[1] Lord Bacon, on the Advancement of Learning.
[2] The prodigious collection of Mexican relics, presented by the publication of Lord Kingsborough’s splendid work, is among the most interesting records of an infant civilization ever laid before the world.
[3] Mandioca, called, in the West Indian islands, Cassava. The planting, gathering, storing the roots, grinding, and finally separating the meal from the fine gum called Tapioca, suppose a long period of experience and great ingenuity.
[4] See Humboldt’s Researches, in one of the plates to which there is a picture law-suit, of mixed realities and symbols. The small golden figures, thought to be idols, found in some parts of Peru, and of which I saw one in the possession of T. Bigg, Esq., belong to the jewellers’ art rather than to legitimate sculpture. That which I saw, was ingeniously formed of gold wire, various coils and folds of which were twisted into the form of legs and arms, a body and head, with the features of the face; very frightful, it is true, but still with a sufficient degree of imitation to be the likeness of a man. The Terra Cottas and stone or marble figures of Mexico, are of a higher class.
[5] See some excellent observations of Mr. Wilkinson, as to the agreement of the book of Genesis and the Egyptian documents on this point.
[6] Pausanias, in the fifth chapter of the Corinthiacs says, that the Sicyonians assert that Ægialeus was the first native of the place, and that he named the country Ægialeus, and the city Ægialea. Taylor’s Translation.
[7] Chap. xv. v. 16.
[8] I am obliged to a learned friend, for the above explanation of the meaning of the names Debir and Kirjath Sepher. To the same friend I owe many corrections and suggestions of great value to me in the following pages.
[9] See the figures and inscriptions on the curious cups belonging to three of the most ancient Chinese dynasties, published in the Journal of the Royal Asiatic Society.
[10] A change is taking place in Chinese art. The portrait painters of the celestial empire are beginning to imitate those of Europe. This year (1836) there is one in the Exhibition at Somerset House that was taken for the work of a European artist by the academicians who first saw it.
[11] The account of Mahabalipoor, or Mavellipoor, in the first Volume of the Asiatic Researches, is erroneous. The author seems to have seen but two of these temples, and to have mistaken the place of them. The largest is forty-seven feet long and twenty-five feet high. The second is twenty-seven feet long and thirty-six feet high.
[12] Unless, indeed, the recently discovered caves, in Northern India should turn out to be anything more than coloured bas-relief.
[13] See, for examples, in Wilson’s translations of the theatre of the Hindoos, Malati Madava, act i., scene 2. This play was written by Bhavabhuti, who flourished about A. D. 720. Here the lover draws his mistress’ portrait, from memory, on his writing tables.
There is another very pretty example in Retnavali, or the Necklace, by Sri Hersha Deva, written for the court of Cashmir, about A. D. 1120, where the young lady sketches her lover in the character of Camdeo, and her friend finishes the picture by adding her figure as Reti, the bride of Camdeo.
[14] See plates and descriptions in the early vols. of the Asiatic Researches, and Lieutenant Burnes’ most interesting travels.
[15] Ezekiel xxiii. 14, 15; a very remarkable passage.
[16] Doubtless such magnificent persons as the Kings of Persia had painters and sculptors. Persepolis, and the Takht i Rustan prove it. Pliny says that a Phocean artist, named Telephenes, was in the service of Xerxes and Darius; therefore the Persian court offered to artists the prospect of fortune.
In the very interesting narrative of the late Mr. Rich’s residence on the site of ancient Nineveh (lately published by his widow), mention is made of the remaining decorations of the decayed Christian churches. These are of so early a date that the art employed on them must be the same with that of the times of the fire-worshippers. The figures appear to have been in relief, like those of the catacombs of Egypt, and colour remains in various parts.
[17] Curious and interesting as the plates are which adorn the work of Rosselini, brought to England since this essay was written, they do not in the slightest degree alter my view of Egyptian painting.
[18] The reign of the Phrah Osirtisen II., Wilkinson says, was that in which Joseph was carried down into Egypt.
[19] Oxford Bible. Quarto. Chronology at the end.
[20] Arundel Marbles.
[21] B. C. 1582.
[22] Eliezar, Abraham’s servant, was bought there.
[23] B. C. 1495.
[24] Tanis. Lightfoot.
[25] Gold was used in this embroidery; the metal was beat into exceeding thin plates, then cut as small as wire; this flat gold embroidery is still used in the East. Exodus, chapter xxxix., verse 3.
[26] Exodus, chapter xxxii., verse 4.
[27] For the supposed figures of the cherubim, see Lightfoot, who thinks they had the faces of oxen between their wings, not human heads.
[28] The song of Maneros was, however, long sung in Egypt; but that was accompanied with a strangely melancholy air, which, perhaps, secured its duration. The few words said of this air by Herodotus, have furnished Mr. Seymer with the subject of a beautiful tale. See first series of Romance of Ancient History.
[29] See extract from Mr. Clift’s letter at the end of this Essay.
[30] See Wilkinson.
[31] Herod: Euterpe LXXXVI. Not that they were ignorant, probably, of glue made from the skins of animals, &c. The Romans had it, and, as Pliny says, preferred that made of bulls’ hides.
[32] See the accounts given by all modern travellers. The extreme beauty and delicacy of structure of many of the Mosques and the Tombs of the Caliphs, ornamented, even to profuseness, with everything but imitations of animated beings, form a contrast almost extravagant, with the severe, if not sublime, masses of ancient Egypt.