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OXFORD STUDIES IN BYZANTIUM

Editorial Board
JAŚ ELSNER CATHERINE HOLMES
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HUGH KENNEDY MARC LAUXTERMANN
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CYRIL MANGO MARLIA MANGO
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JONATHAN SHEPARD
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OXFORD STUDIES IN BYZANTIUM

Oxford Studies in Byzantium consists of scholarly monographs and editions
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Church Architecture of Late Antique Northern Mesopotamia

Elif Keser Kayaalp
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Caliphs and Merchants
Cities and Economies of Power in the Near East (700–950)
Fanny Bessard
Social Change in Town and Country in Eleventh-Century Byzantium
James Howard-Johnston
Innovation in Byzantine Medicine
The Writings of John Zacharias Aktouarios (c.1275–c.1330)
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 OUP CORRECTED PROOF – FINAL, 23/3/2022, SPi

Depicting Orthodoxy in
the Russian Middle Ages
The Novgorod Icon of Sophia,
the Divine Wisdom

ÁGNES KRIZA

1
OUP CORRECTED PROOF – FINAL, 23/3/2022, SPi

3
Great Clarendon Street, Oxford, OX2 6DP,
United Kingdom
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It furthers the University’s objective of excellence in research, scholarship,
and education by publishing worldwide. Oxford is a registered trade mark of
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© Ágnes Kriza 2022
The moral rights of the author have been asserted
First Edition published in 2022
Impression: 1
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You must not circulate this work in any other form
and you must impose this same condition on any acquirer
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for information only. Oxford disclaims any responsibility for the materials
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 OUP CORRECTED PROOF – FINAL, 23/3/2022, SPi

Foreword

The four main parts (WORD, IMAGE, IDENTITY, and HISTORY) of this
volume are supplemented with an Appendix, which constitutes an organic part
of the book. The Appendix contains a Critical edition of the Sophia commentary
with an English translation, as well as a Catalogue of the fifteenth-sixteenth-
century Sophia images. Apart from bibliographical and other factual references,
this Catalogue provides a short iconographic description of the images. Based on
the available information, the Catalogue also presents an iconographic classifica-
tion of the early Sophia images and a survey of the development of the
Novgorod Wisdom iconography. In order to avoid repeated descriptions of and
bibliographical references to Sophia images, I refer to this Catalogue and its items
(as ‘Cat. number’) throughout the book.
Translations are my own unless indicated otherwise. Biblical quotations are
from the English translation of the Orthodox Study Bible, in which the Old
Testament is a translation made from the Septuagint and the New Testament is
that of the New King James Version. Accordingly, the numbering of Old
Testament biblical (including psalm) verses follows the Septuagint.
I use the simplified Library of Congress system of transliterating Russian
Cyrillic into the Latin alphabet, as well as the BukyVede Old Church Slavonic
Cyrillic font with the kind permission of Sebastian Kempgen.
This volume is an updated and extended version of my doctoral dissertation
defended in 2017 at the University of Cambridge.
OUP CORRECTED PROOF – FINAL, 23/3/2022, SPi
 OUP CORRECTED PROOF – FINAL, 23/3/2022, SPi

Acknowledgements

This book could not have been completed without the support that I have received
from a number of people. First of all, I want to extend my gratitude to my
supervisor at the University of Cambridge, Richard Marks for his scholarly
guidance, patience, support, and for showing perpetual confidence in this
research. I am likewise grateful to the reviewers of my dissertation, Antony
Eastmond and Rowan Williams, as well as the anonymous reviewers of this
book. For their advice and the helpful consultations, I am indebted to Donal
Cooper, Michael S. Flier, Simon Franklin, Anna Jouravel, Nazar Kozak, Victoria
Legkikh, Alexei Lidov, Basil Lourié, István Perczel, Tatiana Popova, Aleksandr
Preobrazhensky, Ludmila Shchennikova, Jonathan Shepard, Engelina Smirnova,
Oleksiy Tolochko, Tatiana Tsarevskaya, and Konstantin Vershinin. My endeavour
to obtain images for this book and the permissions to publish them was gener-
ously supported by Aleksey Alekseev, Andrey Borodikhin, Nazar Kozak, Alexei
Lidov, Gáspár Parlagi, Aleksandr Preobrazhensky, Alexei Rastorguev, Irina
Shalina, Anna Zakharova, and Vera Zavaritskaya. For their help with the acqui-
sition of the copies of manuscripts, I am grateful to Andrey Borodikhin and Olga
Grinchenko. A special debt of gratitude is owed to Richard Marks, Alexandre
Denizé, and Luke Saville for their assistance in language editing. The greatest
thanks, though, must go to my husband, Péter Tóth, who motivated and helped
this research in every possible way.
The publication of this volume was supported by the Society of Historians of
Eastern European, Eurasian and Russian Art and Architecture.
OUP CORRECTED PROOF – FINAL, 23/3/2022, SPi
 OUP CORRECTED PROOF – FINAL, 23/3/2022, SPi

Contents

List of Illustrations xi
List of Abbreviations xvii
Introduction 1

PART I. WORD
1. The Icon and Its Commentary 21
2. The Winged Bride: Quotations in the Sophia Commentary 34
3. Medieval Russian Sophiology: The Context of the Sophia
Commentary in the Manuscripts 53

PART II. IMAGE

4. Representations of Wisdom in Rus 67
5. The Novgorod Sophia Icon as a Deesis 77
6. Sophia in the Womb of the Virgin 113

PART III. IDENTITY

7. Slavonic Sophia Churches and the Schism of 1054 137
8. Leaven and Byzantine Marian Iconography 167
9. Depicting Orthodoxy in Rus 188

PART IV. HISTORY

10. Sophia, the Divine Wisdom, and the Union of Florence 221
11. Evfimii II, Archbishop of Novgorod 234
12. The Hagia Sophia in Rome 260
Conclusions: Towards the Viskovatyi Affair 286
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x 

Appendix 289
Critical Edition of the Sophia Commentary with English
Translation 289
Table 1: The ‘Sophiological Block’ 301
Table 2: The ‘Sophiological Synthesis’ 302
Catalogue: The Iconography of the Novgorod Sophia in the
Fifteenth and Sixteenth Centuries 303

References 317
Index 353
 OUP CORRECTED PROOF – FINAL, 23/3/2022, SPi

List of Illustrations

0.1. Sophia, the Divine Wisdom, icon, second half of the fifteenth century. St Sophia
Cathedral, Novgorod. 3
0.2. St Sophia Cathedral, Novgorod, 1045–1050. 4
0.3. Sophia, the Divine Wisdom, fresco in the Cell of Archbishop John,
Archiepiscopal Palace, Novgorod, 1441. 5
0.4. Sophia, the Divine Wisdom, icon, first half of the fifteenth century.
Annunciation Cathedral, Kremlin, Moscow. 13
1.1. ‘What shall we offer to you, Christ’, fresco, the Church of the Theotokos
Peribleptos (St Clement), Ohrid, 1294–5. 22
1.2. Sophia, the Divine Wisdom framed with the text of the commentary,
church banner from Novgorod, the Church of St Niketas, 1550s–1560s.
State Russian Museum, St Petersburg. 31
2.1. Blessing John the Baptist flanked by two deacons, fresco in the diakonikon,
Church of St Panteleimon, Nerezi, ca. 1164. 44
2.2. Faith, Hope, and Love, miniature in The Heavenly Ladder by John Climacus,
twelfth century. Sinai Gr. 418, f. 283r, St Catherine’s Monastery, Mount Sinai. 51
3.1. The first page of the Sophia commentary, 1450s. Collection of
M. N. Tikhomirov, no. 397, f. 124, GPNTB SO RAN, Novosibirsk. 55
3.2. St Sophia, Constantinople, 532–7. 58
4.1. ‘God is in his midst; he shall not be shaken’, miniature to the Psalm 45:6,
Kyiv Psalter, 1397. OLDP F 6, f. 63r, National Library of Russia, St Petersburg. 69
4.2. ‘Wisdom has built her house’, fresco in the narthex, Dormition church in
the Volotovo Field near Novgorod, 1380s, destroyed during the Second
World War. 69
4.3. ‘Wisdom has built her house’, icon from Malo-Kirillov Monastery, near
Novgorod, late fifteenth century. State Tretyakov Gallery, Moscow. 70
4.4. ‘Wisdom has built her house’, carved wood icon from the former Blangy
collection (current location is unknown), first half of the sixteenth century. 71
4.5. Evangelist Luke with Wisdom, fresco in the pendentive, Dormition church
in the Volotovo Field near Novgorod, 1380s, destroyed during the Second
World War. 71
4.6. Evangelist Luke with Wisdom, miniature in the Rogozh Gospels, first
quarter of the fifteenth century. Collection of Rogozh cemetery, no. 138,
f. 144v, Russian State Library, Moscow. 72
4.7. ‘Wisdom has built her house’, fresco in the narthex, the Church of the
Theotokos Peribleptos (St Clement), Ohrid, 1294–5. 74
4.8. John Chrysostom with Wisdom and Apostle Paul (The Source of Divine
Wisdom), fresco in the pendentive, church of the Archangel Michael,
Lesnovo, 1349. 75
5.1. Sophia, the Divine Wisdom with saints, triptych, second half of the
sixteenth century. State Tretyakov Gallery, Moscow. 78
5.2. Royal Deesis, icon from Novgorod, possibly from the Sophia Cathedral,
end of the fourteenth century. Dormition Cathedral, Kremlin, Moscow. 80
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xii   

5.3. Royal Deesis, fresco on the north wall of the naos, Transfiguration
church of the Saviour, Kovalyovo near Novgorod, 1380, destroyed
between 1941 and 1943. 81
5.4. Royal Deesis (Heavenly Court), fresco in the north dome of the narthex,
Treskavec, 1341–3. 82
5.5. Royal Deesis, fresco on the north wall of the naos, Marko’s Monastery,
1376–7. 83
5.6. Royal Deesis, miniature to Psalm 44:10–11, Serbian Psalter, fourteenth
century. Cod. Slav. 4, f. 58v, Bayerische Staatsbibliothek, Munich. 84
5.7. Royal Deesis, icon from Novgorod, 1559. State Russian Museum,
St Petersburg. 85
5.8. Fresco decoration in the apse, church of the Panagia Drosiani, Moni,
Naxos, sixth or seventh century. 93
5.9. Deesis, icon from Vladimir-Suzdal, thirteenth century. State Tretyakov
Gallery, Moscow. 94
5.10. Orthodox priest performing the Proskomedia. 95
5.11. The particles of the prosphora on the paten. Line drawing based on a
contemporary Orthodox liturgical book. 96
5.12. Apse mosaic, Santa Maria Trastevere, Rome, 1140–3. 98
5.13. Apse mosaic, Santa Maria Maggiore, Rome, before 1296. 99
5.14. Paolo Veneziano, Coronation of the Virgin, 1324. National Gallery of
Art, Washington. 100
5.15. Santa Maria della Clemenza, encaustic icon, between the sixth and
eighth centuries. Santa Maria Trastevere, Rome. 105
6.1. Theotokos Nikopoios, Seal of Justinian I (527–65). BZS.1955.1.4249,
Dumbarton Oaks, Byzantine Collection, Washington, DC. 115
6.2. Theotokos Nikopoios, Nomisma tetarteron of Romanos III Argyros
(1028–34). BZC.1948.17.2844, Dumbarton Oaks, Byzantine Collection,
Washington, DC. 116
6.3. Theotokos Nikopoios, fresco in the conch, Ohrid, St Sophia, between
1052 and 1056. 117
6.4. Theotokos Nikopoios and Ascension, fresco decoration in the apse and
bema vault, Ohrid, St Sophia, between 1053 and 1056. 118
6.5. Theotokos Nikopoios, fresco in the prothesis, the Church of the
Theotokos Peribleptos (St Clement), Ohrid, 1294–5. 119
6.6. Theotokos Nikopoios between Salomon and Ecclesia(?), miniature in the
Syriac Bible, sixth-seventh-centuries. Cod. Syr. 341, f. 118r, Bibliothèque
nationale de France, Paris. 123
6.7. Adoration of the Magi, miniature in the Echmiadzin Gospels, sixth–seventh
centuries. MS 2374, f. 229r, Matenadaran, Yerevan. 126
7.1. Sophia, the Divine Wisdom, icon from the Solovki Monastery, end of the
sixteenth century. State Tretyakov Gallery, Moscow. 135
7.2. Fresco decoration in the apse, St Sophia, Ohrid, between 1052 and 1056. 138
7.3. Mosaic decoration in the apse, St Sophia, Kyiv, after 1052. 139
7.4. The mosaic decoration in the St Sophia Cathedral, Kyiv, line drawing. 140
7.5. Apse decoration, Panagia ton Chalkeon, Thessaloniki, after 1028. 143
7.6. Eucharist with bread, fresco in the bema, Panagia ton Chalkeon,
Thessaloniki, after 1028. 145
7.7. Basil the Great, fresco in the apse, St Sophia, Ohrid, between 1052 and 1056. 146
7.8. John Chrysostom from the echelon of church fathers, mosaic in the apse,
St Sophia, Kyiv, after 1052. 147
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   xiii

7.9. Communion of the apostles, fresco in the apse, St Sophia, Ohrid, between
1052 and 1056. 148
7.10. Communion of the apostles, fresco in the apse, St Sophia, Kyiv, after 1052. 148
7.11. Paten with the Communion of the Apostles from Riha, 565–78.
Dumbarton Oaks, Byzantine Collection, Washington, DC. 149
7.12. Christ as priest, mosaic above the eastern arch of the dome, St Sophia,
Kyiv, after 1052. 150
7.13. Aaron, mosaic on the north-east pillar, St Sophia, Kyiv, after 1052. 151
7.14. The vision of St Basil, fresco in the bema wall, Ohrid, St Sophia, between
1052 and 1056. 153
7.15. The liturgy of St Basil, fresco in the bema wall, Ohrid, between 1052
and 1056. 154
7.16. Fresco decoration with Hetoimasia and Officiating Church Fathers in the
apse, Veljusa Monastery, 1080s. Line drawing. 159
7.17. Fresco decoration with Hetoimasia and Officiating Church Fathers in the
apse, Church of St Panteleimon, Nerezi, ca. 1164 (the Blachernitissa in the
conch is from the sixteenth century). 160
7.18. Fresco decoration with Melismos and Officiating Church Fathers in the
apse, Church of St George, Kurbinovo, 1180s. 161
8.1. Theotokos Blachernitissa, lead seal of Proedros John, second half of the
eleventh century. BZS.1947.2.847, Dumbarton Oaks, Byzantine Collection,
Washington, DC. 174
8.2. Theotokos Znamenie (Blachernitissa), fresco in the apse. Transfiguration
of the Saviour church on Nereditsa Hill, near Novgorod, 1199, destroyed
in 1941. 175
8.3. Master Ivan: Panagiarion of the Novgorod Sophia Cathedral, 1435.
Novgorod State Integrated Museum Reserve. 178
8.4. Master Ivan: Panagiarion of the Novgorod Sophia Cathedral, plates with
the images of the Theotokos Znamenie (bottom), the Old Testament Holy
Trinity (top inner), and the Ascension (top outer), 1435. Novgorod State
Integrated Museum Reserve. 179
8.5. Panagiarion, Xeropotamou monastery, Mt Athos, fourteenth century. 181
8.6. Sophia, the Divine Wisdom, drawing in the Likhachev Apostol, Novgorod,
end of the fifteenth century. Coll. 238 (F. P. Likhachev), op. 1, no. 274,
f. 7v, SPbII RAN, St Petersburg. 183
8.7. The Elevation of the Panagia, fresco in the prothesis, Sviyazhsk,
Annunciation Cathedral, 1561. 184
8.8. The Elevation of the Panagia and Sophia, the Divine Wisdom, detail of the
icon Renewal of the Resurrection Church in Jerusalem and Praise to the
Theotokos, from the Annunciation Cathedral, Solvychegodsk, turn of the
seventeenth century. Solvychegodsk Historical and Art Museum. 185
9.1. Fresco decoration with Deesis and church fathers in the apse,
Transfiguration of the Saviour church on Nereditsa Hill, near Novgorod,
1199, destroyed in 1941. 189
9.2. Frescoes in the apses, Transfiguration of the Saviour church on Nereditsa
Hill, near Novgorod, 1199, destroyed in 1941. Water paint by
L. M. Brailovskii (1904). 190
9.3. Frescoes on the vaults, Transfiguration of the Saviour church on Nereditsa
Hill, near Novgorod, 1199, destroyed in 1941. Water paint by
L. M. Brailovskii (1904). 191
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xiv   

9.4. Fresco decoration in the apse and the dome, Transfiguration church,
Mirozh Monastery, Pskov, ca. 1140. 193
9.5. Apse decoration, Transfiguration church, Mirozh Monastery, Pskov,
ca. 1140. 194
9.6. Fresco decoration in the dome, Trikomo, Cyprus, thirteenth century. 196
9.7. Transfiguration and Deesis, fresco in the apse and bema vault,
Transfiguration church, Mirozh Monastery, Pskov, ca. 1140. 198
9.8. Mosaic decoration in the apse and the triumphal arch, Monastery of
St Catherine, Mount Sinai, 548–65. 199
9.9. The interior of the St Sophia Cathedral with its main iconostasis, Novgorod. 202
9.10. Saviour in a Golden Robe, icon from the St Sophia Cathedral, Novgorod,
fifteenth-seventeenth centuries (painting), eleventh century (iconography,
panel?). Dormition Cathedral, Moscow, Kremlin. 203
9.11. Saviour enthroned, the copy of the icon Saviour in a Golden Robe, icon
on the main iconostasis of the St Sophia Cathedral, Novgorod,
seventeenth century. 204
9.12. Apostles Peter and Paul, icon from the main iconostasis of the St Sophia
Cathedral, Novgorod, second half of the eleventh century. Novgorod State
Integrated Museum Reserve. 206
9.13. Apostles Peter and Paul, the cover of the icon from the St Sophia Cathedral,
Novgorod, second half of the eleventh century. Novgorod State Integrated
Museum Reserve. 207
9.14. Saviour enthroned with saints, icon from Novgorod, thirteenth–fourteenth
century. State Tretyakov Gallery, Moscow. 209
9.15. Alexa Petrov: St Nicholas, icon from the Church of St Nicholas on the
Lipna, near Novgorod, 1294. Novgorod State Integrated Museum Reserve. 210
9.16. Theotokos Znamenie, double-sided icon in the St Sophia Cathedral,
Novgorod, before 1169. 212
9.17. St Joachim and Anna (?), verso of the double-sided Theotokos Znamenie
icon in the St Sophia Cathedral, Novgorod, before 1169. 212
9.18. Ustiug Annunciation, icon from Novgorod, twelfth century. State Tretyakov
Gallery, Moscow. 213
9.19. Pokrov, icon from the Zverin Monastery, Novgorod, ca. 1399. Novgorod
State Integrated Museum Reserve. 215
11.1. The battle between Novgorod and Suzdal, icon from Novgorod, mid-fifteenth
century. State Tretyakov Gallery, Moscow. 239
11.2. ‘In thee rejoiceth’, double-sided icon-tablet from the St Sophia Cathedral,
Novgorod, end of the fifteenth century. Novgorod State Integrated
Museum Reserve, Veliky Novgorod. 246
11.3. Aaron, Son of Feofan: the Deesis tier of the main iconostasis of the
Novgorod Sophia Cathedral (icons of the Saviour, the Mother of God,
John the Baptist, Archangels Michael and Gabriel), 1438 or 1439. 248
11.4. Sophia, the Divine Wisdom, flanked by two Novgorod hierarchs, fresco in
the Cell of Archbishop John, Archiepiscopal Palace, Novgorod, 1441. 250
11.5. Sophia, the Divine Wisdom, icon from Kem (Karelia), 1550s–1560s.
Collection of N. Likhachev, State Russian Museum, St. Petersburg. 253
11.6. Descent of the Holy Spirit, Old Testament Trinity and Sophia, the Divine
Wisdom, carved wood triptych, mid-sixteenth century. Collection of
A. Rastorguev. 254
11.7. King Solomon, fresco in the drum of the central dome, St Sophia
Cathedral, Novgorod, 1109. 256
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Volumes, with Illustrations, Neatly Bound in Cloth. Price 38
cents.

4. Florence
1. Little Nell.
Dombey.
2. Oliver and the Jew
5. Smike.
Fagin.
3. Little Paul. 6. The Child Wife.
This is a series of volumes which has been undertaken with a view to
supply the want of a class of books for children, of a vigorous, manly
tone, combined with a plain and concise mode of narration. The
writings of Charles Dickens have been selected as the basis of the
scheme, on account of the well-known excellence of his portrayal of
children, and the interests connected with children—qualities which
have given his volumes their strongest hold on the hearts of parents.
With this view the career of Little Nell and her Grandfather,
Oliver, Little Paul, Florence Dombey, Smike, and the Child-
Wife, have been detached from the large mass of matter with which
they were originally connected, and presented, in the author’s own
language, to a new class of readers, to whom the little volume will, we
doubt not, be as attractive as the larger originals have so long proved
to the general public.

MISCELLANEOUS.
The Works of the Honorable William H.
Seward, with a Memoir, Portrait and other Engravings on steel.
3 vols., 8vo. Price per volume, cloth, $2 50; half calf, $3 75; full calf,
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The Study of Words. By R. C. Trench, B. D.,
Professor of Divinity in King’s College, London. 1 vol., 12mo.
Price 75 cents.

On the Lessons in Proverbs. By R. C.

Trench, B. D., Author of the “Study of Words.” 12mo, cloth.
Price 50 cents.

The Synonyms of the New Testament. By R.

C. Trench, B. D., Author of the “Study of Words,” “Lessons in
Proverbs,” &c., &c. Third Edition, Revised and Enlarged. 12mo, cloth.
Price 75 cents.

English, Past and Present. By Rev. Richard

Chenevix Trench, B. D. 12mo. Price 75 cents.
Macaulay’s Speeches. Speeches by the
Right Hon. T. B. Macaulay, M. P., Author of “The History of
England,” “Lays of Ancient Rome,” &c., &c. 2 vols., 12mo. Price $2 00.

Meagher’s Speeches. Speeches on the

Legislative Independence of Ireland, with Introductory Notes. By
Thomas Francis Meagher. 1 vol., 12mo, cloth. Portrait. Price $1 00.

Lectures and Miscellanies. By Henry James.

1 vol., 12mo, cloth. Price $1 25.
Characters in the Gospel, illustrating Phases
of Character at the Present Day. By Rev. E. H. Chapin. 1 vol.,
12mo. Price 50 cents.

Ballou’s Review of Beecher. The Divine

Character Vindicated. A Review of the “Conflict of Ages.” By
Rev. Moses Ballou. 1 vol., 12mo, cloth. Price $1 00.

Maurice’s Theological Essays. Theological

Essays. By Frederick Denison Maurice, M. A., Chaplain of
Lincoln’s Inn. From the Second London Edition, with a New Preface,
and other Additions. 1 vol., 12mo, cloth. Price $1 00.

The Pictorial Bible; being the Old and New

Testaments according to the Authorized Version; Illustrated with
more than One Thousand Engravings, representing the Historical
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Natural History, Costume, and Antiquities, from the best sources. 1
vol., 4to, embossed binding. Price $6 00.

NEW AND POPULAR PUBLICATIONS.

Life under an Italian Despotism!

LORENZO BENONI,
OR

PASSAGES IN THE LIFE OF AN

ITALIAN
One Vol., 12mo, Cloth—Price $1.00.

OPINIONS OF THE PRESS.

“The author of ‘Lorenzo Benoni’ is Giovanni Ruffini, a native of
Genoa, who effected his escape from his native country after the
attempt at revolution in 1833. His book is, in substance, an authentic
account of real persons and incidents, though the writer has chosen to
adopt fictitious and fantastic designations for himself and his
associates. Since 1833, Ruffini has resided chiefly (if not wholly) in
England and France, where his qualities, we understand, have
secured him respect and regard. In 1848, he was selected by Charles
Albert to fill the responsible situation of embassador to Paris, in which
city he had long been domesticated as a refugee. He ere long,
however, relinquished that office, and again withdrew into private life.
He appears to have employed the time of his exile in this country to
such advantage as to have acquired a most uncommon mastery over
the English language. The present volume (we are informed on good
authority) is exclusively his own—and, if so, on the score of style
alone it is a remarkable curiosity. But its matter also is curious.”—
London Quarterly Review for July.
“A tale of sorrow that has lain long in a rich mind, like a ruin in a fertile
country, and is not the less gravely impressive for the grace and
beauty of its coverings ... at the same time the most determined novel-
reader could desire no work more fascinating over which to forget the
flight of time.... No sketch of foreign oppression has ever, we believe,
been submitted to the English public by a foreigner, equal or nearly
equal to this volume in literary merit. It is not unworthy to be ranked
among contemporary works whose season is the century in which
their authors live.”—London Examiner.
“The book should be as extensively read as ‘Uncle Tom’s Cabin,’
inasmuch as it develops the existence of a state of slavery and
degradation, worse even than that which Mrs. Beecher Stowe has
elucidated with so much pathos and feeling.”—Bell’s Weekly
Messenger.
“Few works of the season will be read with greater pleasure than this;
there is a great charm in the quiet, natural way in which the story is
told.”—London Atlas.
“The author’s great forte is character-painting. This portraiture is
accomplished with remarkable skill, the traits both individual and
national being marked with great nicety without obtrusiveness.”—
London Spectator.
“Under the modest guise of the biography of an imaginary ‘Lorenzo
Benoni,’ we have here, in fact, the memoir of a man whose name
could not be pronounced in certain parts of northern Italy without
calling up tragic yet noble historical recollections ... its merits, simply
as a work of literary art, are of a very high order. The style is really
beautiful—easy, sprightly, graceful, and full of the happiest and most
ingenious turns of phrase and fancy.”—North British Review.
“This has been not unjustly compared to ‘Gil Blas,’ to which it is
scarcely inferior in spirited delineations of human character, and in the
variety of events which it relates. But as a description of actual
occurrences illustrating the domestic and political condition of Italy, at
a period fraught with interest to all classes of readers, it far transcends
in importance any work of mere fiction.”—Dublin Evening Mail.
 Memoirs of a Distinguished Financier.

FIFTY YEARS
IN BOTH HEMISPHERES;
OR, REMINISCENCES OF A MERCHANT’S LIFE.
By Vincent Nolte. 12mo. Price $1.25. [Eighth Edition]
The following, being a few of the more prominent names introduced in
the work, will show the nature and extent of personal and anecdotal
interest exhibited in its pages:—
Aaron Burr; General Jackson; John Jacob Astor; Stephen Girard; La
Fayette; Audubon; the Barings; Robert Fulton; David Parish; Samuel
Swartwout; Lord Aberdeen; Peter K. Wagner; Napoleon; Paul
Delaroche; Sir Francis Chantry; Queen Victoria; Horace Vernet; Major
General Scott; Mr. Saul; Lafitte; John Quincy Adams; Edward
Livingston; John R. Grymes; Auguste Davezac; General Moreau;
Gouverneur Morris; J. J. Ouvrard; Messrs. Hope & Co.; General
Claiborne; Marshal Soult; Chateaubriand; Le Roy de Chaumont; Duke
of Wellington; William M. Price; P. C. Labouchere; Ingres; Charles VI.,
of Spain; Marshal Blucher; Nicholas Biddle; Manuel Godoy; Villele;
Lord Eldon; Emperor Alexander, etc. etc.
“He seldom looks at the bright side of a character, and dearly loves—
he confesses it—a bit of scandal. But he paints well, describes well,
seizes characteristics which make clear to the reader the nature of the
man whom they illustrate.”
The memoirs of a man of a singularly adventurous and speculative turn, who
entered upon the occupations of manhood early, and retained its energies
late; has been an eye-witness of not a few of the important events that
occurred in Europe and America between the years 1796 and 1850, and
himself a sharer in more than one of them; who has been associated, or an
agent in some of the largest commercial and financial operations that British
and Dutch capital and enterprise ever ventured upon, and has been brought
into contact and acquaintance—not unfrequently into intimacy—with a number
of the remarkable men of his time. Seldom, either in print or in the flesh, have
we fallen in with so restless, versatile and excursive a genius as Vincent
Nolte, Esq., of Europe and America—no more limited address will sufficiently
express his cosmopolitan domicile.—Blackwood’s Magazine.
As a reflection of real life, a book stamped with a strong personal character,
and filled with unique details of a large experience of private and public
interest, we unhesitatingly call attention to it as one of the most note-worthy
productions of the day.—New York Churchman.
Our old merchants and politicians will find it very amusing, and it will excite
vivid reminiscences of men and things forty years ago. We might criticise the
hap-hazard and dare-devil spirit of the author, but the raciness of his
anecdotes is the result of these very defects.—Boston Transcript.
His autobiography presents a spicy variety of incident and adventure, and a
great deal of really useful and interesting information, all the more acceptable
for the profusion of anecdote and piquant scandal with which it is
interspersed.—N. Y. Jour. of Commerce.
Not the least interesting portion of the work, to us here, is the narration of
Nolte’s intercourse with our great men, and his piquant and occasionally ill-
natured notice of their faults and foibles.—N. Y. Herald.
It is a vivid chronicle of varied and remarkable experiences, and will serve to
rectify the errors which too often pass among men as veritable history.—
Evening Post.
The anecdotes, declamations, sentiments, descriptions, and whole tone of the
book, are vivacious and genuine, and, making allowance for obvious
prejudices, graphic and reliable. To the old it will be wonderfully suggestive, to
the young curiously informing, and to both rich in entertainment.—Boston
Atlas.
As an amusing narrative, it would be difficult to find its superior; but the book
has peculiar interest from the freedom with which the author shows up our
American notorieties of the past forty years.—Courier.

THE UNITED STATES JAPAN

EXPEDITION.
An Account of Three Visits to the Japanese
Empire, with Sketches of Madeira, St. Helena, Cape of Good Hope,
Mauritius, Ceylon, Singapore, China, and Loo-Choo. By Col. J. W.
Spalding, of the United States Steam Frigate Mississippi, Flag-ship of
the Expedition, with eight Illustrations in Tint. 12mo., cloth, $1 25.
The book embraces a novel field in “Japan,” and a wide one in the world, but
the author has made a long voyage seem a short one, in the interest which
his graphic and instructive pen has thrown about every league of his progress.
The style is flowing and animated—Japan and the Japanese are dashed off in
life-like pictures. We advise all who have the slightest curiosity to become
acquainted with that secluded and remarkable people, and to obtain a
connected and spirited account of the great American Expedition to Japan, to
purchase the admirable work of Col. Spalding.—Rich. Dispatch.
Col. Spalding is a man whose character in the community in which he has
heretofore resided places him above suspicion, so that his narrative may be
implicitly trusted. He is withal a racy writer, and a person gifted with very
uncommon powers of observation.—Baltimore Patriot.
It describes all that the intelligent author saw, in a clear and very agreeable
manner, and mentions many things of a personal character, which, of course,
would form no part of an official report.—Baltimore American.
There is a freshness and vividness in his descriptions which makes the book
more than commonly attractive.—Puritan Recorder.
Mr. Spalding writes with great ease and perspicuity. His powers of description
are fully adequate to any occasion which requires their exertion, as is
abundantly evidenced in the present work.—Petersburg Intelligencer.
A very readable journal of the Japan Expedition, by an officer which, though
aiming only at re-producing the impressions of the writer’s mind, gives a good
view of the strange scenes and characters which the opening of that country
disclosed.—N. Y. Evan.
Mr. Spalding’s work gives the results of his observations precisely as they
occurred to him at the time, his mind being singularly unbiassed by the
enthusiasm of those by whom he was surrounded. He looks upon things with
a cool, discriminating eye, neither over-estimating nor undervaluing the
advantages of our new relations.—N. Y. Herald.
It is the first account of Perry’s Expedition, and will always be more popular
than any government report.—St. Louis Leader.

“Every Inch a King.”—Harper’s Magazine.

The Private Life of an Eastern King, from the

MS. of a member of the household of his late Majesty, Nussir-u-Deen,
King of Oude. By Wm. Knighton, author of “Forest Life in Ceylon,”
&c. 12mo., cloth, 75 cents.
The whole story reads like a lost chapter from the Arabian Nights.—Lon.
Athenæum.
Gives a better insight into purely eastern manners than any work we know of.
—London News of the World.
 This amusing volume lets the reader very much behind the scenes, as
regards haut ton in Asia. Since the appearance of the Arabian Nights, there
has been no such exposition of the sayings and doings of eastern royalty.—N.
Y. Daily Times.
Lucknow, the capital, is noted for its extraordinary menagerie of wild animals,
and one of the chief amusements of the court appears to have been to
witness them fight. Some very exciting contests are narrated, and the book
contains much of interest to the sportsman. It also conveys a vivid picture of
eastern manners, as seen in all their familiarity; and some of the adventures
recorded are scarcely less wonderful than those of Hajji Baba.—Boston
Traveller.
The career of the cabin-boy barber, who exercised such great influence over
the crown, and so much to his own advantage, having amassed the sum of
£240,000 before he returned, is a very curious one, and well told. On the
whole, this is one of the most amusing books of the season.—Boston
Telegraph.
He lifts the curtain and unfolds the minutiæ of the daily life of an absolute
sovereign. We learn more of eastern manners and Hindoo peculiarities than
from stately historians or elaborate geographies. We can commend it as an
entertaining volume.—Religious Herald Richmond. Va.

Transcriber’s Notes:
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