[Footnote 1:  See p. 299.]

IX.  NAVIGATION.

Navigation before and since my reign is here depicted.  The frail and sluggish ships of former times are contrasted with the swift and powerful ships constructed in my reign.[2]

     [Footnote 2:  See p. 268.]

X. CONSUMPTION OF THE VITALITY.

An episode connected with the discovery of the incipient cause of this malady is here represented.[3]

     [Footnote 3:  See p. 235.]

XI.  MADNESS.

In a series of pictures are portrayed various incidents illustrating the injuries formerly inflicted from ignorance of the causes of the malady, the really mad having often been regarded as sane, whilst many of the sane were treated as mad.  Every phase of the malady as it formerly existed is depicted, as also the discoveries and incidents attending its detection and cure in its incipiency.

XII.  EXPOSITION OF THE NEW DOCTRINES.

While representing the Tootmanyoso expounding some of his leading doctrines, the artist has given to many of the countenances a fearful expression of hatred and incredulity, while the Tootmanyoso’s calm and settled purpose is grandly expressed in the dignity, eloquence, and unswerving faith depicted in his aspect and general bearing.

In this picture, too, are seen figures of children clothed in rich habits, who had been brought up in idleness, and taught to respect little else than money; some deriding, some in the act of throwing missiles at the principal figure, whom others are revering.

The poor people’s joy when relieved by the Tootmanyoso from misery and oppression, and told that the gates of honour were open to themselves and their sons and daughters, is plainly shown.  The beaming intelligence of beautiful children with lofty aspirations, expressing innate love of good and desire of knowledge, hitherto held back by want, is also represented.  All this is more beautifully expressed by the painter than words can convey.

XIII.  THE REBELS.

An episode in the Tootmanyoso’s life when, alone and unarmed in his study, he was surrounded by a band of armed men, who had bound themselves by oath to murder him unless he complied with their rebellious demands, is here recorded in a picture, in which is portrayed the noble figure of the Tootmanyoso, unarmed and bareheaded, at the mercy of these furious armed men, who have the expression of wild beasts in their rage.  The painter nevertheless has succeeded in giving to the faces of the rebels a cowering expression, as if they were inwardly awed by the undaunted calmness and aspect of the man they had come to destroy.

XIV.  THE MOUNTAIN SUPPORTER.