treatment, almost convey the idea of flaming torches, irresistibly recalling Nero and the traditional setting for the most famous of his musical performances.

I have reserved three seats for special consideration. The first of these is portrayed in Fig. 1, Plate IV. Comparatively insignificant as this example of the chair maker's art is in point of size, I employ no figure of speech in saying that it is instinct with stately dignity in every item of form and detail. It well need be, indeed, for such was the sacred throne of the great emperor himself. When in the throne room, this chair was, of course, mounted on a dais, and shadowed by rich and heavy draperies, relieved by martial emblems; but, even when divorced from those stage accessories, it is every inch a seat for a king. The frame, with its chimerical "trusses" or supports, wreath of bay leaves entwined with ribands, and rosettes, or patera, is richly gilt, while the spheres terminating the arms, which were grasped by the hands of the emperor when seated in state, are of the purest crystal, studded with stars. Did not the imperial hand, holding the star-studded sphere, symbolise the insatiable aspirations of the man ? Had he conquered this earth itself, would he have been satisfied, or might he not, in very truth, have chafed at the defiance of the terrestrial bodies, the symbols of which were beneath his fingers ? Who will venture to say?

But to complete my description of this treasure. The covering is of deep green velvet, if I remember aright—it is many years since I saw it—richly embroidered with gold, the whole of the design of the embroidery being planned so as to frame in the royal initial " N." In front of the seat cushion the Imperial Eagle is " supported " by " Roman " foliated scrolls.

I have remarked upon the comparatively insignificant proportions of this throne; but is it not quite possible that this very insignificance, so far as size is concerned, may be most significant in other respects. It is not at all unreasonable

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