Science, Art, And The Drama.

Science , Art , and the Drama .

CROWNS , ANCIENT AND MODERN .

It may interest the studious in the art of heraldry to trace the gradual development of crowns , from the rude and curious fillet of metals , and garlands made with branches or leaves of plants and trees , to be met with among the records of ancient history and the middle ages , to the gorgeous and costly " state crowns , " resplendent in gold and precious jewels , worn by the kings and queens of modern times . The first mention of such

ornaments cpmes to us from Scripture , and their use seems to have been very common among the Hebrews . According to Holy Writ , the high priest was accustomed on occasions of great solemnity to wear a " crown composed of a fillet , or band of gold , or silver , placed upon the forehead , and tied with a ribbon of a hyacinth or azure-blue colour ; and even private priests and common Israelites must have been in the habit of wearing on

certain days some sort of ornamental head-work , since God commanded Ezekiel " not to take off his crown , nor assume the marks of one in mourning . " The construction of these early crowns we read about appears to have been exceedingly simple , practically nothing more nor less than bandlets drawn round the head and tied behind , as we still see it represented on medals and old coins round the heads of lupiter , the Ptolemies , and kings

of Syria . Afterwards they consisted of two bandlets ; and then , by degress , branches of various kinds of trees were introduced ; and woods and groves were ransacked for different sorts of wood and plants for decorating the statues and images of their gods , and for the service of kings and emperors , and the sacrifices of the priests . Among the Gresks , the crowns given to those who carried off the prizes at the Isthmian Games were

made of pine-wood ; at the Olympian festivities , of laurel ; at the Nemean celebrations , of smallage . The Roman emperors had four kinds of crowns , emblematic of their royal dignity and sovereign power , viz ., a crown of laurels ; a radial or radiating crown ; a crown adorned with pearls and precious stones ; and a kind of bonnet or cap , something similar to the mortier . In Constantino ' s time , the fillet of pearls came into general use , which the later Byzantine

emperors turned into coronet . It was originally only a band of gold , and then transformed into a garland , and subsequently into stuff adorned with pearls . The Romans had also various kinds of crowns , which they distributed as rewards for martial exploits and extraordinary services on behalf of the Republic —( i ) the oval crown , made of myrtle , and bestowed upon generals who were entitled to the honours of the " lesser triumph , " called

Ovation ; ( 2 ) the naval , or pastoral , crown , composed of a circle of gold , with ornaments representing " beaks " of ships , and given to the captain who first grappled or the soldier who first boarded an enemy ' s ship ; ( 3 ) the crown known in Latin as " Vallares Castrensis , " a circle of gold raised with jewels , or palissades , the reward of the general who first forced the enemy ' s entrenchments ; ( 4 ) the mural crown , a circle of gold , indented and

embattled , given to the warrior who first mounted the wall of a besieged place and successfully lodged a standard or flag thereon ; ( 5 ) the civic crown ( made of the branch of a green oak ) , a garland of oak leaves , bes ' . owed upon a Roman soldier who had saved the life of a citizen ; ( 6 ) the triumphal crown , consisting , at first , of wreaths of laurel , but afterwards made of gold , the reward of such generals who had the good fortune to be successful in

battle ; ( 7 ) the crown called " Obsidionalis , " or " Graminea , " made of the " common grass" found growing on the scene of action , and bestowed only for the deliverance of an army when reduced to the last extremity . This was esteemed the highest military reward among thc Roman soldiery . Athletic crowns and crowns of laurel , destined as rewards at public games , and many other kinds of crowns for use in various Roman sports , are

freq uently found mentioned in the annals of Roman history . Examples of some of these crowns are constantly met with in modern achievements—for instance , the mural crown , in the case of Lord Montford , which was conferred on Sir John Bromley , one of his lordship ' s ancestors as an augmentation to his arms , for his great personal bravery at the battle of Le Cooby . Part of the crest of Lord Archer is also a mural crown , and there are no fewer

than 18 English baronets , whose arms are ornamented with the same crown . Then , again , we have an instance of the " Castrense " or " Vallery " crown in Ihe coat of arms of Sir Reginald Graham , The radiated crown appears , also , to have been placed over the arms of the Kings of England till the time of Edward III . It is still used as a crest on the arms of some private families ; for example , those borne by the name of Whitfield are ornamented with a radiated crown . The celestial crown is formed like the I

radiated , with the addition of a star on each ray ; and it is only used upon tombstones , monuments , and the like . The Pope , or Bishop of Rome , appropriates lo himself a tiara , or triple crown , similar to the lofty ornamental head-dress of the ancient Persians , and not unlike the mitre of the Jewish High Priest—a long cap of golden cloth , from which are two pendants , embroidered and fringed at the ends semes of crosses of gold .

This cap is enclosed by three marquises' coronets , having a mound of gold on its top , surmounted by a cross of the same precious metal , which cross is represented by engravers and printers pometted , recrossed , flowery , or plain . It is a difficult matter to ascertain the time when these haughty prelates first assumed the three forementioned coronets . An engraving published many years ago by order of Clement XIII ., then Pope , for the

edification of his good subjects in Great Britain and Ireland , represents Marcellus , who was chosen Bishop of Rome in the year 307 , and all his successors adorned with a . crown of this description . But , according to some authorities , Boniface VIII ., who was elected into the see of Rome in 1294 , first compassed his cap with a coronet ; Benedict XII ., in 1335 , adding a second to it ; and John XXUI ., in 1411 , a third , with a view to

indicate by them that the Pope is the sovereign priest , the supreme judge , and the sole legislator among Christians . The celebrated and ancient Iron Crown of Lombardy—removed to Vienna in 1 S 59 , but restored to the King of Italy in 1866—consisting of a broad circle of gold , set with large prcc ous stones , takes its name from the " sacred iron band " within it , which is about three-eighths of an inch broad , and one-tenth of an inch in thickness . ( To be continued . )

Painters And Other Artists In The Reign Of James 1.

PAINTERS AND OTHER ARTISTS IN THE REIGN OF JAMES 1 .

( Continued ) . The long life of John Oliver , estimable for his own merit and that of his family , served almost alone to preserve the secret of painting on glass—a secret which , however , has never been lost . The first interruption given to

Painters And Other Artists In The Reign Of James 1.

it was by the Reformation , which banished the art out of churches . Yet it was in some measure kept up in the escutcheons of the nobility and gentrv in the windows of their seats . Towards the end of Queen Elizabeth it was omitted even there , yet the practice did not entirely ~ cease . The Chapel of Our Lady , at Warwick , was ornamented anew by Robert Dudley , Earl of Leicester , and his countess , and the cypher of the glass painter ' s name VPI

remains , with the date 1574 ; and in some of the chapels at Oxford the art again appears , dating itself in 1622 , by the hand of no contemptible master . The gap ot 48 years could be supplied by many dates , on Flemish plass , but nobody ever supposed that the secret was lost so earl y as the reign of James I ., and that it has not perished since will be evident from some of the following given examples . The portraits in the windows of the

library of All Souls' College , Oxford ; in the chapel at Queen ' s College 12 windows , dated 157 S ; the windows of Wadham College ; the drawing pretty good , and the colours fine , by Bernard Van Linge , 1622 ; in Christ Church , Oxford , by Abraham Van Linge , 1640 ; the east window in the chapel at University College ; Henry Giles , pinxit , 16 S 7 . There are ei ght or 10 more , dated 1640 . At Christ Church , Isaac Oliver , aged 84 , 1 700 .

Window in Merton Chapel , William Price , 1700 . Windows at Queen ' s New College , and Maudlin , by William Price , the son , the colours Tine , the drawing good , and whose taste in ornaments and mosaics is far superior to any of his predecessors , is equal to the antique , and to the good Italian masters . In the chapel at Lincoln ' s Inn is a window with the name of Bernard , 1623 . This was probably Van Linge . In the chapel at Wroxton

ara stones from the Bible , by the preceding Bernard Van Linsre , 1632 . We must not omit two memorable specimens , the window , in King ' s College , Cambridge , and at St . Margaret ' s , Westminster , in the reign of Henry VIII . After the Reformation in England , we may trace a new era of stained glass which may be said to- have commenced with the 17 th century . The prejudices of the first reformers hiving relaxed

in certain points , relative to the internal decoration of churches , ths intro - duction of so splendid a mass of ornament , and of one so congenial with the architecture still remaining , was no longer proscribed by a positive injunction . Our commercial intercourse with the Low Countries , where the aits had begun to flourish , and where a school for painting had been established , facilitated the acquirement of stained glass , which emerging

from its rudeness , now exhibited some regularity of design . During the reigns of Elizabeth and James I ., armorial bearings and small portraits in circles , were the usual decoration of the bay windows in the great manorial halls ; but complete scriptural histories , in whicli the figures were well ' designed and grouped , were rarely seen , excepting in the two Universities , and in private chapels in the houses of the nobility . About the middle

of the reign of James L , Bernard Van Linge , a Fleming , is supposed to have settled in England , but wis , at a'l events , the father of glass painting in its renewed and improved state in this kingdom . He stained several scriptural subjects in Lincoln College Chapel , 1629 , 1631 . In the Divinity School of Christ Church , Oxford , 1640 . In the chapel of University College , 1641 . The three last mentioned by Abraham Van Linge , who was

more probably the brother , thin the son of Barnard , as he was competent to a work of no inferior merit in 1640 . William Price , the elder , had a brother , Joshua Price , who finished the windows at Q leen ' s College , Oxford , in 1717 . His son , William Price , stained thc windows in Westminster Abbey in 1735 ; ami several at New College , from Flemish cartoons . In Mr . Thoresby ' s museum was " the picture of Mr . Henry Gyles ( called

there ) the famous glass painter at York , wrote in mezzotinto by the celebrated Mr . Francis Place , when that art was known to few others . " The taste for collecting stained gliss upon its first appearance , and the fact of Mr . Walpole hiving some at Strawberry H II , contributed much to the introduction of it , among the lovers of Gothic embellishment . ( To be continued . )

The Criterion Theatre.

THE CRITERION THEATRE .

Pressure of other important matters has prevented us from noticing the last success at the above theatre . " Mama , " adapted by Mr . Sydney Grundy from the Palais Royal comedy entitled " Les Surprises du Divorce , " has run its merry course for a considerable period , and though temporarily withdrawn , will , at no very distant period , be revived . The entire story hinges upon the ludicrous idea of a husband escaping by

divorce fiom his dreaded mother-in-law to find himself , to his horror , saddled anew with the silf-same domestic incubus as a conseq lence of his second marriage . Mr . Bourchier , as the husband , enacted ths comic misery with robust humour . Mrs . Carter , as the nagging mother-in-law , was admirable . Mr . Gidden ' s portrayal of the silly father of the victim ' s second wife was facetious . Last , but not kast , Miss E ' . hel M Uthews was handsome and vivacious as the first wife .

Her Majesty's Theatre.

HER MAJESTY'S THEATRE .

In his latest venture Mr . Tree gives a delightful representation of Shakespeare ' s comedy " Twelfth Night . " However deficient in construction and incongruous in its elements , yet , still , there are some scenes of quaint humour , which are admirably brought out , and give us an insight into the manners of times long gone by . Mr . Tree , by his make-up , iarcical mannc , and vocal utterance , is thoroughly Shakespearian , and is an

embodiment of the ludicrous overweening conceit of the indited steward . His fooling , always characteristic , was rich in broad fun , rendered more racy by his nnv " business " with his merry mockers . Among these , Mr . Lionel Brough as Sir Toby Belch stands out by his diverting bibulous jollity . Mr . Norman Forbes is amusingly fatuous as Sir Andrew Aguecheek . Bro . Courtice Pounds , from the Savoy , quaintly

expressed the liveliness of the Clown , Feste , and sang the songs sweeily , the final " Hey Nonny , Nonny , " proved the most enjoyable of the numbers . As Maria Miss / . effie Tilbury charms by her bright and natural acting , and her enjoyment in the impish trick played upon Malvolio . Miss Lily Brayton , by her sweet , musical voice , and girlish charm of presence , wins all hearts as Viola . Miss Maud Jeffries ,

by her beauty of person and manner , was an efficient impersonator of the haughty Countess , Olivia . As Orsino Mr . Gerald Laurence looked and well acted the part of the Duke—his diction was clear and intelligent . Antonio was played with manly vigour by Mr . F . White , and Mr . Quartermain made a fairly good double to Viola as Sebastian . ' A beautiful p icture

is Mt . tlawes Craven ' s exquisite scene of the Countess ' s pleasance , which , in its high laurel and grassy steps vividly reminds the visitor of the famous Boboli Gardens at Florence . We understand that " Twelfth Night" must be withdrawn at the end of May—those who have not yet seen it should do so .