Plate LVIII.
Bay of Naples.
This seems to have been the most popular paper of the early nineteenth century. It decorated the room in which the author was born—the library of Professor E. D. Sanborn of Dartmouth College, at Hanover, New Hampshire,—and is still in place. The house is now used as a Dartmouth dormitory. The same scenes are found in the Lawrence house, at Exeter, New Hampshire, now used as a dormitory—Dunbay Hall—of the Phillips Exeter Academy; on the house of Mrs. E. B. McGinley at Dudley, Massachusetts, and on another at St. Johnsbury, Vermont, now owned by Mrs. Emma Taylor. (p.49, 108)
Plate LIX.
Bay of Naples.
Continuation of same scene. This paper is in neutral colors, and made in small pieces. It was imported about 1820.
Plate LX.
Bay of Naples.
Detail. The monument has a Greek inscription which Professor Kittredge of Harvard University translates literally: "Emperor Cæsar, me divine Hadrian. Column of the Emperor Antoninus Pius"—who was the son of Hadrian. The pillar of Antonine still stands at Rome. The statue of Antoninus which formerly surmounted it was removed by Pope Sextus, who substituted a figure of Paul.
Plate LXI.
Bay of Naples.
Another side of room.
Plate LXII.
Bay of Naples.
Detail: Galleon at anchor.
Plate LXIII.
Cupid and Psyche.
Panelled paper in colors, designed by Lafitte and executed by Dufour in 1814. It consists of twenty-six breadths, each five feet seven inches long by twenty inches wide. It is said that fifteen hundred engraved blocks were used in printing. The design is divided into twelve panels, depicting the marriage of Cupid and Psyche, Psyche's lack of faith and its sad consequences.
The scene reproduced shows the visit of the newly-wedded Psyche's jealous sisters to her palace, where they persuade her that her unseen husband is no god, but a monster whom she must kill.
Plate LXIV.
Cupid and Psyche.
While Cupid lies sleeping in the darkness, Psyche takes her dagger, lights her lamp, and bends over the unconscious god:
Plate LXV.
The Adventures of Telemachus.
Paper from the home of Dr. John Lovett Morse at Taunton, Massachusetts, illustrating the sixth book of Fenelon's Adventures of Telemachus. Found also in the home of Mr. Henry De Witt Freeland at Sutton, Massachusetts; on the hall of "The Hermitage," Andrew Jackson's home near Nashville, Tennessee; and in an ancient house at Kennebunk, Maine. (p.86-88)
Telemachus, son of Ulysses, and Mentor, who is Minerva in disguise, while searching through two worlds for the lost Ulysses, arrive at the island of the goddess Calypso and her nymphs. Telemachus recites the tale of their adventures, and Calypso (who is unfortunately divided by the window into two equal parts) becomes as deeply enamored of Telemachus as she had formerly been of his father.
Plate LXVI.
The Adventures of Telemachus.
Venus, who is bent on detaining Telemachus on the island and delaying his filial search for Ulysses, brings her son Cupid from Olympus, and leaves him with Calypso, that he may inflame the young hero's heart with love for the goddess.
Plate LXVII.
The Adventures of Telemachus.
Cupid stirs up all the inflammable hearts within his reach somewhat indiscriminately; and Telemachus finds himself in love with the nymph Eucharis. Calypso becomes exceedingly jealous. At a hunting-contest in honor of Telemachus, Eucharis appears in the costume of Diana to attract him, while the jealous Calypso rages alone in her grotto. Venus arrives in her dove-drawn car and takes a hand in the game of hearts.
Plate LXVIII.
Adventures of Telemachus.
Calypso, in her rage against Eucharis and Telemachus, urges Mentor to build a boat and take Telemachus from her island. Mentor, himself disapproving of the youth's infatuation, builds the boat; then finds Telemachus and persuades him to leave Eucharis and embark with him. As they depart toward the shore, Eucharis returns to her companions, while Telemachus looks behind him at every step for a last glimpse of the nymph.
Plate LXIX.
Adventures of Telemachus.
Cupid meantime has dissuaded Calypso from her wrath and incited the nymphs to burn the boat that is waiting to bear the visitors away. Mentor, perceiving that Telemachus is secretly glad of this, and fearing the effect of his passion for Eucharis, throws the youth from the cliff into the water, leaps in after him, and swims with him to a ship that lies at anchor beyond the treacherous shoals.
Plate LXX.
Scottish Scenes.
The room on which the Adventures of Telemachus are pictured having proved too large for the set of scenes, the remaining corner is filled out with what appear to be Scottish scenes, possibly illustrations for Scott. Harmony in coloring was apparently of more importance than harmony in subject.
Plate LXXI.
The Olympic Games.
This famous paper, now owned by Mrs. Franklin R. Webber 2d of Boston, was made in France and imported in 1800 or earlier, but never hung. Each roll is made up of squares invisibly joined, and the thirty pieces combine to form a continuous panorama. The coloring is brown. The paper was probably printed by hand from engraved blocks, and the shading of faces, etc., added by hand. The most artistic pictorial paper known. (p.52-54)
Plate LXXII.
The Olympic Games.
A tribute to Homer.
Plate LXXIII.
The Olympic Games.
The shrine of Vesta.
Plate LXXIV.
The Olympic Games.
Worshipping Athene in the Court of the Erechtheum.
Plate LXXV.
The Olympic Games.
Oblation to Bacchus.
Plate LXXVI.
The Olympic Games.
Oblation to Bacchus, and procession before the Parthenon. From the Perry house at Keene, N. H., on whose parlor walls is preserved the only other known example of the paper just described. (p.50)
Plate LXXVII.
The Lady of the Lake.
This series of scenes in neutral colors is photographed from the parlor of the Rev. Pelham Williams, at Greenbush, Mass., whose house is one of three on which it still hangs in good condition. The other examples are the Hayward house at Wayland, Mass., and the Alexander Ladd house, now owned by Mrs. Charles Wentworth, at Portsmouth, N. H.
Canto I. The Chase.
Rock, glen, and cavern paid them back;
To many a mingled sound at once
The awakened mountain gave response.
An hundred dogs bayed deep and strong,
Clattered a hundred steeds along,
Their peal the merry horns rang out,
An hundred voices joined the shout;
With bark, and whoop, and wild halloo,
No rest Benvoirlich's echoes knew.
Plate LXXVIII.
The Lady of the Lake.
Canto III. The Gathering.
A goat, the patriarch of the flock,
Before the kindling pile was laid,
And pierced by Roderick's ready blade.
A slender crosslet framed with care.
With wasted hand and haggard eye,
And strange and mingled feelings woke,
While his anathema he spoke.
With forward step and fiery look,
On high their naked brands they shook,
Their clattering targets wildly strook;
And first, in murmur low,
Then, like the billow in his course,
That far to seaward finds his source,
And flings to shore his mustered force,
Burst with loud roar, their answer hoarse,
"Woe to the traitor, woe!"
Plate LXXIX.
The Lady of the Lake.
Canto IV. The Prophecy.
Around a precipice's edge,
When lo! a wasted female form,
Blighted by wrath of sun and storm,
In tattered weeds and wild array,
Stood on a cliff beside the way,
And glancing round her restless eye
Upon the wood, the rock, the sky,
Seemed nought to mark, yet all to spy.
Her brow was wreathed with gaudy broom;
With gesture wild she waved a plume
Of feathers, which the eagles fling
To crag and cliff from dusky wing;
For then the lowland garb she knew:
And then her hands she wildly wrung,
And then she wept, and then she sung.
Plate LXXX.
This scene fills the fourth side of the room on which The Lady of the Lake is pictured, but does not illustrate any scene in the poem.
Plate LXXXI.
The Seasons.
Pastoral paper in neutral colors on the library of Prof. Ira Young of Dartmouth, at Hanover, N. H. The four seasons are represented on different sides of the room, blending into each other—sowing, haying, harvesting and sleighing. Still on the walls in good state of preservation. (p. 49)
Plate LXXXII.
The Seasons.
Another view of Professor Young's library. The colors in this paper are neutral.
Plate LXXXIII.
The Seasons.
Third view from Professor Young's library.
Transcriber's note:
Fixed various commas and full stops.
The remaining corrections made are indicated by dotted lines under the corrections. Scroll the mouse over the word and the original text will appear.
P.16. 'Huis-en-ten-Bosch' corrected to 'Huis-ten-Bosch', changed.
P.17. 'asked me ot', 'ot' corrected to 'to', changed.
P.36. 'country and and', taken out the extra 'and'.
P.89. 'Carousal' is 'Carousel', changed. The Carousel is not a
drinking party.
P.92. 'treaures' typo for 'treasures', changed.
P.103. 'are in the the original', taken out the extra 'the'.
P.115. 'when she' changed 'she' to 'he'.
Plate LVI, 'Carousal' is meant 'Carousel', changed.
Plate LXVI, 'Olympos' typo for 'Olympus', changed.