A Bibliographical, Antiquarian and Picturesque Tour in France and Germany Volume I Part 22

A Bibliographical, Antiquarian and Picturesque Tour in France and Germany Volume I Part 22

[AX] _respon._


[AY] _logged hym._


[AZ] _his cite fast encrest_.


[BA] _beste_.


[BB] _that_ deest.


[BC] _tydyng_.


[BD] _his_ deest.


[BE] on.


[BF] _seyde all for charitee_.


BRONZE GILT ANTIQUE STATUE AT LILLEBONNE, p. 127-8.


This Statue, as the above reference will testify, is now in the possession of Mr. Samuel Woodburn, of St. Martins Lane. When the note relating to it was written, I could, not place my hand upon a Brochure (in my possession) published at Rouen in 1823,[176] containing an archaeological description of this Statue by M. Revet, and a scientific account of its component parts, by M. Houton La Billardiere, Professor of Chemistry at Rouen. The former embodied his remarks in two letters addressed to the Prefect of the Lower Seine. A print of the figure in its then extremely mutilated state, is prefixed; but its omission would have been no great drawback to the publication--which, in its details, appears to be ingenious, learned, and satisfactory. The highest praise is given to the Statue, as a work of art of the second century.[177] Its _ident.i.ty_ seems to be yet a subject of disputation:--but M. Revet considers it as "the representation of some idolatrous divinity." The opinion of its being a representation of Bacchus, or of Apollo, or of a Constellation, he thinks might be regulated by a discovery of some emblem, or attribute, found in the vicinity of the Statue. Two other plates--lithographised--relating to explanations of the pieces of the Statue, close this interesting performance.


[176] "_Description de la, Statue Fruste, en Bronze Dore, trouvee a Lillebonne &c. Suivie de la.n.a.lyse du Metal, avec le dessein de la Statue, et les Traces de quelques particularites relatives a la Confection de cette Antique." Rouen,_ 1823. pp. 56.


[177] Other details induce me to fix the period of its completion towards the end of the second century: and after the unheard of difficulties which the artist had to overcome, one would scarcely be believed if one said that every thing is executed in a high state of perfection."


p. 34.