CORK MODELS OF DUBOIS.

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granted, or from preceding authority, but from actual, care-ful measurement. Very different this from other book-making artists whom I know, whose “original” drawingsare alljtaken from “ Athenian Stewart” the Voyage Pittores-que, and other still more modern works, which themselvesare, perhaps, mere plagiarisms.

I must not forget to mention that on a subsequent visit toPaestum , (I mention it now, lest I should forget it), I metwith a French artist, rather advanced in years, whose nameto the best of my recollection was Dubois. This gentlemanwas assiduously engaged in taking models of the temples incork, and I have much pleasure in here bearing testi-mony to the astonishing fidelity and accuracy of his execu-tion. His models were made scrupulously to scale, and thematerial, cork, bears a most exact resemblance both incolour and in texture, to the honeycombed hard stalacticiouslime stone (Travertino ) of the temples. He faithfully repre-sented every honeycomb in each column,—every flaw orchip wherever it might be;—the like with every tinge ofcolour, to which the original colour of the cork, was mostconveniently ancillary. Should any of my readers evermeet with these beautiful models, they may take my word,that they are of the most perfect things of the kind everexecuted.

The day was fast drawing to a close, and neither food norshelter was to be found. I had met with a miserable hovelinhabited by an old woman, a very counterpart of thepriestess of Priapus, the mistress of the sacred goose,described by Petronius Arbiter . I had asked her if shecould give us shelter for the night, and first, whether shehad any thing to eat. All she had, was some maize bread, orrather cake, a few onions, a cruise of oil, and a jar of wine,which was worse than mouldy vinegar and water. To- thisasylum, poor Smirke , Steuart, and myself retired to enjoy