ctricity,
constructed for me at my suggestion.[1] The power of our telescopes is
wondrously increased by electric and chemical combinations, but this one
excelled all others in magnitude and power.

[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 Tootman