Engravings of lions, tigers, panthers, leopards, dogs, &c., chiefly after the designs of Sir Edwin Landseer

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ENGRAVINGS

OF

LIONS, TIGERS,
PANTHERS, LEOPARDS,

DOGS, &o.

CHIEFLY AFTER THE DESIGNS OF

SIR EDWIN LANDSEER,

BY HIS BEOTHEE,

THOMAS LANDSEER,

PRINTED TEOM TUB ORIGINAL PLATES PVBLISUED BETWEEN 1823 AND 1828.

LONDON:

HENRY G. BOHN, YORK STREET, COVENT GARDEN.

MDCCCLIII.

K4 5)758

LIST OF PLATES.

DESIGNER

ENGRAVER

1 Lion couchant, Frontispiece

EDWIN LANDSEER ...

T. Landseer

2 Leopard, after Eidinger

SPILSBURY

T. Landseer

3 Lions, after Eubens

SPILSBURY

T. Landseer

4 Tiger, from Nature

SPILSBUHY

T. Landseer

5 Leopards, after Eubens

SPILSBURT

T. Landseer

6 Contending Group, from Nature

EDWIN LANDSEER ...

T. Landseer

7 Lion and Snake, from Nature

SPILSBURY

T. Landseer

8 Senegal Lion and Lioness, after Ridinger

SPILSBUHY

T. Landseer

9 Lion and Tiger, after Stubbs

SPILSBURT

T. Landseer

10 Tigress, from Nature

T. LANDSEER

T. Landseer

11 Lions, after Eubens

SPILSBURY

T. Landseer

12 Panthers, after Stubbs

SPILSBUEY

T. Landseer

13 Panthers, after Stubbs

SPILSBUHY

T. Landseer

14 Leopards and Panthers, after Stubbs

SPILSBURY

T. Landseer

15 Lions, after Eubens

SPILSBURY

T. Landseer

16 Lions, after Eubens

SPILSBURY

T. Landseer

17 Lioness and Bitch, from Cross's Menagerie

EDWIN LANDSEER ...

T. Landseer

18 Lion, after Eidinger

SPILSBUHY

T. Landseer

19 Tiger and Indian Bullock, from Nature

EDWIN LANDSEEH ...

T. Landseer

f Senegal Lion, after Eidinger ^

20 < Black-maned Lion, after Eembrandt \.

SPILSBURY

T. Landseer

(_ Lioness, after Eidinger j

21 Neptune, a Newfoundland Dog

EDWIN LANDSEER ...

T. Landseer

22 Brutus, a Terrier

EDWIN LANDSEER ...

T. Landseer

23 Portrait of a Cross of the Dog and Fox

EDWIN" LANDSEER

T. Landseer

24 Dogs setting a Hare

EDWIN LANDSEER ...

T. Landseer

25 Vixen, a Scotch Terrier

EDWIN LANDSEER ...

T. Landseer

26 Fox Hounds of the Hatfield Hunt

EDWIN LANDSEER ...

T. Landseer

27 Proctor, Study of a Blood-hound's Head

EDWIN LANDSEER ...

T. Landseer

28 Bob, a favourite Terrier

EDWIN LANDSEER ...

T. Landseer

29 The Poacher, " The "Wily Fox"

EDWIN LANDSEER ...

T. Landseer

30 Alpine Mastiff

EDWIN LANDSEER ...

T. Landseer

31 Old Dog looks like a Picture

EDWIN LANDSEER ...

J. Webb

\32 'Fight between " JackVMaccswco," a celebrated Monkey,!
and Mr. Thos. Cribb's well known bitch " Puss "... J

T. LANDSEEH

T. Landseer

33 Little Billy, a celebrated Bull Dog

T. LANDSEER

T. Landseer

34 Black Cap, a Harrier's head

Gr. H. LAPORTE . ...

T. Landseer

35 Dead Eed Deer

EDWIN LANDSEER ...

J. R. Scott

36 Tiger Hunt

T. LANDSEER

T. Landseer

37 Tiger taking the Water

SIR C. D'OTLY, Bart. .

T. Landseer

38 Elephants returning from the Hunt

SIR C. D'C-YLY, Bart. .

T. Landseer

39 Eed Deer

E. HILLS

T. Landseer

CARNIVOROUS QUADRUPEDS.

DESCRIPTION OF THE PLATES.

THAT there has hitherto existed no good book of Engravings of the nobler wild animals,
to assist the progress of the student in that department of Art, is to be regretted. The talents
of Mr. JOHN SCOTT, brought into action by those of GILFIN, COOPEB, and the REINAGLES,
have presented the public with excellent representations of the distinguished ornaments of the
turf: the sports of the field, and the habits and manners of the canine race, were also duly
honoured : but of the ferocious TIGER tribe, and the lordly LION, we have nothing extant that
would bear critical inspection, beyond a few detached prints: — nothing like a collection of
figures, whose justness and accuracy of form, action, character, and expression, might be
relied on.

Does any reader imagine that the various Etchings which have been performed — chiefly
abroad — by Artists of no mean ability, ma}' be considered as exceptions ? They are not exceptions :
or at best, the number which might be so regarded is but small, and those, for the most part, of
dimensions not accommodated to the drawer of the cabinet, or the shelf of the library.

But they are not objectionable on this ground alone. Speaking of them in the aggregate, the
heavier charge lies against them of being insufficient to those purposes of taste and information
which are the ends of Art. Even those after TITIAN and after RUBENS (the latter of whom has
perhaps painted a greater number than any other of the old masters) are far more deficient in
form, character, and expression, than is generally supposed, or than will be easily believed, by
those who have not actually compared them with the Lions, Leopards, and Tigers of Nature.
They have been taken too much on the credit which attaches to the great names of their authors.
— Nor is this intended to impugn the merits, as historical or poetical painters, of those distinguished
Artists, but simply as an assertion of truth. It is possible, that as a painter of allegory, RUBENS
might consider that strong infusion of human form, character, and expression, by which his Lions,
for example, are distinguished, as necessary, or conducive, to his allegorical purposes ; or, it is pos-
sible that his knowledge of this animal may not have been thoroughly well-grounded, and that he
may have laboured under early prejudice of mind, or of vision, in this part of his education as a
Painter, and may not have seen Lions as they really are. This is what the writer is most inclined
to believe, (though not to insist) j for even in treating the subject of Daniel in the den of Lions —

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the scene of which, by the way, he has not represented as a royal menagerie, but as a wild,
rocky cavern— his animals partake of the artificial character of which we cannot bring- ourselves to

approve.

Of this fact, however, we purpose to exhibit proof with our assertion. Improved versions, to
the best abilities of our Artists, of some of these Lions of RUBENS and the Assyrian king, will here
be introduced, which the reader, who pleases, may compare Avith the originals. Our second, third,
and fourth Plates are of the number.

The Lions of RUBENS are humanized. We do not intend to discuss at length whether the
ideality of allegorical painting required this : we only state the fact : yet the opinions which we
felt at liberty to form on the subject, we feel at liberty to utter. So much in apology for using the
licence of asserting that the heads of many of the Lions of RUBENS rather resemble those of frowning
old gentlemen decorated with Ramillies wigs ; as if Nature's journeymen had made manes, and not
made them well. There is a profusion of flowing and curling- hair, which seems rather to solicit
the unguents of the perfumer, than to have endured the torrid heats of the desert, or the rough
storms of the forest. The shag of a Lion's mane is a very different sort of thing.

However such dressed Lions may be thought to accord with Allegory, they are demonstrably
at variance with Nature. To be sure, what might become a Lion in the procession of the Cardinal
Virtues, might be rather unsuitable in his den, or within the precincts of those wild haunts, where he
is accustomed to roam in his natural state. We have often read of the fabled Men-bulls, or (Mino-
taurs,) and we find such on the coinage of Crete. These allegorical creatures of RUBENS, which,
alas ! have sometimes been quoted by Artists without half his genius, and placed in savage con-
flicts, or beside their Britannias — are a species of Men-lions. Placed among the Saboean sculp-
tures, they might pass for incarnations of Sol in Leo ; but would very ill pass for Leo alone.

Among the observers of this poetic improvement, or this natural and unpoetical deficiency, on
the part of RUBENS, TITIAN, JULIO ROMANO, and other painters, both ancient and modern ; and
of the consequent desideratum on the part of the public, of a cabinet or library collection of the
nobler wild animals in a state of Nature, so as to answer the purposes of reference, while they con-
duced to the pleasures of Taste, were Mr. EDGAR SPILSBURY and Mr. THOMAS LANDSEER.
Whether or not the public "looked up to them for light" on that subject, (to use the language of
STERNE,) they thought the Public " deserved it ;" and they therefore, as the best practical means
of eliciting that light, first copied the general forms and attitudes of most of the wild animals that
appear in this book, from the old masters— generally speaking, from works that are well known
-and then, went to Nature and corrected the details. They carried with them what, in those
ancient masters, was meritorious in composition, attitude and chiaroscuro, and brought away,
to the best of their ability — superadding it to, and blending it with, the above— accuracy of
detail.

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CARNIVOROUS QUADRUPEDS. 3

Every artist does best, that which he is best qualified and best disposed to do. In com-
pleting- the number of plates that has been found necessary for the Work, Mr. EDWIN LANDSEER
has chosen to proceed toward the same purpose, upon a different principle. He has gone, without
any introductory medium, directly to the living- animals, and has exhibited the savage manners and
habits of these quadrupeds, according to his own ideas and observations.

On the distinction between CHARACTER and EXPRESSION, we shall now deliver our opinion.
By the Character of an animal, we mean those permanencies of his look and features which he
always offers to view when in a placid, or unimpassioned state : by his Expression, the variations
of muscular action superinduced on character, to which he is liable, as the storms of passion sweep
by, and his mind becomes agitated by external circumstances acting on the ardours of his instinct.

The former, seems to hold its court in the solid and massy parts : the latter, agitates, oft-
times rebelliously, the nerves and muscles. Character is ever present, both in the animal coun-
tenance, and in the " human face divine." The most violent expression does not proscribe, or
obliterate, character. Individuality consists of it, as far as concerns external appearance ; and it
forms the system of vowels of the language of Nature, without which no Expression could be.

Whoever regards the faces of a flock of Sheep, will see in them an infinite variety of Character,
with very little Expression, and that little without diversity : and if we descend a step lower in
the scale of being, and contemplate the finny tribe, where Character is not wanting, we find no
Expression at all. Even Trees and inanimate objects, possess Character. We recollect a poetical
friend of ours, now in Italy, saying that every tree and every rock had a face — but of this we are
not so certain ; though very certain, that there is enough of Character in rocks and trees, to make
a poet think so.

Character and Expression, in the carnivorous class of animals, to which we here solicit
attention, are always co-existent — their proportions varying with the existing occasions— in
pictorial exhibitions of such subjects.

No. II.

THERE is much Character, and little Expression, in the reposing Leopard witli his sheathed
claws, which is shewn in the present engraving, copied by Mr. SPILSBURY from RIDINGER, and
corrected from Nature. EIDINGER was an artist of great power, who studied wild animals in
their sequestered haunts, as is shewn in his grand forest back-grounds ; and who, generally
speaking, left little or no room for others to improve, except on some few of his inferibr works.
The present is an interesting and beautiful animal, yet -there is a latent capability of mischief
characterised in his countenance, and we might ask, in the language of Job, " Who shall dare to
rouse him up ?"

4 CARNIVOROUS QUADRUPEDS.

No. III.

Two COUCHANT LIONS, AFTER RUBENS, taken from his celebrated picture before alluded
to, of the Prophet Daniel incarcerated in the den. The Lions are here supposed to be miraculously
held in a state of tranquillity. Here, too, is not much Expression, but an extraordinary grandeur
of Character, suited to the greatness of an occasion where the Deity himself especially interferes
to seal up the voracious energies of the most terrible of his creatures, in calm submission. There
is a character of royal dignity mingled with this submission, which is very impressive, and even
sublime.

The writer esteems this to be a successful restoration of the Nature that was wanting in the
prints of this subject, (which has often been engraved by PICART and others,) after RUBENS. The
original picture it has been our ill-fortune never to have seen. The shaggy manes, and the latent
terror that sits gloomily enthroned in the open eyes of the superior Lion — suited to the darkness of
the den, and the nature of this animal's sense of vision, — are as well thought of, as they are
executed ; and are varied with much address from the closed eyes of the couching Lion beyond,
of which also the character is most happily marked. A powerful and divine spell possesses
them both.

No. IV.

THE TIGER WHICH MARCHES IN OUR PROCESSION, without an object before him to call
forth emotion, possesses a calm character, combined with the resistless strength of that dreadful
quadruped j whose very tranquillity, in his leisure sauntering, when no excitement is acting on his
nerves, has an appalling effect.— His brow is clouded, though his claws are sheathed. There is a
possibility of a dreadful storm which may not be far distant, and that is enough to stamp the
Tiger's character. None shall dare to arouse his energies, nor to encounter them when aroused.

No. V.

THIS GROUP OF PLAYFUL LEOPARDS, AFTER RUBENS, must be supposed to belong to the
jocund train of Bacchus, since they are luxuriating at their ease, among grapes and vine branches.
These Leopards are doubtless intended to have a degree of playful expression— induced perhaps by
the exhilarating juice of the grape : and we should "guess" (as Jonathan says) that this group
was studied from a litter of half-grown kittens. Few, however, except the sailors who were
accustomed to gambol with the Tiger-cub on board the Pitt East-Indiaman, would like to venture
to frolic with them.

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CARNIVOROUS QUADRUPEDS.

No. VI.

IN this GROUP by MR. EDWIN LANDSEER there is much of violent animal Expression, and
Character fades before it, or rather, is absorbed in it. It tells a story of the past as well as the
present, and is pregnant with a catastrophe not difficult to anticipate from the actions and
expressions of the parties engaged. A FAWN has been seized by a LEOPARD, who has been
despoiled of his prey by a more powerful TIGER. The Tiger in his turn becomes the victim of an
enraged LION.

The expression of the wounded Leopard is that of painful suffering- mingled with dread.
Together, they amount to agony. He shrieks while he submits. The Tiger is still enraged and
resisting, though astounded with the power and suddenness of the Lion's attack. He is losing his
energy of resistance, and is beginning to feel that all resistance is vain. He roars with anguish ;
while his expression is that of terror, and indignation not yet subdued.

The Lion, who has just made his thundering spring, appears conscious of having fatally seized
his adversary, and luxuriates fearlessly in his victory ; and with a powerful and just expression of
carnivorous enjoyment. — Meanwhile the characters of the animals, severally, are faithfully and
specifically represented.

Although our main purpose be to exhibit rather a pictorial than a physiological view of the
subject : having descanted on the word Character, we shall probably be expected to add, at least
a word or two, on the leading characteristics of the carnivorous class of quadrupeds.

The generic characters of the Feline, or Cat, kind, are easily enumerated in the concise
language of the naturalists. Their heads are round ; . their visages short : they have six cutting
teeth, and two canine, in either jaw : their tongues are aculeated, the prickles inclining backward ;
their claws sharp, hooked, and retractile ; their ears small and acuminated ; they have five toes on
each of the fore-feet, and four only on those behind.

Of this genera of Cats, we here exhibit the four principal species, Lions, Tigers, Leopards,
and Panthers, of which the Lion is justly placed at the head — at least, the unanimous voice of ages
has pronounced him to be the king of beasts, and we have enthroned him accordingly in our Title-
page, (No. I.) They form a tribe that is especially and properly Carnivorous, being the only
class of quadrupeds that are exclusively fash-eaters. Their jaws are very completely armed for
this purpose ; their canine teeth being very long and angular, with the edges of the angles turned
toward the inside of their mouths ; so that when the animal has caused them to meet, or cross each
other in the flesh of its prey, these formidable teeth will cut or tear a way through, by drawing
them back without opening his mouth.

Their claws, and the formation of their feet, too, are eminently conducive to their predacious

0 CARNIVOROUS QUADRUPEDS.

and carnivorous habits. They walk on their toes : yet not so much from that habitual stealthiness
of pace, by which they advance unperceived till within a spring of their prey ; as because it is also
the means of that celerity of motion which is necessary to the very existence of animals that can
fleed only on flesh.

Their claws are exceedingly powerful ; and they are enabled to draw them up into sheaths
between their toes, so as to prevent their points from touching- the ground ; whence they are
called retractile ; and those claws are, in consequence, always kept sharp, unworn, and ready for
active service.

The eyes of the Feline tribe— of every face in nature a striking- and important feature— vary
in the different species, and are capable of much alteration in the same animal ; as instinctive
impulse, or internal emotion, changes the expression of his countenance ; and also from the
degrees of light which act upon their pupils. Of Lions the pupils of the eyes are circular, and
not of a yellow colour, as has been stated in the most diffuse modern dissertations on the
Caraivora, but black. It is the iris of the Lion's eye that is yellow. They appear to be best
suited to nocturnal, or twilight, vision ; and hence the Lion rarely hunts his prey while the sun
is above the horizon— perhaps never, but when pressed by hunger in an extraordinary degree.
The Tiger, on the contrary, will seek his prey by day as well as by night ; and during twilight the
colour of his eyes is that of a blue-green flame. If a stranger passes near a Tiger in a menagerie,
the colour of the animal's eyes will sometimes alter suddenly, from yellow-green to blue-green ;
not from any alteration in the degree of light acting upon them, but from mental excitement, and
from a certain natural facility of expansion and contraction of the eye-pupils.

Hence a characteristic difference betwee n the Lion and the Tiger. The habits of the latter
are diurnal, and he disregards night-fires : the Lion, on the contrary, whose eyes are not calculated
for the glare of day, cannot bear to encounter fire-light at night. Yet these physical conforma-
tions are sometimes overcome by the rage of hunger ; and hence, in MR. EDWIN LANDSEER'S
contending group, the Lion is represented as attacking the Tiger although it be day.

MR. BELL treats learnedly, and we believe with .much originality, of the facial-muscles of
this class of quadrupeds, in his " Anatomy of Expression." — We shall offer a few extracts, by
which the reader will perceive how limited are their powers of expression of countenance, when
compared with those of human nature, notwithstanding their superiority over all other quadrupeds.
" The violent passions mark themselves so distinctly on the countenances both of men and
of animals, that we are apt in the first instance to consider the movements by which they are
indicated, as certain signs or characters provided by Nature, for the express purpose of intimating
the internal emotion ; and to suppose that they are interpreted by the observer in consequence of a
peculiar and instinctive faculty. This view of things, however, so natural at first sight, is not
altogether satisfactory to philosophy j and a more jealous observation of the facts, seems to suggest

CARNIVOROUS QUADRUPEDS. 7

an opposite theory, in which instinctive agency is rejected, and the appearances are explained from
a consideration of the necessities and voluntary exertions of the animal. With regard to the
observer, it has been asserted, that it is by experience alone that he distinguishes the signs of the
passions ; that we learn, while infants, to consider smiles as expressions of kindness, because they
are accompanied by acts of beneficence and by endearments ; and frowns as the contrary, because
we find them followed by blows ; that the expression of anger in a brute, is only that which has
been observed to precede his biting- • and that of fondness, his fawning and licking of the hand.
With regard to the creature itself, it is said, what has been called the external signs of passion, are
merely the concomitants of those voluntary movements, which the passions or habits suggest ; that
the glare of the Lion's eye, for example, is the consequence of a voluntary exertion to see his prey
more clearly— his grin, or snarl, the natural motion of uncasing his fang-s before he uses them.
This, however, is not quite true of all animals and of all expression of passion."

"Attending merely to the evidence furnished by anatomical investigation, all that I shall
venture to affirm is this : that a remarkable difference is to be found between the anatomy and
range of expression, in man and in animals : that in the former there seems to be a systematic
provision for that mode of communication and that natural language, which is to be read in the
changes of the countenance : that there is no emotion in the mind of man which has not its
appropriate signs ; and that there are even muscles in the human face to which no other use can be
assigned than to serve as the organs of this language : that, on the other hand, there is in the lower
animals no range of expression which is not fairly referable as a mere accessary to the voluntary
or needful actions of the animal ; and that this accessary expression does not appear to be in any
degree commensurate to the variety and extent of the animal's passions."

" There appears to me (continues MR. BELL) to be no expression in the face of any animal
lower in the scale of being than quadrupeds ; and in them the strongest and most marked
expression is that of rage ; the object of which is opposition, resistance, and defence. But on
examination it will be found (consistently with the position, that this is merely an accessary of
the motions natural to the accomplishment of the object which the animal has in view) that the
strength of the expression is in exact proportion to the strength of the principal action in the
creature when thus excited.

" The gramnivorous animals, which seek their subsistence, not by preying upon others, nor by
the ferocity, contest, and victory which supply the carnivorous with food, have in their features no
strong expression of rage. Their expression is chiefly confined indeed to the effect produced on the
general system. Thus the inflamed eye and the breathing nostrils of the Bull, are induced only
by the general excitement. His only proper expression of rage, is in the position of the head,
with the horns turned obliquely to the ground, ready to strike : and indeed it may be observed
in general that animals which strike with the horns, shew little indication of fear or rage, except in

g CARNIVOROUS QUADRUPEDS.

the position of the head. In all gramnivorous animals, the skin of the head is closely attached to
the skull, and capable only of very limited motion : the eye is almost uniformly mild, and the lips
unmoved by passion.

" It is in carnivorous animals, with whose habits and manner of life, ferocity is instinctively
connected, as the great means of their subsistence, that rage is distinguished by the most
remarkable strength of expression. The eye-ball is terrible, and the retraction of the flesh of the
lips indicates the most savage fury. But the first, is merely the exerted attention of the animal ;
and the other a preparatory exposure of the canine teeth. The great animals of prey— the Lion
and the Tiger — are quite incapable of any other expression of feature, than this particular display
of ferociousness. When they fawn upon their keeper, there is no motion in their features that
indicates affection."

In this assertion, that the countenances of the great animals of prey are incapable of any
other than ferocious expression, we do not quite coincide with our learned physiologist. When
they fawn upon their keeper, we think that indications of affection are exhibited; and find
ourselves ready to ask what else than kindly expression is that " licking of the hand" which our
author has before mentioned. If, however, we should grant that they may not be capable of
affectionate expression toward their keeper, we can scarcely doubt that — toward their young— if
we could observe them in their wild state, and in their moments of playful intercourse and
enjoyment among each other — they are : at least, we think there are motions in their features that
indicate affection, as well as fear, enquiry, surprise, gratitude, pleasurable wantonness, and some
other sentiments, or emotions. This is our conviction : at the same time, we perceive that the
range of their ferocious expression far exceeds the savage circle of their domestic charities. Are
not even the least of these observable in the habits and manners of the domestic Cat, who belongs
to the Tiger genera ? But we have even seen a Tiger in his den, who looked good-natured enough
to be stroked and patted : and of the Lion, of whom MR. GRIFFITH relates the following anecdote,
what can be said or thought ?

" Hearing some noise under his cag'e, the Lion passed his paw between the bars, and actually
hauled up his keeper who was cleaning- beneath ; but as soon as he perceived that he had thus ill
used his master, he instantly lay down upon his back in an attitude of complete submission."

Or what can be said of the circumstance mentioned by SENECA (of which he was personally
witness), of a Lion, to whom a man, who had formerly been his keeper, was exposed for destruction
in the amphitheatre at Home ; and who was not only instantly recognised, but defended and
protected by the grateful beast?— Or of the story related by DR. SOUTHEY, of the Lion who had
broken loose, submitting to the Cid, and allowing himself to be led back peaceably to his place of
confinement ?

Could any painter of talent proceed to represent either of these facts, without finding in the

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CARNIVOROUS QUADRUPEDS. 9

countenance of the Lion, the muscles and the means of expressing1 a corresponding gentleness,
or generosity, of feeling1 ?

What could be said or thought of these things? Why it may be said, and will be
thought, by all those who take both sides of the argument fairly into the question —that MR.
BELL has discovered and declared, that the muscles of affection, do not exist in the carnivora.
Ergo, that the sentiment which we so translate or acknowledge — the appearances (that is) with
which we may find ourselves affected — can only be expression of a negative kind ; resulting from
the relaxation of those muscles whose tension is necessary to the purposes, or the expression, of
ferocity : that " the force of Nature can no further go ;" and that the painter — the supposed painter,
of such subjects, who is appealed to above— in order to be in any degree successful, must "make
a third, by joining the former two" — that is to say, by mingling a portion of human nature with
that of the animal : which brings us round to the practice and the probable theory of RUBENS;
of which it affords more justification, and of a higher kind, than superficial reasoners can be
aware of.

But, when muscles of affection are mentioned, do we talk of a positive and acknowledged
certainty j or only of a construction that has been put upon certain muscles of the face, by those
who have an hypothesis to maintain, or who can trace affectionate expression in no other ?
And, are we thence to infer the exhaustion of the subject, and non-entity of the expression ?

No. VII.

MR. SPILSBURY'S LION, Avho has turned round his head to look at a Snake, affords a deli-
neated example in point. Here is no more, we think, than the latent capability of ferocity :
just so much as cannot be separated from the native character of this noble quadruped. — The
eye-ball is here, not " terrible ;" nor is " the most savage fury" indicated by the retraction of the
lips, although the lower canine teeth are exposed. Here is a general sense of dignity ; but the
leading, present expression of the moment, (as it strikes us,) is that of curiosity, or excited
attention ; mingled with some degree of surprise that a contemptible little Snake should presume
to roll his puny volumes in the royal presence. It would appear that the Lion has heard
something hiss, and cares a little, to know what it may be.

Will it be further objected that this is Art ? — To be sure it is. But we think that such
Lion-looks are to be seen in Nature ; and that such were seen, when the Dog which appealed to,
and obtained, the royal pity, was first thrown into the Lion's den at the Tower. We believe
that this representation of the Lion and Snake is not taken from any old master, but is MR.

SPILSBURY'S own design.

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No. VIII.

NEITHER is there any expression of ferocity, but of home comfort, in these two maneless
Lions— or LION and LIONESS of SENEGAL. That which is asleep, however, rather illustrates our
definition of Character, and is so far out of the question. The Lioness— who is awake, is a kind
of Belle-Sauvage. Entirely without ferocity, she has some little expression of attention gently
aroused by some slight cause— less important, we should think than the distant cry of a Chacal —
a noise in the den, perhaps, not loud enough to make it worth while to wake her companion in
order to see what's the matter. But her expression of countenance, is almost as mild as that of
a kitten in a chimney corner. — In fact, they seem— notwithstanding their Herculean strength —
a kind of hearth-rug Lions.*

After venturing to express this slight difference of opinion (if it amount to so much) with
our distinguished anatomist of Expression, we return, with becoming respect, to his valuable
Treatise : though as we do not propose to exhibit, like him, an anatomical and comparative view
of the Carnivorous and Gramnivorous genera, we shall confine ourselves to a short extract or two,
relating to the Carnivora alone —

" It is of man alone that we can with strict propriety say the countenance is an index of the
mind, having expression corresponding with each emotion of the soul. Other animals have no
expression but that which arises by mere accident, the concomitant of the emotions necessary to
the accomplishment of the object of the passions." —

" I have to remark, as relative to painting, (my original subject of enquiry) that this remark-
able difference between the expression in man, and animals, naturally leads us to investigate what
are the peculiarities of mere animal expression.

" In order to see distinctly what the peculiarities of mere animal expression are, it seems
proper to reduce the muscles of expression in animals, to their proper classes. These muscles, as
they appear in the several quadrupeds, may be distinguished into — 1. Those which raise the
lips from the teeth : 2. Those which surround the eye-lids : and 3. Those which move the
nostrils."

He next proceeds to state that " in the Carnivorous animal, the muscles of the lip are so
directed as to raise the lip from the canine teeth j" — and these he distinguishes by the name of
" Hingentes, or snarling muscles."

The snarling muscles take their origin from the margin of the orbit of the eye, and from
the upper jaw, and are inserted into that part of the upper lip from which the whiskers grow, and
which is opposite to the canine teeth • and although they are assisted in this oifice by other

* This was written before the beautiful hearth-rug Lion introduced to us by Mr. Crosse of Leeds, and which is equal to
the finest painting.

CAKNIVOKOUS QUADRUPEDS. 11

muscles, (the masticating1 and zygomatic muscles,) I have ventured to distinguish them particularly
as the muscles of snarling1. This action of snarling- is quite peculiar to the ferocious and carni-
vorous animals.

" 2. Muscles which surround the eye-lid. In man the upper eye-lid is raised by a muscle
coming1 from the bottom of the orbit. But, besides this muscle, animals of prey in whom there is
that peculiar and ferocious splendour of the eye, which we distinguish in the Tiger, for example,
or the Lion — have three muscles infixed in the eye-lids, which drawing the eyelids backward
upon the peculiarly prominent eye-ball, produce the fixed straining of the eye, and by stretching
the coats, give a greater brilliancy to the reflection. These muscles may be classed under the term
Scintillantes.

" 3. The muscles of the nostril are not less distinct and peculiar, in different classes of
animals, than those of the eyes and lips. In the Carnivorous animals, the nose is comparatively
insignificant, provision being made in the open mouth for any occasional increase of respiration
above the uniform play of the lungs."

Taking respectful, friendly, and reluctant leave of ME. BELL, we trust that conformity will
be found between these pictorial remarks and anatomical elucidations of his, and our engraved
representations of the Carnivora.

No. IX.

THE interior of a rocky den, where the LION dares to intrude on the retired repose of a
ROYAL TIGER, copied by MR. SPILSBURY from the Sketch-book of STUBBS. On the part
of the Tiger, there is expressed a certain half frantic suspension of purpose. His look is fierce,
though apprehensive, and as if his mind was not made up whether to become the assailant, or
stand on the defensive. He is evidently taken by surprise ; and if he does not fear, he is
thoroughly conscious (as DR. JOHNSON said, when he was to meet LORD THURLOW) that " there
is something to encounter?' while the Lion, feeling also that he has met with his match, is
arousing his terrible energies. The heroes are threatening : the storm has gathered : and is about
to burst in fury.

With regard to the " ferocious splendour of their eyes," and the exposure of their canine
teeth by means of the Mingentes, the reader will find here a strict accordance with MR. BELL'S
theory.

12 CARNIVOROUS QUADRUPEDS.

No. X.

The TIGRESS of BENGAL, which has been designed, as well as etched, by MR. THOMAS
LANDSEER, from that at the Exeter 'Change Menagerie, affords also a pertinent illustration of
the principles which MR. BELL had derived from combining study with dissection : theory with
practice. The " three muscles infixed in the eye-lids, which, drawing the eye-lids backward upon
the peculiarly prominent eye-ball, produce the fixed straining of the eye, and by stretching the
coats, give a greater brilliancy to the reflection," are here brought into action by a violent and
unexpected outrage done to the maternal feelings. Here too is exemplified the origin, insertion,
and physical use, of those snarling muscles, which are so properly named and defined by our
learned anatomist. We cannot but wish, however, that he had written also of those of the
lower jaw, which so powerfully conduce to this snarling and dreadful expression.

The mother has arrived at a fortunate conjuncture for her cubs, which lie sleeping below, in a
small den or dark recess of the bank, whither a Serpent has stolen. Twisted among the jungle,
which affords an advantageous post both of attack and defence for the Serpent— the Tigress has
reason to dread an enemy so powerful and insidious ; and, as in the preceding Engraving, both
parties are prepared for the encounter, and fully aware of the importance of a first blow.

No. XI.

THESE RAMPANT LIONS, bear the name of RUBENS as their author. SIR JOHN SEBRIGHT,
we believe, has the original picture. It would neither deteriorate from its intrinsic merit as a
work of art, nor from its nominal value (we suspect), should it turn out to be from the pencil of
SNYDERS ; or a performance of RUBENS and SNYDERS in conjunction. They not unfrequently
painted on the same canvas ; but the high reputation and rank of RUBENS, has in some measure
absorbed that of his coadjutor, except among first-rate connoisseurs — whereas, in all that relates to
the details of Nature, SNYDERS was the superior painter of animals: and our reasons for
thinking that he had at least a hand in this picture of the rampant Lions, are, 1st, The superior
attention which is here paid to the details of Nature. Sndly, That the action of the nearest of the
two Lions, is precisely that of the same animal, in SNYDERS' very capital picture from the fable of

CARNIVOROUS QUADRUPEDS. 13

the Lion liberated by the Mouse, now in the Cabinet of THOMAS FRANKLIN, Esq. Srdly, That
the study in oil of a dead Lion, in the collection of G. WATSON TAYLOR, Esq. also believed to be
from the hand of SNYDERS, bears internal evidence of being- painted, not only from Nature, but
from the very same individual Lion, with the above. They are all portraits of the same
animal. It appears as if SNYDERS, having- obtained possession of a dead Lion, after making- the
study now belonging- to MR. TAYLOR, had put him in this rampant attitude, and painted from
him as long as he lasted. But perhaps RUBENS and SNYDERS did this in concert : for on the
other hand may be recollected a masterly sketch in oil of the heads only of these rampant Lions,
which was exhibited at the British Gallery two seasons ag-o, bearing the name of RUBENS. If
this name was written by RUBENS himself, the probability is as above stated, that both artists
painted at the same time from the same model. On this point we do but sum up such evidence as
is before us, leaving the verdict to the reader.

We believe that this subject also, has passed through the medium of an Etching by BLOTE-
LING, for it differs in some minor respects from the picture in the gallery of SIR JOHN SEBRIGHT.
It however affords further illustration of the theory of expression laid down by MR. BELL, while
it embodies the Scriptural idea of a " ramping and roaring- Lion seeking whom he may devour."

We have mentioned above, our having been disposed, on a certain occasion of visiting a
public menagerie, to pat and stroke a Royal Tiger as he lay in his den with his nose toward the
spectator, and whose looks, though certainly far from angelic, we could almost have called
amiable : yet this is very far from being the character of the Tiger. To stroke, or pat, or touch
them in any way, however, no person should ever venture, except their keepers ; even the tame
Tigers, that are sometimes brought up almost without animal food by the mendicant priests of
Hindostan, are strictly prohibited from being touched — " under the utmost rigours of religious
anathema," says COL. WILLIAMSON, who relates a circumstance of his having visited a Faukeer
who kept a Tiger of this kind in the wilds of Colgong.

14 CARNIVOROUS QUADRUPEDS.

No. XII.

The amiable-looking Tiger of whom we have spoken, lay something in the attitude and
manner of the principal PANTHER, in the present picturesque GROUP which MR. SPILSBURY
copied from the Sketcli-book of that admirable painter and anatomist of animals, STUBBS.

Perhaps this sentiment of ours, may be ascribed— in part at least— to the undulations of
form, glossiness of surface, and brilliancy of colours, of these interesting creatures, reviving the
early mental impressions which we remember to have received at the sight of shining and speckled
shells, butterflies' wings, and other objects of pure beauty ; and in part to our having associated
ideas of innocence and domesticated habits and comfort, with the "sympathetic mirth" (as
GOLDSMITH'S phrase is) of sportive kittens.

It may not be unworthy of our best philosophy to pause here, and observe how Nature
contrives to mingle, and seems to insist on mingling, sentiments and mental impressions, which
analysing man is so fond of reducing to first elements — as he calls them. Surely there is,
about these Carnivorous and terrible creatures, a saving grace— a beauty in their dreadfulness,
which is exceedingly interesting, although it co-exist with cruelty : for if they are cruel, their
cruelty is involuntary, and not implacable ; and therefore, if not pardonable, not hateful — while
the external beauty which they possess, is of a positive nature.

Reverting here to our own scholastic distinction, we think that Nature has, in the instance of
this species of quadrupeds, mingled with similar success, energy of character, with a degree of
mildness of expression. The natural character of the Panther is fearfully ferocious, yet a super-
induced kindly expression may be seen in this group from the pencil of STUBBS — a sworn disciple
of Nature — which may shew that in their home retiredness, they have not been left destitute of
the means of letting each other see that they are sociable, friendly, and not entirely without the
means of expressing the gentler emotions. Men are perhaps too exclusively disposed to look at
the objects around them, as those objects immediately concern themselves : MR. STUBBS, in
composing this capital group, took a more extensive and genuine view of things j and n otwith-
standing the Panther is larger and more formidable than the Leopard (from which quadruped he
is not always easily distinguishable), has depicted them as scarcely less mild and gentle than the
domestic Cat.

The evidence of facts, however, when set in apposition, affords, in all probability, the most
efficacious and convincing means of manifesting such principles as we are here submitting, while
they exhibit the varieties of animal expression to the best advantage ; and we therefore introduce
another GROUP of PANTHERS, from the same Sketch-book, by STUBBS, more malignant
in their aspects.

CARNIVOROUS QUADRUPEDS. 15

No. XIII.

This is what one might call a domestic, or family, group; but they seem here to be
meditating- prey, and by no means so good-humoured as in the former instance, where they might
be fancied to be quietly enjoying themselves after a sufficient repast. The two groups, when
viewed together, seem very much to assist our perceptions of the capability of this animal of
gentle, as well as of savage, expression.— They are contrasted, indeed, though without the direct
opposition of violent brutal action, to calm repose : the eye being the chief seat of the difference.
But neither the gentle, nor the more- ferocious and malignant-looking, Panthers, or Tigers, will
bear any comparison for commanding- majesty of appearance with the regal Lion, whether in a
calm or an excited state — as the vignette of our title-page is ready to bear Avitness.

There is good chiaroscuro in both of the above groups ; and the scene of rocky wildness in
which the latter are placed, as well as the rich colouring of the fur of the animals, are ably
indicated.

The reader may perhaps not be displeased to attend here for a moment, to a short epitome of
what the Naturalists have said concerning the distinctive marks of this interesting- quadruped, the
Panther: nor to be informed or reminded of the strong resemblance which he bears to the
Leopard.

DR. SHAW observes that LlNNJSUS himself has confounded the Panther with the Leopard ;
but adds, that <c a true distinctive mark between them, is by no means easy to communicate either
by description or even by figure." He thinks that the Leopard is the smaller of the two species
of animals, and its colour a paler yellow : and MR. GRIFFITH, in his " Carnivora," says, " A very
fine animal is now exhibiting at Exeter 'Change under the name of Leopard, which is much
larger as well as brighter than any other Leopard in that Menagerie, and should, therefore,
according to SHAW, seem to be the Panther. But I am informed that the animal in question was
taken in India, and that all those which come from Asia, are much brighter in colour than those
from Africa, which is confirmed ' by inspection of the African specimens there ; and that the
females have more white about them than the other sex : and MR. CROSS, who has had opportu-
nities of inspecting probably some hundreds of specimens, insists that he has never observed any
specific difference between those brought from Asia and Africa, among themselves, except that the
Asiatic are generally larger and brighter."

LICHTENSTEIN, in a note communicated to MAJOR SMITH, describes the Panther as
resembling' the Jaguar, in having the same number of rows of spots, but different in having no
full spots, on the dorsal line. If this be correct, then is the existence of the Panther established
as being distinct from the Leopard : but I do not find that full spots on the dorsal line always
make a specific difference of the Jaguar. When, therefore, it is said, that the Panther much

1(5 CAENIVOEOUS QUADRUPEDS.

resembles the Jaguar, it is always strongly to be suspected that the type whence the observations ar e
taken is an American animal. If the contrary be clearly established, and the animal be found to
have large round or oval open marks of black, with a central spot on the sides and back, and a tail
lono-er than from its insertion to the ground, it may be concluded that it is the real Panther.

Lastly, that indefatigable investigator, CUVIEB, says he was long in doubt whether the
Panther and Leopard were distinct : but a comparison of a great number of skins, as well as
observations on the numerous animals sent to the French Museum, have satisfied him that they
are different ; and he accordingly describes the Panther as having six or seven rows of rose-like
spots in transverse lines, the tail longer and the head larger than the Jaguar, and the ground-colour
of the fur paler. The Leopard he describes as a little less than the Panther, though with the same
proportions ; but the spots, as much more numerous, forming ten transverse lines.

The opinion of CUVIER is certainly deserving of the greatest attention ; but it may be
observed that his enumeration of the six or seven rows of spots in the Panther, and of ten in the
Leopard, is not so certainly intelligible as might be desired, when it is considered that the spots or
marks in question have really little or no parallelism. Notwithstanding, therefore, this respectable
authority, it seems very probable that the Panther and Leopard are one and the same species,
which branches into two varieties, the Asiatic and the African ; the former of which is brighter
in colour, and probably something larger than the latter ; and that the females of both are paler
and less than the other sex. CICERO, in his letters to ATTICUS, speaks of the Panther of Africa,
and the Asiatic Panther ; as if they were different.

The ancient naturalists were not a whit more successful in distinguishing these two
quadrupeds, than the moderns, notwithstanding the opportunities which they possessed of
inspecting- so many. MR. GRIFFITH comments on SHAW, LICHTENSTEIN, and CUVIER ; so did
CICERO and PLINY, on ARISTOTLE. Hence their Panthcra, Pardus, and the Leopardus of the
later ages of Rome (the last of which plainly indicates their supposition that a Lion or Lioness
had been concerned in the generation of this spotted animal.)

It is surprising to reflect on the great number of Panthers, which in those later ages of Rome,
were brought from the deserts of Africa for their public shows. SCAURUS exhibited an hundred
and fifty of them at one time ; POMPEY, four hundred and ten ; and AUGUSTUS, four hundred
and twenty ! They probably thinned the province of Mauritania almost to extirpation ; which
may account for the superior abundance of these quadrupeds, as well as of Lions, at present, in
Guinea, and the more southern parts of Africa.

It would appear, that after all that has been accomplished by the spot and row-counting
philosophers, the distinction between Panthers and Leopards is by no means made out ; and we
take it, that whenever Nature means to mark a distinction of this sort, she always does it with a
firmer hand, and more decisive line.

S3
$

sa
si

CARNIVOROUS QUADRUPEDS. 17

No. XIV.

STUBBS, who had most likely paid sufficient attention to what the naturalists had previously
said on the subject— and whom no naturalist has exceeded in accuracy of observation — appears to
have here sketched out the differences, and the resemblances, between these two animals — if two
they may be termed. It will be observed that the one which we esteem to be the LEOPARD —the
nearer figure of the two— is somewhat smaller than the other, and .that the dark spots on her body
are not clustered in roselets, or oilettes, as they have sometimes been called ; while on the body of
the PANTHER, they are, and indeed everywhere, excepting- on his head and fore-leg's. In short,
STUBBS'S delineation agrees best with the definition of CUVIER, whose discernment and
philosophical tact are by no means inferior to that indefatigability for which he is praised by
GRIFFITH.

Of this Leopard and Panther, the actions and expression (although not the character — their
noses and mouths being of longer and larger proportions) are very much those of the common
domestic Cat, when in a playful mood. Something there is of burlesque clumsiness in their play
— resembling HERCULES with the distaff; and something of that assumed look which may be
observed among- Cats while frolicking with their young'. And these kindly and droll expressions
of countenance — these " quips and cranks, and wanton wiles," — are doubtless very well understood
among the carnivorous comedians, notwithstanding that to some of ourselves, they may not appear
to amount to much : yet the difference of these our engraved heads of a playful Leopard and
Panther, and the ocular expressions of such animals when raging1 with hunger, or rendered angry
by opposition, is immense, and could not fail, if presented together, to be strikingly obvious to those
who are in the least studious of the physiognomical variations of the ferocious tribe. Let the
reader compare them with the threatening- LION and defying TIGER among the rocks, after the
same master, which we have numbered 19.

Horse-play is proverbially unwelcome : Panther-play must be worse. We cannot associate
the idea of the endurance of it within reach of man. But where Cats and Kittens are occasionally
permitted in the parlour, there is comparative harmlessness. And who has not witnessed with
delight, among the rat-catching carnivora in their joyous moments, those spontaneous and electrical
kindlings of various and rapid fun, which must have made HERACLITUS laugh, could he have seen
them, and have been a lesson to LAVATER.

18 CAENIVOROUS QUADRUPEDS.

No. XV.

A LION and LIONESS, after RUBENS, where we esteem the execution — more especially of the
parts which are brought into muscular action, and the rich hairy texture of the fur — to be hig-hly
creditable to the artists concerned. In these respects, it transcends beyond all comparison the
Etching by PICART of the same subject. We were about to say more of these things, and to
request attention more particularly to the hinder parts of the female, but the knit brow and threaten-
ing- eye of the Lion glares upon us with its high claims, and terrible truth, and we cannot but
perceive a broad, pervading-, and dextrous display of light, shade, and expression of texture. —
Now, where there is just harmony of parts, it is the whole which merits praise ; and this praise is
of a hig-her kind than could possibly be bestowed with propriety on any part.

The Expression of the Lion is not here so self-possessed and majestic as in some of the examples
which we have passed. His magnanimity is exchang-ed for that dark treachery and cruel-minded-
ness, which some modern authors ascribe to him. Nor is the Lioness more amiable : both seem
lurking, malicious, and as if animated by some horrid hope.

RUBENS seems to have let them into his Assyrian den, in order to let the world see from how
dreadful animals Providence was protecting its favoured minister.

No. XVI.

RUBENS has here painted one Lion as scowling, another as if in a sort of mysterious
meditation, and a third yawning with ennui — no doubt to diversify a composition wherein he was
of necessity obliged to introduce a considerable number of animals of the same kind.

The Lion has been, of all quadrupeds whatever, the most idealised by the Arts, and the most
variously represented. The tide of opinion ran for centuries in his favour. Kings took their
designations from him : amongst whom have been our first RICHARD ; but of late years very reputa-
ble travellers and other authors have appeared, who would bring down the poetic generosity, the
reputation of which the Lion has so long enjoyed, to the plain prose craft and cruelty of the rest
of the feline tace.

The noble disdain with which a Lioness, though half famished, and " with udders all drawn
dry/'— scorned to prey on a sleeping man— Must we part with the sentiment? Must we also
disbelieve the story which has been commemorated by a large French engraving, of a Lion gently

i

«v

. «

'•*•

CARNIVOROUS QUADRUPEDS. 19

taking1 up in his mouth a fallen infant, and as gently setting- it down again, to the infinite delight
of its terrified mother ? — Such anecdotes have pleased and flattered us ; but may possibly have
g-ained undeserved credit because they pleased, and have pleased because they flattered — human
nature.

No. XVII.

Repeated instances of FRIENDSHIPS BETWEEN THE LION AND THE DOG, have occurred at the
Menagerie at the Tower, as well as elsewhere in Eng-land : and we have pleasure in adding- a corro-
borating- fact of a novel character. Mr. EDWIN LANDSEER made it the subject of a Drawing- from
Nature, and we here present the public with an Engraving- after it, executed by his brother, and
numbered in our collection, 16.

A female whelp was accidentally found, quite young-, and even before its eye-lids were unclosed,
in an African forest not far from the sea shore. It was broug-ht on board ship by some sailors,
where a smallish black bitch, by birth quite an ig-noble cur, having- recently pupped, the experi-
ment was successfully made, of ascertaining- whether she would suckle the young- Lioness, who
was christened Charlotte. — Charlotte soon began to thrive, and to play kitten frolics j and con-
tinued to be thus nurtured, till, at no great leng-th of time, she became so much larg-er than her
foster-parent, and required so much food, as to induce the necessity of weaning- her.

But the two quadrupeds continued, ever after, to live together on the most friendly and
affectionate terms ; constantly inhabiting- the same cage, and habitually partaking- of the same
messes of provision. The Lioness, though now grown large, having never seen any other mother,
continued through life to shew marks of daughterly obedience, and the bitch, of maternal regard.
Mr. EDWIN LANDSEER, as well as many others, has frequently seen them caressing each other
in their cage at the Exeter 'Change Menagerie, in the manner which he has represented : the
Drawing, which exhibits portraits both of the LIONESS and BITCH, having been done some
years ago.

And these kitten frolics, or the youthful disposition to indulge in them, continued on the part of
the Lioness, till her older and graver nurse became tired of the lion-play, and would sometimes snarl
and bark forbiddingly. It was very entertaining, and an interesting chapter in Natural History, to
behold this ; for the Bitch ever retained an ascendancy, and much of the authority, of a parent : so
that her foster-daughter, though so much larger, and so tremendously powerful, would retire

20 CARNIVOROUS QUADRUPEDS.

obediently to the farther corner of the cage, waiting- a favourable change of temper, on the part of
her senior, before she renewed her playful familiarities.

On a principle of prudence, however, and because it was judged that if these inmates of the
same refectory, ever quarrelled, it would be at a meal-time, they were of late separately fed : that
is to say, not at separate times, or tables, but, at opposite corners of the apartment : but the Bitch
has often been known to help herself out of Charlotte's portion, without fear or ceremony, and her
majesty to shew no resentment, nor any kind of royal displeasure or hurt feeling-, at the indecorum.

We esteem this Engraving to afford a fair example of the positive, or negative, power of the
sovereign of the forest, of physiognomical^ expressing the gentler emotions. But it occurs to us
here — and we mention it in reference to an .argument maintained in an earlier part of this disserta-
tion— that perhaps licking with the tongue may belong- to the dumb language of quadrupedal
expression of affection. But the Dog', and the Cat, kind, express themselves in this way ; and
amongst each other, it cannot be misunderstood — the affectionate idea being impressed at the
period of their very earliest susceptibilities, and associated — perhaps as indissolubly as the human
endearments of smiles and kissing— with their youngest, purest, and most permanent recollec-
tions.

No. XVIII.

IN this plate the ideas of expeditious motion, and quest, are admirably depicted :— kept up
from stem to stern ; he is evidently bent on destruction. — This is he that appeared to the terrified
imagination of COLLINS'S Oriental camel-driver, who, in his beautiful Eclogue, exclaims—

" What, if the LION in his rage I meet !"

And the determined purpose which pervades the whole frame and the mind of the sallying- hero, is
seen in his resolute look, as" well as in every motion of his muscular limbs — aye, to the very tuft at
the extremity of his tail. All is expressive of his plenitude of animation, and prey is obviously his
purpose. None can mistake him.

This will probably be thought another of the instances in which the present artists have been
eminently successful in the execution of their subject. (For the design they were indebted to the
etching-needle of RIDINGER.) The shag of the mane is characteristically varied from the short

I

ft

5=3

CARNIVOROUS QUADRUPEDS. 21

hair which covers the face, body, and limbs j the anatomy is ably indicated ; and the chiaroscuro

is vig'orous.

The hunters say that a dozen or fifteen dogs, trained to the sport, will overpower a Lion before
he can strike many blows : but these are the limbs which " at every blow destroy an enemy."

We have next to treat of the ROYAL TIGER OF BENGAL, beautiful, powerful, fierce, and
unrelenting. — Terrible, yet admirable !

Mr. BEWICK says that the Tiger " is the most rapacious and destructive of all carnivorous
animals. Fierce without provocation, and cruel without necessity, its thirst for blood is insatiable.
Though glutted with slaughter, it continues its carnage ; it fears neither the sight nor the opposi-
tion of man, whom it frequently makes its prey ; and it is even said to prefer human flesh to that
of any other animal :" a fact which is confirmed by COLONEL WILLIAMSON, and Mr. PAUL of Daud-
pore, the latter of whom has the reputation of having killed as many Tigers as any hundred other
men in India.

The strength of this animal is so great, that when it has killed a Deer, it carries it oft'
with much ease. WOOD relates a story, on good authority, of a Buffalo being carried off
by one ; but it had previously refreshed itself by sucking the Buffalo's blood. The latter had
been hampered, and was weakened by its struggles in a quagmire; and the Tiger let fall its
prey, and fled at the approach of some Indian peasants. We must suppose, too, this Tiger
to have been one of the largest, and of extraordinary power, for COLONEL WILLIAMSON reports
that in the public combats that are sometimes exhibited in India, between Tigers and Buffaloes,
the latter is commonly the victor.

But the eagerness of its voracity is believed to transcend that of any other creature whatever.
If undisturbed at the commencement of its meal, it plunges its head into the body of its reeking
victim, up to the very eyes, in order to glut itself with the bloody enjoyment. Oysters are not
opened and swallowed with more zest and avidity.

22 CAKNIVOROUS QUADRUPEDS.

No. XIX.

THE commencement of such A CABNIVOKOUS FEAST, where the TIGEB has seized and
slain— not a wild Buffalo, but a BULLOCK, from the tame herds of Hindostan. As the cattle
descend toward the river to drink, their crafty enemy lies in ambush among the jungle, or
creeps along cautiously ' and unseen; and, watching a favourable opportunity, makes his

murderous spring.

Althouo-h WILLIAMSON corroborates MK. BEWICK'S account of the Tiger's fondness of

O

human flesh, he does not agree to that of its fearlessness. On the contrary, he thinks that on
occasions where Tigers have seemed fearless, momentary anguish or resentment, has been their
real stimulus ; and adds, that " the Tiger is, of all beasts of prey, the most cowardly ; its treacherous
disposition induces it, almost without exception, to conceal itself until its prey may arrive within
reach of its spring, be its victim either bulky or diminutive. Size seems to occasion no deviation
in the Tiger's system of attack, which is founded on the art of surprising. We find, accordingly,
that such as happen to keep the opposite side of a road, by which they are somewhat beyond the
the first spring-, often escape injury; the Tiger being unwilling to be seen before he is felt. Hence
it is rarely that a Tiger pursues ; but, if the situation permit, his cunning will not fail to effect his
purpose, he will steal along the road-side among the bushes parallel with the traveller's course,
until one of the many chances which present themselves of finding him within reach, induces to
the attack. Often, where the country is rather too open to allow his proceeding- in this manner,
the Tiger will take a sweep among underwood or through ravines, in order to meet the traveller
again at a spot whence he may make his spring.

"Tigers are extremely partial to such sites as command a road, selecting one rather
less frequented, in preference to one that is much in use. In the former, they are certain of
finding as much as will answer their daily wants. If, however, the haunt be on a public road, it
is usually at some spot abounding with grass or bushes, especially the prauss, and in the vicinity
of some ample cover supplied with water, to which the prey can be dragged. There, in some low,
opake spot, the sanguinary meal is consummated in gloomy silence.

" It should be observed, that for the most part the Tiger chooses his station on that side of
the road which is opposite to his haunt ; so that, when he seizes his prey, he proceeds straight
forward, without having occasion to turn, and thus drags it across mostly at a trot. If he missos
his aim, he will rarely return, unless attacked ; but, in a sullen manner, either skulks through
the cover ; or, if the country be not sufficiently close to conceal his motions, he moves on at a
canter."

CARNIVOROUS QUADRUPEDS. 23

Finding1 the same anecdotes of Lions and Tigers repeated from book to book, the present
writer has in general avoided to reiterate what he conceived would in most instances prove to have
been already read : but he cannot wholly pass that in which a lady — next to the Royal Tiger
himself — was the principal figure ; more especially as it illustrates a fact of natural history not
useless for Oriental travellers to be acquainted with — namely, the susceptibility of the Tiger of
sudden alarm.

Some ladies and gentlemen being on a party of pleasure, under a shade of trees on the
banks of a river in Bengal, were suddenly surprised at seeing a Tiger ready to make its fatal
spring. One of the ladies, with amazing presence of mind, laid hold of an umbrella, and unfurling
it directly in the animal's face, it instantly retired.

The following also confirms WILLIAMSON'S account of the Tigers Avhich are brought up tame
by some of the mendicant Indian priests who inhabit the banks of the Ganges.

A beautiful young male Tiger was brought from China, some twenty years ago in the Pitt
East Indiaman : at the age of ten months it Avas so far domesticated, as to admit every kind of
familiarity from the people on board. It seemed to be quite harmless, and was as playful as a
kitten. It frequently slept with the sailors in their hammocks, and would suffer two or three of
them to repose their heads upon its back, as upon a pillow, whilst it lay stretched out upon the
deck. In return for this, it would, however, now and then steal their meat. Having one day
taken a piece of beef from the carpenter, he followed the animal, took the meat out of its mouth,
and beat it severely for the theft ; which punishment it suffered with all the patience of a clog. It
would frequently run out on the bowsprit ; climb about the ship like a cat ; and perform a number
of tricks with an agility that was truly astonishing. There was a Dog on board the ship, with
which it would often play in the most diverting manner. But it ought to be remembered at the
time this Tiger was taken on board the ship, it was only a month or six weeks old ; and when
arrived in this country, it had not quite completed a year.

No. XX.

THREE small LIONS, on a single Plate ; forming a sort of tail-piece, and bringing up the
rear of our carnivorous procession.

This plate exhibits three different VARIETIES. THE LION OF SENEGAL, nearly in profile,
reclined, but under the influence of some slight degree of irritation ; the black-maned LION of
AFRICA ; and the common LIONESS of ASIA, regaling herself on a dead bird.

24 CARNIVOROUS QUADRUPEDS.

The upper and lower subjects, are after RIDINGER. The African Lion, in the middle, is
originally from REMBRANDT, but has passed through the medium of an indifferent Etching- by
PICART; and, like the rest, has finally been corrected by a reference to Nature. — We believe it
was corrected from the specimen that was some few years ago presented to LADY CASTLEREAGH ;
which was exhibited at Exeter 'Change, and of which MR. EDWIN LANDSEER and MR. THOMAS
CHRISTMAS had the post-obit, reversion.

G. NORMAN, PRINTER, MAIDEN LANE, COVENT GARDEN.

SUPPLEMENTAKY PLATES.

PLATE XXI.

NEPTUNE, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER.

A beautiful and highly characteristic engraving of a favourite Newfoundland Dog.
It is engraved by Mr. Thomas Landseer from a drawing by his brother Edwin, and highly
admired as a faithful likeness of the original.

PLATE XXII.

BRUTUS, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER.

The property of Edwin Landseer, Esq. Good judges may at once perceive in this portrait
the points that constitute a thorough good one of the breed. Rough, wiry and strong, with eyes
almost concealed, Brutus is yet active, vigilant and courageous, possessing in great perfection
the qualities most desirable in the terrier.

PLATE XXIII.

A CROSS OF THE DOG AND FOX, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER.

The subject of this fine engraving had occasioned much doubt in the minds of naturalists,
but the question as to its reality was decided, by the fact of the animal whose portrait we give,
having been produced from a tan terrier bitch and a tame dog1 fox.

PLATE XXIV.

DOGS SETTING A HARE, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER.

Two dogs having caught the side wind of a hare are making a highly characteristic point.
Nothing can more forcibly express that mute animation which gives so highly-toned a finish to
the abilities of the setting dog as this vigorous and faithful delineation of their countenances.
The Pointer is placed in a very interesting attitude admirably contrasted with the well chosen
position of the setter his companion ; while the hare, the object of their attraction, is not only
judiciously placed, but the representation is strikingly true to nature. This representation of
dogs setting a hare displays not only a correct knowledge of the subject but is one of those faithful
delineations that cannot fail to merit the most unqualified approbation.

26 SUPPLEMENTARY PLATES.

PLATE XXV.

VIXEN, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER.

A thorough- bred Scottish terrier, a favourite portrait by Mr. Edwin Landseer who has
repeated her in several of his pictures.

PLATE XXVI.

Fox HOUNDS OF THE HATFIELD HUNT, PAINTED BY E. LANDSEER,
ENGRAVED BY T. LANDSEER.

This sketch contains portraits of five of the principal fox hounds belonging1 to the above
Hunt.

PLATE XXVII.

PROCTOR, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER.

Study of a head of a Blood-hound. This engraving1 is of a very celebrated dog1, and the
character of its peculiar species is well delineated.

PLATE XXVIII.

BOB, A FAVOURITE TERRIER, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER.

This engraving- represents a fine wire-haired specimen of his race, engaged in his favourite
pursuit in his native wilds.

PLATE XXIX.

THE POACHER, PAINTED BY E. LANDSEER, ENGRAVED BY T. LANDSEER.
Is not one of those who

" Take delight of a shiny night,
In the season of the year,"

to pop pheasants from their perches with an air gun, or who sets " springes to catch woodcocks,"
but it is he who

" Skulks along

Sleek at the shepherd's cost, and plump with meals
Purloined;"

:c The wily Fox," and a very beautiful animal Mr. Landseer has made of him. The description
we have quoted, finds in the picture an apt illustration.

SUPPLEMENTARY PLATES. 27

PLATE XXX.

ALPINE MASTIFF, PAINTED BY E. LANDSEEB, ENGRAVED BY T. LANDSEER.

The drawing1 from which the present plate was engraved, was made from a very noble
Alpine mastiff, which at that time although not full grown, was the largest dog in England.

PLATE XXXI.

OLD DOG, LOOKS LIKE A PICTURE, PAINTED BY E. LANDSEER, ENGRAVED BY J. WEBB.

An expressive picture, which betokens the subject, old in honour and years, and still
following his favourite pursuit.

PLATE XXXII.

FIGHT BETWEEN JACKO AND Puss, SKETCHED AND ETCHED BY T. LANDSEER.

The animals here so cleverly represented, and at the spot of their actual and sanguinary
contest, were etched by T. Landseer, from a sketch made at the time by himself.

PLATE XXXIII.

LITTLE BILLY, DRAWN AND ENGRAVED BY T. LANDSEER.

The spirited and faithful style in which Mr. Landseer has executed this embellishment,
presents us a portrait of a species of animal which was a great favourite with our ancestors, and
was as ferocious to an enemy as faithful to a friend.

PLATE XXXIV.

BLACK CAP, PAINTED BY Gr. H. LAPORTE, ENGRAVED BY T. LANDSEER.
Is a clever specimen of a perfect Harrier's head, ably treated.

PLATE XXXV.

DEAD BED DEER, PAINTED BY E. LANDSEER, ENGRAVED BY J. B. SCOTT.
Gives us the spoils of the chase lifeless and rigid j the accessories to the picture are well told.

gg SUPPLEMENTAKY PLATES.

PLATE XXXVI.

TIGER HUNT, PAINTED AND ENGRAVED BY T. LANDSEER.

Tigers are hunted in India by Elephants assisted by fleet horses. We have in this clever
picture a Tiger couching- amongst the jungle seemingly undetermined whether to spring or to make
off, the horse scared and frightened evidently has come upon him unexpectedly j an Elephant at a
little distance is hastening towards the spot.

PLATE XXXVII.

TIGER TAKING THE WATER, PAINTED BY SIR CHARLES D'OYLY, ENGRAVED BY

T. LANDSEER.

The Tiger having been driven from the jungle and hunted over the plain, as a last resort
takes to the water. He is here represented just after having entered, his powerful paws half
above the water preparing to make a stroke, whilst his tail stiff and outstretched serves the
purpose of a rudder. The hunters on their elephants from the bank of the river are taking a
deliberate aim at him.

PLATE XXXVIII.

ELEPHANTS RETURNING FROM THE HUNT, PAINTED BY SIR CHARLES D'OYLY, ENGRAVED

BY T. LANDSEER.

The Hunter seemingly tired of hunting on horseback has dismounted, and is climbing up
the side of an elephant who kneels, whilst the fruit of the chase is upon the back of another, and a
third is making his way through the jungle.

PLATE XXXIX.

RED DEER, PAINTED BY R. HILLS, ENGRAVED BY T. LANDSEER.

A very clever work of Art upon which the great and universally acknowledged taste and
talents of Mr. Thomas Landseer have been carefully bestowed. Both Painter and Engraver have
done justice to the subject ; few things can be finer than the stag in the foreground, or more
effective than the brace of Does approaching upwards, as it were, from a romantic and obscure
retirement.

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Landseer, Thomas

Engravings of lions