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NOTES TO CANTO II.
Stanza i. line 4. Part of the Acropolis was destroyed by the explosion of a magazine during the Venetian siege.
2. But worse than steel and flame, and ages slow, Is the dread sceptre and dominion dire Of men who never felt the sacred glow That thoughts of thee and thine on polish'd breasts bestow.
Stanza i. line 6. We can all feel, or imagine, the regret with which the ruins of cities, once the capitals of empi. res, are beheld; the reflections suggested by such objects are too trite to require recapitulation. But never did the littleness of man, and the vanity of his very best virtues of patriotism to exalt, and of valour to defend his country, appear more conspicuous than in the record of what Athens was, and the certainty of what she now is. This theatre of contention between mighty factions, of the struggles of orators, the exaltation and deposition of tyrants, the triumph and punishment of gene. rals, is now become a scene of petty intrigue and perpetual disturbance, between the bickering agents of certain British nobility and gentry. « The wild foxes, the owls and serpents in the ruins of Babylon, » were surely less degrading than such inhabitants. The Turks have the plea of conquest for their tyranny, and the Greeks have only suffe. red the fortune of war, incidental to the bravest;
but how are the mighty fallen, when two painters contest the privilege of plundering the Parthenon, and triumph in turn, according to the tenor of each succeeding firpan! Sylla could but punish, Philip subdue, and Xerxes burn Athens; but it remained for the paltry antiquarian, and his de. spicable agents, to render ber contemptible as himself and his pursuits.
The Parthenon, before its destruction in part, by fire during the Venetian siege, had been a temple, a church, and a mosque. In each point of view it is an object of regard : it changed its worshippers; but still it was a place of worship thrice sa. ered' to devotion: its violation is a triple sacri. lege. But
« Man, vain man,
Stanza v. line 2. It was not always the custom of the Greeks to burn their dead; the greater Ajax, in particular, was interred entire. Almost all the chiefs became gods after their decease; and he was indeed neglected, who had not annual games near his tomb, or festivals in honour of his memory by his coun. trymen, as Achilles, Brasidas, etc. and at last even Antinous, whose death was as heroic as his life was infamous.
4. Here, son of Saturn! was thy fav’rite throne.
Stanza x. llne 3. The temple of Jupiter Olympius, of which six. teen columns, entirely of marble, yet survive: originally there were 150. These columns, however, are by many supposed to have belonged to the Pantheon.
5. And bear these altars o'er the long-reluctant brine.
Stanza xi. line last. The ship was wrecked in the Archipelago.
6. To rive what Goth, and Turk, and Time hath spared.
Stanza xii. line 2. At this moment (January 3, 1909), besides what has been already deposited in London, an Hydriot vessel is in the Pyraeus to receive every portable relic. Thus, as i heard a young Greek observe, in common with many of his countrymen - for, lost as they are, they yet feel on this occasion thus may Lord Elgin boast of having ruined Athens. An Italian painter of the first eminence, named Lusieri, is the agent of devastation; and like the Greek finder of Verres in Sicily, who followed the same profession, he has proved the able instrument of plunder. Between this artist and the French Consul Fauvel, who wishes to rescue the remains for his own government, there is now a violent dispute concerning a car employed in their conveyance, the wheel of which I wish they were both broken upon it – has been locked up by the Con. sul, and Lusieri has laid his complaint before the Waywode. Lord Elgin has been extremely happy in his choice of Signor Lusieri. During a resi. dence of ten years in Athens, he never had the curiosity to proceed as far as Sunium *), till he
*) Now Cape Colonna. In all Attica, if we except Athens
itself and Marathon, there is no scene more interesting than Cape Colonna. To the antiquary and artist, sixteen columns are an inexhanstible source of observation and design; to the philosopher, the supposed scene of some of Plato's conversations will not be unwelcome; and the traveller will be struck with the beauty of the prospect over «Isles that crown the Aegean deep: „ but for an Enge lishman, Colonna has yet an additional interest, as the
accompanied us in our second excursion. However, his works, as far as they go, are most beautiful; but they are almost all unfinished. While he and his patrons confine themselves to tasting medals, appreciating cameos, sketching columns, and cheapening gems, their little absurdities are as harmless as insect or fox-hunting, maiden speechifying, barouche-driving, or any such pastime: but when they carry away three or four shiploads of the most valuable and massy relics that time and barbarism have left to the most injured and most celebrated of cities; when they destroy, in a vain attempt to tear down, those works which
actual spot of Falconer's Shipwreck. Pallas and Plato are forgotten, in the recollection of Falconer and Campbell:
« Here in the dead of night by Lonna's steep,
The seaman's cry was heard along the deep. This temple of Minerya may be seen at sea from a great distance. In two journeys which I made, and one voyage to Cape Colonna, the view from either side, by land, was less striking than the approach from the isles. second land excursion, we had a narrow escape from a party of Mainotes, concealed in the caverns beneath. We were told afterwards, by one of their prisoners subsequently ransomed, that they were deterred from attacking ns by the appearance of my two Albanians : conjecturing very sagaciously, but falsely, that we had a complete guard of these Arnaouts at hand, they remained stationary, and thus saved our party, which was too small to have opposed any effectual resistance.
Colonna is no less a resort of paiuters than of pira
«The hireling artist plants his paltry desk,
(See Hodgson's Lady Jane Grey, etc.) Bat there Nature, with the aid of Art, has done that for herself. I was fortunate enough to engage a very superior German artist; and hope to renew my acquaiútance with this and many other Levantine scenes, by the arrival of his performances.
have been the admiration of ages, I know no motive which can excuse, no name which can de. signate, the perpetrators of this dastardly devastation. It was not the least of the crimes laid to the charge of Verres, that he had plundered Si. cily, in the manner since imitated at Athens. The most unblushing impudence could hardly go far. ther than to affix the name of its plunderer to the walls of the Acropolis; while the wanton and useless defacement of the whole range of the basso. relievos, in one compartment of the temple, will never permit that name to be pronounced by an observer without execration.
On this occasion I speak impartially: I am not a collector or admirer of collections, consequently no rival; but I have some early prepossession in favour of Greece, and do not think the honour of England advanced by plunder, whether of India or Attica.
Another noble Lord has done better, becanse he has done less: but some others, more or less noble, yet «all honourable men.. have done best, because, after a deal of excavation and execration, bribery to the Waywode, mining and countermi. ning, they have done nothing at all. We had such ink-shed, and wine-shed, which almost ended in bloodshed! Lord E.'s “prig» - see Jonathan Wylde for the definition of « priggism » — quarrel led with another, Gropius *) by name (a very good
*) This Sr. Gropius was employed by a noble Lord for the sole
parpose of sketching, in which he excels; but I am sorry to say, that he has, through the abused sanction of that most respectable name, been treading at bumble distance in the steps of Sr. Lusieri. — A shipful of his trophies was detained, and I believe confiscated, at Constantinople, in 1810. I am most happy to be now enabled to state, that " this was not in his bond; » that he was employed solely as a painter, and that his noble patron disavows all counexion with him, except as an artist. If the error in the first and second edition of this poem has given the noble Lord a moment's pain, I am very sorry for it: Sr. Gropius has assumed for years the name of his agont; and