ELEUSINIAN MYSTERIES.

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character and the providential government of God, brought by night into the temple of Ceres, to be instructed in mysteries which were then deemed sacred as well as terrible-fear and awe must have taken entire possession of his mind. All at once the darkness was dispelled by a sudden blaze of light; swift and momentary as a flash of lightning-it vanished, and left him again in darkness, which seemed more profound from the contrast. Long, rolling peals of thunder then shook the walls of the temple, while the ground beneath his feet seemed to heave as if agitated by an earthquake. Strange voices were heard, and spectral illusions (which doubtless were a kind of phantasmagoria, emblematically representing the doctrines to be taught) were presented to his astonished sight. The young Athenian must have had very firm nerves, if he could witness all this without feeling too much bewildered and terrified to listen to what was read to him from the mysterious volumes that were preserved in the temple.*

Rollin's Hist. Anc. v. 13, 14.

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PORTLAND VASE.

Part of the scenic exhibition is supposed to be sculptured on the sides of this urn.

The representation of Death was one of the first scenes in the Mysteries. The central figure in this group appears to be emblematical of Mortal Life: she holds in her hand an inverted torch, which is an emblem of death. You know that if we were to hold a lighted candle in that position, it would go out almost immediately. The attitude of the figure expresses great lassitude and weakness. She seems vainly endeavouring to support her drooping head with her hand; but it is plain that she is sinking down; Mortal Life is expiring. The side figures of the group are a man and woman, the emblematic representatives of the human race; they both seem to be looking intently at the dying person, but they make no effort to assist her. When death approaches, human help is unavailing.

The perishable nature of the works of art is also represented by the disjointed stones on

* See Frontispiece.

PORTLAND VASE.

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which these figures are seated, and by the broken column. In the original, the capital of the column is seen lying beneath the feet of Mortal Life in this plaster-cast, the capital has been carelessly omitted, which lessens the beauty and justness of the allegory. Here is a drawing, which I believe to be a correct copy, where the broken capital is shown.

Let us now turn the other side of the vase, and examine the representation of the life after death. The ancient heathens supposed that the habitation of the spirits of the dead was beneath the surface of the earth. This was the dominion of Pluto, the dispenser of rewards and punishments. The first figure in the group is the shade or ghost of a deceased person, who seems to be advancing timidly through an open portal; his attitude shows that he is stepping down from above. He seems to linger, as if afraid, and wishes to drag after him a part of his mortal garment.

Here, I am sorry to say, is another proof of