The dream of Moslem grandeur, how-not, strictly speaking, a cast from the oriever, and the luxurious indulgences of its ginal. It is true, he took a cast from the princes, are now at an end, and the beauti- original; but as the material of his copy ful Furruh Bhaug has long been subservient was to be clay, which shrinks in the fire,to supposed purposes of utility and im- if he had used his cast as a mould, his provement. A grant of its acres having copy would have been smaller than the oribeen made to a medical officer of Go-ginal. He wanted it exactly the same vernment, mulberry-trees were planted in size; he therefore modelled from the cast great quantities for the growth and cal-a mould a little larger than it, so as to altivation of the Italian worm and silk. The low for the shrinking in the fire; and in plan, to a certain degree, failed; perhaps that mould his copy was made." Mr. Copin consequence of the sanguine enthusiasm land's facsimile was moulded at Rome of its originator, as expenses were entered from the original, by the celebrated geminto that the results of the early trial could engraver, Pechler, and taken off by Tassie not justify, and debt became the conse--only a few being permitted, when the quence. Feebleness and discouragement model was, by order, destroyed. Jane, followed, and as the world generally take Duchess of Gordon, presented this specisome advantage of misfortune and disap-men to the late Dr. Copland, of Marischal pointment in the plans of others, so a College, Aberdeen.] number of private mallees set about digging up the young trees and selling them for a trifling remuneration to the amateur garden cultivators of Camp. The collector, however, interfered; fortunately for the delightful shades of the Furruh Bhaug, the trees were restored, and the system subsequently deposited in the British Mustill works in a trifling degree; the fine foliage becoming every day more luxuriant from the abundance of sweet water, while the worms slumber in the chambers of kings.

Ahmed-Nuggur, January, 1845.

4

THE PORTLAND VASE.

From the Literary Gazette.

THIS celebrated vase, for about two centuries in the possession of the Barberini family and the chief ornament of their palace in Rome, was purchased nearly fifty years ago by the Duke of Portland, and

seum. In height it is nearly ten inches, and six in diameter taken at the broadest. The figures are white enamel in bas-relief and of the most exquisite workmanship, raised on a ground of deep blue glass, apparently black, unless held in a strong light. The figures have evidently been formed from the external coating of white opaque glass, in the manner the finest cameos are produced, and must therefore have been the labor of many years. Some eminent antiquarians have placed its age many centuries before the Christian era, as such sculpture was said to have been declining in respect to its excellence in the time of Alexander the Great.

[Before giving the following ample description and poetical illustration of a famous work of ancient art, the demolition of which has excited so general a sensation, Many opinions and conjectures have been we may revert to the perfect cast of it be- published concerning the figures. Mr. longing to Mr. Charles Copland, which Wedgwood has well observed, that it does was shown at the Marquis of Northamp- not seem probable the Portland vase was ton's three weeks ago (see Lit. Gaz.). This purposely made for the ashes of any particopy is colored so as exactly to represent the cular person deceased, because many years original; the ground exhibiting faithfully must have been necessary for its producthe body of dark-blue glass, and the raised tion. Hence it may be concluded, that the figures being cut in the coating of white subject of its embellishments is not private enamel with equal fidelity and truth. We history but of a general nature. It appears have on high authority that only two more to be well chosen, the story finely told, and are in existence; but they remain in the evidently represents what in ancient times simple character of plaster casts: whilst engaged the attention of philosophers, many imitations are to be met with, the most finished of which are by Wedgwood. Mr. Francis Wedgwood writes" that Wedgwood's copy of the Portland Vase is

poets, and heroes, viz. the Eleusinian mysteries. These mysteries were invented in Egypt, afterwards transferred to Greece, and flourished more particularly at Athens,

which was at the same time the seat of the seriously contemplating her situation, but fine arts. They consisted of scenical and without stretching out their hands to assist obscene* exhibitions representing and in- her. The central figure appears the emculcating the expectation of a future life blem of mortal life, or death. The inafter death, and on this account were en- verted torch shows the figure to be emcouraged by the government, insomuch blematic; for if a real person in the act of that the Athenian laws punished a revela- dying, there had been no occasion for the tion of their secrets with death. What expiring torch, as the dying figure alone subject could have been imagined so sub- would have been sufficiently intelligible; blime for the ornaments of a funeral urn again, had it been a real dying person, as the mortality of all things and their re- would not the other figures, or one of them suscitation? where could the designer be at least, have stretched out a hand to supsupplied with emblems for this purpose be- port her, to have eased her fall among the fore the Christian era but from the Eleu- loose stones, or to have smoothed her rest? sinian mysteries? The man and woman on each side of the The exhibition of these mysteries was of dying figure must also be considered as two kinds, those which the people were emblems, both from their similarity of permitted to see, and those which were situation and dress to the middle figure, only shown to the initiated. Concerning and their being grouped along with it. the latter, Aristides calls them "the most They may be presumed to be emblems of shocking and the most ravishing represent- humankind, with their backs towards the ations;" and Stobæus asserts that the ini- dying figure of Mortal life, unwilling to tiation into the grand mysteries exactly re-associate with her, yet turning back their sembles death this part of the exhibition serious and attentive countenances, curious seems to be represented in one of the com- to behold, yet sorry to contemplate their partments of the Portland vase. latter end.

First Compartment.-Three figures of Second Compartment.-On the other exquisite workmanship are placed by the compartment is exhibited an emblem of side of a ruined column, whose capital has Immortality, the representation of which is fallen off and lies at their feet, with other well known to have constituted a very disjointed stones. They sit on loose piles principal part of the shows at the Eleuof stones beneath a tree which has not sinian mysteries. The habitations of the leaves of any evergreen in this climate, spirits or ghosts after death was supposed but may be supposed to be an elm, which by the ancients to be placed beneath the Virgil places near the entrance of the in-earth; hence the first figure in this group fernal regions, and adds, that a Drean was is of the manes, or ghost, who, having believed to dwell under every leaf of it. In the midst of this group reclines a figure in a dying attitude, in which extreme languor is beautifully depicted; in her hand is an inverted torch, an ancient emblem of extinguished life; the elbow of the same arm, resting on a stone, supports her as she sinks, while the other hand is raised and thrown over the drooping head, in some measure sustaining it, and gives with great art the idea of fainting lassitude. On the right of her sits a man, and on the left a woman, both supporting themselves on their arms, as people are apt to do when they are thinking intensely. They have their backs towards the dying figure, yet with their faces turned towards her, as if

* A remarkable symbol belonging to the 'ATTIKà rà Elevoívia has lately been described by Mr. Millingen, showing it to be the Iambe of Egypt, the Baubo of Greece. The figure is indecent, emblematic of the female, as Demeter was of the male sex and worship.-Ed. L. G.

passed through an open portal, is descending into a dusky region, pointing his toe with timid and unsteady step, feeling, as it were, his way in the gloom; he appears lingering and fearful, and wishes to drag after him a part of his mortal garment, which, however, adheres to the portal through which he has passed. A little lower down in the group the ghost is received by a beautiful female-a symbol of Immortal life. This is shown by her fondling between her knees a large and playful serpent, which, from its annually renewing its external skin, has from great antiquity been held as an emblem of renovated youth. The serpent shows this figure to be an emblem, as the torch showed the central figure in the other compartment to be one: hence they agreeably correspond and explain each other, one representing mortal life, and the other immortal life.

This emblematic figure of immortal life sits down with her feet towards the figure

133

of Pluto; but turning back her face to- [figure on the bottom of the vase is on a wards the timid ghost, she stretches forth larger scale than the others, less finely her hand, and taking hold of his elbow, finished, and less elevated; and as this supports his tottering steps, as well as en-bottom part was evidently afterwards cecourages him to advance, both which cir-mented to the upper vase, it might be cumstances are thus with wonderful inge-executed by another artist for the sake nuity brought to the eye. At the same time of expedition; but there seems no reathe spirit loosely lays his hand upon her son to suppose that it was originally dearm, as one walking in the dark would na-signed for the upper part of it, as some turally do, for the greater certainty of fol- have conjectured. The figure of the priestlowing his conductress, while the general ess appears with a close hood, and dressed part of the symbol of immortal life being in linen, which sits close about her; exturned towards the figure of Pluto shows cept a light cloak, which flutters in the that she is leading the phantom to his wind. Secrecy was the foundation on realms. The figure of Pluto cannot be which all mysteries rested; and the priestess mistaken. As is agreed by most of the before us has her finger pointing to her writers who have mentioned this vase, his lips, as an emblem of silence: this figure grisly beard, and his having one foot buried seems placed here with great ingenuity as in the earth, denotes the infernal monarch: a caution to the initiated who might underhe is placed at the lowest part of the group, stand the meaning of the emblems round and resting his chin on his hand, and his the vase, not to divulge their knowledge; arm upon his knee, receives the stranger- and this circumstance seems to account spirit with inquisitive attention. In this for there being no written explanation exgroup of figures there is great art shown in giving the idea of a descending plain, viz. from earth to Elysium; and yet all the figures are in reality on a horizontal one; and the effect is produced, first, by the descending step of the ghost; secondly, by the arm of the sitting figure of immortal life being raised up to receive him; and, lastly, by Pluto having one foot sunk into the earth.

tant, and no tradition concerning these
beautiful figures handed down to us along
with them. The most commonly received
opinion is, that this figure is the head of
Atis, the great hierophant, who first taught
the mysteries of Eleusinia; and that the
figures on the sides of the vase are emblems
from the same source. It was not unusual
amongst the ancients to put allegorical
figures on funeral vases, as may
in the Pamphili palace at Rome, where
there is an elaborate representation of life
and death on an ancient sarcophagus.

be seen

Darwin thus poetically describes the

There is yet another figure which is concerned in conducting the ghost to the realms of Pluto, and this is Love: he precedes the descending spirit on expanding wings, lights him with his torch, and turn-urn:ing back his beautiful countenance, beckons him to advance. In ancient times he led the way into this life, and was therefore a proper emblem for leading the way to a future life.

"Or bid mortality rejoice and mourn
O'er the fine forms of Portland's mystic urn.

bends,

Here, by fall'n colums and disjoined arcades, On mouldering stones, beneath deciduous shades, In this compartment there are two trees, Sits humankind in hieroglyphic state, whose branches spread over the figures; Serious and pondering on their changeful state; one has smoother leaves, like some ever- While with inverted torch and swimming eyes, greens, and might thence have some allu- Sinks the fair shade of mortal life, and dies. sion to immortality; but perhaps they were There the pale ghost through death's wide portal merely designed as ornaments, or to relieve His timid feet the dusky steep descends; the figures, because it was in groves where With smiles assuasive Love divine invites, these mysteries were originally celebrated. Guides on broad wing, with torch uplifted lights; The masks hanging to the handles of the Immortal Life, her hand extending, courts The lingering form his tottering step supports, vase seem to indicate that there is a con-Leads on to Pluto's realms the dreary way, cealed meaning in the figures besides their And gives him trembling to Elysian day. general appearance; and the priestess at Beneath, in sacred robes the priestess dressed, the bottom, now to be described, seems to The coif close hooded, and the fluttering vest, demonstrate this concealed meaning to be With pointing finger guides the initiate youth, Unweaves the many-colored veil of truth, of the sacred or Eleusinian kind. Drives the profane from mystery's bolted door, And silence guards the Eleusinian lore."

Third, or bottom Compartment.-The

How have I courted rest-rest for my soul!
Flung by my books, and cast my pen away,
And said "No weary wave of thought shall roll,
To lift my spirit from its calm to-day!"

When the dew hung bright on the blossomed Then I have gone into the dim, green wood,