and executed in gold letters on a black ground: "Hic depositum est corpus Jonathan Swift, S. T. P. Hujus Ecclesiæ Cathedralis Decani; Ubi sæva Indignatio Ulterius Cor lacerare nequit. Abi viator, et imitare si poteris, strenuum pro virili libertatis vindicatorem. Obiit anno [1745], mensis [Octobris] die [19] ætatis anno [78.]" Above is a bust of Swift, contained in a circular recess, round which is inscribed: "This bust is the gift of S. T. Faulkner, Esq." Beneath are his arms, bearing this motto: "Cum magnis vixisse." MEMORIALS OF THE DEAN. There are many interesting relics of Swift still preserved by the curious. His cream-ewer was purchased with the collection of Dean Dawson, for the museum of the Irish Academy. A Bible, said to have been his, and containing some scraps of his writing, is in the possession of J. H. Reid, Esq., of Dublin. The Dean gave away, among his friends, as well as received, presents of several snuff-boxes. A gold box, said to have been Swift's, was sold at Dr. Barrett's auction it had a miniature of Stella on the lid. A flat oblong snuff-box, of pure gold, is said to have been bequeathed by the Dean to his housekeeper, Mrs. Ridgeway, among the "small pieces of plate" alluded to in Swift's will. Inside the lid are the following lines: CELER AD FERVENDUM. From Churchmen's scribbler wit, wit's a fool Few like your's would appertain to Heaven; But with a cacoethes scribendi am smitten; The box may be metal's basest dross ; If you lose it the less the loss; And though new it now appears, D. L--y's mother used it many years. The solution is:-Celer ad fervendum is Latin (more Swiftish than Ciceronian) for Swift to Boyle (boil) i.e. his friend John Boyle, Earl of Cork and Orrery, whose peerage appertaining to Heaven is in allusion to his title,—an Orrery being an instrument representing the heavenly bodies. D-Ly is Doctor Delany. Mr. Wilde, on testing the box, found it to be only pinchbeck, which Swift implies in "metal's basest dross." In a note in his biography, Scott says that his friend, Dr. Tuke of Dublin, has a lock of Stella's hair, enclosed in a paper by Swift, on which are written, in the Dean's hand, “ Only a woman's hair :"-an instance, says Scott, of the Dean's desire to veil his failings under the mark of cynical indifference. Among the legacies left by Swift's will, was a Japan writing-desk, given him by Lady Worsley; a tortoise-shell snuff-box, inlaid with gold, given by Henrietta, Countess of Oxford; and a seal with Pegasus, given by the Countess Granville. He also left Pope the picture by Zincke of Robert Earl of Oxford; and to Edward Earl of Oxford, his seal of Julius Cæsar, and another, supposed to be Hercules; specifying that he "bestowed them upon him because they belonged to her late most excellent Majesty, Queen Anne, of ever glorious, immortal, and truly pious memory, the real nursing mother of her kingdom." To Dr. Delany he left his "medal of Queen Anne in silver, and on the reverse the Bishops of England kneeling before her most sacred Majesty." Dr. Delany, who was also Chancellor of St. Patrick's, was one of Swift's eight executors. PORTRAITS OF SWIFT. There are three portraits of the Dean, painted by Bindon: one at the Deanery House, Dublin, with part of St. Patrick's cathedral in the distance. When a fire broke out at the Deanery, Dean Cradock commanded those who assisted, to leave their exertions to save his own property and books, until they had first secured Swift's portrait. The second portrait, the property of Dr. Hill, of Dublin, is supposed to be one of the best likenesses in existence: the expression of the features is rather of a deep and melancholy, than a stern or harsh cast. The third portrait is at Howth Castle: it is a full-length, in clerical costume; the temple of Fame in the background; on the Dean's right appears the genius of Ireland, extending a laurel-wreath, as about to crown the patriot; in his left hand he holds forth a scroll, on which is written, "The fourth Drapier's Letter." At his feet, on the right of the picture, lies bound the famous patentee Wood; he is depicted in agony. On a scroll is written "Wood's patent." A full-length painting of the Dean, in his clerical habit, is placed in the theatre, or examination-hall of Trinity College, Dublin, mostly copied from the oil painting at the Deanery house. One side of the mouth (the left) is contorted downwards, as if convulsed by pain. The most interesting representation of Swift is a plaster-ofParis cast, taken after his death, which is in the museum of Trinity College, Dublin. The expression of the face is placid and free from turbulent expression, except a drag in the left side of the mouth, believed to have existed some years previous to his death. There is a marble bust of Dean Swift in the possession of Dr. Duke, Stephen's-green, Dublin. Mr. Preston, of Bellinter, possesses a fine full-sized oilpainting of Stella, which, in size, matches one of the Dean which is likewise preserved in the same family. It may have been painted by Jervas, who was a particular friend of Swift. The portrait engraved for Lord Orrery's work is from a profile in crayons by Barker, age about sixty, and one of the only two portraits of him without the periwig. This portrait corresponds with the posthumous bust, except that Ravenet, the engraver, has laboured to give it a look of imbecility and weakness, which the original in nowise possesses. Of miniatures of the Dean, one is that in a locket, backed with a red Wicklow pebble. Another miniature of Swift, set in a locket, belonged to Alderman Faulkner; Sir William Betham had also a well-executed miniature of the Dean. The six busts of Swift,* known in Dublin, strengthen the phrenologists' assertions, for they exhibit six different forms of head, little resembling each other, although mostly taken about the same time; yet they all, more or less, present the sloping forehead. Although the forehead was so retiring, that at the Dublin Phrenological Society it was stated that "the man must have been apparently an idiot," in reality the capacity of the cranium was, Mr. Hamilton shows, very great. One of these busts is a fine work in marble, by Roubiliac: it was presented to the library of Trinity College, Dublin, by the Senior Sophisters, who, on their forming themselves into a Senate in 1738, applied the money usually laid out in an entertainment to the purchase of this memorial, placed among the heads of other men of genius and learning. * These are: 1-The bust in St. Patrick's. 2-At Charlemont House. 3-By Van Nost, at Mrs. Crampton's, Kildare-street. 4-By Cunningham, belonging to Godwin Swift, Esq. 5-That in the University, by Roubiliac. 6-That in marble, in the possession of Mr. Watkins, picture-dealer, Dublin. The following verses written upon the presentation, graphically allude to the Dean's noble bequest :— "We, youth of Alma—thee, her pride and grace, Swift was in person tall, strong, and well made, of a dark complexion, but with blue eyes, black and bushy eyebrows, nose somewhat aquiline, and features which remarkably expressed the stern, haughty, and dauntless turn of his mind. He was never known to laugh, and his smiles are happily characterized by the well-known lines of Shakspeare — indeed, the whole description of Cassius might be applied to Swift: "He reads much, He is a great observer, and he looks In youth, the Dean was reckoned handsome; Pope observed, that though his face had an expression of dulness, his eyes were very particular. They were as azure, he said, as the heavens, and had an unusual expression of acuteness. In old age, the Dean's countenance conveyed an expresssion which, though severe, was noble and impressive. He spoke in public with facility and impressive energy. A woman who died in the year 1858 in St. Patrick-street, Dublin, at the age of 110 years, distinctly remembered and described the appearance of the Dean, and added that he never went outside the Deanery-house that he was not attended through the streets by a vast crowd of washed and unwashed admirers. CHARACTERISTICS, PERSONAL TRAITS, THE distinguishing feature of Swift's character was pridea complete consciousness and appreciation of the value of the power which he had acquired by a severe course of study and observation, combined as it was with a determination of purpose which no danger could intimidate, and which turned aside from no labour necessary to the accomplishment of his aims. He was thoroughly honest, but his honesty was often combined with a straightforward bluntness which was offensive to fastidiousness and vanity. In spite of the sternness of his character, which was often indeed more in appearance than reality, he was a man of deep feeling, devotedly attached to his friends, and active in promoting their interests; nor were his friends less attached to him. The humour of stubborn independence, which influenced the Dean's whole character, stamps it at first examination with a whole chain of paradoxes. A devout believer in the truths of Christianity, a constant observer of the rules of religion, and zealous even to slaying in the cause of the Church of England, Swift assumed an occasional levity of writing, speaking, and acting, which caused his being branded as an infidel, a contemner of public ordinances, and a scoffer of church-discipline. Nor was this all. A zealous friend of liberty in temporal politics, he acted during his whole life with the Tory party,—disliking Ireland, even to virulent prejudice, he was the first and most effectual vindicator of her rights and liberties; and, charitable and benevolent to the extreme limits of a moderate revenue, he lay under the reproach of avarice and parsimony. An admirer of paradoxes, like Dr. Fuller, might have found points in his history as well as opinions, capable of being placed in strong contrast. The first writer of his age was disgraced at college; the principal supporter of Queen Anne's last administration, whose interest had made many a prelate, was himself unable to attain that dignity; and he who in his writings exhibited a tone of the |