Lives of the Founders of the British Museum, Part 1 of 2: With Notices of Its Chief Augmentors and Other Benefactors, 1570-1870.Edwards, Edward
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Lives of the Founders of the British Museum, Part 1 of 2: With Notices of Its Chief Augmentors and Other Benefactors, 1570-1870.
Edwards, Edward
Book collectors -- Great Britain; British Museum
One of the metopes from the south side of the Parthenon, removed by
the Count de Choiseul, during his embassy at the eve of the
Revolution, was captured by an English ship when on its way to
France, and had been purchased by Lord Elgin at a Custom House sale
in London. By him it was returned to Choiseul, with a liberality too
rare in such matters. When this metope came, after Choiseul’s death,
to be sold at Paris, by auction, the Trustees of the British Museum
sent a commission for its purchase. The commissioner went so far as
to offer a thousand pounds, but was overbidden by the French
Government.
Footnote 64:
_Curse of Minerva_, passim.
Footnote 65:
That my needful abridgment, in the text, of Mr. Payne Knight’s words
may not misrepresent his meaning, I subjoin the whole of the
passage:—‘Had this powerful engine of influence’ [namely, loss of
caste] ‘been employed in favour of pure morality and efficient
virtue, the Hindoos might have been the most virtuous and happy of
the human race. But the ambition of a hierarchy has, as usual,
employed it to serve its own particular interests instead of those
of the community in general.... Should the pious labours of our
missionaries succeed in diffusing among them a more pure and more
moral, but less uniform and less energetic system of religion, they
may improve and exalt the character of individual men, but they will
for ever destroy the repose and tranquillity of the mass.... The
prevalence of European religion will be the fall of European
domination.... The incarnations which form the principal subject of
sculpture in all the temples of India, Tibet, Tartary, and China,
are, above all others, calculated to call forth the ideal
perfections of the art, by expanding and exalting the imagination of
the artist, and exciting his ambition to surpass the simple
imitation of ordinary forms, in order to produce a model of
excellence, worthy to be the corporeal habitation of the Deity. But
this no nation of the East, nor indeed of the Earth, except the
Greeks and those who copied them, ever attempted.’—_Analytical
Inquiry_, &c., p. 80.]
Footnote 66:
_Carmina Homerica Ilias et Odyssea a rapsidorum interpolationibus
repurgata, et in pristinam formam ... redacta; cum notis ac
prolegomenis, ... opera et studio_ Richardi Payne Knight. 1808, 8vo.
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