is watered from a pot suspended over it, as appears in the engraving, which represents a person engaged in the worship at this singular shrine.

TOMB OF THE EMPEROR MAXIMILIAN AT INSPRUCK.

This majestic tomb is placed in the centre of the middle aisle of the church, upon a platform approached by steps of red marble. The sides of the tomb are divided into twenty-four compartments, of the finest Carrara marble, on which are represented, in bas-relief, the most interesting events of the emperor's warlike and prosperous career. The workmanship of the tablets is exquisite; and, taken in connexion with the lofty deeds they record, they form the most princely decorations ever seen. Each of the tablets contributing to this splendid lithobiography is in size 2 feet 4 inches by 1 foot 8 inches; and every object contained therein is in the most perfect proportion, while the exquisite finish of the heads and draperies requires a magnifying glass to do it justice. The tomb is surmounted by a colossal figure in bronze of the emperor, kneeling in the act of prayer; and around it are four allegorical figures, of smaller size, also in bronze.

But, marvellous as is the elaborate beauty of this work, it is far from being the most remarkable feature of this imperial mausoleum. Ranged in two long lines, as if to guard it, stand twenty-eight colossal statues in bronze, of whom twenty are kings and princes, alliances of the house of Hapsburg, and eight their stately dames. Anything more impressive than the appearance of these tall dark guardians of the tomb, some clad in regal robes, some cased in armour, and all seeming animated by the mighty power of the artist, it would be difficult to imagine.

In the death-like stillness of the church, the visitor who, for the first time, contemplates this tomb and its gloomy guard, is struck by a feeling of awe, approaching to terror. The statues, with life-like individuality of attitude and expression--each solemn, mournful, dignified, and graceful; and all seeming to dilate before the eye into enormous dimensions, and, as if framed to scare intruders, endowed by a power more than mortal, to keep watch and ward round the mighty dead. They appear like an eternal procession of mourners, who, while earth endures, will cease not to gaze on, mourn over, and protect the relics of him who was the glory of their noble, long since fallen race.

THE FAYENCE OF HENRY II. OF FRANCE.

The earliest known fabric of this earthenware is that mysterious and unique manufacture of the "Renaissance," the fine Fayence of Henry II. The manufacture of this ware, which was at once carried to a high degree of perfection, seems to have been suddenly and unaccountably lost, without leaving any record of where or by whom it was produced. By many it is supposed to be of Florentine manufacture, and to have been sent by some of the relations of Catherine de Medicis as a present to Henry II.; but it differs too essentially from Italian Majolica, both in the paste of which it is composed, and in the style in which it is decorated, to warrant such a conjecture. Italy does not possess in her museums a single specimen of this ware, and of the thirty-seven pieces extant, twenty-seven have been traced as coming from Touraine and La Vendee. Many antiquaries, therefore, infer that the manufacture was at Thouars, in Touraine, although the Fayence may have been the work of an Italian artist.

But if the place of its manufacture is unknown, the pieces extant clearly attest the period of its fabrication. The Salamander, and other insignia of Francis I., are met with on the earlier specimens of this pottery; but upon the majority of pieces, upon those more pure in design and more beautiful in execution than the preceding, we find the arms of Henry II., with his device, the three crescents, or his initial H, interlaced with the two D's of the Duchesse de Valentinois. Indeed, so constantly do her emblems appear upon the pieces, that the ware, though usually designated as "Faience de Henri II.," is sometimes styled "Faience de Diane de Poitiers." Even her widow's colours, black and white, are the two which are employed in some of the finest pieces. They were the fashionable colours of the court, Henry wore no others during his life, and was attired in them in the fatal tournament in which he fell. Her _impresa_, the crescent of Diana, is conspicuous on his palaces, and he even caused it to be engraved upon his coins. From these circumstances we must, therefore, conclude that the manufacture of this ware began at the end of the reign of Francis I., was continued under that of Henry II., and, as we find upon it the emblems of these two princes only, we may naturally infer that it is of French origin.

The paste of which this Fayence is composed is equally distinct from Majolica and Palissy ware. The two latter are both soft, whereas this, on the contrary, is hard. It is a true pipeclay, very fine, and very white, so as not to require, like the Italian Fayence, to be concealed by a thick enamel, and the ornaments with which it is enriched are simply covered with a thin, transparent, yellowish varnish.