In Acts xxi. 15, the term carriage' is used in a sense, not now prevalent, as denoting things to be carried. The original simply says, that Paul packed up his things, clothes, &c. as for travelling; and might be rendered, 'made ourselves ready.' E. Taylor renders -We took up our baggage.' CARVING, with its related words carve,' 'carved images,' &c. is represented in the Hebrew by two or three words, a knowledge of whose signification will open to the reader the facts connected with sculpture as it existed among the Israelites. I. Gharash, denoting to cut into, hence to engrace, is applied in Exod. xxxi. 5 to the carving of timber,' in connection with Bezaleel, who is set forth as filled with the spirit of God, in wisdom, and in understanding, and in knowledge, and in all manner of workmanship; to devise cunning works, to work in gold, and in sil ver, and in brass, and in cutting of stones to set them, and in carving of timber, to work in all manner of workmanship.' Whence it is clear, that the carving here implied was artistic and ornamental (comp. Exod. xxxv. 30, seq.). II. Kahlag, the essential letters in which are kahl; whence we see the connection of the word with the Greek koilein, and the Latin cælare, both with their Hebrew root signifying' to hollow' or sculpture. It is used of rich decorations made by Solomon in the temple which he built, when 'he carved all the walls of the house round about with the engravings of carved figures of cherubim, and palm-trees, and open flowers, within and without' (1 Kings vi. 29, 32, 35). III. Ghahtav, to cut or hew, is applied to the hewn or polished stone employed in ་ erecting mansions or palaces (Ps. cxliv. 12), as well as to carved articles of furniture (Prov. vii. 16). IV. Pitovagh, which is the word rendered engravings' just above, and appears to denote the figures themselves; while the word, 'carved figures,' may denote the nature of the workmanship, equal to 'engravings of carved work.' In 2 Chron. ii. 7, where this last word is used, we find Solomon requesting Huram, king of Tyre, to send him a man cunning to work in gold, and in silver, and that can skill to grave gravings, with the cunning men that are with me in Judah and Jerusalem, whom my father David did provide;' who, from 1 Chron. xxii. 15, appear to have been found in abundance in Jerusalem, all manner of cunning men, for every manner of work.' The carved work which probably these artists profusely executed in the temple (1 Kings vi. 18, 29, 32, 35), after the manner in which our beautiful cathedrals and parish churches were barbarously mutilated, despoiled, and disfigured in the civil wars, was broken down and laid waste by some foreign enemy, 'with axes and hammers' (Ps. lxxiv. 6). The same word is used, in Zech. iii. 9, of carvings or sculpture in stone. The execution of the seven symbolical eyes here spoken of must have required no mean skill. V. Pahsal means to cut away, and so to form an image. The word is specially applied to idols. Thus, in Exod. xx. 4,-Thou shalt not make unto thee any graven image,' Pehsel, idol, that is, as may be seen by comparing Lev. xxvi. 1, -Ye shall make no idols, nor graven image, neither rear you up a standing image, neither shall ye set up any image of stone in your land to bow down to it; for I am Jehovah your God.' The rendering in Exod. xx. 4, text stands, it forbids all graven images, and ' graven image,' is too wide and lax. As the so sets Scripture in contradiction with itself; the cherubim which were placed over the for Moses was expressly commanded to form mercy-seat (Exod. xxv. 18; xxvi. 1). that the ancient Hebrews had no fewer than From this particular examination, we learn five words by which they denoted graving each something special in their original apor sculpture. Doubtless these words had plication. They may also have varied in point of age. But the facts show, that the art of sculpture was at different periods in no mean condition. These periods varied Hebrews possessed, at least, some of the in artistic character. On leaving Egypt, the skill with which they had there become famiand warlike ages which ensued. When, howliar. This they partly lost in the troubled ever, David's success in arms, and encourageand impulse to skilled industry and enterment of the arts of peace, had given scope prise, and when Solomon's luxury had fostered its exercise, then native artists were found ready to execute works of high merit; in which, however, it was judged advisable to procure the aid of the superior talent and mercial Tyre. taste of the renowned, opulent, and com in the ruins of temples, and palaces, and The astonishing remains of ancient Egypt, approaching in some degree to the artistic tombs, give us peculiar opportunities for effects produced by the ancient Hebrews when in their happiest condition; for a very large portion of these remains were in existence long before even Joseph was carried down into that land of wonders. Carving in wood does not appear to have been so common in Egypt as sculpture on stone, as wood was by no means abundant in the country. Still it was practised. Boxes, chairs, tables, sofas, and other pieces of furniture, were frequently made of ebony, inlaid with ivory. Sycamore and acacia were veneered with thin layers, or ornamented with carved devices of rare wood, applied or let into them. The preceding cut represents a small wooden pectoral plate, with the subject carved in outline, inlaid with blue paint. It exhibits a monarch standing in a chariot with two horses, which are adorned with the plumes and housing that they appear bearing in martial scenes. The celestial sun is over the monarch's head. In the centre is a line of hieroglyphics, expressing the lord of diadems, Amounopth. The carving was found at Thebes, and, relating to Amenoph I. may have for its date 1663, A.C. been sculptured on the temple. We therefore subjoin one, exhibiting Selk or Heaven (feminine with the Egyptians), in the shape of a human being surrounded with stars. the body bending with down-spread arms, so as to overshadow and encompass the earth, in imitation of the vault of heaven reaching from one side of the horizon to the other. In this posture, Selk encloses the Zo iacs, as at Esneh and Denderah. The uppermost part of the compartments sculptured on Egyptian monuments is generally crowned with the emblem of this divinity. * ** ***** **** * 00000000 The reader here beholds a specimen of Egyptian art, which may throw some light on the cherubimical figures which Solomon had cut on the walls of the temple. The figure presents the side of a naos or small portable temple, having sculptured in stone the deity Chnouphis, ram-headed, seated, and holding in his hand an emblem of life. Before and behind him are female figures, having wings like cherubim. The probable date of the original is 1610, A.C. Possibly emblematical representations may also have SELK, OR HEAVEN. It was in mural sculpture that the Egyp tians were chiefly rich; and of their productions of this nature, we have the most abundant remains. Marches, battles, sieges, and triumphs, form the ordinary subjects of the mural sculptures on the ancient edifices. Such scenes were at once exactly adapted for decorative sculpture, and flattered the vanity of the sovereign and the nation. Some of these grand pictures contain several hundred figures. Your eye is first attracted by the colossal hero: erect in his chariot, his arrow drawn to the head, he drives furiously on against the foe; his horses, magnificently caparisoned, with high arched neck, and pawing hoof, seem to smell the battle from afar. Compact lines of war-cars advance, and put the enemy to flight. Homer, no doubt, drew from similar originals; and the general action and story of these compositions cannot be better described than by one of his tempestuous battle-scenes: "The gates, unfolding, pour forth all their train; Squadrons on squadrons cloud the dusky plain; Men, steeds, and chariots, shake the trembling ground; The tumult thickens, and the skies resound. These scenes were strictly historical: nothing was sacrificed to artistic embellishment. Different nations are distinguished by their respective habits, costume, arms, and physiognomical characteristics. Forts are seen surrounded by their fosses, and these traversed by bridges. The ancient Egyptian camp is drawn with interesting minuteness. Guards stand on either side the entrance. Within are seen in confusion chariots, plaustra, sutlers, loose horses, oxen, and the spoil taken from the enemy. Campaigns are represented by successive pictures. The army leaves Egypt, meets and routs the enemy, captures their forts, and at length returns with triumphal pageantry to Thebes, when the monarch presents his offerings to the gods, and receives their congratulations. Some of the most interesting of these scenes are at the Memnoninm, and commemorate the exploits of Rameses II. or Sesostris. On one wing of the propylon, the taking of several towns is represented, with details of barbarity. On the east wall of the second court, there is a grand battle-scene: the enemy fly in disorder to a fortified city, surrounded by a river. Some are seen plunged in the water, contending with the stream; others, almost exhausted, are drawn out by their friends on the opposite bank. Another of these sanguinary scenes, within the hall of columns, represents the storming of a forta detached castle in two stories, on the summit of a conical rock, battlemented, and surmounted by a standard. The besiegers, under cover of their testudos or large canopying shields, have advanced to the foot of the fortress; others, raised on the top of the testudos, have planted a scaling-ladder against the wall, and gallantly forced their way up the steep, in face of the pikes of the enemy. The besiegers appear at the top behind the battlements, and make a determined defence. Some repel the foremost assailants with pike and spear; others others hurl stones on those beneath. At the grand palace of Medinet Haboo, we have more of these battles and triumphs; records of the foreign conquests of Rameses III. the contemporary of the Israelitish hero Gideon. On the exterior, in a series of such subjects, a naval fight is represented. The combatants are in light boats with a single - sail. A figure is perched at the top of the short mast, perhaps to direct the movements of the men, or to pick off the officers of the enemy with the sling. The Egyptian galleys, known by the lion's head at the prow, advance in regular line; the bowmen discharge their arrows, and the enemy are thrown into confusion. Many are already taken prisoners and handcuffed. The king, standing on several prostrate captives (Josh. x. 24), shoots his arrows from the shore. Within the palace, on the walls of the Caryatic quadrangle, is represented a grand pageant a triumph, or, as has been supposed, a coronation. The king, seated on a canopied chair of state, is borne along on the shoulders of twelve princes. A herald, reading from an open roll, marches before, and proclaims perhaps his exploits, or his claims to sovereignty. Priests, officers, and musicians, precede and follow; and some, at the side of the king, bear fans or flabella. In advance, the god Khem, erect on a table or platform, is borne in state by attendants. The king re-appears in another part of the picture, now wearing the double crown, or pshent; a long train of functionaries advance towards him with offerings and ensigns, and some carry statutes of his ancestors on their shoulders; four birds are liberated as though to carry important intelligence to the four quarters of the globe. Another picture in this court represents what may have been an ordinary scene after a victory. The king is seated in his warcar; his plumed and richly caparisoned steeds are held by attendants. The prisoners are led up to him in files, their arms tied together at the elbow over their heads, and in other attitudes of torture. An officer then counts down in heaps before the king the hands of the slain; and another enters their numbers, amounting to some thousands, in a roll. The cut on the next page, taken from a sculptured façade of an Egyptian temple, exhibits a monarch slaying his enemies in battle, and is emblematical of regal power in conflict with national foes. The original is a favourable specimen of Egyptian art. EICBAIT ATWNBIAEIC AEAKWPIXAIPE ΠΑΤΕΡΚΟΣΜΟΥΧΑ IPETPIMOPPEOЄOC This engraving represents a stone, on which are cut the figures of Re, Agathoda mon, or a winged asp, and a goddess ap parently with a frog's head; also, a Greek CASEMENT (from the Latin capsa, English case), a window; windows being in old times a sort of case, such as what are called oriel windows. The Hebrew word of which casement is a rendering (Prov. vii. 6), signifies to knit or join together, and is best represented by the word lattice, which stands in the English Bible for it, in the only other place (Judg. v. 28) in which it is found; and where, from the usages of Hebrew poetry, it is obviously synonymous with window.' The word rendered window' in this place, denotes a bow-window, from a root signifying to bulge out,- to be round. Another word for window, Arobah (Gen. vii. 11; viii. 2. 2 Kings vii. 2. Eccl. xii. 3), seems also to imply a kind of lattice, as it comes from a root which primarily means to weave. Windows,' in Isa. liv. 12, should be pinnacles or battlements. The window, Tzohar, which Noah was directed to make in the ark (Gen. vi. 16), was clearly such, being from the meaning of the term, which, from a root signifying to shine, is generally rendered 'noon,' 'noonday'-intended, be yond a question, to give light A word of much later date, Kaveen, found in Dan. vi. 10, may, from a root signifying to hollow or open, mean 'windows,' especially such as are like folding doors, which, when drawn back, give a view out into the open country. The last word rendered 'window' is Shekeph, whose root is found in our adopted word, skeptic, being a term common to the Indian and Shemitic languages. This word properly means to look, to look narrowly, and, according to Jewish tradition, denotes a small window, through which one might look without being seen. It is used of the windows that Solomon made in the temple, 'and for the house he made windows of narrow lights' (1 Kings vi. 4; comp. Ezek. xl. 16; xli. 16), probably because he preferred the 'dim religious light' which such would afford, to the blaze and glare which, in a Palestinian atmosphere, large windows would have caused. These verbal investigations have shown that the Hebrews had several kinds of casements or windows, perhaps most of the kinds which have been known in more recent days; from the lattice or simple structure of crossed |