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of white, yellow, and other colours; six large earthen amphora; pateræ in terra cotta; a mortar in alabaster; a coffer in iron containing a colour-box, a small cup, a case and two small spoons in bronze, two instruments in rock crystal, handles of pencils and a palette in basalt; a large bottle in white glass filled with blue matter; small vials in white glass; an earthen vase containing terra de sienna and Egyptian blue; a vase in white glass filled with resin; and debris of wooden boxes.*

The coffin which had inclosed the corpse was made of planks of the walnut tree, bound with bands of iron, and strengthened at the angles with plates of the same metal, and at each extremity was a handle. The skeleton was ascertained to be that of a young female, apparently in the prime of life. The head was very perfect; the teeth white and in complete preservation. Upon the breast lay two teeth of the wild boar, pierced with holes to admit of their being suspended from the neck. Teeth of animals perforated for wearing on the person as ornaments or charms are not unfrequently found in ancient burial places.† Among the various objects from Richborough preserved in the museum of Mr. Rolfe of Sandwich is a boar's tusk neatly mounted with metal. It is very probable, as figures of the boar were carried among the military ensigns of the Germans and Gauls, that the teeth of the animal may have been worn as charms.‡

Around the coffin were placed about sixty glass vases of various shapes, colour, and dimensions, ranging from the large hexagonal wide-mouthed jar so frequently found in Roman graves down to the small slender-necked vials commonly known by the term lachrymatory. Some of these were stopped with wooden bungs covered with leaf

copper. The vessels are of three distinct kinds; namely, of pale green, like those of the present day; others belong to the class of artificial crystals; a single example of a yellow colour is ornamented with white veins or streaks resembling the well-known Venetian glass, and a small cup of the same colour with a simple white fillet upon the rim. Six large amphoræ in red earth occupied an angle of the tomb. The several characters of these vases and amphoræ are represented in our plate II., Nos. 1 and 2.

In another angle of the tomb was found a wooden coffer. The angles had been plated with iron, and upon the upper part was a bronze ring of elegant form which served as a handle for carrying it. This appeared to have been a colour-box. It contained many fragments of vials in thin white glass, the yellow glass cup mentioned above, and a small clasp knife having a cedar handle neatly turned in a lathe, and a steel blade completely oxydized. By the side of this box was placed an alabaster mortar with its pestle. The form of the mortar resembles that of two which are figured by M. Cartier, jun. in the Révue Archéologique, 1846; and of one discovered in London.

We arrive now at the gem of the collection of this well-furnished tomb. In another angle lay an iron coffer the cover of which was so decomposed that it crumbled to pieces at the touch. It inclosed the objects represented in our plate II., No. 3:-A box of colours in bronze; a cup or small mortar in the same metal; a case containing two small spoons, also in bronze; two instruments in rock crystal; two handles of pencils in bone; and a palette in basalt. The box is rectangular and furnished with a cover which shuts into a groove. The interior is divided into four compart

* Even in France the researches of the antiquary are occasionally obstructed by jealousy and selfishness. M. Fillon alludes to the dispersion of these remains from a struggle for possession by people who were most probably totally incompetent to understand the extrinsic value of the coveted objects. M. Fillon, however, had corresponded with the late lamented M. Letronne, who placed specimens of the colouring matters in the hands of M. Chevreul to be analysed, and his report is published in vol. xxii. of the Mémoires de l'Academie des Sciences.

† As for instance in the Derbyshire barrows, and in the caves at Settle in Yorkshire. See Collectanea Antiqua, vol. i.

A Saxon helmet has been discovered surmounted by this emblematic figure.— Journal of the British Archæological Association, vol. iv.

ments, having covers of lattice-work in silver which are raised by small rings. Each compartment was filled with cakes of colours of irregular form, not made in a mould, but desiccated in small quantities on a plain surface. From M. Chevreul's analysis it appears that these colours were chiefly green, orange, and grey.

No. 1. This was composed of subcarbonate of copper, of sub-carbonate of lead, and of peroxide of iron, with a trace of organic matter and of chalk. On paper it left a greyish yellow-green colour.

No. 2. Analagous to the preceding; but besides the sub-carbonates of copper and lead, and the peroxide of iron, it contained traces of organic matter, of oxide of tin, and of arsenic.

No. 3. A similar composition, with a larger proportion of peroxide of iron, giving to paper a reddish brown colour.

No. 4. Entirely resembling No. 3. No. 5. Formed of metallic oxides and phosphate of iron. It was of a light greenish grey, with superficial brown specks. Although it contained, like the preceding varieties, oxides of copper and lead, probably sub-carbonates,

with peroxide of iron, it gave also a trace of organic matter, phosphate of alumina, and, lastly, sub-carbonate of lime.

Independent of the colours enclosed in the box, many of the vases contained substances of different kinds, which have also been analysed, one of which proved identical with the wellknown terra de Verona. For details, the report of M. Chevreul will be doubtless consulted by those who are interested in an inquiry of such scientific importance; and we pass on to complete the notice of this singular discovery. The two spoons are of a well-known description; the bowls slender, with a long handle terminated at the upper extremity in an oval pellet. The instrument in rock crystal was filled with gold powder mixed with a gummy substance, serving the same purpose as the muscle shell used by painters in water colours at the present day. There were two of these. The bone handles of the paint-brushes fell to pieces almost as soon as discovered; the copper wire which attached the hair was still discernible. The palette in basalt M. Fillon states resembles that held in the left hand of

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the female artist in the painting discovered at Herculaneum, and a miniature in a manuscript at Vienna of the end of the fifth century furnishes another similar example.*

M. Fillon has included in his work notices of other discoveries recently made, the most interesting of which is that of a glass goblet which was found by some labourers digging gravel in a field near the village of Cormier, commune of Chavagnes-en-Paillers, together with several others. It is of a pale yellow green colour, and is ornamented with four representations of combats of gladiators in relief, with their names inscribed above their heads: SPICVLVS, COLVMBVS, CALAMVS, HOLES? PETRAHES, PRVDES, PROCVLVS,

COLVMBVS.

Glass vessels of this description are extremely rare, as the fact of their not being alluded to in Mr. Apsley Pel

latt's excellent "Curiosities of Glass Making" would of itself prove, and but few public or private museums possess specimens. Fragments of two have been found in London, and an example was discovered in the Roman villa at Hartlip in Kent, which for comparison with that found at Cormier is here introduced from vol. ii. of the "Collectanea Antiqua."

The preceding cut exhibits the fragments of the Hartlip vase, in the possession of Mr. Bland, the size of the original. The upper division represents sports of the circus; the lower gladiatorial fights; the names of the combatants and of the racers are placed above them. In all these specimens the moulds appear to have been much used, as the designs, though good, are faintly and imperfectly stamped.

C. ROACH SMITH.

AN UNKNOWN POEM BY MICHAEL DRAYTON.

A NOTICE of a new and unrecorded poem by such a distinguished author as Michael Drayton cannot fail to attract attention. I met with it many years ago in the middle of a volume of pamphlets, ranging in point of date between 1588 and 1617, all of them of greater or less curiosity; and as

a list of such bibliographical relics may amuse some of your readers, I subjoin it before I speak of the particular production by Drayton, unquestionably the most worthy, if not the most celebrated, writer in the collection. I have placed them in the order of the time of publication :— Anthonie Tyrrell

Recantation of William Tedder and
R. Greene's Quip for an Upstart Courtier
R. Johnson's Nine Worthies of London
News from the Levant Seas, by H. R.
M. Drayton's Endymion and Phoebe
Racster's Booke of the Seven Planets
R. Greene's Orpharion

1588

1592

1592

1594

n. d.

1598

1599

Tho. Churchyard's Fortunate Farewell
Sir Tho. Smith's Voyage to Russia

1599

1605

J. Nicholl's Hour Glass of Indian News
Examination of George Sprot

1607

1608

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next leaf, so that I could only guess at the name of it by the heading of the pages-"Endimion and Phoebe." In fact, I did not clearly make out that it was by Drayton until the volume had been some months in my hands; for, although my suspicions were excited, I could hardly believe that a writer of such popularity and distinction could have put forth a work of so much study and elaboration, and never have included it in any reimpression of his poems. Such, however, was the case with this work, and with the same writer's "Harmonie of the Church," 1591. The purely religious character of the last, perhaps, occasioned its omission; but no such reason could apply to "Endimion and Phoebe," and we are left to conjecture the grounds

which induced the author entirely to abandon his offspring after he had brought it into the world.

I need not enter into the causes of my early suspicion that the poem was by Drayton, since it is now reduced to a matter of certainty by the discovery of a complete copy with his name appended to a dedicatory sonnet to the celebrated Lucy Countess of Bedford: she seems to have been Drayton's patroness, if we may rely upon what he states of the "sweet golden showers" she "rained" upon him. This effusion is worth quoting, not only on account of its author, but on account of the truly illustrious personage to whom it is addressed. Until now it has never been heard of.

To the excellent and most accomplisht ladie, Lucie Countesse of Bedford.
Great ladie, essence of my cheefest good,

Of the most pure and finest tempred spirit,
Adorn'd with gifts, enobled by thy blood,

Which by discent true vertue do'st inherit;

That vertue which no fortune can deprive,

Which thou by birth tak'st from thy gracious mother,

Whose royall mindes with equall motion strive,

Which most in honor shall excell the other;

Unto thy fame my Muse her selfe shall taske,

Which rainst upon me thy sweet golden showers,

And but thy selfe no subject will I aske,

Upon whose praise my soule shall spend her powers.
Sweet ladie, then, grace this poore Muse of mine,
Whose faith, whose zeale, whose life, whose all is thine.
Your Honors humbly divoted

The Lucy Countess of Bedford addressed in this graceful and harmonious sonnet is of course the same lady to whom Ben Jonson wrote his 76th Epigram, and whom many other poets of that day justly celebrated. If we had had the title-page of "Endimion and Phoebe," without the dedicatory sonnet, it would have given us merely a clue to the authorship, for the name of Drayton is not found there. It runs thus:-"Endimion and Phoebe. Ideas Latmus. Phœbus erit nostri princeps, et carminis Author. At London, Printed by James Roberts for John Busbie."

The clue afforded by the title-page is derived from the word "Idea;" for Drayton printed his second extant poem, in 1593, under the name of Idea. The Shepheard's Garland;" and in the next year he issued a small volume of sonnets called "Ideas Mir

MICHAEL DRAYTON.

rour," of which I shall have something to say on a future occasion. At present I confine myself to his "Endimion and Phoebe," which must have made its appearance in 1594, because it is clearly alluded to by Thomas Lodge, in his volume of satires, epistles, &c. published under the singular title of " A Fig for Momus,” in 1595. The fifth epistle is addressed "To Master Michael Drayton," and in it Lodge adverts, in very unmistakeable terms, to a portion of Drayton's "Endimion and Phoebe," in which he dwells upon the virtues and peculiarities of the numbers three and nine. If Lodge did this in 1595, we may be pretty sure that Endimion and Phoebe was printed in 1594, or early in 1595, before Lodge's "Fig for Momus' came from the press.

Drayton's dedicatory sonnet is followed by two others in his own com

mendation, having the initials E. P. and S. G. severally annexed to them: the last may possibly belong to Stephen Gosson, who, having concluded his attacks upon our early stage and drama, was a miscellaneous poet in 1595; but the initials E. P. we have

no means of appropriating even conjecturally. E. P. addresses Drayton by the poetical name of Rowland, which he took when he published his "Idea. The Shepherd's Garland," in 1593; while S. G. speaks of Drayton as" Idea," and tells him that he is

Happy in more than praises can expresse.

E. P. commences thus, shewing that Drayton, when he printed his pas

torals in 1593, was obscure and "un-
known."

Rouland, when first I red thy stately rymes,
In sheepheard's weedes, when yet thou liv'dst unknowne,
Not seene in publique in those former tymes,

But unto Ankor tun'dst thy Pype alone,
I then beheld thy chaste Idea's fame, &c.

Reverting to the difficult question why Drayton never reprinted "Endimion and Phœbe" with his other poems, I may remark that in 1593 Shakespeare published his "Venus and Adonis," which, as I have said elsewhere," was quite new in its class, being founded upon no model, either ancient or modern: nothing like it had been attempted before, and nothing comparable to it was produced afterwards." (Life of Shakespeare, i. cxv.) As every body is aware, "Venus and Adonis" is in six-line stanzas ; but, although Drayton's "Endimion and Phoebe" is in couplets (and so far like Marlowe's "Hero and Leander," not printed until 1598), the subject is mythological, and the treatment of it, in

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general character, not dissimilar to "Venus and Adonis." The latter went through two editions in 1593 and 1594, and was extremely popular; while, on the other hand, it is by no means improbable that "Endimion and Phoebe' had not been very well received or heartily welcomed by the public. This might have something to do with the non-appearance of it at any subsequent period; and it may not be unconnected with the singular fact that, although Drayton inserted the following stanza in praise of Shakespeare's "Lucrece," in his "Matilda of 1594 (the year in which "Lucrece originally came out) he subsequently expunged it :

Lucrece, of whom proud Rome hath boasted long,
Lately reviv'd to live another age,

And here arriv'd to tell of Tarquin's wrong,
Her chaste denial, and the tyrant's rage,
Acting her passions on our stately stage;

She is remember'd, all forgetting me,
Yet I as fair and chaste as e'er was she.

Why were these lines excluded when "Matilda" was reprinted in 1596, and why was another passage, containing a eulogy of Spenser, under the name of Colin, also left out? This is a curious literary question, relating to three as great poets as this or any other country has produced, which we own ourselves incapable of answering; for, even if we may suppose rivalry and disappointment at the cold reception of "Endimion and Phoebe" to

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have had their effect on the mind of Drayton as regards Shakespeare, why should he entertain a similar feeling as regards Spenser?

Whatever may have been the fact as respects Shakespeare (who is not alluded to in "Endimion and Phoebe") it is certain that Drayton, in 1594, was upon good terms with Spenser, for at the end of "Endimion and Phoebe" he thus addresses him by his poetical name of Colin

Dear Collin, let my Muse excused be
Which rudely thus presumes to sing by thee,
Although her straines be harsh, untun'd, and ill,
Nor can attayne to thy divinest skill.

GENT. MAG. VOL. XXXIV.

F

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