of its finances, and it was therefore with much pleasure that he heard so great an improvement had taken place in that department during the past year. He was of opinion that during the year the Society had to a certain extent changed its ground of operation, but the transition from Architecture to History was an easy one, indeed a natural one; and he congratulated the Society on the manner in which they had been able to combine both. It had been said that Architectural Societies had done their work, and there was nothing left for them to do; he did not think, however, this was the case. He was anxious to bear testimony to the immense amount of good which these societies had accomplished throughout the kingdom during the last twenty years; but he also thought that there was still much to be done. He thought, too, that combining historical with their architectural studies would in no way interfere with the work of the Society. He would refer especially to one field of work which he thought was still open: hitherto the efforts of the Architectural Societies had been directed towards the improvement of ecclesiastical buildings only; he thought they might do much by turning their attention to domestic buildings, and he be lieved that the time would soon arrive when it would be as impossible to hear nonsense talked on the subject of domestic architecture, as it is now almost impossible, thanks to these societies, to hear nonsense talked by educated men about church architecture.

PROFESSOR STANLEY then rose, and expressed the gratification which he felt in seconding the Report. He was sorry his numerous duties had prevented him from giving that time and attention to the Society which he would wish to have done; but he hoped next Term to be able to be more often present at their meetings.

The PRESIDENT then made some remarks upon the plan which the state of their funds had permitted them to adopt, namely, the issue, at the end of each Term, of a Report of their proceedings. He also drew attention to the great debt

of gratitude which they owed to the kindness of the Curator of the Ashmolean Museum for permitting them to hold meetings in that building.

The adoption of the Report was then unanimously carried.

The President said he had next to call upon PROFESSOR GOLDWIN SMITH for his lecture upon "Some Points connected with the History of Ireland."

The Lecturer touched first on the physical character of Ireland, its physical relations to Great Britain, and the influence of these circumstances on its history. He then proceeded to treat of some points connected with the state and characteristics of Irish civilization previous to the Conquest, to describe the early manifes tations of the national character in various departments, and to trace the connexion between its primitive peculiarities and those which it exhibits in the present day, shewing, in the course of this inquiry, that, upon a just view of history, great allowance must be made for some of the reputed vices and infirmities of the people. He next described the circumstances which led to the Conquest, the Conquest itself, the causes which occasioned its incompleteness, and the evils of which its incompleteness was the source. The subsequent course of Irish history, political and ecclesiastical, was then followed through the period of the early Pale, the Tudor and Stuart era, the great rebellion of 1641, the civil war in the time of James the Second, and the concluding rebellion of 1798, down to the Union and the passing of Roman Catholic Emancipation.

A vote of thanks was passed to the Professor for his interesting lecture. Owing to the lateness of the hour at which the lecture was concluded, there was little time for calling attention to the beautiful collection of photographs. A vote of thanks to the Architectural Photographic Association for their kindness having been passed, the meeting was brought to a close.

Several persons, however, remained for some time afterwards to inspect the photographs.

The formation of distinct classified collections, at the meetings of the Institute in alternate months, for the special illustration of some interesting subject of investigation connected with ancient arts and manners, has greatly contributed to the gratification of the numerous visitors by whom these collections have been viewed. On the present occasion, being the fourth of these special exhibitions formed during this year, the subject proposed was the exemplification of Glyptic Art, and a very rich display of cameos and intaglios, of antique and cinque cento work, with some choice specimens of later times, such as the fine productions of Pistrucci or other modern artists, was brought together. Lord Talbot, in opening the proceedings, offered some observations on the great value of the relics of glyptic art in connexion with many departments of archæological enquiry; their importance as evidence regarding the history of the arts, and also the manners, religion, and history of antiquity, had possibly never been sufficiently appreciated, owing to the want of facilities of access to any extensive series of gems; even at the British Museum the precious glyptic collections there preserved were only available under very special restrictions, for any purpose of public instruction. On the present occasion a collection unequalled probably in extent and value was for the first time placed before the archælogist through the liberality of the possessors of the most precious gems preserved in this country. During the last session, the Duke of Marlborough had with most gratifying kindness proposed, in the event of any series of glyptic art being formed, to entrust to the Institute the Arundel and the Bessborough collections, now preserved at Blenheim Palace. His Grace's generous example had been followed by the Duke of Devonshire, who had not only sent for exhibition the large collection which for some time had been shewn at the Kensington Museum, but had also GENT. MAG. VOL. CCXI.

bited prepared for the Countess Granville on occasion of the coronation of the Em

peror of Russia. The Duke of Hamilton, with other noble and tasteful possessors of antique gems, had, moreover, enriched this unique exemplification of ancient art.

Previously, however, to entering upon the special subject of the evening, Lord Talbot de Malahide invited the Rev. J. L. Petit, who had recently returned from a continental tour in quest of certain remarkable architectural examples in various parts of Europe, to give the results of his investigations, illustrated by his admirable drawings displayed on this occasion. Mr. Petit then gave a discourse replete with interesting details regarding churches of circular form, of which a few remarkable specimens exist in this country. He adverted to the occurrence of this form of structure from the earliest ages of Christian architecture, sometimes attached to large churches, as at Aix in Provence, and at Frejus, and used as baptisteries; sometimes insulated, as S. Costanza at Rome; in some cases, as in England, wholly independent. Almost every continental specimen is supposed by popular tradition to have been a Pagan temple. Mr. Petit explained the different types of these picturesque and interesting structures, more or less complicated in plan, and described the examples shewn in the series of drawings exhibited, namely, the curious churches at Altenfurt, Grasse in Provence, Albenga, Montmajour, Peyrolles. Aix-laChapelle, and Nimeguen. He referred to the observations of Mr. Fergusson in elucidation of the curious questions connected with the ecclesiastical examples of this class, of which the most remarkable are known to the architectural student through the useful Handbook produced by Mr. Murray.

At the close of Mr. Petit's interesting lecture, which will appear in the forthcoming Journal of the Institute, the subject of glyptic art, selected for especial consideration on the occasion, was brought before the meeting by Mr. Edmund Water

H

ton, F.S.A., who proceeded to give an able dissertation on the attractive section of ancient and medieval art, to which the exquisite dactyliotheca, formed by him with great taste and judgment, has of late greatly contributed to draw the attention of antiquaries. Mr. Waterton alluded particularly to the value of glyptic art as presenting probably the greatest perfection of execution, and illustrative in an eminent degree of the history and artistic genius of ancient times. The claims and interest of the subject, he observed, had been well set forth by a recent writer, Mr. King, whose beautiful work on ancient gems is full of interesting research and valuable information relating to the diminutive masterpieces of antique skill, which have preserved in durable characters the images and attributes of ancient mythology, and the features, conditions, and actions of the most illustrious persons in all times. Indeed, from the evidence which gems present in so attractive a form, history, mythology, and allegory have derived verifications and elucidations of the greatest value, which have been faithfully and expressively recorded upon the imperishable gem, whilst the greater works of the sculptor, the architect, and the painter have been swept into oblivion. Mr. Waterton adverted to the principal collections of gems, from the dactyliotheca of Mithridates, Julius Cæsar, and Marcellus ;-the appreciation of such treasures in mediæval times, as instanced by the collections of Petrarch, Lorenzo de Medici, and some of the most eminent patrons of art and literature in the middle ages. The engraving of gems presents one of the most interesting features in the history of the revival of the arts in Italy; the taste rapidly spread, and was extended to our country, as shewn by the tasteful collection formed by the Earl of Arundel, early in the seventeenth century, which the Society, through the liberality of its noble possessor, had now the gratification to contemplate. Another of the richest private cabinets of that early period, formed by a wealthy patrician of Nuremburg, and known as the Praun Collection, was also brought before the Institute by the kind

ness of the present possessor, the Rev. G. Rhodes.

Mr. Waterton proceeded to give a sketch of the history and progress of the art among the Egyptians, the Assyrians, Etruscans, Greeks, and Romans, and pointed out examples in the extensive series which the archæologist had now the advantage of examining, through the kind. ness of numerous collectors, who had favourably recognised the value of such serial exhibitions as the Institute had proposed to form for the gratification of their friends. Of every class and period the rich assemblage of gems now brought together presented examples in great perfection. The glyptic art was revived in a remarkable degree in Italy as early as the fifteenth century. It was liberally encouraged by the Medici, and other distinguished promoters of the arts of design. The works of the eminent masters of a later period were not unknown in England; portraits of Queen Elizabeth, attributed to the inimitable Vicentino, occur in the Royal Collection at Windsor, and also among the gems exhibited by the Duke of Devonshire. Artists of no slight note occur in later times, and our own country has produced some worthy of mention, although surpassed by the accomplished maestri of Italy. The revival of a higher style of artistic taste and skill, not unworthy of comparison with that of the best periods, may be anticipated, Mr. Waterton observed, from the efforts of his gifted friend, Luigi Saulini, whose productions are of the highest promise. Mr. Waterton concluded his interesting remarks by pointing out the rarest and most characteristic specimens in the series displayed with a degree of liberality unprecedented on any former occasion.

Lord Talbot expressed his high sense of the favour and generous confidence shewn toward the Institute by the noble possessors of the treasures now entrusted to them. The collection, more especially, preserved at Blenheim Palace, and which the Duke of Marlborough might justly regard as one of the most precious possessions of his stately inheritance, must be regarded with singular interest, as a

monument of the taste and discernment of one of the most distinguished patrons of art in our country, the great Earl of Arundel. Lord Talbot proposed an appropriate expression of thanks to the Duke of Marlborough, and the other generous exhibitors on this occasion.

Among the precious gems exhibited, the celebrated Praun collection, subsequently in possession of Madame Mertens, Schaffhausen, occupied a foremost position, as exemplifying the characteristic types of ancient art, the works of the most eminent artists of antiquity. It has been augmented with great judgment, by the present possessor, Mr. Rhodes, whose cabinet contains nearly 4,000 gems. A small collection of choice antique examples was sent by the Duke of Hamilton; also two precious jewels, the crystal cross found in the tomb of the sister of Richard Coeurde-Lion, Joan, wife of William II., King of Sicily; and a gorgeous pendant jewel set with diamonds, enclosing a portrait of James I., by Hilliard, one of his finest works. Numerous other valuable gems were exhibited by Mr. C. S. Bale, Mr. Beresford Hope, Monsieur Fould, Signor Castellani, Sir John Boileau, Bart., Mr. Octavius Morgan, M.P., Mr. Henderson, Messrs. Hunt and Roskell, Mr. Stuart, Mr. Garrard, Mr. Robinson, the Rev. J. Beck, Mr. Carruthers, and other collectors.

The exhibition continued open to the

members, and friends invited by them, until Wednesday, June 12, and nearly 5,000 visitors availed themselves of the opportunity of inspecting so remarkable a collection. On the evening of June 8, H.R.H. the Prince Consort, with Prince Louis of Hesse, attended by Lieut-Col. the Hon. D. de Ros, honoured the Institute with a visit, and was pleased to signify the desire that certain precious gems in possession of her Majesty, at Windsor Castle, should be entrusted to the Institute, of which H.R.H. is the Patron. This highly valuable accession to the collection was accordingly displayed during the three last days of the exhibition. It consisted of nearly three hundred gems, amongst which is a very large and remarkable Roman cameo, probably of Constantine the Younger. Of cinque cento productions the cameo portraits of Henry VIII., Edward VI, Queen Elizabeth, Mary Queen of Scots, Lady Jane Grey, Philip II., Louis XII. of France, and other fine works, which may be attributed to Vicentino, or Coldoré, attracted much attention.

At the ensuing meeting, on July 5, a discourse on Ancient Goldsmith's Work, from the earliest periods, will be delivered by Signor Castellani, of Rome, who has recently read a memoir of great interest on that subject before the Institute of France.

was also brought into view, and a careful search (of which the particulars were detailed) produced a portion of bronze resembling a stylus, some bits of iron, and some nails. The principal object is a vase 5 inches in height, with an open-work design of some elegance and only found in the pottery obtained from the Rhine, which is directed to be engraved. There were various tiles for roofing and other purposes, a bronze spear-head of good form, and an iron arrow-head with a hole in the centre.

Mr. A. S. Bell, of Scarborough, gave information of the discovery of a large dolium or amphora, fished up in the trawl