"And now behold Jonah taken up as an anchor and dropped into the sea; when instantly an oily calmness floats out from the east, and the sea is still, as Jonah carries down the gale with him, leaving smooth water behind. He goes down in the whirling heart of such a masterless commotion that he scarce heeds the moment when he drops seething into the yawning jaws awaiting him; and the whale shoots-to all his ivory teeth, like so many white bolts, upon his prison. Then Jonah prayed unto the Lord out of the fish's belly. But observe his prayer, and learn a weighty lesson. For sinful as he is, Jonah does not weep and wail for direct deliverance. He feels that his dreadful punishment is just. He leaves all his deliverance to God, contenting himself with this, that spite of all his pains and pangs, he will still look towards His holy temple. And here, shipmates, is true and faithful repentance; not clamorous for pardon, but grateful for punishment. And how pleasing to God was this conduct in Jonah, is shown in the eventual deliverance of him from the sea and the whale. Shipmates, I do not place Jonah before you to be copied for his sin but I do place him before you as a model for repentance. Sin not; but if you do, take heed to repent of it like Jonah."
At five in the morning it was still quite dark. The troops of the center, the reserves, and Bagration's right flank had not yet moved, but on the left flank the columns of infantry, cavalry, and artillery, which were to be the first to descend the heights to attack the French right flank and drive it into the Bohemian mountains according to plan, were already up and astir. The smoke of the campfires, into which they were throwing everything superfluous, made the eyes smart. It was cold and dark. The officers were hurriedly drinking tea and breakfasting, the soldiers, munching biscuit and beating a tattoo with their feet to warm themselves, gathering round the fires throwing into the flames the remains of sheds, chairs, tables, wheels, tubs, and everything that they did not want or could not carry away with them. Austrian column guides were moving in and out among the Russian troops and served as heralds of the advance. As soon as an Austrian officer showed himself near a commanding officer's quarters, the regiment began to move: the soldiers ran from the fires, thrust their pipes into their boots, their bags into the carts, got their muskets ready, and formed rank. The officers buttoned up their coats, buckled on their swords and pouches, and moved along the ranks shouting. The train drivers and orderlies harnessed and packed the wagons and tied on the loads. The adjutants and battalion and regimental commanders mounted, crossed themselves, gave final instructions, orders, and commissions to the baggage men who remained behind, and the monotonous tramp of thousands of feet resounded. The column moved forward without knowing where and unable, from the masses around them, the smoke and the increasing fog, to see either the place they were leaving or that to which they were going.
He said; the old King trembled, and obey'd. Then sprang Pelides like a lion forth, Not sole, but with his two attendant friends Alcimus and Automedon the brave, For them (Patroclus slain) he honor'd most Of all the Myrmidons. They from the yoke Released both steeds and mules, then introduced And placed the herald of the hoary King. They lighten'd next the litter of its charge Inestimable, leaving yet behind Two mantles and a vest, that, not unveil'd, The body might be borne back into Troy. Then, calling forth his women, them he bade Lave and anoint the body, but apart, Lest haply Priam, noticing his son, Through stress of grief should give resentment scope, And irritate by some affront himself To slay him, in despite of Jove's commands. They, therefore, laving and anointing first The body, cover'd it with cloak and vest; Then, Peleus' son disposed it on the bier, Lifting it from the ground, and his two friends Together heaved it to the royal wain. Achilles, last, groaning, his friend invoked.
In a quarter of an hour he was entering the house in the Rue du Helder. As he alighted, he thought he saw his father's pale face behind the curtain of the count's bedroom. Albert turned away his head with a sigh, and went to his own apartments. He cast one lingering look on all the luxuries which had rendered life so easy and so happy since his infancy; he looked at the pictures, whose faces seemed to smile, and the landscapes, which appeared painted in brighter colors. Then he took away his mother's portrait, with its oaken frame, leaving the gilt frame from which he took it black and empty. Then he arranged all his beautiful Turkish arms, his fine English guns, his Japanese china, his cups mounted in silver, his artistic bronzes by Feucheres and Barye; examined the cupboards, and placed the key in each; threw into a drawer of his secretary, which he left open, all the pocket-money he had about him, and with it the thousand fancy jewels from his vases and his jewel-boxes; then he made an exact inventory of everything, and placed it in the most conspicuous part of the table, after putting aside the books and papers which had collected there.
"I am capable of descending the Rue de Gres, of crossing the Place Saint-Michel, of sloping through the Rue Monsieur-le-Prince, of taking the Rue de Vaugirard, of passing the Carmelites, of turning into the Rue d'Assas, of reaching the Rue du Cherche-Midi, of leaving<b> behind me the Conseil de Guerre, of pacing the Rue des Vielles Tuileries, of striding across the boulevard, of following the Chaussee du Maine, of passing the barrier, and entering Richefeu's. I am capable of that. My shoes are capable of that."
Although, on the overthrow of the Parthian dynasty in A.D. 226, the monarchs of the Sassanian dynasty succeeded to the immense Parthian empire, the earliest building found, according to Fergusson, is that at Serbistan, to which he ascribes the date A.D. 380. The palace (fig. 21), which measures 130 ft. frontage and 143 ft. deep, with an internal court, shows so great an advance in the arrangements of its plan as to suggest considerable acquaintance with Roman work. The fine ashlar work of el-Hadr is no longer adhered to, and in its place we find rubble masonry with thick mortar joints, the walls being covered afterwards, both externally and internally, with stucco. While the barrel vault is still retained for the chief entrance porches, it is of elliptical section, and the central hall is covered with a dome, a feature probably handed down from the Assyrians, such as is shown in the bas-relief (fig. 10) from Kuyunjik, now in the British Museum. In order to carry a dome, circular on plan, over a square hall, it was necessary to arch across the angles, and here to a certain extent the Sassanians were at fault, as they did not know how to build pendentives, and the construction of these are of the most irregular kind. As, however, their mortar had excellent tenacious properties, these pendentives still remain _in situ_ (fig. 22), and their defects were probably hidden under the stucco. In the halls which flank the building on either side, however, they displayed considerable knowledge of construction. Instead of having enormously thick walls to resist the thrust of their vaults, to which we have already drawn attention in the Assyrian work and at el Hadr, they built piers at intervals, covering over the spaces between them, with semi-domes on which the walls carrying the vaults are supported, so that they lessened the span of the vault and brought the thrust well within the wall. This, however, lessened the width of the hall, so they replaced the lower portions of the piers by the columns, leaving a passage round. It is possible that this idea was partly derived from the great Roman halls of the thermae (baths), where the vault is brought forward on columns; but it was an improvement to leave a passage behind. The elliptical sections given to all the barrel vaults may have been the traditional method derived from Assyria, of which, however, no remains exist. In the article VAULT there will be found a reason why these elliptical sections were adopted (see also below in the description of the great hall at Ctesiphon). In the palace of Firuzabad, attributed by Fergusson to Peroz (Firuz) (A.D. 459-485), the plan (fig. 23) follows more closely the disposition of the Assyrian palaces, and we return again to the thick walls, which might incline us to give a later date to Serbistan, except that in the pendentives carrying the three great domes in the centre of the palace at Firuzabad they show greater knowledge in their construction. The angles of the square hall are vaulted, with a series of concentric arches, each ring as it rises being brought forward, the object being to save centreing, because each ring rested on the ring beneath it. The plan is a rectangular parallelogram with a frontage of 180 ft. and a depth of 333 ft., more than double, therefore, of the size of Serbistan. An immense entrance hall in the centre of the main front is flanked on each side by two halls placed at right angles to it, so as to resist the thrust of the elliptical barrel vaults of the entrance hall. This hall leads to a series of three square halls, side by side, each surmounted by a dome carried on pendentives. Beyond is an open court, the smaller rooms round all covered with barrel vaults. Here, as in Serbistan, the material employed is rubble masonry with thick joints of mortar, and fortunately portions of the stucco with which this Sassanian masonry was covered remain both externally and internally. As there are no windows of any sort, the wall surface of the exterior has been decorated with semi-circular attached shafts and panelling between, which recall the primitive decorations found in the early Chaldaean temples, except that arches are carried at the top across the sunk panels. Internally an attempt has been made to copy the decoration of the Persian doorway, which represents a kind of renaissance of the ancient style. But instead of the lintel the arch has been introduced, and the ornament in stucco representing the Persian cavetto cornice shows imperfect knowledge of the original and is clumsily worked. The niches also, in the main front, have been copied from the windows which flank the doorway in the Persian palace. But they are decorative only, and are too shallow to serve any purpose. Entry: SASSANIAN
ARAM, EUGENE (1704-1759), English scholar, but more famous as the murderer celebrated by Hood in his ballad, the _Dream of Eugene Aram_, and by Bulwer Lytton in his romance of _Eugene Aram_, was born of humble parents at Ramsgill, Yorkshire, in 1704. He received little education at school, but manifested an intense desire for learning. While still young, he married and settled as a schoolmaster at Netherdale, and during the years he spent there, he taught himself both Latin and Greek. In 1734 he removed to Knaresborough, where he remained as schoolmaster till 1745. In that year a man named Daniel Clark, an intimate friend of Aram, after obtaining a considerable quantity of goods from some of the tradesmen in the town, suddenly disappeared. Suspicions of being concerned in this swindling transaction fell upon Aram. His garden was searched, and some of the goods found there. As, however, there was not evidence sufficient to convict him of any crime, he was discharged, and soon after set out for London, leaving his wife behind. For several years he travelled through parts of England, acting as usher in a number of schools, and settled finally at Lynn, in Norfolk. During his travels he had amassed considerable materials for a work he had projected on etymology, to be entitled a _Comparative Lexicon of the English, Latin, Greek, Hebrew and Celtic Languages_. He was undoubtedly an original philologist, who realized, what was then not yet admitted by scholars, the affinity of the Celtic language to the other languages of Europe, and could dispute the then accepted belief that Latin was derived from Greek. Aram's writings show that he had grasped the right idea on the subject of the Indo-European character of the Celtic language, which was not established till J.C. Prichard published his book, _Eastern Origin of the Celtic Nations_, in 1831. But he was not destined to live in history as the pioneer of a new philology. In February 1758 a skeleton was dug up at Knaresborough, and some suspicion arose that it might be Clark's. Aram's wife had more than once hinted that her husband and a man named Houseman knew the secret of Clark's disappearance. Houseman was at once arrested and confronted with the bones that had been found. He affirmed his innocence, and, taking up one of the bones, said, "This is no more Dan Clark's bone than it is mine." His manner in saying this roused suspicion that he knew more of Clark's disappearance than he was willing to admit. He was again examined, and confessed that he had been present at the murder of Clark by Aram and another man, Terry, of whom nothing further is heard. He also gave information as to the place where the body had been buried in St Robert's Cave, a well-known spot near Knaresborough. A skeleton was dug up here, and Aram was immediately arrested, and sent to York for trial. Houseman was admitted as evidence against him. Aram conducted his own defence, and did not attempt to overthrow Houseman's evidence, although there were some discrepancies in that; but made a skilful attack on the fallibility of circumstantial evidence in general, and particularly of evidence drawn from the discovery of bones. He brought forward several instances where bones had been found in caves, and tried to show that the bones found in St Robert's Cave were probably those of some hermit who had taken up his abode there. He was found guilty, and condemned to be executed on the 6th of August 1759, three days after his trial. While in his cell he confessed his guilt, and threw some light on the motives for his crime, by asserting that he had discovered a criminal intimacy between Clark and his own wife. On the night before his execution he made an unsuccessful attempt at suicide by opening the veins in his arm. Entry: ARAM
It is possible, though not by any means easy, to sift the works of these artists. The eldest of the Franckens, Nicholas of Herenthals, died at Antwerp in 1596, with nothing but the reputation of having been a painter. None of his works remain. He bequeathed his art to three children. Jerom Francken, the eldest son, after leaving his father's house, studied under Franz Floris, whom he afterwards served as an assistant, and wandered, about 1560, to Paris. In 1566 he was one of the masters employed to decorate the palace of Fontainebleau, and in 1574 he obtained the appointment of court painter from Henry III., who had just returned from Poland and visited Titian at Venice. In 1603, when Van Mander wrote his biography of Flemish artists, Jerom Francken was still in Paris living in the then aristocratic Faubourg St Germain. Among his earliest works we should distinguish a "Nativity" in the Dresden museum, executed in co-operation with Franz Floris. Another of his important pieces is the "Abdication of Charles V." in the Amsterdam museum. Equally interesting is a "Portrait of a Falconer," dated 1558, in the Brunswick gallery. In style these pieces all recall Franz Floris. Franz, the second son of Nicholas of Herenthals, is to be kept in memory as Franz Francken the first. He was born about 1544, matriculated at Antwerp in 1567, and died there in 1616. He, too, studied under Floris, and never settled abroad, or lost the hard and gaudy style which he inherited from his master. Several of his pictures are in the museum of Antwerp; one dated 1597 in the Dresden museum represents "Christ on the Road to Golgotha," and is signed by him as D. õ (Den ouden) F. Franck. Ambrose, the third son of Nicholas of Herenthals, has bequeathed to us more specimens of his skill than Jerom or Franz the first. He first started as a partner with Jerom at Fontainebleau, then he returned to Antwerp, where he passed for his gild in 1573, and he lived at Antwerp till 1618. His best works are the "Miracle of the Loaves and Fishes" and the "Martyrdom of St Crispin," both large and ambitious compositions in the Antwerp museum. In both these pieces a fair amount of power is displayed, but marred by want of atmosphere and shadow or by hardness of line and gaudiness of tone. There is not a trace in the three painters named of the influence of the revival which took place under the lead of Rubens. Franz Francken the first trained three sons to his profession, the eldest of whom, though he practised as a master of gild at Antwerp from 1600 to 1610, left no visible trace of his labours behind. Jerom the second took service with his uncle Ambrose. He was born in 1578, passed for his gild in 1607, and in 1620 produced that curious picture of "Horatius Cocles defending the Sublician Bridge" which still hangs in the Antwerp museum. The third son of Franz Francken the first is Franz Francken the second, who signed himself in pictures till 1616 "the younger," from 1630 till his death "the elder" F. Francken. These pictures are usually of a small size, and are found in considerable numbers in continental collections. Franz Francken the second was born in 1581. In 1605 he entered the gild, of which he subsequently became the president, and in 1642 he died. His earliest composition is the "Crucifixion" in the Belvedere at Vienna, dated 1606. His latest compositions as "the younger" F. Francken are the "Adoration of the Virgin" (1616) in the gallery of Amsterdam, and the "Woman taken in Adultery" (1628) in Dresden. From 1616 to 1630 many of his pieces are signed F. Francken; then come the "Seven Works of Charity" (1630) at Munich, signed "the elder F. F.," the "Prodigal Son" (1633) at the Louvre, and other almost countless examples. It is in F. Francken the second's style that we first have evidence of the struggle which necessarily arose when the old customs, hardened by Van Orley and Floris, or Breughel and De Vos, were swept away by Rubens. But F. Francken the second, as before observed, always clung to small surfaces; and though he gained some of the freedom of the moderns, he lost but little of the dryness or gaudiness of the earlier Italo-Flemish revivalists. F. Francken the third, the last of his name who deserves to be recorded, passed in the Antwerp gild in 1639 and died at Antwerp in 1667. His practice was chiefly confined to adding figures to the architectural or landscape pieces of other artists. As Franz Pourbus sometimes put in the portrait figures for Franz Francken the second, so Franz Francken the third often introduced the necessary personages into the works of Pieter Neefs the younger (museums of St Petersburg, Dresden and the Hague). In a "Moses striking the Rock," dated 1654, of the Augsburg gallery, this last of the Franckens signs D. õ (Den ouden) F. Franck. In the pictures of this artist we most clearly discern the effects of Rubens's example. Entry: FRANCKEN
In 1315, the year after Bannockburn, Edward Bruce landed near Larne with 6000 men, including some of the best knights in Scotland. Supported by O'Neill and other chiefs, and for a time assisted by his famous brother, Bruce gained many victories. There was no general effort of the natives in their favour; perhaps the Irish thought one Norman no better than another, and their total incapacity for national organization forbade the idea of a native sovereign. The family quarrels of the O'Connors at this time, and their alliances with the Burkes, or De Burghs, and the Berminghams, may be traced in great detail in the annalists--the general result being fatal to the royal tribe of Connaught, which is said to have lost 10,000 warriors in the battle of Templetogher. In other places the English were less successful, the Butlers being beaten by the O'Carrolls in 1318, and Richard de Clare falling about the same time in the decisive battle of Dysert O'Dea. The O'Briens re-established their sway in Thomond and the illustrious name of Clare disappears from Irish history. Edward Bruce fell in battle near Dundalk, and most of his army recrossed the channel, leaving<b> behind a reputation for cruelty and rapacity. The colonists were victorious, but their organization was undermined, and the authority of the crown, which had never been able to keep the peace, grew rapidly weaker. Within twenty years after the great victory of Dundalk, the quarrels of the barons allowed the Irish to recover much of the land they had lost. Entry: AUTHORITIES
In the Low Countries the French marshal d'Humières, being in superior force, had obtained _special permission_ to offer battle to the Allies. Leaving the garrison of Lille and Tournay to amuse the Spaniards, he hurried from Maubeuge to oppose the Dutch, who from Namur had advanced slowly on Philippeville. Coming upon their army (which was commanded by the prince of Waldeck) in position behind the river Heure, with an advanced post in the little walled town of Walcourt, he flung his advanced guard against the bridge and fortifications of this place to clear the way for his deployment beyond the river Heure (27th August). After wasting a thousand brave men in this attempt, he drew back. For a few days the two armies remained face to face, cannonading one another at intervals, but no further fighting occurred. Humières returned to the region of the Scheldt fortresses, and Waldeck to Brussels. For the others of Louis' six armies the year's campaign passed off quite uneventfully. Entry: GRAND
LEPANTO,[1] BATTLE OF, fought on the 7th of October 1571. The conquest of Cyprus by the Turks, and their aggressions on the Christian powers, frightened the states of the Mediterranean into forming a holy league for their common defence. The main promoter of the league was Pope Pius V., but the bulk of the forces was supplied by the republic of Venice and Philip II. of Spain, who was peculiarly interested in checking the Turks both because of the Moorish element in the population of Spain, and because he was also sovereign of Naples and Sicily. In compliment to King Philip, the general command of the league's fleet was given to his natural brother, Don John of Austria. It included, however, only twenty-four Spanish ships. The great majority of the two hundred galleys and eight galeasses, of which the fleet was composed, came from Venice, under the command of the proveditore Barbarigo; from Genoa, which was in close alliance with Spain, under Gianandrea Doria; and from the Pope whose squadron was commanded by Marc Antonio Colonna. The Sicilian and Neapolitan contingents were commanded by the marquess of Santa Cruz, and Cardona, Spanish officers. Eight thousand Spanish soldiers were embarked. The allied fleet was collected slowly at Messina, from whence it advanced by the passage between Ithaca and Cephalonia to Cape Marathia near Dragonera. The Turkish fleet which had come up from Cyprus and Crete anchored in the Gulf of Patras. It consisted in all of 273 galleys which were of lighter build than the Christians', and less well supplied with cannon or small arms. The Turks still relied mainly on the bow and arrow. Ali, the capitan pasha, was commander-in-chief, and he had with him Chulouk Bey of Alexandria, commonly called Scirocco, and Uluch Ali, dey of Algiers. On the 7th of October the Christian fleet advanced to the neighbourhood of Cape Scropha. It was formed in the traditional order of the galleys--a long line abreast, subdivided into the centre or "battle" commanded by Don John in person, the left wing under the proveditore Barbarigo, and the right under Gianandrea Doria. But a reserve squadron was placed<b> behind the centre under the marquess of Santa Cruz, and the eight lumbering galeasses were stationed at intervals in front of the line to break the formation of the Turks. The capitan pasha left his anchorage in the Gulf of Patras with his fleet in a single line, without reserve or advance-guard. He was himself in the centre, with Scirocco on his right and Uluch Ali on his left. The two fleets met south of Cape Scropha, both drawn up from north to south, the land being close to the left flank of the Christians, and the right of the Turks. To the left of the Turks and the right of the Christians, there was open sea. Ali Pasha's greater numbers enabled him to outflank his enemy. The Turks charged through the intervals between the galeasses, which proved to be of no value. On their right Scirocco outflanked the Venetians of Barbarigo, but the better build of the galleys of Saint Mark and the admirable discipline of their crews gave them the victory. The Turks were almost all sunk or driven on shore. Scirocco and Barbarigo both lost their lives. On the centre Don John and the capitan pasha met prow to prow--the Christians reserving the fire of their bow guns (called _di cursia_) till the moment of impact, and then boarding. Ali Pasha was slain and his galley taken. Everywhere on the centre the Christians gained the upper hand, but their victory was almost turned into a defeat by the mistaken manoeuvres of Doria. In fear lest he should be outflanked by Uluch Ali, he stood out to sea, leaving a gap between himself and the centre. The dey of Algiers, who saw the opening, reversed the order of his squadron, and fell on the right of the centre. The galleys of the Order of Malta, which were stationed at this point, suffered severely, and their flagship was taken with great slaughter. A disaster was averted by the marquess of Santa Cruz, who brought up the reserve. Uluch Ali then retreated with sail and oar, bringing most of his division off in good order. Entry: LEPANTO