Or the tuneful nightingale Withdraw their summits from the skies, And sinks the newly risen hill. Now I gain the mountain's brow, What a landscape lies below! Below me trees unnumbered rise, Haunt of Phyllis, queen of love! Lies a long and level lawn, On which a dark hill, steep and high, Whose ragged walls the ivy creeps, 'Tis now the raven's bleak abode ; A sunbeam in a winter's day, And see the rivers, how they run See, on the mountain's southern side, So we mistake the future's face, Clad in colors of the air, Which to those who journey near, Barren, brown, and rough appear; Now, even now, my joys run high, Now, even now, my joys run high. Be full, ye courts; be great who will; Search for Peace with all your skill; Open wide the lofty door, Seek her on the marble floor : In vain you search, she is not there; DYER, THOMAS HENRY, an English historian and biographer, born in London, May 4, 1804; died at Bath, January 30, 1888. He was privately educated. For some years he was employed in a West India house, but after the emancipation of the negroes, he established himself in London and adopted literature as a profession. He travelled extensively on the continent and particularly studied the topography and antiquities of Rome, Athens, and Pompeii. He was presented, in 1865, with the honorary degree of Doctor of Laws by the University of St. Andrews. He published a Life of Calvin (1850); History of Modern Europe (1861); History of the City of Rome (1865); History of Pompeii (1867); History of the Kings of Rome (1868); Ancient Athens (1873), and Imitative Art, Its Principles and Progress (1882). He also published many articles in the Classical Museum and in Smith's Dictionaries of Biography and Geography. Mrs. Oliphant, in her Victorian Age of English Literature, says: "Foreign history has never had very much attraction for English writers, but there have been a certain number of exceptions in our time. Thomas Henry Dyer is well known for his elaborate and conscientious History of Modern Europe, from the taking of Constantinople by the Turks in 1453 to the close of the Crimean War. It is remarkable for the lucid manner in which it deals with the curious revolution that followed upon the establishment of the Turks in Europe, the exchange of the old religions for a new political unity, and the gradual building-up of our modern Europe and its ideas upon the balance of power, the explanation of which problem was Dyer's principal object." THE PICTURES IN THE POCILË. The first picture in the Pocilë represented the Athenians drawn up in order of battle, and preparing to engage the Lacedæmonians. Pausanias then proceeds to speak of the middle wall; whence we may conclude with Siebelis that the portico was closed on three sides, and that the middle wall, or that facing the entrance, was double the length of the side walls, as it appears to have contained two pictures, and the others only one. The first of the pictures on the centre wall represented Theseus and the Athenians combating the Amazons. The subject of the second picture was the Greeks and their kings debating about the outrage of Ajax on Cassandra after the capture of Troy. Here Ajax himself was represented, as well as Cassandra and other captive women. The last of the paintings had for its subject the battle of Marathon. In the foreground the Athenians and Platæans-the only Greeks who aided them against the Persians were seen engaged with the Persians in equal combat, the Platæans aided by Boeotian dogs. Beyond these, in the middle ground, the barbarians were flying, and pushing one another into the marsh. This lake or marsh was that formed by the Charadras, under the hills of the isthmus of Rhamnus. In the extreme distance were the Phoenician ships, and the Greeks slaying the barbarians who were attempting to get on board. In the picture were also represented the divinities and heroes who were thought to have aided the Athenians in the fight; as the hero Marathon, son of Apollo, after whom the district was named; Theseus ascending |