The Botanic Garden Volume I Part 25

The higher and lower parts of mora.s.ses were necessarily produced at different periods of time, see Note XVII. and would thus originally be formed in strata of different ages. For when an old wood perished, and produced a mora.s.s, many centuries would elapse before another wood could grow and perish again upon the same ground, which would thus produce a new stratum of mora.s.s over the other, differing indeed princ.i.p.ally in its age, and perhaps, as the timber might be different, in the proportions of its component parts.

Now if we suppose the lowermost stratum of a mora.s.s become ignited, like fermenting hay, (after whatever could be carried away by solution in water was gone,) what would happen? Certainly the inflammable part, the oil, sulphur, or bitumen, would burn away, and be evaporated in air; and the fixed parts would be left, as clay, lime, and iron; while some of the calcareous earth would join with the siliceous acid, and produce sand, or with the argillaceous earth, and produce marl. Thence after many centuries another bed would take fire, but with less degree of ignition, and with a greater body of mora.s.s over it, what then would happen? The bitumen and sulphur would rise and might become condensed under an impervious stratum, which might not be ignited, and there form coal of different purities according to its degree of fluidity, which would permit some of the clay to subside through it into the place from which it was sublimed.

Some centuries afterwards another similar process might take place, and either thicken the coal-bed, or produce a new clay-bed, or marl, or sand, or deposit iron upon it, according to the concomitant circ.u.mstances above mentioned.

I do not mean to contend that a few ma.s.ses of some materials may not have been rolled together by currents, when the mountains were much more elevated than at present, and in consequence the rivers broader and more rapid, and the storms of rain and wind greater both in quant.i.ty and force. Some gravel-beds may have been thus washed from the mountains; and some white clay washed from mora.s.ses into valleys beneath them; and some ochres of iron dissolved and again deposited by water; and some calcareous depositions from water, (as the bank for instance on which stand the houses at Matlock-bath;) but these are of small extent or consequence compared to the primitive rocks of granite or porpyhry which form the nucleus of the earth, or to the immense strata of limestone which crust over the greatest part of this granite or porphyry; or lastly to the very extensive beds of clay, marl, sandstone, coal, and iron, which were probably for many millions of years the only parts of our continents and islands, which were then elevated above the level of the sea, and which on that account became covered with vegetation, and thence acquired their later or superinc.u.mbent strata, which const.i.tute, what some have termed, the new world.

There is another source of clay, and that of the finest kind, from decomposed granite, this is of a snowy white and mixed with mining particles of mica, of this kind is an earth from the country of Cherokees. Other kinds are from less pure lavas; Mr. Ferber a.s.serts that the sulphurous steams from Mount Vesuvius convert the lava into clay.

"The lavas of the antient Solfatara volcano have been undoubtedly of a vitreous nature, and these appear at present argillaceous. Some fragments of this lava are but half or at one side changed into clay, which either is viscid or ductile, or hard and stoney. Clays by fire are deprived of their coherent quality, which cannot be restored to them by pulverization, nor by humectation. But the sulphureous Solfatara steams restore it, as may be easily observed on the broken pots wherein they gather the sal ammoniac; though very well baked and burnt at Naples they are mollified again by the acid steams into a viscid clay which keeps the former fire-burnt colour." Travels in Italy, p. 156.

NOTE XXI.--ENAMELS.

_Smear'd her huge dragons with metallic hues, With golden purples, and cobaltic blues;_

CANTO II. l. 287.

The fine bright purples or rose colours which we see on china cups are not producible with any other material except gold, manganese indeed gives a purple but of a very different kind.

In Europe the application of gold to these purposes appears to be of modern invention. Ca.s.sius's discovery of the precipitate of gold by tin, and the use of that precipitate for colouring gla.s.s and enamels, are now generally known, but though the precipitate with tin be more successful in producing the ruby gla.s.s, or the colourless gla.s.s which becomes red by subsequent ignition, the tin probably contributing to prevent the gold from separating, (which it is very liable to do during the fusion; yet, for enamels, the precipitates made by alcaline salts answer equally well, and give a finer red, the colour produced by the tin precipitate being a bluish purple, but with the others a rose red. I am informed that some of our best artists prefer aurum fulminans, mixing it, before it has become dry, with the white composition or enamel flux; when once it is divided by the other matter, it is ground with great safety, and without the least danger of explosion, whether moist or dry. The colour is remarkably improved and brought forth by long grinding, which accordingly makes an essential circ.u.mstance in the process.

The precipitates of gold, and the colcothar or other red preparations of iron, are called _tender_ colours. The heat must be no greater than is just sufficient to make the enamel run upon the piece, for if greater, the colours will be destroyed or changed to a different kind. When the vitreous matter has just become fluid it seems as if the coloured metallic calx remained barely _intermixed_ with it, like a coloured powder of exquisite tenuity suspended in water: but by stronger fire the calx is _dissolved_, and metallic colours are altered by _solution_ in gla.s.s as well as in acids or alcalies.

The Saxon mines have till very lately almost exclusively supplied the rest of Europe with cobalt, or rather with its preparations, zaffre and smalt, for the exportation of the ore itself is there a capital crime.

Hungary, Spain, Sweden, and some other parts of the continent, are now said to afford cobalts equal to the Saxon, and specimens have been discovered in our own island, both in Cornwall and in Scotland; but hitherto in no great quant.i.ty.

Calces of cobalt and of copper differ very materially from those above mentioned in their application for colouring enamels. In those the calx has previously acquired the intended colour, a colour which bears a red heat without injury, and all that remains is to fix it on the piece by a vitreous flux. But the blue colour of cobalt, and the green or bluish green of copper, are _produced_ by vitrification, that is, by _solution_ in the gla.s.s, and a strong fire is necessary for their perfection. These calces therefore, when mixed with the enamel flux, are melted in crucibles, once or oftener, and the deep coloured opake gla.s.s, thence resulting, is ground into unpalpable powder, and used for enamel. One part of either of these calces is put to ten, sixteen, or twenty parts of the flux, according to the depth of colour required. The heat of the enamel kiln is only a full red, such as is marked on Mr. Wedgwood's thermometer 6 degrees. It is therefore necessary that the flux be so adjusted as to melt in that low heat. The usual materials are flint, or flint-gla.s.s, with a due proportion of red-led, or borax, or both, and sometimes a little tin calx to give opacity.

_Ka-o-lin_ is the name given by the Chinese to their porcelain clay, and _pe-tun-tse_ to the other ingredient in their China ware. Specimens of both these have been brought into England, and found to agree in quality with some of our own materials. Kaolin is the very same with the clay called in Cornwall [Transcriber's note: word missing] and the petuntse is a granite similar to the Cornish moorstone. There are differences, both in the Chinese petuntses, and the English moorstones; all of them contain micaceous and quartzy particles, in greater or less quant.i.ty, along with feltspat, which last is the essential ingredient for the porcelain manufactory. The only injurious material commonly found in them is iron, which discolours the ware in proportion to its quant.i.ty, and which our moorstones are perhaps more frequently tainted with than the Chinese. Very fine porcelain has been made from English materials but the nature of the manufacture renders the process precarious and the profit hazardous; for the semivitrification, which const.i.tutes porcelain, is necessarily accompanied with a degree of softness, or semifusion, so that the vessels are liable to have their forms altered in the kiln, or to run together with any accidental augmentations of the fire.

NOTE XXII.--PORTLAND VASE.

_Or bid Mortality rejoice or mourn O'er the fine forms of Portland's mystic urn._

CANTO II. l. 319.

The celebrated funereal vase, long in possession of the Barberini family, and lately purchased by the Duke of Portland for a thousand guineas, is about ten inches high and six in diameter in the broadest part. The figures are of most exquisite workmanship in bas relief of white opake gla.s.s, raised on a ground of deep blue gla.s.s, which appears black except when held against the light. Mr. Wedgwood is of opinion from many circ.u.mstances that the figures have been made by cutting away the external crust of white opake gla.s.s, in the manner the finest cameo's have been produced, and that it must thence have been the labour of a great many years. Some antiquarians have placed the time of its production many centuries before the christian aera; as sculpture was said to have been declining in respect to its excellence in the time of Alexander the Great. See an account of the Barberini or Portland vase by M. D'Hancarville, and by Mr. Wedgwood.

Many opinions and conjectures have been published concerning the figures on this celebrated vase. Having carefully examined one of Mr. Wedgwood's beautiful copies of this wonderful production of art, I shall add one more conjecture to the number.

Mr. Wedgwood has well observed that it does not seem probable that the Portland vase was purposely made for the ashes of any particular person deceased, because many years must have been necessary for its production. Hence it may be concluded, that the subject of its embellishments is not private history but of a general nature. This subject appears to me to be well chosen, and the story to be finely told; and that it represents what in antient times engaged the attention of philosophers, poets, and heroes, I mean a part of the Eleusinian mysteries.

These mysteries were invented in Aegypt, and afterwards transferred to Greece, and flourished more particularly at Athens, which was at the same time the seat of the fine arts. They consisted of scenical exhibitions representing and inculcating the expectation of a future life after death, and on this account were encouraged by the government, insomuch that the Athenian laws punished a discovery of their secrets with death. Dr. Warburton has with great learning and ingenuity shewn that the descent of Aeneas into h.e.l.l, described in the Sixth Book of Virgil, is a poetical account of the representations of the future state in the Eleusinian mysteries. Divine Legation, Vol. I. p. 210.

And though some writers have differed in opinion from Dr. Warburton on this subject, because Virgil has introduced some of his own heroes into the Elysian fields, as Deiphobus, Palinurus, and Dido, in the same manner as Homer had done before him, yet it is agreed that the received notions about a future state were exhibited in these mysteries, and as these poets described those received notions, they may be said, as far as these religious doctrines were concerned, to have described the mysteries.

Now as these were emblematic exhibitions they must have been as well adapted to the purposes of sculpture as of poetry, which indeed does not seem to have been uncommon, since one compartment of figures in the sheild of Aeneas represented the regions of Tartarus. Aen. Lib. X. The procession of torches, which according to M. De St. Croix was exhibited in these mysteries, is still to be seen in ba.s.so relievo, discovered by Spon and Wheler. Memoires sur le Mysteres par De St. Croix. 1784. And it is very probable that the beautiful gem representing the marriage of Cupid and Psyche, as described by Apuleus, was originally descriptive of another part of the exhibitions in these mysteries, though afterwards it became a common subject of antient art. See Divine Legat. Vol. I. p.

323. What subject could have been imagined so sublime for the ornaments of a funereal urn as the mortality of all things and their resuscitation? Where could the designer be supplied with emblems for this purpose, before the Christian era, but from the Eleusinian mysteries?

1. The exhibitions of the mysteries were of two kinds, those which the people were permitted to see, and those which were only shewn to the initiated. Concerning the latter, Aristides calls them "the most shocking and most ravishing representations." And Stoboeus a.s.serts that the initiation into the grand mysteries exactly resembles death. Divine Legat. Vol. I. p. 280, and p. 272. And Virgil in his entrance to the shades below, amongst other things of terrible form, mentions death.

Aen. VI. This part of the exhibition seems to be represented in one of the compartments of the Portland vase.

Three figures of exquisite workmanship are placed by the side of a ruined column whose capital is fallen off, and lies at their feet with other disjointed stones, they sit on loose piles of stone beneath a tree, which has not the leaves of any evergreen of this climate, but may be supposed to be an elm, which Virgil places near the entrance of the infernal regions, and adds, that a dream was believed to dwell under every leaf of it. Aen. VI. l. 281. In the midst of this group reclines a female figure in a dying att.i.tude, in which extreme languor is beautifully represented, in her hand is an inverted torch, an antient 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 her drooping head, in some measure sustaining it and gives with great art the idea of fainting la.s.situde. On the right of her sits a man, and on the left a woman, both supporting themselves on their arms, as people are liable to do when they are thinking intensely. They have their backs towards the dying figure, yet with their faces turned towards her, as if seriously contemplating her situation, but without stretching out their hands to a.s.sist her.

This central figure then appears to me to be an hieroglyphic or Eleusinian emblem of MORTAL LIFE, that is, the lethum, or death, mentioned by Virgil amongst the terrible things exhibited at the beginning of the mysteries. The inverted torch shews the figure to be emblematic, if it had been designed to represent a real person in the act of dying there had been no necessity for the expiring torch, as the dying figure alone would have been sufficiently intelligible;--it would have been as absurd as to have put an inverted torch into the hand of a real person at the time of his expiring. Besides if this figure had represented a real dying person would not the other figures, or one of them at least, have stretched out a hand to support her, to have eased her fall among loose stones, or to have smoothed her pillow? These circ.u.mstances evince that the figure is an emblem, and therefore could not be a representation of the private history of any particular family or event.

The man and woman on each side of the dying figure must be considered as emblems, both from their similarity of situation and dress to the middle figure, and their being grouped along with it. These I think are hieroglyphic or Eleusinian emblems of HUMANKIND, with their backs toward the dying figure of MORTAL LIFE, unwilling to a.s.sociate with her, yet turning back their serious and attentive countenances, curious indeed to behold, yet sorry to contemplate their latter end. These figures bring strongly to one's mind the Adam and Eve of sacred writ, whom some have supposed to have been allegorical or hieroglyphic persons of Aegyptian origin, but of more antient date, amongst whom I think is Dr. Warburton.

According to this opinion Adam and Eve were the names of two hieroglyphic figures representing the early state of mankind; Abel was the name of an hieroglyphic figure representing the age of pasturage, and Cain the name of another hieroglyphic symbol representing the age of agriculture, at which time the uses of iron were discovered. And as the people who cultivated the earth and built houses would increase in numbers much faster by their greater production of food, they would readily conquer or destroy the people who were sustained by pasturage, which was typified by Cain slaying Abel.

2. On the other compartment of this celebrated vase is exhibited an emblem of immortality, the representation of which was well known to const.i.tute a very princ.i.p.al part of the shews at the Eleusinian mysteries, as Dr. Warburton has proved by variety of authority. The habitation of spirits or ghosts after death was supposed by the antients to be placed beneath the earth, where Pluto reigned, and dispensed rewards or punishments. Hence the first figure in this group is of the MANES or GHOST, who having pa.s.sed 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. This portal Aeneas enters, which is described by Virgil,--patet atri janua ditis, Aen. VI. l. 126; as well as the easy descent,--facilis descensus Averni. Ib. The darkness at the entrance to the shades is humorously described by Lucian. Div.

Legat. Vol. I. p. 241. And the horror of the gates of h.e.l.l was in the time of Homer become a proverb; Achilles says to Ulysses, "I hate a liar worse than the gates of h.e.l.l;" the same expression is used in Isaiah, ch. x.x.xviii. v. 10. The MANES or GHOST appears lingering and fearful, and wishes to drag after him a part of his mortal garment, which however adheres to the side of the portal through which he has pa.s.sed. The beauty of this allegory would have been expressed by Mr. Pope, by "We feel the ruling pa.s.sion strong in death."

A little lower down in the group the manes or ghost is received by a beautiful female, a symbol of IMMORTAL LIFE. This is evinced by her fondling between her knees a large and playful serpent, which from its annually renewing its external skin has from great antiquity, even as early as the fable of Prometheus, been esteemed an emblem of renovated youth. The story of the serpent acquiring immortal life from the a.s.s of Prometheus, who carried it on his back, is told in Bacon's Works, Vol.

V. p. 462. Quarto edit. Lond. 1778. For a similar purpose a serpent was wrapped round the large hieroglyphic egg in the temple of Dioscuri, as an emblem of the renewal of life from a state of death. Bryant's Mythology, Vol II. p. 359. sec. edit. On this account also the serpent was an attendant on Aesculapius, which seems to have been the name of the hieroglyphic figure of medicine. This serpent shews this figure to be an emblem, as the torch shewed the central figure of the other compartment to be an emblem, 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 of Pluto, but, turning back her face towards the timid ghost, she stretches forth her hand, and taking hold of his elbow, supports his tottering steps, as well as encourages him to advance, both which circ.u.mstances are thus with wonderful ingenuity brought to the eye. At the same time the spirit loosely lays his hand upon her arm, as one walking in the dark would naturally do for the greater certainty of following his conductress, while the general part of the symbol of IMMORTAL LIFE, being turned toward the figure of Pluto, shews that she is leading the phantom to his realms.

In the Pamphili gardens at Rome, Perseus in a.s.sisting Andromeda to descend from the rock takes hold of her elbow to steady or support her step, and she lays her hand loosely on his arm as in this figure. Admir.

Roman. Antiq.

The figure of PLUTO can not be mistaken, as is agreed by most of the writers who have mentioned this vase; his grisley beard, and his having one foot buried in the earth, denotes the infernal monarch. He is placed at the lowest part of the group, and resting his chin on his hand, and his arm upon his knee, receives the stranger-spirit with inquisitive attention; it was before observed that when people think attentively they naturally rest their bodies in some easy att.i.tude, that more animal power may be employed on the thinking faculty. In this group of figures there is great art shewn in giving an idea of a descending plain, viz.

from earth to Elysium, and yet all the figures are in reality on an horizontal one. This wonderful deception is produced first by the descending step of the manes or ghost; secondly, by the arm of the sitting figure of immortal life being raised up to receive him as he descends; and lastly, by Pluto having one foot sunk into the earth.

There is yet another figure which is concerned in conducing the manes or ghost to the realms of Pluto, and this is LOVE. He precedes the descending spirit on expanded wings, lights him with his torch, and turning back his beautiful countenance beckons him to advance. The antient G.o.d of love was of much higher dignity than the modern Cupid. He was the first that came out of the great egg of night, (Hesiod. Theog.

V. CXX. Bryant's Mythol. Vol. II. p. 348.) and is said to possess the keys of the sky, sea, and earth. As he therefore led the way into this life, he seems to const.i.tute proper emblem for leading the way to a future life. See Bacon's works. Vol. I. p. 568. and Vol. III. p. 582.

Quarto edit.

The introduction of love into this part of the mysteries requires a little further explanation. The Psyche of the Aegyptians was one of their most favourite emblems, and represented the soul, or a future life; it was originally no other than the aurelia, or b.u.t.terfly, but in after times was represented by a lovely female child with the beautiful wings of that insect. The aurelia, after its first stage as an eruca or caterpillar, lies for a season in a manner dead, and is inclosed in a sort of coffin, in this state of darkness it remains all the winter, but at the return of spring it bursts its bonds and comes out with new life, and in the most beautiful attire. The Aegyptians thought this a very proper picture of the soul of man, and of the immortality to which it aspired. But as this was all owing to divine Love, of which EROS was an emblem, we find this person frequently introduced as a concomitant of the soul in general or Psyche. (Bryant's Mythol. Vol. II. p. 386.) EROS, or divine Love, is for the same reason a proper attendant on the manes or soul after death, and much contributes to tell the story, that is, to shew that a soul or manes is designed by the descending figure. From this figure of Love M. D'Hancarville imagines that Orpheus and Eurydice are typified under the figure of the manes and immortal life as above described. It may be sufficient to answer, first, that Orpheus is always represented with a lyre, of which there are prints of four different gems in Spence's Polymetis, and Virgil so describes him, Aen. VI.

cythara fretus. And secondly, that it is absurd to suppose that Eurydice was fondling and playing with a serpent that had slain her. Add to this that Love seems to have been an inhabitant of the infernal regions, as exhibited in the mysteries, for Claudian, who treats more openly of the Eleusinian mysteries, when they were held in less veneration, invokes the deities to disclose to him their secrets, and amongst other things by what torch Love softens Pluto.

Dii, quibus in numerum, &c.

Vos mihi sacrarum penetralia pandite rerum, Et vestri secreta poli, qua lampade Ditem Flexit amor.

In this compartment there are two trees, whose branches spread over the figures, one of them has smoother leaves like some evergreens, and might thence be supposed to have some allusion to immortality, but they may perhaps have been designed only as ornaments, or to relieve the figures, or because it was in groves, where these mysteries were originally celebrated. Thus Homer speaks of the woods of Proserpine, and mentions many trees in Tartarus, as presenting their fruits to Tantalus; Virgil speaks of the pleasant groves of Elysium; and in Spence's Polymetis there are prints of two antient gems, one of Orpheus charming Cerberus with his lyre, and the other of Hercules binding him in a cord, each of them standing by a tree. Polymet. p. 284. As however these trees have all different foliage so clearly marked by the artist, they may have had specific meanings in the exhibitions of the mysteries, which have not reached posterity, of this kind seem to have been the tree of knowledge of good and evil, and the tree of life, in sacred writ, both which must have been emblematic or allegorical. The masks, hanging to the handles of the vase, seem to indicate that there is a concealed meaning in the figures besides their general appearance. And the priestess at the bottom, which I come now to describe, seems to shew this concealed meaning to be of the sacred or Eleusinian kind.

3. The figure on the bottom of the vase is on a larger scale than the others, and less finely finished, and less elevated, and as this bottom part was afterwards cemented to the upper part, it might be executed by another artist for the sake of expedition, but there seems no reason to suppose that it was not originally designed for the upper part of it as some have conjectured. As the mysteries of Ceres were celebrated by female priests, for Porphyrius says the antients called the priestesses of Ceres, Melissai, or bees, which were emblems of chast.i.ty. Div. Leg.

Vol. I. p. 235. And as, in his Satire against the s.e.x, Juvenal says, that few women are worthy to be priestesses of Ceres. Sat. VI. the figure at the bottom of the vase would seem to represent a PRIESTESS or HIEROPHANT, whose office it was to introduce the initiated, and point out to them, and explain the exhibitions in the mysteries, and to exclude the uninitiated, calling out to them, "Far, far retire, ye profane!" and to guard the secrets of the temple. Thus the introductory hymn sung by the hierophant, according to Eusebius, begins, "I will declare a secret to the initiated, but let the doors be shut against the profane." Div. Leg. Vol. I. p. 177. The priestess or hierophant appears in this figure with a close hood, and dressed in linen, which fits close about her; except a light cloak, which flutters in the wind. Wool, as taken from slaughtered animals, was esteemed profane by the priests of Aegypt, who were always dressed in linen. Apuleus, p. 64. Div. Leg. Vol.

I. p. 318. Thus Eli made for Samuel a linen ephod. Samuel i. 3.