for twelve only is necessary. Of these terms, Michaelmas and Hilary are each kept by six weeks' residence, and Easter and Trinity by three weeks each.

terminating in a point. At Oxford, the bachelor's hood is edged with fur: at Cambridge, it is lined with lamb's wool.

on that

For further information on the education of Oxford and Cambridge, particularly with reference to the degree of B.A., the fees, &c., see Journal of Education,' Nos. i. iii. iv. viii. x. xiii. xv.; of Dublin, Nos. xi. xii.; and on the Scottish universities, Nos. vii. viii. ix.; the Oxford, Cambridge, and Dublin Calendars;' and also Occasional papers on university matters' published at Cambridge by Macmillan & Co.

ARTS, FINE. The Fine Arts are generally understood to comprehend those productions of human genius and skill which, through the medium of the beautiful, more or less address themselves to the sentiment of taste. Art was first employed in embellishing objects of mere utility; but art so employed is now distinguished as Orna beauty or sublimity, however acquired, by imitative or adequate representation. The capacity of the human mind for receiving such impressions, whether directly from nature or through the medium of the arts, depends greatly on civilisation, and that leisure which supposes that first wants are satisfied; but there exists no state of society, however ignorant, in which some symptoms of taste and some attempts to arrest the beautiful are not to be met with. The difference between such efforts and the most refined productions is a difference only in degree. The fact of the existence of the arts in some form may be always taken for granted, and it would only remain to regulate their influence and direct their capabilities aright.

In Cambridge, those who proceed to the degree of B.A. undergo a previous examination (known ordinarily by the name of the little go) in the Lent term next after, or next but one after, that in which they have kept their first term, according as such first term be or be not a Lent term: the subjects of which, for those students who are not candidates for honours in the mathematical, classical, and law triposes, are one of the Four Gospels in the original Greek, Paley's' Evidences of Christianity,' one of the Greek and one of the Latin classics, the Elements of Euclid, Books I., II., & III., and arithmetic; whilst all those students who are candidates for honours in either of the abovementioned triposes have to pass an examination additional to the one just described in Euclid, Books IV. and VI.; algebra, including quad-mental Art; the office of the Fine Arts is to meet our impressions of ratic equations, ratio, and proportion; and elementary mechanics. Between the previous examination and that for the degree of B.A., all students who are not candidates for honours are required to attend the lectures for one term of one out of a certain number of professors specified by grace of the senate Oct. 31, 1848, and to pass a satisfactory examination (conducted by such professor and an assistant examiner) in the subjects of such lectures, at any time between the little go and the degree examination. The mode of proceeding to degrees in arts has been altered by, and in consequence of, the new statutes of the university, which received the royal assent in August, 1858. One most important change has been made by them in the matter of residence, nine terms being the time now required for the degree of B.A.; and, in order to keep any of these terms, a residence of two-thirds of such term is exacted. In consequence of these alterations, changes have been made in the times of examination for the B.A. degree. In the first place, there is no longer an examination for the ordinary degree in the month of January; in the next, there is now in every term an examination for the ordinary B.A. degree on the Thursday before the end of the first two-thirds of each term; and, in the third place, as the great majority of candidates will in all probability present themselves at the examination in the Easter term, at that only are those approved to be arranged in four classes. The subjects of examination for these students are, the Acts of the Apostles, in the original Greek; one of the Greek, and one of the Latin classics; the history of the English reformation; Euclid, books I.-IV. inclusive, and propositions i.-vi. of Book VI.; together with certain parts of algebra, mechanics, and hydrostatics. The examination of those who contend for honours is conducted according to regulations confirmed by a recent grace of the senate, which enacts that questions and problems shall be proposed to the candidates on eight days, the first three being assigned to the more elementary, and the last five to the higher parts of mathematics; that after the first three days an interval of eight days shall elapse, and on the seventh of these days the moderators and examiners shall declare what persons have acquitted themselves so as to deserve honours, who are then to be admitted to the examination in the higher parts of mathematics. After this examination, the moderators and examiners, taking into account the examination of all the eight days, arrange all the candidates who have been declared to deserve mathematical honours into the three classes of wranglers, senior optimes, and junior optimes, which classes are published in the Senate House at nine o'clock on the Friday morning preceding the general B.A. admission. The subjects of the examination on the first three days are, Euclid, Books I.-VI., Book XI., props. i.-xxi., Book XII. props ii.; arithmetic and the elementary parts of algebra; the elementary parts of plane trigonometry; the elementary parts of conic sections, treated geometrically; the elementary parts of statics, treated without the differential calculus; the elementary parts of dynamics, treated without the differential calculus; the 1st, 2nd, and 3rd sections of Newton's Principia; the elementary parts of hydrostatics, treated without the differential calculus; the elementary parts of optics; and the elementary parts of astronomy.

By a comparatively recent enactment, it has been declared that the examination of candidates for honours in the classical tripos shall be open to all students who are of proper standing, and that all who obtain honours in the classical tripos shall be entitled to admission to the degree of B.A.

The examinations for the mathematical and classical triposes, and for the ordinary degree of B.A., are conducted entirely by printed papers; at that for the little go, each candidate has to pass a short trifling viva voce examination, in addition to that conducted by printed

papers.

Bachelors of arts in both universities, though graduates, are considered to be in statu pupillari, that is, they are still under nearly the same discipline and control as the under-graduates, except attendance on college lectures. The legislative bodies of the universities consist of those who are masters of arts or who have taken a higher degree. Masters of arts, in both universities, wear a gown of Prince's stuff, with a semicircular cut at the bottom of the sleeves. The Oxford hood, for a master, is of black silk lined with crimson. At Cambridge, the master wears a silk hood entirely black; the distinction between regents and non-regents is now abolished.

The bachelors of both universities wear black gowns of Prince's stuff; that of Oxford is with a full sleeve, looped up at the elbow, and

The arts are peculiarly interesting as human creations. They are composed of nature operating on human sympathies, and reflected through a human medium; and as nations, like individuals, present ever-varying modifications, so the free growth of the fine arts partakes of all these varieties, and may be compared to the bloom of a plant, true to its developing causes whatever they may be, and nurtured in the first instance by the soil from which it springs. In barbarous or degenerate nations, the sentiment of the beautiful has ever been attained only in the lowest degree, while a false excitement, founded on the suppression of the feelings of nature, may be said to have usurped the place of the sublime. We smile at the simple attempt of the savage to excite admiration by the gaudiness of his attire; but we should shudder to contemplate the scenes which his fortitude or obduracy can invest with the attributes of sublimity. The just value of life, the characteristic of that civilisation which reduces the defensive passions to their due limits, at the same time naturally elevates the sources of gratification by pointing out the pleasures of the mind as distinguished from those of sense; and the perception of the beautiful is in its turn the cause, as it is in some degree the result, of the rational enjoyment of life.

The great use of the arts is thus to humanise and refine, to purify enjoyment, and, when duly appreciated, to connect the perception of physical beauty with that of moral excellence. But it will at once be seen that this idea of usefulness is in a great measure distinct from the ordinary meaning of the term as applicable to the productions of human ingenuity. A positive use results, indeed, indirectly from the cultivation of the formative arts, precisely in proportion as their highest powers are developed for it will be found that at all times when the grandest style of design has been practised with success, and particularly when the human figure has been duly studied, the taste thus acquired from the source of the beautiful has gradually influenced all kinds of manufactures. Again, as illustrating science, the fine arts may be directly useful in the stricter sense, but this is not the application which best displays their nature and value. The essence of the fine arts, in short, begins where utility in its narrower acceptation ends. The abstract character of ornament is to be useless. That this principle exists in nature we immediately feel, in calling to mind the merely beautiful appearances of the visible world, and particularly the colours of flowers. In every case in nature, where fitness or utility can be traced, the characteristic quality or relative beauty of the object is found to be identified with that fitness;-a union imitated as far as possible in the less decorative parts of architecture, furniture, &c.; but where no utility save that of conveying delight (perhaps the highest of all) exists, we recognise the principle of absolute beauty. The fine arts in general may be considered the human reproduction of this principle. The question of their utility therefore resolves itself into the inquiry as to the intention of the beauties of nature. The agreeable facts of the external world have not only the general effect of adding a charm to existence, but they appeal to those susceptibilities which are peculiarly human, and it becomes necessary to separate the instinctive feelings which we possess in common with the rest of the creation, from that undefinable union of sensibility and reflection which constitutes taste, and which, while it enlists the imagination as the auxiliary of beauty, is, in its highest influence, less allied to love than admiration. It is this last feeling which the noblest efforts of the arts aspire to kindle, which not only elevates the beautiful, but reduces ideas of fear and danger to the lofty sentiment of the sublime, which, as its objects become worthier, is the link between matter and mind, and which tends to ennoble sympathy and increase self-respect.

With regard to the classification of the arts, those are generally considered the most worthy in which the mental labour employed and

the mental pleasure produced are greatest, and in which the manual | men of Paris. Somewhat similar, but at present less complete, is the labour, or labour of whatever kind, is least apparent. This test would Museum of the Department of Science and Art at South Kensington. justly place poetry first; but the criterion should not be incautiously The exhibition of art-manufactures at Edinburgh in 1857, and applied; for in architecture, where human ingenuity is most apparent, portions of the magnificent Art-Treasures Exhibition at Manchester and even where the design is very simple, a powerful impression on in the same year, were examples of a kind of public display much the imagination may be excited from magnitude, proportion, or other adopted lately-gradually educating a taste for art among purchasers causes. In such cases, however, it will still be evident that we lose and producers. sight of the laborious means in the absorbing impression of the effect, The British Government have annually applied, from the year 1836 and the art thus regains its dignity. It would be an invidious as well to 1859, to parliament, for a grant or grants in furtherance of the as a very difficult task to assign the precise order in which painting, cause of education in matters of fine art, manufactures, mining, and sculpture, architecture, and music, would follow poetry; but it may science. The systems adopted have been curiously varied, and not be remarked, that the union of the arts is a hazardous experiment, and always well directed; yet the results have been important-not so is often destructive of their effect. This is most observable in the much in training up able artists and workmen, as in awakening general attempts to combine the principles of sculpture and painting. The attention (partly by public exhibitions, some permanent and some union of sculpture with architecture may seem an exception, but periodical) to the necessity for culture as a forerunner of skill. Some sculpture so employed becomes subordinate to the sister art and a of these government proceedings will be noticed under SCIENCE AND means of expressing more emphatically the idea of the edifice. The ART, DEPARTMENT OF, and the articles there referred to. drama itself, which unites poetry with many characteristics of the formative arts, and with music, is in constant danger of violating the first principles of style, viz., the consistency of its conventions; and in the more intimate union of poetry and music, the latter, though the inferior art, is too independent and too attractive to be a mere vehicle, and accordingly usurps the first place. The true principle seems to be that the arts in their higher manifestations must be kept apart; or one must be entirely subordinated and made subsidiary to the other. All the fine arts it will be seen have something in common. Art is a means of rendering cognisable by the senses an idea or conception which has been formed in the mind of the artist. [ÆSTHETICS.] Art therefore is creative. A true work of art is a representation, not an imitation. Every such work is individual; owes its special value to the thought, or to the mental idiosyncrasy, of the artist, and makes its appeal to the imagination and the judgment-to the emotional and the critical faculties. But whilst there is a consonance in the fundamental idea of all the fine arts, each has its own technical medium, and special conventions, and each therefore has, as we have said, its own distinctive and specific style.

The history and the principles, the specific style and the technics, of the several arts will be found treated of under their respective heads, or the references there given.

ARTS, MANUFACTURING. As the fine arts are destined to the production of objects beautiful rather than useful; so do the manufacturing arts produce results useful rather than beautiful. But in all the later stages of society, these two divisions have tended to coalesce into one the useful and the beautiful, the utile et dulce, being found reciprocally to lend strength to each other. The union of Science with the Arts is becoming, in our own day, more and more apparent.

The establishment of Art-Manufactures, in which sculptors and painters of eminence are employed to design models and patterns for manufacturers; the formation of schools of design, where drawing and modelling with an especial relation to manufactures are taught; the still more recent establishment of artizan schools, where similar instruction is given under different arrangements-all point to a union between fine art and manufacturing art; while mechanics' institutions, lyceums, popular treatises on Science--so far as they have realised the anticipations concerning them-indicate a union between Science and Manufactures. Again, such discoveries as those relating to Photography, Electography, &c., lead to a union between science and fine art. Thus do all three-Science, Art, and Industry-stand in intimate relation one to another.

One of the most remarkable existing collections of specimens in art and manufacture is the Conservatoire des Arts et Métiers, at Paris. This noble institution was the virtual carrying out of a suggestion made by Descartes a century and a half ago—namely, to build a series of large halls, each to contain all the implements necessary to some one trade or department of industry, and to attach to each department a lecturer for the instruction of the people. The institution, which has existed more than sixty years, is supported by a grant of 150,000 francs per annum from the French government. The contents are extensive and well arranged. In one hall or apartment are ancient and medieval tools, machines, and models; in a second, acoustic instruments of various kinds; in a third, mirrors, and other kinds of optical instruments; in a fourth, porcelain and pottery ware of very choice kinds; in a fifth, articles in Venetian and other glass; in a sixth, chemical and electrical apparatus, old and new. Arranged in other parts of the building are halls and galleries filled with specimens of watch and clock making; drawings and models to illustrate descriptive geometry and the arts of construction; printing types, of every size and nation; models of steam engines and other prime movers of machinery; weights and measures of all ages and nations; weaving and knitting machines; the apparatus used in the manufacture of the assignats-the bank notes so famous during the early days of the French revolution; agricultural implements, and models of farm buildings; &c. An ancient chapel has been converted into a lecture and reading room; with the ceiling, walls, floor, and fittings decorated to illustrate ornamental art, and shelves filled with a well-selected library of books in arts and sciences. One of the most interesting halls is filled with objects purchased by the French Government at the Great Exhibition of 1851, in Hyde Park. In most of these halls and galleries, frequent lectures are given to the working

ARTS AND SCI. DIV. VOL. I.

ARUNDEL MARBLES, certain pieces of sculpture, consisting of ancient statues, busts, mutilated figures, altars, inscriptions, &c., the remains of a more extensive collection, formed in the early part of the 17th century by Thomas Howard, Earl of Arundel and Norfolk, and presented, at the suggestion of John Evelyn, in 1667, to the University of Oxford, by Mr. Henry Howard (afterwards Duke of Norfolk), the Earl of Arundel's grandson.

Thomas Howard, Earl of Arundel and Surrey, the founder of this collection, was the only son of Philip, first Earl of Arundel of his family, by Anne, sister and co-heir of Thomas, the last Lord Dacre of Gillesland. He was born in 1586, and in 1603 he was restored in blood by act of parliament, and to such honours as he had lost by his father's attainder, as well as to the earldom of Surrey, and to most of the baronies which had been forfeited by the attainder of his grandfather, Thomas, fourth Duke of Norfolk. The dukedom itself was detained from him. In 1607 he was made a privy-councillor, and in the same year went to Italy, where (with the exception of a brief interval in which he returned to England) he remained till 1614. It was during his residence in Italy that he commenced the formation of his remarkable collection of works of art. After his return to England, he was made, in 1621, Earl Marshal, and subsequently he was created Lord High Steward, in which capacity he presided at the trial of the Earl of Strafford. In 1633 he was sent as ambassador to the Queen of Bohemia and the States General; and in 1636 ambassador extraordinary to the Emperor Ferdinand II. He was created Earl of Norfolk in 1644, and soon afterwards left England. He died at Padua October 4, 1646.

When Lord Arundel determined to collect a gallery of statuary, he retained two men of letters for that purpose. The well-known John Evelyn was sent to Rome, and Mr. (afterwards Sir William) Petty undertook a hazardous journey to the Greek islands and the Morea. In the islands of Paros and Delos, Petty's indefatigable researches had been rewarded with ample success, when, on his voyage to Smyrna, he was shipwrecked on the coast of Asia opposite Samos, and escaped only with his life. At Smyrna he acquired many marbles of great value, particularly the celebrated Parian Chronicle. Still the jealousy of Villiers was active in interrupting Lord Arundel's pursuit, and the delight of his retired hours. Sir Thomas Roe, then ambassador at the Porte, is generally said to have been instrumental (at the suggestion of Villiers) in thwarting Petty's proceedings. But it appears from the correspondence of Roe.with the Earl, printed in Appendix B, of Mr. Sainsbury's recently published 'Original Papers Illustrative of the Life of Sir Peter Paul Rubens,' that he really assisted Petty as far as he could do so without incurring the displeasure of the minister. Of Petty, Roe writes to the Earl, "There never was man so fitted to an employment, that encounters all accidents with so unwearied patience; eats with the Greeks on their worst days; lies with fishermen on planks at the best; is all things to all men, that he may obtain his ends, which are your lordship's service." The earl was unquestionably fortunate in procuring the service of such men as Evelyn and Petty, but he also found other zealous assistants in his undertaking. From Mr. Sainsbury we learn that Sir Dudley Carleton, the minister at the Hague,-himself a judge of works of art far superior to most educated Englishmen of his time, and a diligent collector,-was one of the first to contribute to the Earl of Arundel's collection; and that, besides Sir Thomas Roe, "Sir Isaac Wake at Turin, Sir Balthasar Gerbier at Brussels, Sir Francis Cottington and Lord Aston at Madrid, were ambassadors from England, severally written to, and urgently requested to assist him, and give their countenance and support to his several agents in the collection of matters of art" (p. 269).

Lord Arundel having assembled in his gallery his various acquisitions from Greece and the Continent, adopted the following arrangement of his marbles: the statues and busts were placed in the gallery; the inscribed marbles were inserted into the wall of the garden of Arundel House; and the inferior and mutilated statues decorated the garden itself. We learn from catalogues, that the Arundelian collection, when entire, contained 37 statues, 128 busts, and 250 inscribed marbles, exclusive of sarcophagi, altars, and fragments, and the inestimable gems, which included the "very rich collection, as well of medals as other intaglios, belonging to the cabinet he purchased of Daniel Nys (of Venice), at the cost of ten thousand pounds." (Evelyn, 'Diary.")

This was, as his contemporary Peacham notes in his 'Compleat
Gentleman,' the first collection of Greek and Roman sculpture formed
in this country. It was doubtless the example and influence of
the Earl of Arundel which originally induced Charles I. to study
and encourage the fine arts, and to form his magnificent collection of
paintings.
In 1642, when Lord Arundel left his country, Lord Orford says he
transported himself and his collection to Antwerp: Dallaway says
(what was no doubt the truth) that his gems, cabinet pictures, and
curiosities, only were removed. He adds, "In the general confiscation
made by the parliament, the pictures and statues remaining at Arundel
House were in some measure included. Many were obtained by Don
Alonzo de Cardenas, the Spanish ambassador to Cromwell, and sent
into Spain, with the wrecks of the royal collection."

now at Oxford were obtained, as has been already noticed, at Smyrna,
where Gassendi says the celebrated Peiresc,who was engaged in similar
pursuits, had first discovered them. According to this account, one
Samson, Peiresc's factor, had paid fifty crowns for the curiosities, but
the Turks having seized on Samson and his collection, with a view to
obtain a higher price, the Earl of Arundel commissioned Mr. Petty to
redeem the whole. They arrived in England in 1627, soon after which
at the suggestion of Sir Robert Cotton, they were carefully examined
by the learned Selden, in conjunction with two other eminent scholars.
Selden, in 1628, published his Marmora Arundelliana,' a thin quarto
volume, in which twenty-nine Greek and ten Latin inscriptions of this
collection are deciphered and illustrated. The Arundel inscription:
were, at first, let into the wall which surrounds the Sheldonian theatre,
each marked with the initial of the name of Howard. They were,
however, soon increased by the accession of Selden's private collection,
and some other donations; so that the whole amounted to 150 in-
scribed marbles, including tablets, altars, pedestals, stelæ, and sepul-
chral monuments. An edition of the whole was now undertaken,
at the desire of Dean Fell, by Mr. Humphrey Prideaux, then student
of Christchurch, but afterwards dean of Norwich, which appeared
under the title of Marmora Oxoniensia, ex Arundellianis, Seldenianis,
aliisque conflata,' fol. 1676. They were edited with great care, and
illustrated by the annotations of the editor, Selden, Lydiat, and others.
This work was republished fifty-six years afterwards by Michael
Maittaire, under the title of Marmorum Arundellianorum, Seldeniano-
rum, aliorumque Academiæ Oxoniensi donatorum; cum variis Com-
mentariis et Indice, Secunda Editio,' fol. Lond. 1732; with great
augmentations as to comment. An Appendix,' consisting of three
Greek inscriptions, subsequently given to the University, was pub-
lished in 1733, fol. In 1763, the Marmora Oxoniensia' were again
published in a new and splendid form, under the auspices of the
University, by Dr. Richard Chandler of Magdalen College; including
the ancient inscriptions collected by Sir George Wheler and Messrs.
Dawkins, Bouverie, and Wood, during their travels, some of which
Dr. Richard Rawlinson possessed, and a few others; with engravings of
statues, busts, and other marbles, to the number of 167 articles, 103
of which belonged to that part of the Arundel Collection which the
countess dowager of Pomfret had given to the University. The
Greek inscriptions of this collection, Ad Chandleri exemplar editæ,'
were separately published at Oxford in 1791, in a small octavo
volume.
The Arundel and Pomfret marbles are at present preserved at
Oxford in two rooms, beneath the Bodleian Library; but it is proposed
to remove them to the new Oxford Museum. Of the Arundel portion,
that which the University places at the head of its collection is the
Greek inscription known by the name of the PARIAN CHRONICLE, 80
about B.C. 263. Another inscription of interest is a treaty concluded
between Smyrna and Magnesia, for the protection of Seleucus Callinicus,
engraved on a pillar in the temple of Venus Stratonicis, at Smyrna,
about B.C. 244.

When Lord Arundel died, he divided his personal estate between his eldest and second surviving sons, Henry Frederick Lord Maltravers, and William, afterwards Viscount Stafford. Henry, second son of the former and sixth Duke of Norfolk, succeeded to the elder son's share, and in 1667, influenced by the previous recommendations of Selden as well as Evelyn, gave a part of his moiety (the inscribed marbles) to the University of Oxford; the remainder descended to his son Henry, the seventh duke, and were afterwards mostly possessed by h's divorced wife. Arundel House and gardens were converted into streets about the year 1678, when it was determined to dispose of the statues by sale. It was proposed by the agents to sell the whole collectively, but no purchaser could be found. A division was in consequence made. One portion, consisting principally of busts, was purchased by Lord Pembroke; these are now at Wilton. A second was purchased by Sir William Fermor (the father of the first Earl of Pomfret), who removed them to his seat at Easton Neston in Northamptonshire, where such as were capable of being repaired had their defects amended and supplied by one Guelfi, an artist who misconceived the character and attitude of almost every statue he attempted to make perfect, and ruined the greater number of those which he was permitted to touch. Henrietta Louisa, Countess Dowager of Pomfret, in 1755, transferred these marbles also to the University of Oxford, where they became again united to the inscribed marbles. Mr. Theobald, in a communication to the Society of Antiquaries, made in 1758, says that many of the broken statues, which were thought not worth repairing, were begged by one Boyden Cuper, who had been a servant in the family, and removed by him to decorate a piece of garden-ground which he had taken opposite Somerset Water-gate, in the parish of Lambeth; a place of resort for citizens and others in holiday-time, and long afterwards known by the name of Cuper's Gardens. Here they continued till about the year 1717, when Mr. John Freeman, of Fawley Court, near Henley, in Oxfordshire, and Mr. Edmund Waller, of Beaconsfield, in Buckingham-called from the supposition of its having been made in the isle of Paros shire, happening to see them, and observing something masterly in the designs and drapery of several, and that they were fragments of very curious pieces of sculpture, agreed for the purchase of them at the price of 751. One moiety of these went to Beaconsfield, and the other to Fawley Court. A few statues and broken fragments were given to a Mr. Arundel, a relation of the Duke of Norfolk, who rented a waste piece of ground on the opposite shore of the river, which afterwards became a timber-yard; one or two of these were subsequently given to the Earl of Burlington, and went to Chiswick House. A few elegant remains were carried to Mrs. Temple's seat at Moor Park, near Farnham, in Surrey. Various other fragments, which were not thought worth removing, were buried in the rubbish and foundations of the houses in the lower parts of Norfolk Street, and the other buildings on the gardens. Several of these, including a few trunks of statues, dug up at a later time, were sent down to the Duke of Norfolk's seat at Worksop Manor.

The divorced Duchess of Norfolk, by whom the busts and statues were sold, also possessed the cameos and intaglios, and bequeathed them, at her death, to her second husband, Sir John Germaine. His widow, Lady Elizabeth Germaine, who valued them at 10,000l., offered them, about 1755, for that price to the curators of the newly-founded British Museum, who were not in a situation to bestow so large a sum upon the purchase; and she finally gave them to her niece, Miss Beauclerk, upon her marriage with Lord Charles Spencer, from whom they passed to his brother the Duke of Marlborough; and are now known by the name of the Marlborough Gems.

Sir William Howard, when afterwards Lord Stafford, succeeded to a house built for his mother, the Countess of Arundel, by Nicholas Stone, in 1638. It stood near Buckingham Gate, and was called Tart Hall. The second share of Lord Arundel's curiosities was deposited there, and, at a sale in 1720, produced 8851l. 19s. 11 d., and the house was soon after levelled to the ground. This information appears upon the minutes of the Society of Antiquaries.

Dr. Mead bought at this sale Lord Arundel's favourite bronze head of Homer, which is introduced into his portrait by Vandyke; at Dr. Mead's sale it was purchased for 1367. by Lord Exeter, who gave it to the British Museum, where it is now considered as a head of Pindar. Lord Orford says, that the coins and medals of the Arundel collection came into the possession of Thomas, Earl of Winchelsea, and in 1696 were sold by his executors to Mr. Thomas Hall.

The greater part of the Greek inscriptions in the Arundel Collection

Among the more important marbles of the Pomfret donation are the colossal torso (for that portion only is antique) of a Minerva Galeata, restored as a statue by Guelfi; a Venus Vestita, or Leda; Terpsichore; a young Hercules; an Athleta, which has been called Antinous; a female figure, unrestored, of early Greek work; and three statues of senators, one of which is usually considered as Cicero. This last was etched by Woolridge.

Some of the statues in this collection, which have been restored, as far as the ancient portions go, have no positive attributes of the characters of gods, heroes, &c., which Guelfi, who restored them, made them represent.

(Dugdale's Baronage, tom. ii., p. 277; Lodge's Portraits of Illustrious Personages; Selden's Marmora Arundelliana, and the Marmora Oxoniensia of Prideaux, Maittaire, and Dr. Chandler; Gassendi's Life of Peiresc; Gough's British Topogr., vol. ii. p. 127; Lord Orford's Anecd. of Painting, edit. 1786, vol. ii. p. 124; Dallaway's Anecd. of the Arts in England; Sainsbury's Original and Unpublished Papers Illustrative of the Life of Rubens, 8vo, 1859, Appendix B.)

AS, among the ancient Romans, was a weight, consisting of twelve unciae or ounces; it was also called libra, libella, and pondo, or the pound. Pitiscus (Lexicon Antiq. Rom.') gives its etymology from the Greek is, used in the Doric dialect for eis, signifying an integer or whole, one entire thing; but we can find no authority for this word as. Others, as we learn from Budæus ('De Asse et partibus ejus,' lib. v. 8vo. Lugd. 1551, p. 146), have more correctly considered As to be equivalent to Es, a piece of copper or brass. (Varro L. L. v. 36, Spengel.)

As, Assis, or Assarius (Eckhel, 'Doctrina Num. Vet' tom. v. p. 2) was likewise the name of a Roman coin of copper, or rather of mixed metal, which varied both in weight and composition at different periods of the Commonwealth; but which originally actually weighed a pound, whence it was called As libralis, and somtimes also Es grave.

The first coinage of this description, according to Pliny (lib. xviii. c. 3; xxxiii. c. 13), took place in the reign of Servius Tullus, which, if Sir Isaac Newton's chronology of Rome is adopted, would be about the year B.C. 460, or 587 on other authority. The first Ases of Tullus had the figure of a bull, ram, boar, or sow upon them.