Passages from the English Notebooks, Volume 2.

by Nathaniel Hawthorne

By and by I entered the room of Egyptian mummies, of which there are a good many, one of which, the body of a priestess, is unrolled, except the innermost layer of linen. The outline of her face is perfectly visible. Mummies of cats, dogs, snakes, and children are in the wall-cases, together with a vast many articles of Egyptian manufacture and use,—even children's toys; bread, too, in flat cakes; grapes, that have turned to raisins in the grave; queerest of all, methinks, a curly wig, that is supposed to have belonged to a woman,—together with the wooden box that held it. The hair is brown, and the wig is as perfect as if it had been made for some now living dowager.

From Egypt we pass into rooms containing vases and other articles of Grecian and Roman workmanship, and funeral urns, and beads, and rings, none of them very beautiful. I saw some splendid specimens, however, at a former visit, when I obtained admission to a room not indiscriminately shown to visitors. What chiefly interested me in that room was a cast taken from the face of Cromwell after death; representing a wide-mouthed, long-chinned, uncomely visage, with a triangular English nose in the very centre. There were various other curiosities, which I fancied were safe in my memory, but they do not now come uppermost.

To return to my to-day's progress through the Museum;—next to the classic rooms are the collections of Saxon and British and early English antiquities, the earlier portions of which are not very interesting to me, possessing little or no beauty in themselves, and indicating a kind of life too remote from our own to be readily sympathized with. Who cares for glass beads and copper brooches, and knives, spear-heads, and swords, all so rusty that they look as much like pieces of old iron hoop as anything else? The bed of the Thames has been a rich treasury of antiquities, from the time of the Roman Conquest downwards; it seems to preserve bronze in considerable perfection, but not iron.

Among the mediaeval relics, the carvings in ivory are often very exquisite and elaborate. There are likewise caskets and coffers, and a thousand other Old World ornamental works; but I saw so many and such superior specimens of them at the Manchester Exhibition, that I shall say nothing of them here. The seal-ring of Mary, Queen of Scots, is in one of the cases; it must have been a thumb-ring, judging from its size, and it has a dark stone, engraved with armorial bearings. In another case is the magic glass formerly used by Dr. Doe, and in which, if I rightly remember, used to be seen prophetic visions or figures of persons and scenes at a distance. It is a round ball of glass or crystal, slightly tinged with a pinkish hue, and about as big as a small apple, or a little bigger than an egg would be if perfectly round. This ancient humbug kept me looking at it perhaps ten minutes; and I saw my own face dimly in it, but no other vision. Lastly, I passed through the Ethnographical Rooms; but I care little for the varieties of the human race,—all that is really important and interesting being found in our own variety. Perhaps equally in any other. This brought me to the head of one of the staircases, descending which I entered the library.

Here—not to speak of the noble rooms and halls—there are numberless treasures beyond all price; too valuable in their way for me to select any one as more curious and valuable than many others. Letters of statesmen and warriors of all nations, and several centuries back,—among which, long as it has taken Europe to produce them, I saw none so illustrious as those of Washington, nor more so than Franklin's, whom America gave to the world in her nonage; and epistles of poets and artists, and of kings, too, whose chirography appears to have been much better than I should have expected from fingers so often cramped in iron gauntlets. In another case there were the original autograph copies of several famous works,—for example, that of Pope's Homer, written on the backs of letters, the direction and seals of which appear in the midst of "the Tale of Troy divine," which also is much scratched and interlined with Pope's corrections; a manuscript of one of Ben Jonson's masques; of the Sentimental Journey, written in much more careful and formal style than might be expected, the book pretending to be a harum-scarum; of Walter Scott's Kenilworth, bearing such an aspect of straightforward diligence that I shall hardly think of it again as a romance;—in short, I may as well drop the whole matter here.

All through the long vista of the king's library, we come to cases in which—with their pages open beneath the glass—we see books worth their weight in gold, either for their uniqueness or their beauty, or because they have belonged to illustrious men, and have their autographs in them. The copy of the English translation of Montaigne, containing the strange scrawl of Shakespeare's autograph, is here. Bacon's name is in another book; Queen Elizabeth's in another; and there is a little devotional volume, with Lady Jane Grey's writing in it. She is supposed to have taken it to the scaffold with her. Here, too, I saw a copy, which was printed at a Venetian press at the time, of the challenge which the Admirable Crichton caused to be posted on the church doors of Venice, defying all the scholars of Italy to encounter him. But if I mention one thing, I find fault with myself for not putting down fifty others just as interesting,—and, after all, there is an official catalogue, no doubt, of the whole.

As I do not mean to fill any more pages with the British Museum, I will just mention the hall of Egyptian antiquities on the ground-floor of the edifice, though I did not pass through it to-day. They consist of things that would be very ugly and contemptible if they were not so immensely magnified; but it is impossible not to acknowledge a certain grandeur, resulting from the scale on which those strange old sculptors wrought. For instance, there is a granite fist of prodigious size, at least a yard across, and looking as if it were doubled in the face of Time, defying him to destroy it. All the rest of the statue to which it belonged seems to have vanished; but this fist will certainly outlast the Museum, and whatever else it contains, unless it be some similar Egyptian ponderosity. There is a beetle, wrought out of immensely hard black stone, as big as a hogshead. It is satisfactory to see a thing so big and heavy. Then there are huge stone sarcophagi, engraved with hieroglyphics within and without, all as good as new, though their age is reckoned by thousands of years. These great coffins are of vast weight and mass, insomuch that when once the accurately fitting lids were shut down, there might have seemed little chance of their being lifted again till the Resurrection. I positively like these coffins, they are so faithfully made, and so black and stern,—and polished to such a nicety, only to be buried forever; for the workmen, and the kings who were laid to sleep within, could never have dreamed of the British Museum.

There is a deity named Pasht, who sits in the hall, very big, very grave, carved of black stone, and very ludicrous, wearing a dog's head. I will just mention the Rosetta Stone, with a Greek inscription, and another in Egyptian characters which gave the clew to a whole field of history; and shall pretermit all further handling of this unwieldy subject.

In all the rooms I saw people of the poorer classes, some of whom seemed to view the objects intelligently, and to take a genuine interest in them. A poor man in London has great opportunities of cultivating himself if he will only make the best of them; and such an institution as the British Museum can hardly fail to attract, as the magnet does steel, the minds that are likeliest to be benefited by it in its various departments. I saw many children there, and some ragged boys.

It deserves to be noticed that some small figures of Indian Thugs, represented as engaged in their profession and handiwork of cajoling and strangling travellers, have been removed from the place which they formerly occupied in the part of the Museum shown to the general public. They are now in the more private room, and the reason of their withdrawal is, that, according to the Chaplain of Newgate, the practice of garroting was suggested to the English thieves by this representation of Indian Thugs. It is edifying, after what I have written in the preceding paragraph, to find that the only lesson known to have been inculcated here is that of a new mode of outrage.