nessing this unheard-of action, the senators started from their seats in affright; they removed to a distance; they kept as far as possible from this sacrilegious being on whom the thunder was about to fall, for the terrible Tzar had just entered. But Dolgousky remained in his place; and, unastonished either by his own boldness, or the violence of the Tzar, he opposed to the first burst of wrath from his irritated master, the glory of such a noble reign, which he was on the point of tarnishing, and the good of his subjects, which, doubtless, he did not, like Charles XII., desire to obtain! Then, he stated the reasons of his indignation, while he, at the same time, blamed its violence. It is said that the whole of the senators were struck with astonishment, to see the previous glances of their formidable Tzar lose their fierceness; his features, which were swoln with anger, become composed; his lips, which foamed with threats, acknowledge his error, and revoke his order; and his pride, jealous as it was, far from punishing the brutal sincerity of his counsellor, be satisfied with the regret which he had expressed to him." "An ivoschick was a man who let out horses, which, in the simplicity of his manners, the Tzar was accustomed to hire in the same way as his people; but one day, being made angry by their slowness, he drove them without mercy, and one of them having died in conse. quence, the owner demanded the value of it. Peter refused to pay it; the ivo-chick had the boldness to resort to the law. His sovereign agreed to abide by the decision of the tribunal, appeared before it, defended himself, lost his cause, and submitted without a murmur to the verdict which was given against him."-P. 366-9. Before concluding, we must remark that we are very far from being satisfied with the manner in which the English translation of this work has been executed. The style is full of Gallicisms, is frequently obscure, and is often much more inflated than it is in the original. Take an example or two:-"In Mikhail Romanoff, Russia chose a name which was lustrous with two hundred and fifty years of conspicuousness." "At the same time, the boyhood of Peter was banished to a village;" where did Peter himself remain? "The original propension towards heat and light, which is so natural to the men of the frozen shades of the north, but which had at first been wrested aside by a great accident, now insensibly resumed its empire." "One of them seized the Prince, and raised his sword; and that head which contained the seeds of the Russian glory was on the point of falling." "Truth is what is required from history, and when the truth which she has to record is all fire, is it with the ice of a frozen unfeelingness that its flames can be made obvious?" This may be fine writing, but it is not good English. England and Scotland respecting those foundations, &c. connected with the Universities, that a perusal of Mr Gilbert's indefatigable work will amply gratify them. We hope that some industrious and able person in this country will take a hint from it, and present us on this side of the Tweed with a Liber Scholasticus of our own less wealthy country; its church, its lectureships, hospitals or foundations, universities, bursaries, or exhi- | bitions; and by whom they can be enjoyed. Such a publication is very much wanted, notwithstanding all that has been said and written on Scotland; and whoever comes forward to supply the deficiency, shall have our hearty support. The History of Napoleon Buonaparte, with Engra vings on steel and wood. Two volumes. Vol. I. Being the first volume of the Family Library. London. John Murray. 1829. WE have heard that this Life of Napoleon is from the graphic pen of the author of "The Subaltern." Whether this be the case or not, it bids fair to do the writer much credit. It is temperately and judiciously composed, and will supply what has hitherto been a desideratum in this country.-a distinct digest, within a moderate compass, of all the principal events which distinguished the career of by far the most remarkable man of modern times. We observe the author has adopted the same spelling of the word Buonaparte as Sir Walter Scott. This is a pity, because it is incorrect; and is rather severely animadverted on by Louis Bonaparte, in his late Reply to Sir Walter. We could have also wished that more frequent references and authorities had been given. The publisher's part of the work has been very tastefully and liberally executed. The frontispiece, which is an engraving on steel by Finden, from David's celebrated picture of Bonaparte crossing the Alps, is itself almost worth the price of the volume. We cannot say so much for the engraving of Josephine; but the passing of the Bridge of Arcola, the Battle of the Pyramids, and the Death of D'Enghien, are exceedingly good. The paper and typography are unexceptionable; and a family library of such volumes would be all that a family could desire. The price of each is five shillings. The Portraiture of a Christian Gentleman. By a Barrister. London. J. A. Hessey. 1829. Pp. 231. 12mo. THIS work is so tastefully got up, that its external appearance would almost entice one to peruse it. Its author, Mr Roberts, who, from his profession, is one of those who are "skilled in the law," has drawn so Liber Scholasticus, &c. London. Rivingtons. 1829. very strict and minute a portraiture of a Christian 12mo. Pp. 500. gentleman, that he who could act up to it, would have no inconsiderable pretensions to the state of absoTHIS work, of which we have quoted only the head-lute perfection. He is evidently, however, a well-meanline, as its title-page is none of the shortest, is a most elaborate account of the Fellowships, Scholarships, and Exhibitions of the Universities of Oxford and Cambridge; by whom founded, and whether open to natives of England and Wales, or restricted to particular places and persons; also of such colleges, public schools, endowed grammar schools, chartered companies of the city of London, corporate bodies, trustees, &c., as have University advantages attached to them, or in their patronage; with appropriate indexes and references. The compiler, Mr Richard Gilbert, is an eminent printer in London, and is profoundly learned in every thing connected with the subject of this book. We can assure such of our readers as are curious in these matters, and who wish to form a proper opinion of the difference between ing person; and though his work is not original, great use having been made of some old and now almost-forgotten "Portraictures" on the same subject, we feel pleasure in recommending it to our readers. It contains, among other illustrations, some excellent remarks on family devotion, unscriptural religion, and on the politics, literature, family government, exterior intercourse, familiar talk, worldly dealings, and education of the Christian gentleman. The chapters on the " Fore of High Example" are well written; and we are presented with spirited, though severe, "portraitures" of John Wilkes, the author of Junius, and John Horne Tooke. The characters of George II., Lord Bolingbroke, Horace Walpole, Lord Lyttleton, Gilbert West, the Earl of Chatham, Edmund Burke, Mr Pitt, Mr Perceval, and our late venerable sovereign, George III., are also brought under our especial notice. The remarks, too, on the Sabbath of the Christian gentleman, are excellent. We greatly doubt, as we have already hinted, whether it be possible for any individual to approach the model of the Christian gentleman which our author has proposed; nevertheless, we ought not to forget the advice of Quintilian, "always to be making advances towards that which is best; for, even although we be not altogether successful, we shall at least have the satisfaction of seeing many far behind us.' The Fall of Nineveh, a Poem. By Edwin Atherstone. of the Iliad. Of these the volume before us contains the first six, and we are informed that six will appear annually till the whole is completed. We can do little more than call attention to the Poem, by a very brief description, and a few extracts. As an epic, it enters into the historical detail,-much of it fictitious, no doubt, but by no means bound by the unities to which a picture necessarily, and a drama properly, are limited. Byron, in his tragedy of Sardanapalus, finishes the war in a day. In a note prefixed, he says, "In this tragedy, it has been my intention to follow the account of Diodorus Siculus; reducing it, however, to such dramatic regularity as I best could, and trying to approach the unities. I, therefore, suppose sudden conspiracy, instead of the long war of the histhe rebellion to explode, and succeed in one day, by a tory." The tragedy, therefore, has left subject enough for the Epopée, and subject, which almost precludes ed. The theme is the revolt of the subject nations of general comparison, even when the latter shall be finishAsia against the widely domineering Nineveh; and, after many defeats by the heroic, though sensual Sardanapalus, their final triumph. With all our notions of all but antediluvian, with a sort of venerative assimilaNinevite splendour, and our associations of an antiquity tion of Assyrian with Scripture history, there can scarcely, we think, be a doubt, that if the lofty theme was to be "sung to the solemn harp" at all, it could be only in the highest heroic and epic mode. For its effects on the feelings to which it is addressed, poetry depends more on its subject than on its form; and, much as the epic has gone by, it is assuredly not beyond human genius to revive it as fresh and colossal as ever. If we may judge from the interest with which we perused these six books, this poet's bids fair to be a successful trial. THE sublime subject of the "Fall of Nineveh," made lately a double attack upon the sensibilities of the Metropolis, namely, in a Painting and in a Poem. In the former, Mr Martin, the truly original artist of Belshazzar's Feast, of Joshua arresting the Sun, and of the Deluge, (at present in Edinburgh, and, probably, the least worthy of his productions,) has outdone himself by one of the most powerful, nay, it is very generally allowed, the most powerful picture which has yet come from a British pencil. Mr Martin seizes the eventful moment of the storming rush of a million of victors into the devoted Nineveh, while, in the foreground, the sensual but determined Sardanapalus, surrounded by his women, is hurrying to the pile of all his wealth, devoted to the ready torch in the hands of his slaves. The queen is led captive by her maids, in the words of the prophet,"plaining with the voice of doves, and tabouring on their breasts." The councillors are upbraiding, He invokes the Spirit of Poetry in a style of mingled -the slaves are drunken,-the walls are crumbling, vencration and self-distrust, which recalls the humble and the myriad Ninevites are falling and flying before manner in which Milton sometimes alludes to himself. the countless foot, horse, chariots, and elephants, of the After announcing his subject, he proceeds thus : triumphant Medes, and Chaldeans, and Arabians, and Bactrians, leagued for the deliverance of Asia from the Theme antiquated, haply, deem'd, and dull; most insolent and capricious thraldom that ever mocked Unseason'd in this gay and flowery age; the nations. It is midnight, but the artist reveals the Or else presumptuous;-yet, well understood, amazing spectacle, with a flash of lightning, which in Not flat, nor profitless; nor without fear one moment declares an unequalled sum of the sublime By me approach'd; nor with o'erweening pride ;and the gorgeous-an almost inconceivable multitude of In silence ponder'd, and in solitude, human beings-a splendour of regal circumstance-a From busy cities far, and throng of men ; galaxy of female beauty, in all the variety of devoted- Save few, uncheer'd: yet not with labour cold By enemies untroubled,-and by friends, ness, terror, and despair, surrounding one of the finest Pursued, and mind depress'd, nor vainly quite, personifications of monarchy which can be conceived-So thou, Great Spirit, whatsoe'er thy name, the whole in the richest hues of colouring that, perhaps, Muse, Inspiration, or Divinity, have yet been realized on canvass. And it Now, we cannot give a better idea of the quality of the Poem, than by saying that it is as like the Painting as its separate line of art will permit. As an epic poem of great length, it is, no doubt, an extended history, of which the painting is the final catastrophe. The poem would furnish forth many paintings, but they must all be of the pitch of Martin's, to be worthy of it. will contribute anew idea, as well as a new feeling, to our readers, to be told that the poet and the painter are intimate friends; communicating' reciprocally an increase of ardour, and an improvement of taste, in their kindred though different treatment of their common theme; and that, when Sir Walter Scott visited the gallery of Mr Martin last spring, he found Mr Atherstone denizened therein, cheering on the painter, who, with every touch, was yet more animating the poet. The Poem is a bold attempt for "a gay and flowery age," a regular epic of twenty-four books, the number • This Poem has been longer before the public than the works generally reviewed in the Literary Journal; but it is not yet sufficiently known in Scotland, and we have pleasure in directing the attention of our readers to it.-Ed. Lit. Jour. Who the blind bard of Ilium did support, The annunciation of the granted inspiration bursts Her sprightly damsels to the timbrel's sound As from Arabia's flowering groves, an air In vesture gorgeous as the clouds of morn,- This fine passage is soon followed by another, itself one of many, which gives as graphic and as radiant a description of Ninevite luxury as Moore himself could have achieved: But joyous is the stirring city now: The moon is clear,-the stars are coming forth, A thousand golden lamps their lustre fling, Heard by the lonely traveller through the vale, Nothing can be finer than the scene, to which we can only refer, where Sardanapalus reviews the vast tributary hosts, with their kings at their head, which it is his caprice to encamp on the plain around the city, and harass with marching and manoeuvring. He waves his purple standard, "gemmed with stars," from the summit of the mountain tomb of Ninus, and his name is shouted by millions around and within the city, while the soaring eagle is startled, and the distant lion roars in his den. But the monarch is called to war. These tributary armies conspire and defy him. Belesis the Babylonian priest, and Arbaces the Median king, gain the others, hold a council in the night,and Arbaces, another Achilles, is named chief of the confederates. The coun cil is Homeric, and so is the amazingly spirited planting of the rebel standard. Arbaces speaks "Your arms are on your limbs-your hearts are strongYour cause is holy-God is on our side→ How can you doubt? Up with your banner,-up! Thus he; and toward the folding gonfalon As on his prey the hungry lion springs, But we can afford a mere glimpse of this spirit-stirring poem. The attempts by the Ninevite chiefs to induce the rebels, as they call them, to repent of their rashness, before the king of kings shall even know of the mad revolt,-the heroic courtesy yet firmness of Arbaces, the astonishment and indignation of Sardanapalus, his contempt and rage, the rush of his vast armies, anticipating his wish, the attack already made on the advancing confederates by the Jerimoths, the Zimris, and the Sennacheribs, his generals, his own gallant passage of the gates in his chariot, flaming with diamonds, into the middle of his shouting hosts, the inimitable battle, which, although long, is not tedious,his wound from the hand of Arbaces, and return to the city, the flight of his armies, and the pursuit by the exulting rebellion,-the devoted attempt of his neglect. ed queen to put on his armour, and rush out in his chariot to reanimate the troops, his own sudden revival and reappearance in the plain, with the astonishing effect of that heroic act in turning the battle, and, for the day, driving back the enemy to their tents,form a chain of events and a climax of grandeur which certainly no living poet has surpassed. The characters of this drama are well suited to the subject, and are one and all powerfully and discriminately individualized. As character in nature does not change, a character once fairly introduced into fiction must be found the same in its essentials whenever it reappears. Shakspeare never forgets this. The Sardanapalus of Mr Atherstone's first six books, therefore, must be his Sardanapalus throughout; and we are enabled to judge of the propriety of the character now as well as we shall ever be. Here we may allude to Lord Byron. Sardanapalus' history is not the history of a really effeminate, weak, and cowardly prince. According to The Jurist; or Quarterly Journal of Jurisprudence and Legislation. No. V. 1829. London. Baldwin, Cradock, and Joy. the ancient historians, he maintained a long and desperate struggle with the confederates, for his supremacy; so that his luxurious degradation certainly was not inconsistent with that degree of moral elevation, however short of a higher standard it may be, called the heroic. THIS Journal, the publication of which has hitherto Indeed, the way and manner of his self-destruction had in it a high degree of barbarous grandeur. Both the been rather irregular, has, we are informed, lately passdramatist and the epic poet, accordingly, have enlisted ed under new management, and promises to be more our interest for the warrior, while they have carefully punctual in future. The title is rather an ambitious avoided any thing in him like manifestations of weak- from a hundred and fifty to two hundred pages. The one for a quarterly brochure, containing, on an average, ness and bad taste even as the sensualist. His style in talent displayed in the work is, with occasional excepboth poems is regal whenever he opens his lips, and all tions, scarcely of the highest order. It is a fierce and his conceptions are magnificent. Nay, Byron even represents him as unsuspecting, forgiving, and generous; uncompromising advocate of the legal principles of Mr dismissing rebels when they are in his power, and dis. Bentham, and not always over-nice in the means it adopts to bolster up its own cause. The present num. liking the discomposing trouble as much as the vulgar ber contains-1st. An article, purporting to be a review cruelty of putting them to death. Mr Atherstone says of a work of the celebrated Savigny, but which is, in in his preface: "The character of Sardanapalus, as given by most historians, is utterly worthless: not unfit reality, an attack on another author;-2d. An article on for the hero of an epic poem only, but even for the the administration of Justice in the East Indies, chamonster of the most prosing fable. His recorded actions, racterised by that reckless spirit of the sect which seeks to remodel all institutions on the most scanty know. however, are inconsistent with the disposition and the qualities attributed to him. We see no creature half ledge of their real nature;-3d. A review of Cooper's lion and half goat. He may have been effeminate, ti- Letters on the Court of Chancery, which looks very like a retractation of opinions formerly advanced;-4th. An mid, slothful,but could not also have been bold, de-able article on "Fees in courts of inferior jurisdiction in cisive, active, and warlike. He may have indulged to excess in sensuality, but could not have been the dri- Scotland," well worthy the attention of all professional men;-5th. A clever, though somewhat speculative arvelling, disgusting, idiotic sensualist: he may have ticle, on the Police of the Metropolis ;-7th. "Dr Redpainted his cheeks, and attired himself as a woman, die's observations on Mr Humphreys's Reply," which but must have had within him the energies of a man. The Samson slept in the arms of Dalilah, but his are calm and dignified;-And lastly, A brief abstract locks were not shorn. From the pleasures of wine and of statutes passed in the last session of Parliament, which we recommend to all our fair friends as an elelove, music and feasting, he arose to lead armies to battle-with desperate valour fought at their head,gant and amusing companion for the tea-table. three times triumphed,-returned to the banquet,-to love and wine: he was surprised-hideously routed, still to the uttermost resisted, and, when at last totally vanquished, boldly and deliberately put himself to death. In the deep obscurity of his history, these alleged facts decide the opinion that I form of him. The Sardanapalus that I have chosen to exhibit, is a character not unsupported by parts of the incongruous elements left by the historians, and may therefore be not violently objected to by even severe sticklers for historic accuracy: he is of a class with which we may unblamed be allowed to sympathise a man of good and evil mingled: one that, in other circumstances, and under wiser tuition, might have been great and virtuous, whose ungovernable fury might have been a generous enthusiasm,—whose all-devouring sensuality might have been ardent, devoted love,-whose unrelenting tyranny over others might have been stern self-control,-whose implacable resentment against rebellion might have been heroic resistance against oppression. He has within him a fire that, wisely tended, might have given warmth, and splendour, and enjoyment; but which, uncontrolled, becomes a conflagration that consumes him. Such is the character that I have attempted to delineate." Passion is highly wrought in all the characters, but never overstrained; and eloquence, its godlike offspring, flows naturally from its source ;-while softer feelings of softer bosoms mingle with the cry of war and the blast of the trumpet, and deepen our interest to think that there were human hearts in the devoted Nineveh, and the meltings of sympathy in the steel-clad breast of many a warrior on the blood-stained plain. Life of John Wickliffe. By the Rev. Thomas Mur ray, F. A. S. E. 18mo. Edinburgh. John Boyd. 1829. Mr Ir is with pleasure we recommend this little work to the attention of our readers, as containing a very ample and concise account of the famous English Reformer. Its author, Mr Murray, has laid before us, in a popular manner, the history of a man, whom all parties are called upon to reverence, as one of the great champions for the freedom of the human mind; and his book may be read with advantage, even after the perusal of the more elaborate and elegant Life of the same Reformer, by Mr Fraser Tytler, published at Edinburgh, 1826. Murray gives his reader a very graphic account of Wickliffe's birth, parentage, the nature of his education, his first appearance at the University of Oxford, &c.; with a detail of the religious state of England at that period, and Wickliffe's proceedings, after he brought himself under the cognizance of the Church of Rome. We trust that this little volume will be extensively circulated, among those who are precluded from procuring larger and more expensive works, connected with the history of the English Proto-Reformer. The Laws of Harmonious Colouring adapted to House THIS is an ingenious and highly useful little work. But we must have done; not forgetting that we have been criticising an unfinished poem, which, like an unfinished building, is not a fair test of the constructor's genius. We can, at least, safely encourage Mr Ather-House-painting is certainly a very inferior department stone to proceed, and we shall be happy soon to meet with him again. Mr Atherstone had previously made himself known to the public by two poems of much original force and beauty," A Midsummer Day's Dream," and "The Last Days of Herculaneum.” of the art; but it is one in which offences against good taste of the most glaring and disagreeable kind are every day committed. Mr Hay, in laying down for himself and his fellow-artists a few simple scientific principles, by which they may in future be guided in their arrangement of colours, achieves an object for which he language also well adapted it for conveying, in a lively deserves the thanks of all those who live in the costly manner, to the mind, the sentiments of the poetry which and luxurious mansions of the land. "The great ad- it clothed. It was compounded chiefly of the Latin and ditional beauty," he observes in his introduction," which Greek tongues; but it had also an admixture of the diathe harmonious combination of tints has given to the lects which were used in the other parts of France-in most splendid works of art, and the certainty that these Italy, (where the nervous Roman tongue had melted into combinations were pointed out by the laws of optics, in- music,) and in Spain,-from which latter place it had duced me to attempt their application to the humble yet also received a sprinkling of the Arabic tongue. The useful art which I profess; and I have adapted them Latin greatly predominated, however, and hence the to house-painting, and other decorations, in the same Provençale language was termed, la langue Romaine, manner in which they seem to have been applied in the or Romance, or simply Roman, from which term, it works of the most eminent artists in all ages." "We are may be remarked, their most favourite species of comglad that Mr Hay's book has gone to a second edition, position obtained the name of Romance, expressive of and we doubt not that the ability and excellent know-its being written in the Romance tongue. But this ledge of his profession which it displays will meet with beautiful language came afterwards to be but the dialect the reward to which they are well entitled. of a province, and it has now almost entirely disappeared; to this day, however, the dialect of the south of France (a corruption of the old Roman) is materially different from the French spoken in all other parts of the kingdom. Life and Opinions of the celebrated George Buchanan. THOUGH an unostentatious, this is a very excellent little work, and is evidently the production of one well versed in the history and literature of his country. We are pleased with the discrimination and sound sense displayed in the manner in which the author treats various parts of Buchanan's character; and did other matters not press upon our attention, we should willingly have made some illustrative extracts. A just tribute is paid to the excellence of the more elaborate Memoirs of Buchanan by Dr Irving; but our author differs from that gentleman in his opinion of Buchanan's honesty, and, on what we have always been disposed to consider the very soundest grounds, is by no means disposed to acquit him of moral and literary delinquency in his conduct towards Queen Mary, whom he flattered and worshipped so long as his patron Murray retained her favour, and whom he reviled and calumniated as soon as the Regent saw proper to raise himself on her downfall. Buchanan was a profound scholar and a very able man; but he was utterly destitute of steady principles either in church or state. This distinction is conscientiously pointed out in the work before us, which is another reason why we willingly recommend it to the attention of our readers. THE southern parts of France were, in ancient days, comprehended under the general name of PROVENCE. Its inhabitants, who were almost entirely descendants of the old Greek and Roman colonists, never forgot the glorious fame of the country of their ancestors, and endeavoured, by their attention to literature, to show that, while the other nations were sunk in ignorance, they were still worthy the name of Romans. In truth, contrasted with the rest of the world in those dark times, Provence appears like a green sunny island in the midst of a stormy ocean. In a country like Provence, where, in summer, scarcely even a feathery cloud flits across the sky, and where every cooling zephyr breathes of violets, the feelings are keenly susceptible of the pleasures which spring from natural beauties; and these are the fountains from which poetry takes its rise. The melody of the Provençale Enjoying, thus, the advantages of repose, climate, and language, poetry was early cultivated in Provence. The professors of this art were known by a name now familiar to all, and the very sound of which awakens roman. tic associations. From their faculty of inventing-le talent de trover (trouver)-they were styled "Trovadours," or (as v and b were sounded alike) Trobadours. The term Trobadour (or, as it is now generally spelled, Troubadour) was used from the middle of the eleventh till towards the end of the fourteenth century, when the Troubadours of France, in imitation of their Italian brethren, assumed the more classical appellation of poets, which, as every one is aware, signifies, like Troubadour, one who makes or invents. This term, poet, has been generally adopted in modern classical languages;—the Germans, however, have disdained to borrow a foreign term, and from their verb dichten, to invent, they call a poet, Dichter. There is a romantic interest attached to the name of a Troubadour; and he is generally associated with the idea of a minstrel, wandering, with his guitar, from castle to castle, and singing rude lays, whose theme was love or Palestine. It may lower their interest in the eyes of some, therefore, to learn that Troubadour signifies nothing more than poet; and that, although some of the Troubadours may have indulged erratic propensities, and met with romantic adventures, yet they were neither dependent on eleemosynary aid, nor peripatetic minstrels, but exactly the same everyday sort of people as the poets of our own times. "Souverains, grands seigneurs, chevaliers, hommes de tout etat, c'est que forme la chaine des Trobadours." The compositions of the Troubadours are commonly classified into five divisions; and out of this limited range these early poets never ventured.-1. Chançons, (or songs,) the subject of which was almost universally love. 2. Sirventes, a species of didactic poetry, chiefly satirical. 3. Contes, Fabliaux, or Romances, of which some extend to several thousand verses. 4. Pastourelles, or ballads. And, 5. Tensons, or Jeux-parties, which were perhaps more in vogue than any of the others. These last are dialogues, where the speakers attack and support a certain proposed theme. Each of these divisions would form an excellent subject for amusing illustration. As already remarked, we are apt to imagine that the Troubadour always accompanied with his music the verses he had previously composed. This is far from being the case; the Troubadour no more thought of singing his own poems, than does Sir Walter Scott or "Le Roman de la Rose" was left unfinished by its author, William de Lorris, who died in 1260; it then contained 4500 John de Meun, who extended the poem to four times its original lines. It was, in the beginning of the following age, continued by length. |