Page:Once a Week Volume 7.djvu/188

180 century of the cinque-cento period has never produced a more extraordinary or more beautiful cameo than the bust of Queen Elizabeth upon a large and perfect sardonyx. The face is life itself, whilst the jewellery, the plaits, and intricacies of the head tire, and of the farthingale, testify abundantly to the incredible patience of the engraver. The disputed point, as to whether the true diamond has been engraved, is here set at rest by the signet made for Charles II. when Prince of Wales. In this the ostrich plumes are neatly and deeply cut upon a table diamond; and, to remove all possibility of scepticism, it has been examined and declared a diamond by Professor Tennant.

An account of the large and most interesting collection of miniatures now brought together would suffice to fill a volume. From the time of Henry VIII. down to the end of the last century, most of the notabilities are found represented in some form or other. The series opens with Holbein, and includes all that brilliant galaxy of miniature painters which flourished during the sixteenth and seventeenth centuries, such as Hilliard, Oliver, and Cooper; and the enamellers, Petitot, Boit, and Zincke; and ending only with Cosway. The collection represents in a small compass almost a complete national portrait gallery. There are several admirable miniatures of Oliver Cromwell, by S. Cooper, which deserve especial attention; and it may be observed with regard to this artist’s works in general, that they are marked by such breadth of treatment and power, that, although merely miniatures, they rank in the highest sense as great paintings. The French series of miniatures is scarcely less rich, principally, however, of the beauties of the Court of Louis XIV. and XV.

When looking at these exquisite productions of a past age, one cannot but feel something more than regret that the miniature painter’s art should have become almost a thing of the past; and, in truth, one feels but little disposed to accept as a substitute the grim formalities of the photographer’s work. In fine, it must be owned, that great as our progress has been in many things during the present century, there is still much to be learnt by a careful study of these art treasures of bygone times.

J. E. N.

number and diversity of signs which prevailed at one time through every street of London, presents no uninteresting subject of research. The stern orders of unpoetic commissioners for paving, have now cleared away that infinite variety of highly embellished symbols which were once considered necessary to the well-being of every trade. The red brick front with its stone signs and window cornices, unregretted amidst modern improvements, has passed away, but a sumptuous banquet of speculation has been left to us in the inscriptions on public houses and other places, which those signs originated. For instance, to plunge at once into the midst of examples, we meet with The Pig and Chequers. Here the reflective mind is immediately provided with a fund of more or less probable hypotheses as to the meaning of this somewhat extraordinary appellation. The last probably that will occur to it, is that The Pig and Chequers, with its sanded floor and sparkling ales, was at first a gaming house, that it was distinguished by the Pique et Carreau, or spade and diamond—which by the way exists now somewhere in the Isle of Wight, under the name of the Pig and Carrot,—represented on its sign board, and that owing perhaps to an undue appreciation of the carreau, or it may be partial obliteration of the pique, the form of the diamond induced its present name.

For our Red Lions, Blue Boars, and Black Swans, and other natural anomalies, which the student of high art has in some instances desired unhappily to perpetuate, we are indebted to the heraldic distinctions of noblemen, on whose property perhaps the hostelry was built, or by whose munificence it was chiefly supported, bearing on their coat armour a swan sable, a boar azure, or a lion gules. To this the Green Man is an exception, who may be confidently pronounced to be the bold Robin Hood; especially as, if the size of the picture admits it, and the artist places sufficient belief in his ability to represent him, Little John is commonly visible walking away in the far distance. It is a happy thing, and deserving of much congratulation, that at the present day publicans are most generally contented with a gorgeously lettered instead of a pictorial representation. This may be classed among the beneficial results of educational progress. Formerly the orthography and the painting were both mystical and undetermined, neither throwing much light on the other; now, with the exception of some few cases, as rare as they are full of warning, the orthography, and etymology alone remain to be explained. Strange must be the taste, observes Addison, after commenting with no little fervour on flying pigs and hogs in armour, of that man who, having all the beasts and birds in nature to choose out of, should yet prefer to call his house by the name of an ens rationis, of some creature more horrible and extraordinary than any in the deserts of Africa.

After this consideration of simple monsters, we are not unfrequently startled by the close communion, under one sign, of creatures of jarring or totally incongruous natures—such as the Colt and Cradle, the Fox and Seven Stars, the Dog and Gridiron, the Cat and Fiddle, amongst which several pairs we would imagine that there could be nothing in common, neither would it be easy to conceive that they ever met before their hazardous conjunction on a sign post.

The Devil and Dunstans was the sign of an ale-house within Temple Bar. The sign-board represented the devil sable, as he appeared when held by the nose by St. Dunstan. Hogarth has represented this sign in one of his illustrations of Butler’s Hudibras. From some work on ecclesiastical history we learn that the devil was accustomed to assail St. Dunstan in numberless Protean shapes during his—the Saint’s—hours of devotion. That on one occasion, when his satanic majesty assumed the figure of a lovely woman with flaxen hair, the saint was more than usually incensed by the profanation. Being engaged at the time in some chemical analysis for the production of gold, he