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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.

Science, Art, And The Drama.

Science , Art , and the Drama .

CROWNS ANCIENT AND MODERN .

( Continued ) . The band of the Iron Cross is traditionally said to have been made out of one of the nails used at the Crucifixion , and given to Constantine by his mother , the Empress Helena . Afterwards it was used at the coronation of the Lombard kings , primarily at that of Azilulphus , at Milan , in the jear 591 . The outer circlet of the crown is composed of six equal parts of

beaten gold , joined together by hinges , and set with large rubies , emeralds , and sapphires , on a ground of blue gold enamel . Within the circlet is the " iron band , " without a speck of rust upon it , although it has existed for more than 1500 years . When the Emperor Napoleon I . was crowned King of Italy at Milan , 23 rd May , 1 S 05 , he placed the iron crown of Lombardy upon his head with his own hands , exclaiming , " Dieu me l ' a donne j gare

; i qui Ia louche " ( God has given it to me ; beware who touches it ) , which was the haughty motto attached to it by its ancient owners . The Hungarian crown , worn at their accession by the Emperors of Austria and Kings of Hungary , is the identical one worn by Stephen 800 years ago . It is of pure gold , and weighs nine marks six ounces ( 14 lbs . ) , and is adorned with S 3 sapphires , 50 rubies , one emerald , and 338 pearls . The crown of the

Kings of France is a circle , enamelled , adorned wilh precious stones , and heightened up with eight arched diadems rising from as many fleurs-delis , all of gold . The crowns of Spain , Portugal , and Poland are all three of the same form , and are described by Colonel Parsons , in his Genealogical Tables of Europe , as " ducal coronets heightened up with eight arched diadems , supporting a mound enseigned with a plain gold cross . " The

crowns of Denmark and Sweden are of almost similar shape , consisting of the eight arched diadems , rising from a marquis's coronet ( a circle of gold bordered with ermine , set round with four strawberry leaves , and as many pearls , on pyramidical points of equal height alternate ) , which conjoin at the top , under a mound designed with a cross-boutonnee . The kings of most other continental countries are crowned with circles of gold , adorned

with precious stones , and heightened up with large " trefoils , " and closed by four , six , or eight diadems ; supporting a mound surmjunted by a cross . The trefoil upon the crown is thought to be of Gothic introduction . We find it upon the coins of Clovis and his sons , which has induced antiquarians to call it the " fleur-de-lis " ( the lily of France represented in gold on blue ground ) - , but the fact is , these trefoils were used on

Constantinopolitan crowns , before the time of the Franks , and afterwards on those of German Princes in no way allied to Charlemagne . Aubrey , a celebrated authority upon heraldry , was of opinion that the fleur-de-lis is really nothing more than a spear-head , adorned , no flower of the lily kind having the middle part solid . The Sultan of Turkey bears over his arms a turban enriched with pearls and diamonds , under two coronets , the first of which is

made of pyramidical points , heightened up with large pearls ; and the uppermost is surmounted with crescents . With regard to ths crown used in our own country , a fillet diadem of pearls appears on several of the Saxon monarchs . Similar diadems , or fillets , adorn the heads of many of the Heptarchic Kings . Alfred's crown had two little balls attached ; it is said to have been long preserved at Westminster , and may have been that

described in the Parliamentary inventory , taken in 1649 . The circle , surmounted by three small projections , first occurs up > n the crowns of Athelstan ; on some of Edred ' s coins the projections enl in pearls . A radiated cap appears first on a coin of Ethelred II . ; and the "trefoil " ornament is noticeable upon a few of the coins of Canute . Several varieties of arched cap and crown appear upon the coins of Edward the Confessor .

The close , or arched crown , which appears on some of the Confessor s coins , is used in all the types of Harold , and was adopted by the earlier Norman Kings . On the Confessor ' s and the " Conqueror ' s" coins we see labels appended at each ear ; these , as we learn from an anecdote related by William of Malmesbury , in wearing the crown were fastened by a clasp or button beneath the chip . William I .

wore his crown on a cap , adorned with points and leaves alternately , each point being tipped with three pearls ; while the whole crown was surmounted by a cross . William Rufus discontinued the / eaves . On the coins of Stephen and Henry II ., the open crown wiih fleurs-de-lis appears . Henry III . was crowned with a plain circle of g >» ld in lieu ol the crown , which had been lost with the other jewels and oaggage of King

] ohn , in passing the marshes of Lynn , on the Wash , ntar Wisbe . ich . Edward III . wore his crown ornamented with points of 11-. ur-de-lis alternately . Telder had said that Henry V . was the first of them who wore the arched crowns , and in a window of Ockholt Manor house , in Berkshire , 1465 , there certainly remained , till within a few years , the arms of Henry VI ., and his queen Margaret of Anjou , in sr pirate cats , both surmounted

by the arched bound crown . From Henry VII . downwards , this atched crown with the globe and cross , has been continued . " Sc Edward ' s crown " was made in imitation of the ancient crown , said to be have been worn by the Conqueror , and kept in Westminster Abbey , till the beginning of the Civil War in England , when with the rest of the regalia it was seized and sold . A new ciown was prepared for Charles II . A magnificent

crown was made for George IV ., with the jewels of the old crown , and jewels bo rowed of Rundall and Bridge , the crown jewellers . This cronn was 15 inches in height ; but the arches were not flat , as in the former crown , but rose almost to a point , and were surmounted by an orb of brilliant ? , upon which was placed a maltesc cross of brilliants , with three fine pearls at its ex ' remtties . The arches were wreathed , and fringed wilh diamonds

and four maltese crosses of brilliants surrounded the crown , with four large diamond flowers intervening . On the centre of the back cross , was the " ancient ruby , " which was worn at Cressy and Agincourt by the Black Prince and Henry V ., while the centre of the front cross was adorned with a splendid sapphire , more than two inches long , and one inch broad ; and a band of laige diamcnds , emeralds , sapphires , and rubies , completed this magnificent diadem . U was estimated to be worth £ 150 , 000 ; and the

Science, Art, And The Drama.

expenses upon it preparatory to the coronation of George IV . amounted to ^ 50 , 000 or £ 60 , 000 ovor and above the addition of the inestimable and unique sapphires . The state crown of Queen Victoria was made for her Majesty by Rundall and Bridge in 1 S 38 , with jewels taken from old crowns and others furnished by the Oueen ' s command . The fol

lowing is a summary of jewels in the crown : 1 large ruby , 1 large broad sapphire , iGsapphires , 11 emeralds , 4 rubies , 136 3 trilliant diamonds- , 1270 rose diamonds , 147 table diamonds , 4 drop shaped pearls-, and 273 pearls . Unlike most other prince-Iy crowns in Europe , all the jewels in the British crown are really precious stcnes ; whereas in other Slate crowns , valuable stones have been replaced with imitation stones of coloured glass .

PAINTERS AND OTHER ARTISTS IN THE REIGN OF

JAMES I . ( Continued . ) Solomon de Caus , a Gascon , was Prince Henry ' s drawing master . All we know of him is that in 1612 , the year of the prince ' s death , he published a book , entitled La Perspective , ou Raison des ombres et miroirs , with several engraved plates , folio . It is addressed from Richmond Palace to

Prince Henry , after he had been , as he tells his Highness , two or three years in his service , and another tract , in folio , on mechanic powers , 162 S . De Caus was employed by Henry , Prince of Wales , in making additions to the palace at Richmond before 1612 . It was a picture gallery , which was afterwards furnished by his brother , Charles I . It appears that De Caus had been paid £ 2826 os . ioVd . on account of these works , and there remained

due to him when the prince died , in 1614 , £ 303 13 s . 6 d . In the Lansdowne MSS ., Brit . Mus ., is an account of moneys issued to Solomon de Caus for works at Greenwich and Somerset Gardens in 16-12 . It is likel y he was the brother of Isaac de Caus , and assisted him in building the portiers and Loggias of Gorhambury and part of Camden House , near Kensington . Prince Henry was a great lover of the arts , and laid the foundation of the collection

which his brother completed . T . he medals were purchased by him , and Vanderdovot , in his catalogue , mentions several statues and pictures , which King Charles inherited from Prince Henry . In the appendix to Birch ' s life of this prince , are several letters from Sir Edward Conway , in one of which he mentions having bought a picture of the Four Evangelists , whom he calls affectedly , the most faithful , glorious , and excellent secretaries that

ever were , to the infinite incomprehensible Prince ; desiring Mr . Adam Newton , secretary to the most hopeful , powerful , and glorious earthly Prince , to present it to his Royal Highness ; and in others is much talk of a negotiation in which he was employed by the same prince , to engage an eminent painter of Delft to come to England . This was Mireveldt , who had many solicitations afterwards from King Charles on the same head ;

but none succeeded . The printed letters are from the Harleian MSS ., and describe Mireveldt as very fantastic and capricious . Mr . West has two others , one from Mireveldt to Sir Edward Conway , the other from Sir Edward , in which appears the cause of Mireveldt ' s uncertainty ; he was afraid of being stayed in England by authority , and stipulated that he

should have liberty to return in three months . In 1625 , he had again engaged to come , but was prevented by the breaking out of the plague . This celebrated portrait painter was born at Delft in 156 7 . As we have seen he was invited to England by Charles I . in 1625 , but he declined the invitation ; he died at Delft in 1 C 41 . ( To be continued . )

HENRV GRAVES AND CO . 'S PICTURE GALLERIES . PALL MALL , S . W . There is a picture now being exhibited which cannot fail to interest every Englishman . It is "Queen Victoria ' s Last Ceremony . " What infinite pathos is contained in those few words . Her Majesty's last official duty was that of receiving Lord Roberts and his Staff on their return from their victorious progress in South Africa . This ceremony was characterised by all that dignity and impressiveness that surrounded everything in which the Queen took part . Her Majesty bravely fought against the decay of years wilh all the courage of her strong womanhood , and even when the end was so near received the veteran general with becoming stateliness . The h'gh function took place in the drawing-room at Osborne House . Lord Roberts arrived at Cowes from South Africa on the morning of

Wednesday , 2 nd January , 1 9 , proceeding in the afternoon to Oiborne House . The Queen received him at five p m . She presented him with the insignia of the Garter , and conferred upon him an earldom of the United Kingdom . The artist , Mr . H . J amyn Brooks , has spared no effort to make an impressive and effective representation of the scene at Oiborne . The moment chosen tor the picture is that which was the most picturesque

in the afternoon s proceedings—the reception of the faithful orderlies , six non-commissioned officers of the Indian cavalry . One can imagine how deep an impression the splendid scene must have made upon the minds of these stalwart Orientals . Mr . Brooks has taken scrupulous care to be absolutely accurate in the details of his picture . Ths figures have been

painted from life studies , and everything possible has bsen done to give to the picture a true historic interest and value . In an adjoining room are exhibited a number of original sketches , made by Rob ; rt Pritchstt , by the command of her late Majesty , from 1870 to iyoo ; the most interesting public and private events during the last 30 years of the Queen's life are faithfully and graphically depicted . ""'

LYCEUM THEATRE . The last Shakesperian production , " Coriolanus , " by Bro . Sir Henry Irving , has awakened much public interest . All that scholarly research and artistic embellishment could accomplish , to ensure success , has been done , but the result has only teen a " succes d ' estime . " It is a one character play and we can have but little interest in the hero . In every point of view he is most objectionable . Of undoubted personal bravery , he is so wanting in common sense , that hs alienates himself by his pride from all with whom he

comes into contact—we entertain no human sympathy for him . Bro . Sir Henry Irving gave a spirited rendering of this haughty Roman . Mr . Barnes was an admirable Menenius Agrippa . The two tribunes of the people were efficiently represented . Miss Ellen Terry , as Volumnia , delighted everyone with her clear distinct delivery . Virgilia and Valeria enacted their separate parts in an intelligent manner . The play was staged , as are all the Lyceum productions , most effectively .

“The Freemason: 1901-06-01, Page 12” Masonic Periodicals Online, Library and Museum of Freemasonry, 3 Aug. 2025, django:8000/periodicals/fvl/issues/fvl_01061901/page/12/.
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OPENING OF SYDENHAM WELLS PARK. Article 9
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.

Science, Art, And The Drama.

Science , Art , and the Drama .

CROWNS ANCIENT AND MODERN .

( Continued ) . The band of the Iron Cross is traditionally said to have been made out of one of the nails used at the Crucifixion , and given to Constantine by his mother , the Empress Helena . Afterwards it was used at the coronation of the Lombard kings , primarily at that of Azilulphus , at Milan , in the jear 591 . The outer circlet of the crown is composed of six equal parts of

beaten gold , joined together by hinges , and set with large rubies , emeralds , and sapphires , on a ground of blue gold enamel . Within the circlet is the " iron band , " without a speck of rust upon it , although it has existed for more than 1500 years . When the Emperor Napoleon I . was crowned King of Italy at Milan , 23 rd May , 1 S 05 , he placed the iron crown of Lombardy upon his head with his own hands , exclaiming , " Dieu me l ' a donne j gare

; i qui Ia louche " ( God has given it to me ; beware who touches it ) , which was the haughty motto attached to it by its ancient owners . The Hungarian crown , worn at their accession by the Emperors of Austria and Kings of Hungary , is the identical one worn by Stephen 800 years ago . It is of pure gold , and weighs nine marks six ounces ( 14 lbs . ) , and is adorned with S 3 sapphires , 50 rubies , one emerald , and 338 pearls . The crown of the

Kings of France is a circle , enamelled , adorned wilh precious stones , and heightened up with eight arched diadems rising from as many fleurs-delis , all of gold . The crowns of Spain , Portugal , and Poland are all three of the same form , and are described by Colonel Parsons , in his Genealogical Tables of Europe , as " ducal coronets heightened up with eight arched diadems , supporting a mound enseigned with a plain gold cross . " The

crowns of Denmark and Sweden are of almost similar shape , consisting of the eight arched diadems , rising from a marquis's coronet ( a circle of gold bordered with ermine , set round with four strawberry leaves , and as many pearls , on pyramidical points of equal height alternate ) , which conjoin at the top , under a mound designed with a cross-boutonnee . The kings of most other continental countries are crowned with circles of gold , adorned

with precious stones , and heightened up with large " trefoils , " and closed by four , six , or eight diadems ; supporting a mound surmjunted by a cross . The trefoil upon the crown is thought to be of Gothic introduction . We find it upon the coins of Clovis and his sons , which has induced antiquarians to call it the " fleur-de-lis " ( the lily of France represented in gold on blue ground ) - , but the fact is , these trefoils were used on

Constantinopolitan crowns , before the time of the Franks , and afterwards on those of German Princes in no way allied to Charlemagne . Aubrey , a celebrated authority upon heraldry , was of opinion that the fleur-de-lis is really nothing more than a spear-head , adorned , no flower of the lily kind having the middle part solid . The Sultan of Turkey bears over his arms a turban enriched with pearls and diamonds , under two coronets , the first of which is

made of pyramidical points , heightened up with large pearls ; and the uppermost is surmounted with crescents . With regard to ths crown used in our own country , a fillet diadem of pearls appears on several of the Saxon monarchs . Similar diadems , or fillets , adorn the heads of many of the Heptarchic Kings . Alfred's crown had two little balls attached ; it is said to have been long preserved at Westminster , and may have been that

described in the Parliamentary inventory , taken in 1649 . The circle , surmounted by three small projections , first occurs up > n the crowns of Athelstan ; on some of Edred ' s coins the projections enl in pearls . A radiated cap appears first on a coin of Ethelred II . ; and the "trefoil " ornament is noticeable upon a few of the coins of Canute . Several varieties of arched cap and crown appear upon the coins of Edward the Confessor .

The close , or arched crown , which appears on some of the Confessor s coins , is used in all the types of Harold , and was adopted by the earlier Norman Kings . On the Confessor ' s and the " Conqueror ' s" coins we see labels appended at each ear ; these , as we learn from an anecdote related by William of Malmesbury , in wearing the crown were fastened by a clasp or button beneath the chip . William I .

wore his crown on a cap , adorned with points and leaves alternately , each point being tipped with three pearls ; while the whole crown was surmounted by a cross . William Rufus discontinued the / eaves . On the coins of Stephen and Henry II ., the open crown wiih fleurs-de-lis appears . Henry III . was crowned with a plain circle of g >» ld in lieu ol the crown , which had been lost with the other jewels and oaggage of King

] ohn , in passing the marshes of Lynn , on the Wash , ntar Wisbe . ich . Edward III . wore his crown ornamented with points of 11-. ur-de-lis alternately . Telder had said that Henry V . was the first of them who wore the arched crowns , and in a window of Ockholt Manor house , in Berkshire , 1465 , there certainly remained , till within a few years , the arms of Henry VI ., and his queen Margaret of Anjou , in sr pirate cats , both surmounted

by the arched bound crown . From Henry VII . downwards , this atched crown with the globe and cross , has been continued . " Sc Edward ' s crown " was made in imitation of the ancient crown , said to be have been worn by the Conqueror , and kept in Westminster Abbey , till the beginning of the Civil War in England , when with the rest of the regalia it was seized and sold . A new ciown was prepared for Charles II . A magnificent

crown was made for George IV ., with the jewels of the old crown , and jewels bo rowed of Rundall and Bridge , the crown jewellers . This cronn was 15 inches in height ; but the arches were not flat , as in the former crown , but rose almost to a point , and were surmounted by an orb of brilliant ? , upon which was placed a maltesc cross of brilliants , with three fine pearls at its ex ' remtties . The arches were wreathed , and fringed wilh diamonds

and four maltese crosses of brilliants surrounded the crown , with four large diamond flowers intervening . On the centre of the back cross , was the " ancient ruby , " which was worn at Cressy and Agincourt by the Black Prince and Henry V ., while the centre of the front cross was adorned with a splendid sapphire , more than two inches long , and one inch broad ; and a band of laige diamcnds , emeralds , sapphires , and rubies , completed this magnificent diadem . U was estimated to be worth £ 150 , 000 ; and the

Science, Art, And The Drama.

expenses upon it preparatory to the coronation of George IV . amounted to ^ 50 , 000 or £ 60 , 000 ovor and above the addition of the inestimable and unique sapphires . The state crown of Queen Victoria was made for her Majesty by Rundall and Bridge in 1 S 38 , with jewels taken from old crowns and others furnished by the Oueen ' s command . The fol

lowing is a summary of jewels in the crown : 1 large ruby , 1 large broad sapphire , iGsapphires , 11 emeralds , 4 rubies , 136 3 trilliant diamonds- , 1270 rose diamonds , 147 table diamonds , 4 drop shaped pearls-, and 273 pearls . Unlike most other prince-Iy crowns in Europe , all the jewels in the British crown are really precious stcnes ; whereas in other Slate crowns , valuable stones have been replaced with imitation stones of coloured glass .

PAINTERS AND OTHER ARTISTS IN THE REIGN OF

JAMES I . ( Continued . ) Solomon de Caus , a Gascon , was Prince Henry ' s drawing master . All we know of him is that in 1612 , the year of the prince ' s death , he published a book , entitled La Perspective , ou Raison des ombres et miroirs , with several engraved plates , folio . It is addressed from Richmond Palace to

Prince Henry , after he had been , as he tells his Highness , two or three years in his service , and another tract , in folio , on mechanic powers , 162 S . De Caus was employed by Henry , Prince of Wales , in making additions to the palace at Richmond before 1612 . It was a picture gallery , which was afterwards furnished by his brother , Charles I . It appears that De Caus had been paid £ 2826 os . ioVd . on account of these works , and there remained

due to him when the prince died , in 1614 , £ 303 13 s . 6 d . In the Lansdowne MSS ., Brit . Mus ., is an account of moneys issued to Solomon de Caus for works at Greenwich and Somerset Gardens in 16-12 . It is likel y he was the brother of Isaac de Caus , and assisted him in building the portiers and Loggias of Gorhambury and part of Camden House , near Kensington . Prince Henry was a great lover of the arts , and laid the foundation of the collection

which his brother completed . T . he medals were purchased by him , and Vanderdovot , in his catalogue , mentions several statues and pictures , which King Charles inherited from Prince Henry . In the appendix to Birch ' s life of this prince , are several letters from Sir Edward Conway , in one of which he mentions having bought a picture of the Four Evangelists , whom he calls affectedly , the most faithful , glorious , and excellent secretaries that

ever were , to the infinite incomprehensible Prince ; desiring Mr . Adam Newton , secretary to the most hopeful , powerful , and glorious earthly Prince , to present it to his Royal Highness ; and in others is much talk of a negotiation in which he was employed by the same prince , to engage an eminent painter of Delft to come to England . This was Mireveldt , who had many solicitations afterwards from King Charles on the same head ;

but none succeeded . The printed letters are from the Harleian MSS ., and describe Mireveldt as very fantastic and capricious . Mr . West has two others , one from Mireveldt to Sir Edward Conway , the other from Sir Edward , in which appears the cause of Mireveldt ' s uncertainty ; he was afraid of being stayed in England by authority , and stipulated that he

should have liberty to return in three months . In 1625 , he had again engaged to come , but was prevented by the breaking out of the plague . This celebrated portrait painter was born at Delft in 156 7 . As we have seen he was invited to England by Charles I . in 1625 , but he declined the invitation ; he died at Delft in 1 C 41 . ( To be continued . )

HENRV GRAVES AND CO . 'S PICTURE GALLERIES . PALL MALL , S . W . There is a picture now being exhibited which cannot fail to interest every Englishman . It is "Queen Victoria ' s Last Ceremony . " What infinite pathos is contained in those few words . Her Majesty's last official duty was that of receiving Lord Roberts and his Staff on their return from their victorious progress in South Africa . This ceremony was characterised by all that dignity and impressiveness that surrounded everything in which the Queen took part . Her Majesty bravely fought against the decay of years wilh all the courage of her strong womanhood , and even when the end was so near received the veteran general with becoming stateliness . The h'gh function took place in the drawing-room at Osborne House . Lord Roberts arrived at Cowes from South Africa on the morning of

Wednesday , 2 nd January , 1 9 , proceeding in the afternoon to Oiborne House . The Queen received him at five p m . She presented him with the insignia of the Garter , and conferred upon him an earldom of the United Kingdom . The artist , Mr . H . J amyn Brooks , has spared no effort to make an impressive and effective representation of the scene at Oiborne . The moment chosen tor the picture is that which was the most picturesque

in the afternoon s proceedings—the reception of the faithful orderlies , six non-commissioned officers of the Indian cavalry . One can imagine how deep an impression the splendid scene must have made upon the minds of these stalwart Orientals . Mr . Brooks has taken scrupulous care to be absolutely accurate in the details of his picture . Ths figures have been

painted from life studies , and everything possible has bsen done to give to the picture a true historic interest and value . In an adjoining room are exhibited a number of original sketches , made by Rob ; rt Pritchstt , by the command of her late Majesty , from 1870 to iyoo ; the most interesting public and private events during the last 30 years of the Queen's life are faithfully and graphically depicted . ""'

LYCEUM THEATRE . The last Shakesperian production , " Coriolanus , " by Bro . Sir Henry Irving , has awakened much public interest . All that scholarly research and artistic embellishment could accomplish , to ensure success , has been done , but the result has only teen a " succes d ' estime . " It is a one character play and we can have but little interest in the hero . In every point of view he is most objectionable . Of undoubted personal bravery , he is so wanting in common sense , that hs alienates himself by his pride from all with whom he

comes into contact—we entertain no human sympathy for him . Bro . Sir Henry Irving gave a spirited rendering of this haughty Roman . Mr . Barnes was an admirable Menenius Agrippa . The two tribunes of the people were efficiently represented . Miss Ellen Terry , as Volumnia , delighted everyone with her clear distinct delivery . Virgilia and Valeria enacted their separate parts in an intelligent manner . The play was staged , as are all the Lyceum productions , most effectively .

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