The tomb of Saint George, England's patron-saint, is situated in the Bay of Kesrouan, between the Nahr-et-Kelb and Batroun, surrounded by luxuriant gardens and groups of romantic-looking villages and convents. The Arabs venerate St. George, whom they style Mar Djurios, and point to a small ruined chapel (as in our engraving), originally dedicated to him to commemorate his victory over the dragon, which, they say, took place near to the spot. The tradition is, that the dragon was about to devour the king of Beyrout's daughter, when St. George slew him, and thus saved the lady fair; and the credulous natives point to a kind of well, upwards of sixty feet deep, where they stoutly affirm that the dragon used to come out to feed upon his victims.
All this is very curious, inasmuch as it gives an Arabian interest to the career of the patron saint of England, whose portrait, in the act of slaying the dragon, constitutes the reverse of most English coin, and is regarded as the embodiment of English valour.
BEGGARS SELECTED AS MODELS BY PAINTERS.
Michael Angelo Buonarotti often drew from beggars; and report says, that in the early part of his life, when he had not the means of paying them in money, he would make an additional sketch, and, presenting it to the party, desire him to take it to some particular person, who would purchase it. Fuseli, in his life of Michael Angelo, says that "a beggar rose from his hand the patriarch of poverty." The same artist, in one of his lectures, delivered at the Royal Academy, also observes, that "Michael Angelo ennobled his beggars into Patriarchs and Prophets, in the ceiling of the Sistine Chapel."
Annibal Caracci frequently drew subjects in low life. His Cries of Bologna, etched by Giuseppe Maria Mitelli: pub. 1660, in folio, are evidently from real characters. It will also be recollected, that some of the finest productions of Murillo, Jan Miel, and Drogsloot, are beggars. Callot's twenty-four beggars are evidently from nature; and among Rembrandt's etchings are to be found twenty-three plates of this description.
Sir Joshua Reynolds frequently painted from beggars, and from these people have originated some of his finest pictures, particularly his "Mercury as a Pickpocket," and "Cupid as a Link-boy." His Count Ugolino was painted from a paviour, soon after he had left St. George's Hospital, from a severe fever. Mr. West painted the portrait of a beggar, on the day when he became a hundred years old; and considered him as a pensioner for several years afterwards. The same person was used also as a model, by Copley, Opie, &c. Who can forget the lovely countenance of Gainsborough's "Shepherd's Boy," that has once seen Earlom's excellent engraving from it? He was a lad, well known as a beggar to those who walked St. James's-street seventy years ago. The model for the celebrated picture of the "Woodman," by the same artist, died in the Borough, at the venerable age of 107.
Mr. Nollekens, in 1778, when modelling the bust of Dr. Johnson, who then wore a wig, called in a beggar to sit for the hair. The same artist was not equally fortunate in the locks of another great character; for on his application to a beggar for the like purpose, the fellow declined to sit, with an observation that three half-crowns were not sufficient for the trouble.
SUPPLY OF WATER FOR OLD LONDON.
Leaden pipes conveyed spring water to London city from Tyburn in 1236; and in 1285 the first great conduit of lead was begun there. In 1442 Henry VI. granted to John Hatherley, Mayor, license to take up 200 fother of lead. The pipes from Highbury brought in the water in 1483. We may learn how much was thought of this useful work by the fact that the Lord Mayor, Aldermen, and many worshipful persons used to ride and view the conduit heads at Tyburn; and after dinner there, somewhat different from recent sportsmen, they hunted a fox.