Wheeling register. [volume] (Wheeling, W. Va.) 1878-1935, 1881-08-26
BOSTON.
Her Grand Art Museum.
of the Register.


Avenue and Dartmouth street, is the
Boston Museum OF Fine Arts. Its ia.
cade, enriched with red and buff terra
Gotta, is the most magnificent OF any
public building Of its kind in New
England.
IT was established in 1870. A glance
forthwith at some OF the most interest.
ing collections. We are in the Egyptian
room, among the uncopied illustrations
OF the arts, manners, civilization. and oi
the Pantheon, civil life, and funeral rites
OF ancient Egypt, confronted on every
hand by the relics OF the period oi
Egypt's greatest magnifcence the
YV1II and XIX dynasties, between
100 and 1900 B. G. Here, III the center
of the room, as We see by the guide, is
a mummy OF "Anchpefhir, a lady oi
rank" Others are displayed against the
wall.
There is nothing which seems 80 sue
cessfully TO lift the veil of the past and
ushur US upon the scenes of those far.
off distant ages as to behold q real-I
was about to say live-Eg-ptian mum
nv. Thirteen centuries before Christ
What leap into the dingy past-thir-
teen centuries before Christ and the hu.
man being now before US, lived and
moved! How lived? 1t once walked
the lands of Egypt, breathed the air OF
the orient!
What were the events OF that life,
lived so far away, 80 long ago? But we
are looking upon whatP The hui
man beings? No! nothing but the
"house OF clay" in which they lived.
Well, where are they then? A philo.
sophie principle says that nothing can
be destroyed, nothing utterly annihilat-
ed; so if the body, the lesser part, still
exist lin one form or another, in this
case In the original form) does not also
the greater part, that invisible some
thing, that power of thought" which
we call the soul, that for a season
reigned in these forms and through
them expressed to the outer world
thought, feeling and purpose, still ex.
ist? The analogy says, yes; the philo-
sophie principle corroborates and proves
it, and so surely. death does not end
all" What, therefore? An; ;wer
But what a wonderful art OF preser-
vation!
"After embalmment the body was
wrapped in bandages OF fine linen which,
in some instances, have measured over
three thousand feet" CATER bandag-
ing, the body was placed in a stiff form
or cartonage, made OF linen cloths ce.
mented and tightly pressed together,
and fitted to the body while yet moist:
The car'onage was then gaily painted" "
The faces on the cartonsge, when OF
women, were painted yellow, OF men,
red.
On the one before us is a double pic.
ture OF the deceased pleading her case
before the god Osiris. "a large portion
OF the Egyptian Pantheon is displayed
beneath" Along the sides are HERO
glyphic inscriptions. We give the trans.
lation of one of them as rendered by
Prof Paine:
80 sun! when thou goesth forth, beau
tiful out of the East, beating down wide
thy rays upon the twin lands OF Egypt!
Oh! give thou to this lady thy beams,
and when thou guidest thy barge into
the presence OF OSIRIS, give thou the wa.
ters OF Aures to Auchpelur."
Displayed in various cases ranged
about the room are mummies OF ami
mails, the cat, dog, ape, hawk, ibex,
mummy cloth OF various styles and
QUALITIES, sepulchral vases IN terra
Gotta and alabaster intended
to hold the viscera OF the person In
whose tomb they were placed. Papyre,
fragments of Egyptian manuscripts,
Book of the Dead, figures OF divinitles,
amulets, emblems, rings, necklaces,
gems; a doll, somewhat different from
those of the present day, in this land; ;
vases to hold kohl with which the Egyp.
ton women were wont to paint the eye.
lid and brow. Nothing is mentioned in
this connection like the advancement OF
the present aye in daubing the whole
face with paint; suffice it to show to the
ladies the origin OF the practice. The
wild Bedouins of the desert,
we understand, do likewise.
In the centre of the room, further down,
is black, lion-headed figure OF Pasht,
bearing the cartouch OF Amenoplis Ill,
(B. c.. about l500) And now We are
back to the cite OF "regal pomp and
power" You may rest your hand upon
the heavy, red granite blocks, supposed
tn be the fragments OF an ancient throne.
Upon the top OF one rests the colossal
head of king; sculpture OF the same
material There are FIVE "Greek rooms
on this floor, the first contain,
ing Archaic Greek casts and
Assyrian relieis; among others, ten
figures from the pediment OF the temple:
OF Athena at Aeginis, the soldier OF
Marathon, Appollo, Lions over the
city gate of Mycenae." The second
Greek or Olympian room containing
casts from marbles found in the excava-
ton on the cite OF the temple OF Jupiter,
at Alympia. The third Greek or Par
thenon room contains bass reliefs from
the prize OF the Parthenon. The fourth
Greek or Mausoleum room contains,
among others. reliefs from the Mauso-
leum at Halicarnassus; also from the
temple of Apollo in Phigalia. The fifth
Greek contains miscellaneous casts.
Other rooms contain antiques from Cy-
prus, etc, etc.
We will now ascend to the upper
galleries, but we must not pass unnoticed
one most excellent piece OF statuary In
the main hall; it is a representation OF
Hagar and Ishmael in the desert.
Verify marble can be made 20 speak.
The expression Of thirst and agony upon
the face of the latter, and OF horror upon
that OF the former is most perfect and
striking
For want OF space We pass without
notice the engravipgs, drawings. paint.
ings. pottery and porcelain, wood
and ivory carving most exquisite
and expressive. arms and armor,
metal WORK, Chinese and japanese
art, etc, etc, stopping but
for glance at the ''textile" room. I'm.
mediately over the entrance is a large
brussels tapestry-the Sacrifice in the
Temple designed by lie Brun. Dis
posed conspicuously upon the walls are
three specimens OF Flemish tapestry.
representing Summer, Autumn and
Winter, formerly in the chateau at New
lily, and once tie property OF King
Louis Philippe. They are fine though
somewhat grotesque.
Ont of tho larva number of rich and