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a moustache. The hands are raised as in prayer, and on the fingers are signet rings. Round the neck is a chain, which passes over the thumbs of both hands, and appears to be connected with a book held by the figure. The lady is plainly dressed. She wears a wide and full-plaited ruff, and from the back of her head a weeper depends, which is kept in its place by a jewelled coronal or band. It was about this date that ruffs were mostly in fashion and the custom of starching came into vogue, having been introduced by a Dutchwoman, one Mistress Dingham Van der Plasse. Both effigies are of marble. From an inscription round the edge of the tomb we learn that William Clopton died in April, 1592, and his wife Anne in September, 1596. There is a quaint group of figures on the wall above this monument. It consists of the roughly-carved effigies of three girls, a boy, and three chrysom children. They represent the children of the above William and Anne Clopton, and are named respectively, Elizabeth, Lodowiche, Joyce, Margaret, Wylliam, Anne, and Wylliam. The manner of exhibiting the appearance of chrysom children in sculpture is here in exact accordance with similar work in the Church of St. Peter ad Vincula in the Tower of London.* There is a tablet underneath with an inscription stating that the Right Honorable Dame Joyce, Countess of Totnes, their eldest daughter, caused this their monument to be repaired and beautified, Anno 1630. On a smaller tablet we read that, "Sir John Clopton, Knight, their Great Grandson, caused this again, and ye rest of these monuments, to be repaired and beautified, Ano Dmi 1714." Close to the east wall of this chapel, and partially built in the wall, is the monument of George Carew, Earl of Totnes and Baron of Clopton, and his Countess Joice, who was the eldest daughter of William Clopton and Anne. The effigies are coloured, and are composed of alabaster. They lie on a black marble slab, under a richly decorated arch, having Corinthian columns on either side, which are surmounted by two coloured emblematic figures. A profusion of shields of arms covers

⚫ In the chancel of St. Giles' Church, Chesterton,

on the Peyto monument, may be seen a like repre sentation.

the niches of the entire memorial. The Earl is in armour, over which he wears the robes of a peer. On his head is a coronet. His beard is pointed, and his hands are raised as in prayer. The knees have suffered damage. The Countess also wears the robes of a peeress, and rings are on her fingers. A lion is at her feet. This latter object had probably been fixed at the feet of the Earl at some former period. The costume of gallants at the time when opinions were so divided as during the reign of Charles the First was as various as possible, but it became, as we know from the portraits by Vandyke, of the richest and rarest quality. There are three Latin inscriptions on the tablets in this monument. One of these and one on the wall adjacent in English are remarkable, as testifying the amiable qualities of Lord and Lady Totnes. Descended originally from the illustrious family of the Fitzgeralds, Lord Totnes derived the surname of Carew from a Welsh ancestor. Bred to the profession of arms, he was commanded by Queen Elizabeth to quell the rebellion in Ireland, where he became Master of the Ordnance of that part of the kingdom. Recalled to England, King James the First made him Baron Clopton, and likewise gave him several important offices, conferring upon him the Master of the Ordnance to all England. Charles the First raised him to the dignity of an Earl. His career was highly successful, and his merits undoubtedly very great. There is a three-quarter length portrait of him in the hall at Clopton. In that he is seen with an extensive ruff and a white pointed beard. The right hand grasps a baton, a sword being in the left. On the front of the tomb, sculptured in white marble, are trophies of arms, being exact representations of those in use in the Ordnance department in the early part of the seventeenth century. Lord Totnes died March 27, 1629, aged 72. His Countess survived him till the 14th of February, 1636, being then 78. The title became extinct, the Earl dying without issue. One of the Latin inscriptions commemorates Sir Thomas Stafford, the Earl's private secretary in Ireland, and afterwards Gentleman Usher to Queen Henrietta Maria. Clopton vault with the friends whom he surThis gentleman desired to be buried in the vived, but it is uncertain whether this wish.

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"Heere lyeth interred ye body of Miss Amy Smith, who (being about ye age of 60 yeares and a maide) departed this life at Nonsuch, in Surrey, the 13th day of Sep., A Dni, 1626. She attended upon the Right Honble. Joyce Ladie Carew, Coyntesse of Totnes as her waiting gentlewoman ye space of 40 yeares together; being very desirous in her life tyme that after her death she might be laide in this Church of Stratford, where her lady ye sayd Countesse also Herselfe intended to be buried, and accordinglie to fulfill her request, and for her so long trew and faithful servise ye said Right Noble Countesse, as an evident toaken of her affection towards her, not onely caused her body to be brought from Nonsuch heither and honorably buryed, but also did cause this monument and superscription to be erected in a gratefull memorie of her whom she had found so good a servant."*

This terminates the series of monuments in this chapel. Sir Hugh Clopton was a real power in the land, he not only rebuilt a part of the chapel of the Holy Cross, and repaired the transept in the Church, but he built the stone bridge which crosses the Avon from east to west, at the north-east point of the town. New Place, where Shakespeare died,

came eventually to his grand-daughter Lady

A family of the name of Clopton resided at Kentwell Hall, at Long Melford, in the county of Suffolk, for centuries. Sir William Clopton dying without male issue, his estates went to his daughter, the wife of Sir Symond D'Ewes, who in turn left an only daughter, Lady Darcy, who died childless in 1661, and thus the Suffolk Cloptons became extinct.

Professor Boyd Dawkins'
Lectures on Early Man.

T Owens College, Manchester, Professor Boyd Dawkins has just finished a course of six lectures on "The Ancient World at the Time of the Appearance of Man," and so valuable are they to the student of antiquities that we give a suminary of the course.

The lecturer began by giving a few leading ideas bearing upon the problem of his subject, so far as we know it at the present time. Until within the last few years the certainty of primeval man was based altogether upon documentary evidence, and seeing that these documents only went a comparatively short distance backwards, the previous past of speechless and voiceless, and the history mankind was looked upon as altogether

of the human race taken to be wholly outside our possible knowledge. At this time a new series of knowledge was opened to us in the most wonderful manner, and discoveries were made all over the world, and no great break existing between the time of which he treated and that of to-day.

Barnard. At her death it was sold to Sir
Edward Walker, Garter King of Arms, from
whom it descended to his only child Barbara,
the wife of Sir John Clopton, of Clopton.
His youngest son, Sir Hugh Clopton, became
possessed of the property, and was residing there was now
in the house in 1742. His executor and
son-in-law, Henry Talbot, sad to say, sold it
to one Francis Gastrell, who pulled the house
down and destroyed the garden. By the fact
of this occupation of New Place, a kind
of identity with the great poet is established.
On the staircase of the house at Clopton is
the full-length portrait of a young girl, who is

recorded as the last descendant of the once

great Clopton family. Their monuments in Stratford Church afford very striking examples of the varieties of memorial sculpture

in the sixteenth and seventeenth centuries.

* Above the kneeling figure may be seen a coat of arms, three greyhounds courant.

At the second lecture, Professor Dawkins showed that at the close of the meiocene age there was an extraordinary geographical change. As regards the configuration of this country, there was no evidence of sea southward at that time, as at present. It was in all probability one solid mass of land, and affording a free bridge, over which animals could migrate to and fro as their wants led them. Passing on to the examination of the types of ancient animals, the lecturer said the point of all his remarks tended to the question-"Is man to be numbered among these

creatures as an inhabitant of Europe in the pleiocene age?" Among the fragments of evidence upon which man's presence at that period had been asserted was the disputed discovery of a human skull, at a depth of fifteen metres, in a railway cutting at Olmo, near Arezzo. He had reason to believe that that skull, which he had examined in the museum at Florence, was not pleiocene at all, but belonged to the neolithic period. Professor Capellini had met with certain bones in Italy undoubtedly in pleiocene deposits; but he was not satisfied that they were in situ, for in the same collection was a fragment of pottery, and he did not suppose that the most daring anthropologist would assert that the potter's art was known in the pleiocene age.

The third lecture came to the pleistocene period, when man made his appearance in Europe, and was surrounded by most of those forms of animals which are now familiar to our eyes. In the mid-pleistocene deposits of the Thames valley, characterized by the abundance of the remains of animals similar to species now inhabiting temperate climates, we met with the first evidence of the presence of man in this quarter of the world. Two flint chips, found by Messrs. Fisher, Cheadle, and Woodward, had afforded the clue to a recent discovery, by Mr. Spurrell, of vast numbers of flint flakes, scrapers, and knappers, in association with the remains of rhinoceroses, mammoths, and horses. The last named gentleman was fortunate enough to hit upon the very place where the ancient hunter had sat and made these implements, and, by collecting the splinters thrown aside by him, the surface of the original blocks of flint out of which the implements were made had been in some cases restored. One-half of a flint axe he (Professor Boyd Dawkins) was fortunate enough to discover. The perfect axes were, of course, carried off for use. The whole group of implements were rude and rough, and belonged to what was called the river-drift type, which was almost world-wide in its distribution. In them we had evidence that man was present in the valley of the Thames, living by the chase, hunting the bison and the horse, the young mammoth and the young woolly rhinoceros, and having to contend for mastery with the grizzly bear and

the lion. When pleistocene man was at Crayford the Thames itself was haunted by beavers and otters, and the stillness of the woods on its banks was broken by the snort of the hippopotamus as he rose from the

water.

In the fourth lecture, Professor Dawkins said that towards the close of the pleistocene age the land gradually rose, and Britain again became a part of the Continent. They found implements in the river gravels of the Thames, in association with the remains of the animals he hunted-reindeer, bisons, horses, and mammoths. They found man also in the Eastern Counties as far as Norfolk, and in the Midland Counties as far to the north as Bedford; and in all these cases his implements lay either in deposits which were composed of materials washed out of the boulder clays or in deposits which rested upon them. In other words, he was evidently there after the re-elevation of the land from beneath the sea. His implements were found in the valley of the Elwy, near St. Asaph, in the caves of Cresswell, and in those of Kent's Hole near Torquay; so that they must believe that from time to time the hunter took refuge in caverns. He was not, however, found over the whole of Great Britain, and was conspicuous by his absence over large areas. He had not been found as yet in Ireland, nor in those regions whence the traces of ancient glaciers were the freshest, such as in Cumberland and Westmorland; nor were there any traces of him in Scotland and in the higher parts of Wales. Neither in these areas did they find traces of the animals on which he lived.

He

The fifth lecture considered the riverdrift hunter in India and North America, and the sixth and last lecture dealt with the numerous discoveries made in France, Belgium, and Switzerland, which enabled them to form a tolerably definite idea as to the cave man's habits and mode of life. dwelt for the most part in caves, and accumulated enormous masses of refuse-bones of the animals on which he lived. In these refuse heaps were numerous implements of stone, bone, and antler-spear-heads, arrowheads, scrapers, elaborately cut harpoonheads, elaborate needles of bone and antler; and along with these occurred curious carvings representing the surroundings of the cave

man, and for the most part reproducing the forms of animals on which he lived. Professor Dawkins described in detail the evidences which exist as to the habits, customs, and modes of life of the cave men, who, he said, were hunters pure and simple, without knowledge of the metals, without domestic animals, and even ignorant of the potter's art. The range of the cave man over the world was very much more restricted than that of the river-drift hunter. The answer to the question whether the cave man could be identified with any living race was to be found in their habits, implements, and art, and from various lines of argument which he adduced he inferred that the Esquimaux of the present day was in all probability his living representative. At the close of the pleistocene age in Europe a great geographical change took place, by which the coast lines became almost what they were now. All that could be said regarding the antiquity of man on the earth was that he appeared in the pleistocene age, and that that age was immeasurably removed from the present time.

Greek and Roman Sculpture.

So.

REEK art has excited the admiration and envy of every succeeding age. It has remained unequalled, and probably always will remain So much of the artistic spirit finds expression in fragile materials, that we cannot be too grateful that the Greek has impressed his beautiful conceptions upon stone and marble. Thus, we are in possession of a wealth of beauty which would otherwise have been lost to us. On all sides in the chief galleries of Europe we can educate our eyes and improve our taste by careful examination of exquisite works which have come down to these times, some of them unhurt, through the vicissitudes of centuries. are too apt to forget the long period over which Greek art extended, and to confuse together the works of different ages. A good guide through the labyrinth has been long wanting, and we therefore welcome the beautifully printed and illustrated volume

We

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timate relation between Greek art and the religious, political and social life of the Greek people. In carrying out his object, the author is helped by the admirable illustrations, which have been most judiciously selected. The subject is divided into six periods, the first commencing with Olympiad 70, and the last ending with the Græco-Roman period. After the influence of Homer on the direction of Greek art, and the character of the works of the founders of the earliest school of sculpture in Greece have been considered, we are informed as to the history of the forerunners of Pheidias. Pheidias himself, and his immortal sculptures in the Parthenon, are fully described in several chapters. Passing over lesser known men, we come to Praxiteles, who, representing the spirit of his age, founded a new school of sculpture. Then Etruscan art, and the migration of Greek art to Rome, are treated of, and the works of the artists of Asia Minor are described. The two last chapters are devoted to the interesting subject of portrait sculpture. The lifesize statue of Sophocles (Fig. 1) is a work of

Fig. 2.

surpassing interest, both as a veritable representation of the great tragedian and as a splendid example of the sculptor's art. The statue was found, not long before the year 1839, in Terracina (Anxur), and was presented by Count Antonelli to Pope Gregory XVI., who placed it in his new museum in the Lateran. It is supposed to be a copy of the bronze original, set up on the motion of the orator Lycurgus, B.C. 368. After it was discovered, Tenerani restored the statue with skill and care. The bust of Pericles (Fig. 2) in the British Museum, is supposed to be a copy of the head of the statue by Cresilas of Cydonia, which was so highly praised by Pliny. The exquisite torso of Eros (Fig. 3) was discovered by Gavin

PERICLES.

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but of sufficient beauty of design to help us to realize the conception of Praxiteles. The beautiful head of Esculapius (Fig. 4) in the British Museum, is of much interest on account of the Fig. 4. likeness to the received busts and statues of Jupiter. The marriage of Heracles and Hebe or rather the formal surrender of the bride to bridegroom, a relic of Peloponnesian art from a relief discovered at Corinth, has a special archæological interest as well as an artistic one. We cannot do better than quote Mr. Perry's description of this work, and thus

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ASKLEPIOS.

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