The Tootmanyoso, on the completion of his work, is seen offering up thanks to Heaven.
The principal figure stands out from the picture in a marvellous way. A glory of light shines on the monarch's brow, and his eyes are illumined with heavenly fire and inspiration. In the background are the people, surrounded by plenty, and guarded by myriads of angels. Our painters have the art of giving to their delineations of angels an incorporeal vapoury appearance, like that of forms sometimes seen in sleep. The Tootmanyoso is in the act of accompanying his hymn of praise with the grand music of the harp. This instrument with us is of gigantic proportions, and, touched by a skilful player, produces lovely effects. It is not supported by the executant, but revolves easily on a ball and socket, to which, having been placed at the exact inclination required, it is fixed by a small bolt before he intones his hymns.[1]
[Footnote 1: See p. 243.]
It was delightful for me to go down occasionally to the great room, and to meditate on these pictures, and the subjects that had inspired the painters. The light and tone of the place, and the general impression made upon me, seemed to savour more of heaven than of earth.
XIX.
WOMAN.
CHOOSING BY HAND—CHOOSING BY FOOT—GIRLS' DOBMITORIES—EARLY RISING—PRAYERS.
"Let woman be as soft as down, as sharp as a lancet, as sparkling
as the diamond, and as pure as Stainer's fount." [1]
[Footnote 1: See p. 149.]
Woman is the object of much solicitude and consideration, and enjoys many privileges. The tendency of her education is to qualify her for the position which nature intended her to hold as the companion and helpmate of man. However she is instructed, though not to so great in degree, in many branches of art and science, cultivated by the stronger sex, the design being to enable her to appreciate the efforts of man and to encourage and comfort him in his progress, but not to take his place. With us women are happy and contented, and words of complaint rarely fall from their lips.