The Life and Letters of Maria Edgeworth, Volume 1

by Maria Edgeworth

We saw the MS. written on papyrus leaves: I had seen the papyrus at the Liverpool Botanic Garden, and had wondered how the stiff bark could be rolled up; and here I saw that it is not rolled up, but cut in strips and fastened with strings at each end.

In this library were three casts, taken after death—how or why they came there I don't know, but they were very striking—one of Charles XII., with the hole in the forehead where the bullet entered at the siege of Fredericks-hall; that of Pitt, very like his statue from the life, and all the prints of him; and that of Fox, shocking! no character of greatness or ability—nothing but pain, weakness, and imbecility. It is said to be so unlike what he was in health, that none would know it. One looks at casts taken after death with curiosity and interest, and yet it is not probable that they should show the real natural or habitual character of the person: they can often only mark the degree of bodily pain or ease felt in the moment of death. I think these casts made me pause to reflect more than anything else I saw this day.

Went next to Trinity College Library: beautiful! I liked the glass doors opening to the gardens at the end, and trees in full leaf. The proportions of this room are excellent, and everything but the ceiling, which is too plain. The busts of Bacon and Newton excellent; but that of Bacon looks more like a courtier than a philosopher: his ruff is elegantly plaited in white marble. By Cipriani's painted window, with its glorious anachronisms, we were much amused; and I regret that it is not recorded in Irish Bulls. It represents the presentation of Sir Isaac Newton to His Majesty George the Third, seated on his throne, and Bacon seated on the steps of the said throne writing! Cipriani had made the King, Henry VIII., but the Fellows of the College thought it would be pretty to pay a compliment to His Gracious Majesty George III., so they made Cipriani cut off Henry VIII.'s head, and stick King George in his place: the junction is still to be seen in the first design of the picture, covered with a pasted paper cravat! like the figure that changes heads in the Little Henry book.

Saw Milton's original MSS. of his lesser poems, and his letters and his plan of a tragedy on the subject of Paradise Lost, which tragedy I rejoice he did not write. I have not such delight in seeing the handwriting of great authors and great folk as some people have; besides by this time I had become very hungry, and was right glad to accept Mr. Smedley's proposal that we should repair to his rooms and take some sandwiches.

Rested, ate, talked, looked at the engravings of Clarke's marbles, and read the account of how these ponderous marbles had been transported to England. We saw the marbles themselves. The famous enormous head of Ceres must have belonged to a gigantic statue, and perhaps at a great height may have had a fine effect. It is in a sadly mutilated condition; there is no face; the appearance of the head in front is exactly like that of Sophy's doll, whose face has peeled off, yet Clarke strokes it and talks of its beautiful contour. The hair is fine, and the figure, from its vast size, may be sublime.

After having recruited our strength, we set out again to the
Vice-Chancellor Davis's, to see a famous picture of Cromwell. As we
knocked at his Vice-Chancellorship's door, Mr. Smedley said to me, "Now,
Miss Edgeworth, if you would but settle in Cambridge! here is our
Vice-Chancellor a bachelor … do consider about it."

We went upstairs; found the Vice-Chancellor's room empty; had leisure before he appeared to examine the fine picture of Cromwell, in which there is more the expression of greatness of mind and determination than his usual character of hypocrisy. This portrait seems to say, "Take away that bauble," not "We are looking for the corkscrew."

The Vice-Chancellor entered, and such a wretched, pale, unhealthy object I have seldom beheld! He seemed crippled and writhing with rheumatic pains, hardly able to walk. After a few minutes had passed, Mr. Smedley came round to me and whispered, "Have you made up your mind?" "Yes, quite, thank you."

Now for the beauty of Cambridge—the beauty of beauties—King's College Chapel! On the first entrance I felt silenced by admiration. I never saw anything at once so beautiful and so sublime. The prints give a good idea of the beauty of the spandrilled ceiling, with its rich and light ornaments; but no engraved representation can give an idea of the effect of size, height, and continuity of grandeur in the whole building. Besides, the idea of DURATION, the sublime idea of having lasted for ages, is more fully suggested by the sight of the real building than it can be by any representation or description: for which reason I only tell you the effect it had upon my mind.

The organ began to play an anthem of Handel's while we were in the chapel: I wished for you, my dear Sneyd, particularly at that moment! Your friend took us up the hundred stairs to the roof, where he was delighted with the sound of the organ and the chanting voices rising from the choir below. My father was absorbed in the mechanical wonders of the roof: that stone roof, of which Sir Christopher Wren said, "Show me how the first stone was laid, and I will show you how the second is laid."