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 Introducing Human Resource Management
Introducing
Introducing Human Resource Management is a lively and engaging introduction to the key topics and
issues surrounding people management. Clearly linking HR theory to the work environment, this book
explores core areas such as HR strategy and planning, employee engagement, diversity and equality,
and talent management and development. The text combines solid academic underpinning with
practical examples to allow you to consolidate your learning and apply it in practice.

This 8th edition has been fully revised to include:

• The latest developments in relation to Brexit.
Human Resource
Management
• A new section about the General Data Protection Regulation (GDPR).
• Greater coverage of Talent Management in organisations.
• More emphasis on employee voice.
• A focus on developing your employability skills in areas such as: management of self, management
of your learning, problem solving, thinking critically, working with others, data handling,
communication and business awareness.

Eighth Edition
This text will help you succeed in your studies through:
•
•
‘What would you do’ and ‘what do you think’ boxes to get you actively involved in your own learning.
‘What next’ features to encourage you to find out more about a topic. Caroline Hook & Andrew Jenkins
• ‘Activities’ to get you to apply knowledge to an issue or problem.
• ‘HR in the news’ features articles from the Financial Times to promote discussion of real-life
examples of HR in practice.
• ‘Review questions’ (with answers) to help you check your understanding of a topic.
• ‘Improve your employability’ exercises to help you develop your skills and employability.

Introducing Human Resource Management is ideal for a first course in human resource management at
undergraduate or professional level, including courses that lead to a Chartered Institute of Personnel and
Development (CIPD) qualification. This new edition maps each chapter against the CIPD’s standards.

About the authors

Caroline Hook has extensive professional experience in HRM and is a Chartered Fellow of the CIPD
and a Fellow of the Higher Education Academy. After many years as Senior Lecturer in Human Resource
Management at Huddersfield University’s Business School, she now focuses on independent research Eighth
and writing. Edition
Andrew Jenkins is Principal Lecturer in the department of Logistics, Operations, Hospitality and
Marketing at the University of Huddersfield. Andrew teaches HRM, Strategic Management and Research
Methods within the Business School. He has a doctorate in HRM from the University of Strathclyde and Hook & Jenkins
is an academic member of the CIPD, a member of the Chartered Management Institute and Fellow of
the Higher Education Academy.

Cover image © smartboy10/DigitalVision Vectors/Getty Images www.pearson-books.com

CVR_HOOK_08_30344.indd 1 17/04/2019 09:51

 Introducing
Human Resource
Management

F01 Introducing Human Resource Management 30344.indd 1 29/04/2019 20:40

 At Pearson, we have a simple mission: to help people
make more of their lives through learning.

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F01 Introducing Human Resource Management 30344.indd 2 29/04/2019 20:40

 Introducing
Human Resource
Management
Eighth Edition

Caroline Hook
Andrew Jenkins

Harlow, England • London • New York • Boston • San Francisco • Toronto • Sydney • Dubai • Singapore • Hong Kong
Tokyo • Seoul • Taipei • New Delhi • Cape Town • São Paulo • Mexico City • Madrid • Amsterdam • Munich • Paris • Milan

F01 Introducing Human Resource Management 30344.indd 3 29/04/2019 20:40

 PEARSON EDUCATION LIMITED
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KAO Park
Harlow CM17 9SR
United Kingdom
Tel: +44 (0)1279 623623
Web: www.pearson.com/uk
______________________

First edition published under the Longman Group Limited imprint 1996 (print)
Second edition published under the Addison Wesley Longman imprint 1999 (print)
Third edition published 2002 (print)
Fourth edition published 2005 (print)
Fifth edition published 2008 (print)
Sixth edition published 2011 (print and electronic)
Seventh edition published 2016 (print and electronic)
Eighth edition published 2019 (print and electronic)

© Pearson Education Limited 1996, 2008 (print)

© Pearson Education Limited 2011, 2016, 2019 (print and electronic)
The rights of Caroline Hook and Andrew Jenkins to be identified as authors of this work have been asserted by them in accordance with the Copyright,
Designs and Patents Act 1988.
The print publication is protected by copyright. Prior to any prohibited reproduction, storage in a retrieval system, distribution or transmission in any form or by
any means, electronic, mechanical, recording or otherwise, permission should be obtained from the publisher or, where a­ pplicable, a licence permitting restricted
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Contains public sector information licensed under the Open Government Licence (OGL) v3.0.
http://www.nationalarchives.gov.uk/doc/open-government-licence/version/3/
Contains Parliamentary information licensed under the Open Parliament Licence (OPL) v3.0.
http://www.parliament.uk/site-information/copyright/open-parliament-licence/
The screenshots in this book are reprinted by permission of Microsoft Corporation.
Pearson Education is not responsible for the content of third-party internet sites.

The Financial Times. With a worldwide network of highly respected journalists, The Financial Times provides global business news, insightful opinion
and expert analysis of business, finance and politics. With over 500 journalists reporting from 50 countries worldwide, our in-depth coverage of inter-
national news is objectively reported and analysed from an independent, global perspective. To find out more, visit www.ft.com/pearsonoffer.

ISBN: 978-1-292-23034-4 (print)

978-1-292-23038-2 (PDF)
978-1-292-23037-5 (ePub)
British Library Cataloguing-in-Publication Data
A catalogue record for the print edition is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Hook, Caroline, 1946- author. | Jenkins, Andrew K., author.
Title: Introducing human resource management/Caroline Hook, Andrew Jenkins.
Description: Eighth edition. | Harlow, United Kingdom: Pearson Education
Limited, 2019.
Identifiers: LCCN 2019009216 | ISBN 9781292230344 (print) | ISBN 9781292230382
(pdf) | ISBN 9781292230375 (epub)
Subjects: LCSH: Personnel management. | Employee rights.
Classification: LCC HF5549 .F5875 2019 | DDC 658.3--dc23
LC record available at https://urldefense.proofpoint.com/v2/url?u=https-3A__lccn.loc.
gov_2019009216&d=DwIFAg&c=0YLnzTkWOdJlub_y7qAx8Q&r=fGagQ2lbNMi-Qj_
PiJiG6hskWnnrAYrNuNrDQhvfYsk&m=2ixJczAhqFYgORMFfPugMQIaT2iYKJSUyzstxuiuqpk&s=
OelmPToADlCByRpuX33UIhG2EmDQYp9rV-Z1djLQQXM&e=
10 9 8 7 6 5 4 3 2 1
23 22 21 20 19
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Print edition typeset in 9.75/13 ITC Giovanni Std Book by Pearson CSC
Print edition printed and bound in Slovakia by Neografia

NOTE THAT ANY PAGE CROSS REFERENCES REFER TO THE PRINT EDITION

F01 Introducing Human Resource Management 30344.indd 4 29/04/2019 20:40

 Brief contents

Preface xiii
Acknowledgements xix

1 Introducing human resource management 1

2 The employment relationship 40
3 The fundamentals of employment law 72
4 Diversity and equality 106
5 Human resource strategy and planning 135
6 Recruitment and selection 163
7 Managing performance 226
8 Learning, training and talent development 267
9 Pay and reward systems 315
10 Health, safety and wellbeing 358
11 International human resource management 400
12 Discipline and grievance 426
13 Dismissal, redundancy and outplacement 457

Answers 485
Author index 497
Subject index 503

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F01 Introducing Human Resource Management 30344.indd 6 29/04/2019 20:40
 Contents

Preface xiii
Acknowledgements xix

1 Introducing human resource management 1

Introduction 1
HRM? What’s it all about? 3
The main factors that have made HRM what it is today 7
The development of the human resource management approach 10
The changing world of work 14
Key themes in HRM 20
The changing HR function 25
What are the best places to work? 26
Conclusion 27
Review questions 28
Improving your employability 28
HR in the news 30
What next? 31
References 36
Further study 38

2 The employment relationship 40

The unitary and pluralist perspectives 42
Partnership, participation and employee involvement 43
Partnership 44
Employee voice 47
EU rights to information and consultation 48
Employee involvement and participation (EIP)
and high-performance working (HPW) 51
Conclusion 64
Review questions 65
Improving your employability 65

vii

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 Contents

HR in the news 65
What next? 66
References 67
Further study 70

3 The fundamentals of employment law 72

Rights and obligations of the two parties 73
Employment law 75
Expectations of the two parties: the psychological contract 91
Flexible working arrangements 93
Termination of employment 97
Conclusion 99
Review questions 100
Improving your employability 100
HR in the news 100
What next? 102
References 102
Further study 104

4 Diversity and equality 106

Diversity and inclusion in the workplace 107
Equality and diversity 111
Discrimination in the workplace 112
Discrimination cases 113
Equality 117
The Equality Act 2010 118
Types of discrimination 121
Conclusion 128
Review questions 129
Improving your employability 129
HR in the news 129
What next? 131
References 131
Further study 133

5 Human resource strategy and planning 135

Strategy 136
Human resource planning 141
Estimating the demand for human resources 142
Estimating the internal supply of human resources 144
Assessing the external supply of human resources 147
Nature of the UK labour market 148
Comparing demand and supply forecasts 154
Developing and implementing human resource strategies 155
Information technology systems and HR 156
Conclusion 156

viii

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 Contents

Review questions 157

Improving your employability 157
HR in the news 157
What next? 159
References 159
Further study 161

6 Recruitment and selection 163

Recruitment 164
Recruitment policies 165
Recruitment procedures 166
Documentation to support the recruitment process 167
Recruitment methods 176
Selection 186
Aims and objectives of the selection process 186
Selection policies and procedures 186
Selection as a strategic activity 187
Shortlisting 188
Job interviews 190
Further selection techniques 203
Making the final selection 212
Administrative procedures 213
Conclusion 217
Review questions 217
Improving your employability 218
HR in the news 219
What next? 220
References 221
Further study 223
Appendix 1 225

7 Managing performance 226

Definition of performance management 227
The main HR tools used in performance management 229
Models of performance management 229
The role of line managers in performance management 235
Ways of setting standards and measuring performance in performance appraisal 238
The appraisal interview 245
The role of the line managers in performance appraisal 248
Design of documentation 252
Recent developments for improving performance management’s effectiveness 256
Information technology and performance management 258
Conclusion 258
Review questions 259
Improving your employability 260
HR in the news 261
What next? 263
References 264
Further study 264

ix

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 Contents

8 Learning, training and talent development 267

What do we mean by learning and talent development and how does
this differ from training? 268
How do you learn? 270
Recent approaches to learning and development 280
Current trends in training and L&TD in organisations 283
Learning, training and talent development in context and its contribution
to improving organisational performance 291
Creating a learning culture 292
Designing learning and talent development interventions 293
Induction training 300
The roles of learning and development specialists and line managers 306
Conclusion 308
Review questions 309
Improving your employability 309
HR in the news 309
What next? 311
References 311
Further study 313

9 Pay and reward systems 315

Definitions 316
The main influences on payment systems 318
Job evaluation schemes 328
Different types of payment system 336
Conclusion 350
Review questions 351
Improving your employability 352
HR in the news 354
What next? 355
References 356
Further study 357

10 Health, safety and wellbeing 358

Definitions 360
Risk 360
Safety 362
Legislation 363
Other health and safety legislation 366
The people and organisations involved in health, safety and wellbeing 371
Health and safety arrangements 378
Risk assessment 382
Wellbeing 384
Organisational policy and procedures 388
Health promotion 389
Absence management 391
Conclusion 392

F01 Introducing Human Resource Management 30344.indd 10 29/04/2019 20:40

 Contents

Review questions 393

Improving your employability 394
HR in the news 394
What next? 396
References 397
Further study 399

11 International human resource management 400

Introduction 400
The growing importance of global business 401
International, multinational, global or transnational? 402
Definitions of international human resource management 403
Ethnocentric, polycentric, regiocentric or geocentric? 403
The influence of national culture on organisations 405
Human resource management issues 406
International perspectives on learning, training and talent development 413
International perspectives on high-performance working systems 413
International perspectives on work/life balance 414
International perspectives on diversity and equality 415
Conclusion 418
Review questions 419
Improving your employability 419
HR in the news 419
What next? 421
References 421
Further study 424

12 Discipline and grievance 426

Discipline: introduction and definitions 427
Disciplinary procedures and practices 428
Grievance: introduction and definitions 445
Grievance procedures and practices 446
Conclusion 451
Review questions 453
Improving your employability 453
HR in the news 454
What next? 455
References 455
Further study 456

13 Dismissal, redundancy and outplacement 457

Dismissal 458
Redundancy 468
Outplacement 476
Conclusion 480

xi

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 Contents

Review questions 480

Improving your employability 481
HR in the news 481
What next? 482
References 483
Further study 483

Answers 485
Author index 497
Subject index 503

Lecturer Resources ON THE

WEBSITE
For password-protected online resources tailored to
support the use of this textbook in teaching, please visit
www.pearsoned.co.uk/hook

xii

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 Preface

What’s in this book?

Managing people is a vital part of all managers’ jobs whether they are line managers
or human resource (HR) specialists, and successful management and leadership
make a huge difference both to the performance of teams and individuals and to
the achievement of the organisation’s strategic objectives. Increasingly, HR takes
a lead in informing and driving the strategic direction of the organisation itself
and frequently this is in an international context. This book emphasises both the
role of HR in forming and achieving the organisation’s strategic objectives and the
increasingly globalised context in which this happens. The HR professional does
not operate in a vacuum and the economic situation, demographics, changes in
legislation and technology, as well as advances in artificial intelligence (AI), all
affect the work of HR professionals. This book will discuss these influences and
their effects on different aspects of human resource management (HRM).

The chapters
The content of this book represents an introduction to the philosophical and legal
framework of people management strategies aimed at achieving a high-performance
workplace. The book further examines the basic operational areas and good practice
associated with HRM. Chapter 1 provides an introduction to the subject of HRM
and the role that both HR professionals and line managers play in dealing with
people issues in the workplace. It provides a background and history of the HR role
and gives an overview of current issues in HRM, which are then examined in more
detail in other chapters.
Chapters 2–5 discuss issues of central importance to HR today. This includes an
exploration of employment relationship issues such as the psychological contract,
employee engagement, high-performance working, employment law, strategic HRM
and human resource planning. Together with an in-depth coverage of diversity,
equality and inclusion, the discussion of these issues provides a background to the
areas dealt with in the next chapters.
In Chapters 6–10, we focus on the functional areas that, if executed well, can add
value for both employers and employees. We examine strategic and good practice

xiii

F01 Introducing Human Resource Management 30344.indd 13 29/04/2019 20:40

 Preface

issues in recruitment and selection, performance management and performance

appraisal, learning, training and talent development, pay and reward systems, and
health, safety and wellbeing.
More HR managers are working in multinational organisations dealing with
international assignments and global staffing issues, so Chapter 11 discusses
international HRM. The final two chapters consider how to deal with situations where
problems develop in the employer–employee relationship, with an examination of
discipline and grievance and then dismissal, redundancy and outplacement.

Who the book is for

This textbook is targeted at business and management students on degrees and
diplomas around the world. It is intended primarily as an introductory text for
those students who, as a part of their career strategy, are studying and working
towards management positions whether in HRM or another area of management.
Some students will aim to be a specialist in HRM by studying on a degree such as
a BA in Human Resource Management or a course linked to a professional body
such as the Chartered Institute of Personnel and Development (CIPD). However,
managing people today is so important that it is not only a job for the HR specialists
but now forms an important and integral part of all managers’ jobs. This book
is also intended for these students whose degree is in other subject areas but
where HRM plays an important part such as business administration and business
management, business studies, events management, hospitality management,
tourism management, marketing or supply chain management.
This book will also be of use as an introductory text to students on some master’s
degree programmes such as an MBA, particularly where the students do not have
much prior knowledge of this subject area. The ‘What next?’ exercises, in particular,
are designed to encourage students to take their studies to a higher level.
The CIPD (2018) has developed an HR profession map designed to be relevant
to all HR professionals, whether they are specialists or generalists in large or small
organisations, and which is intended to help individuals plan their professional
development and careers. The map consists of four bands ranging from Band 1,
which is applicable to those just starting their careers, through to Band 4 for the
most senior leaders. The map comprises 10 professional areas and 8 behaviours
and at the heart of the profession map are the first two professional areas, which
are the need for HR to provide insight, strategy and solutions and to lead HR. The
other eight professional areas are: resourcing and talent planning, learning and
development, performance and reward, employee engagement, employee relations, services
delivery and information, organisation design and organisational development. The map
is continually updated and the need to develop a global outlook in these areas is also
important. The eight behaviours are: curiosity, decisive thinking, being a skilled
influencer, personal credibility, collaborativeness, being driven to deliver, having
the courage to challenge and acting as a role model. Most of the professional topics
from the CIPD list are included in this book and should help you develop along
these lines.
Those at or near the start of their careers who are, perhaps, studying at the
intermediate level of the CIPD’s qualifications will find this book useful and we

xiv

F01 Introducing Human Resource Management 30344.indd 14 29/04/2019 20:40

Other documents randomly have
different content
The Project Gutenberg eBook of The Irish Penny Journal,
Vol. 1 No. 25, December 19, 1840
 This ebook is for the use of anyone anywhere in the United States and most other
parts of the world at no cost and with almost no restrictions whatsoever. You may
copy it, give it away or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you are not located in
the United States, you will have to check the laws of the country where you are
located before using this eBook.

Title: The Irish Penny Journal, Vol. 1 No. 25, December 19, 1840

Author: Various

Release date: April 10, 2017 [eBook #54534]

Most recently updated: October 23, 2024

Language: English

Credits: Produced by Brownfox and the Online Distributed Proofreading

Team at http://www.pgdp.net (This file was produced from
images generously made available by JSTOR www.jstor.org)

*** START OF THE PROJECT GUTENBERG EBOOK THE IRISH PENNY JOURNAL, VOL. 1
NO. 25, DECEMBER 19, 1840 ***
 THE IRISH PENNY JOURNAL.
Number 25. SATURDAY, DECEMBER 19, 1840. Volume I.
 THE MONUMENT TO THE MEMORY OF DR
DOYLE, BY HOGAN.
In presenting our readers with a drawing, made expressly for the purpose, of the
Monumental Sculpture intended to memorise the mortal form of an illustrious Irishman,
who was beloved and honoured by the great mass of his countrymen, and respected for
his talents by all, we have done that which we trust will give as much pleasure to most of
our readers, as it has afforded gratification to ourselves.
This monument is indeed a truly interesting one, whether considered in reference to its
subject—the character of the distinguished individual whose memory it is designed to
honour—the circumstances which have given it existence—or, lastly, as a work of high
art, the production of an Irishman whose talents reflect lustre on his country. It is,
however, in this last point of view only, that, consistently with the plan originally laid
down for the conduct of our little periodical, we can venture to treat of it; and considered
in this way, we cannot conceive a subject more worthy of attracting public attention or
more legitimately within the scope of one of the primary objects our Journal was
designed to effect—namely, to make our country, and its people, without reference to
sect or party, more intimately known than they had been previously, not only to
strangers, but even to Irishmen themselves.
In our present object, therefore, of lending our influence, such as it is, to make the
merits of a great Irish artist more thoroughly known and justly appreciated, by our
countrymen in particular, than they have hitherto been, we are only discharging a duty
necessarily imposed upon us; and the pleasure which we feel in doing so would be great
indeed, if it were not diminished by the saddening reflection that it should be so
necessary in the case of an artist of his eminence. But, alas! the scriptural adage, that no
man is a prophet in his own country, is unfortunately nowhere so strikingly illustrated as
in Ireland, and of this fact Mr Hogan is a remarkable example. Holding, as he
unquestionably does, a high place among the most eminent sculptors of Europe, he is as
yet unpatronized by the aristocracy of his native country—is indeed perhaps scarcely
known to them.
Mr Hogan is not, as generally supposed, a native of Cork: he was born at Tallow, in the
county of Waterford, in 1800, where his father carried on the business of a builder. He is
of good family, both by the paternal and maternal sides; his father being of the old
Dalcassian tribe of the O’Hogans, the chiefs of whom were located in the seventeenth
century at Ardcrony, in the county of Tipperary, four miles and a half to the north of
Nenagh, where the remains of their castle and church are still to be seen. By the
mother’s side he is descended from the celebrated Sir Richard Cox, Lord Chief Justice of
Ireland in the reign of William and Mary, and Lord Chancellor in that of Queen Anne, his
mother, Frances Cox, being the great-granddaughter of that eminent individual.
Having received the ordinary school education, he was placed by his father, in the year
1812, under an attorney in Cork, named Michael Footte, with a view to his ultimately
embracing the legal profession, and in this situation he remained for two years. This was
the most unhappy period of his existence; for, like Chantrey, the greatest of British
sculptors, who was also articled to an attorney, being endowed by nature expressly to
become an artist, the original bias of his mind to drawing and carving had by this time
become a passion; and despite of the frequent chastisements his master bestowed on
him, in the exuberance of his zeal to curb what he considered his idle propensities, his
whole soul was given, not to law, but to the Fine Arts, and an artist he became
accordingly. His father and his master seeing the utter uselessness of any further
attempts to divert his mind from its apparently destined course, he was released from his
irksome employment, and at the age of fourteen entered the office of Mr Deane, now Sir
Thomas Deane, of Cork, as an apprentice, where he was soon employed as a
draughtsman and carver of models, with a view to his becoming ultimately an architect.
In Mr Deane he found a master who had the intellect to enable him to appreciate his
talents, and the good feeling to induce him to encourage them; and the first use he
made of the chisels with which his patron supplied him, was to produce a carving in
wood of a female skeleton the size of life, on which Dr Woodroffe for a season was able
to lecture his pupils, as if it were, what it actually seems, a real skeleton in form and
colour. Under the instruction of this gentleman Mr Hogan studied anatomy for several
years, during which period he made for his improvement many carvings in wood of hands
and feet, and also essayed his talents on a figure of Minerva the size of life, which still
remains over the entrance of the Life and Fire Insurance Office in the South Mall.
But though Mr Hogan was thus employed in pursuits congenial to his tastes, and to a
great degree conducive to his future eminence as a sculptor, the idea of embracing
sculpture as a profession did not occur to him for several years after, nor were the
requisite means of study for that profession provided for the student in Cork at this time.
There was as yet in that city no Academy of Arts or other institution like those in Dublin,
provided, for the use of students, with those objects which are so essential to the
formation of a correct taste in the higher departments of the Fine Arts, namely, a
selection of casts from the antique statues: and until such subjects for study were
acquired, the efforts of genius, however ardent, in the pursuit of beauty and excellence,
were necessarily blind and fortuitous. Happily, however, this desideratum was at length
supplied in Cork, where a Society for Promoting the Fine Arts was formed in February
1816; and to this Society the Prince Regent, in 1818, through the intercession of the late
Marquis of Conyngham and other Irish noblemen who had influence with him, was
induced to present a selection of the finest casts from the antique statues, which had
been sent him as a gift by the Roman Pontiff, and the value of which the Prince but little
appreciated. The result was not only beyond anything that the most sanguine could have
anticipated in the rapid creation of artists of first-rate excellence, but also in establishing
the fact that among our own countrymen the finest genius for art abundantly exists, and
that it only requires the requisite objects for study, with encouragement, to develope it.
The presence of these newly acquired treasures of ancient art, which consisted of one
hundred and fifteen subjects selected by Canova, and cast under his direction, kindled a
flame in Mr Hogan’s mind never to be extinguished but with life, and he immediately
applied himself to their study with his whole heart and soul. Thus occupied he remained
till 1823, surrounded and excited to emulation by the kindred spirits of Mac Clise,
Scottowe, Ford—the glorious Ford!—Buckley the architect, equally glorious—Keller, his
own brother Richard, and many other of lesser names—many of whom, alas for their own
and their country’s fame! paid the price of their early distinction with their lives. Well may
the people of Cork feel proud of this constellation of youthful genius—a brighter one was
never assembled together in recent times.
The period, however, had now arrived when the eagle wing of Hogan was to try its
strength; and most fortunately for him, an accident at this time brought to Cork a man
more than ordinarily gifted with the power to assist him in its flight. The person we allude
to was the late William Paulett Carey, an Irishman no less distinguished for his abilities as
a critical writer on works of art, than for his ardent zeal in aiding the struggles of genius,
by making their merit known to the world. In August 1823, this gentleman, on the
occasion of paying a visit to the gallery of the Cork Society, “accidentally saw a small
figure of a Torso, carved in pine timber, which had fallen down under one of the benches.
On taking it up,” to continue Mr Carey’s own interesting narrative, “he was struck by the
correctness and good taste of the design, and the newness of the execution. He was
surprised to find a piece of so much excellence, apparently fresh from the tool, in a place
where the arts had been so recently introduced, and where he did not expect to meet
anything but the crude essays of uninstructed beginners. On inquiry he was informed it
was the work of a young native of Cork, named Hogan, who had been apprenticed to the
trade of a carpenter under Mr Deane, an eminent builder, and had at his leisure hours
studied from the Papal casts, and practised carving and modelling with intense
application. Hogan was then at work above stairs, in a small apartment in the Academy.
The stranger immediately paid him a visit, and was astonished at the rich composition of
a Triumph of Silenus, consisting of fifteen figures, about fourteen inches high, designed
in an antique style, by this self-taught artist, and cut in bas-relief, in pine timber. He also
saw various studies of hands and feet; a grand head of an Apostle, of a small size; a copy
of Michael Angelo’s mask; some groups in bas-relief after designs by Barry; and a female
skeleton, the full size, after nature; all cut with delicacy and beauty, in the same material.
A copy of the antique Silenus and Satyrs, in stone, was chiselled with great spirit; and the
model of a Roman soldier, about two feet high, would have done credit to a veteran
sculptor. A number of his drawings in black and white chalks, from the Papal casts,
marked his progressive improvement and sense of ideal excellence. The defects in his
performances were such as are inseparable from an early stage of untaught study, and
were far overbalanced by their merits. When his work for his master was over for the
day, he usually employed his hours in the evening in these performances. The female
skeleton had been all executed during the long winter nights.”
Becoming thus acquainted with Mr Hogan’s abilities, Mr Carey, with that surprising
prophetic judgment with which he was so eminently gifted, at once predicted the young
sculptor’s future fame, and proclaimed his genius in every quarter in which he hoped it
might prove serviceable to him. He commenced by writing a series of letters, which were
inserted in the Cork Advertiser, “addressed to the nobility, gentry, and opulent merchants,
entreating them to raise a fund by subscription, to defray the expense of sending Hogan
to Italy, and supporting him there for three or four years, to afford him the advantages of
studying at Rome.” But for some time these letters proved ineffectual, and would
probably have failed totally in their object but for Mr Carey’s untiring zeal. Acting under
his direction, Mr Hogan was induced to address a letter to that noble patron of British
genius, the late Lord de Tabley, then Sir John Fleming Leicester, and to send him at the
same time two specimens of his carvings, “as the humble offering of a young self-taught
artist.” This letter, which was backed by one from Mr Carey himself, was responded to at
once in a letter written in the kindest spirit, and which contained an enclosure of twenty-
five pounds as Sir John’s subscription to the proposed fund. This was the first money
actually paid in, and subscriptions soon followed from others. Through Mr Carey’s
enthusiastic representations, the Royal Irish Institution was induced to contribute the
sum of one hundred pounds, and the Royal Dublin Society to vote twenty-five pounds for
some specimens of his carvings which Mr Hogan submitted to their notice. These acts of
liberality were honourable to those public bodies; yet, as Mr Carey well observed, it was
to Lord de Tabley’s generosity that Mr Hogan’s gratitude was most due. Here, as he said,
“was a young man of genius in obscurity, and wholly unknown to his lordship, rescued
from adversity in the unpromising morning of life—a self-taught artist built up to fame
and fortune by his munificence—a torch lighted, which I hope will burn bright for ages, to
the honour of the empire. Hogan may receive thousands of pounds from future patrons,
but it is to Lord de Tabley’s timely encouragement that he will be indebted for every
thing.”
The subscriptions collected for Mr Hogan amounted in all to the sum of two hundred and
fifty pounds; and thus provided, he set out for Italy, visiting London on his way, for the
purpose of presenting letters to Sir Thomas Lawrence and Sir Francis Chantrey, which
Lord de Tabley had given him, in the hope that they would procure him recommendatory
letters from those great artists that would be serviceable to him in Rome. But these
introductions proved of little value to him. Chantrey expressed regret that he knew no
one in the “Eternal City” to whom he could give him a letter; and though Lawrence kindly
gave him an introduction to the Duchess of Devonshire, that distinguished lady had died
a few days before Mr Hogan reached Rome; “so that,” as Mr Carey remarks, “he found
himself an entire stranger, with little knowledge of the world, without acquaintance or
patron, and incapable of speaking the language, at the moment of commencing his
studies in Italy.”
But the young sculptor, on leaving his native country, was provided by Lord de Tabley
with something more valuable than these letters to British artists—namely, a commission
to execute a statue in marble for him, as soon as he should think himself qualified by his
preparatory studies for the undertaking.
The statue, which was to launch the young sculptor into professional life in Italy, was
commenced soon after, but was not completed before his noble patron had paid the debt
of nature. Its subject, which is taken from Gessner’s Death of Abel, is Eve, who shortly
after her expulsion from Paradise picks up a dead bird, which being the first inanimate
creature that she has seen, fills her with emotions of surprise, terror, and pity. This
statue, which is the size of life, and which is of exquisite beauty, is now at Lord de
Tabley’s seat in Cheshire.
While this statue was in progress, Mr Hogan conceived the subject and completed the
model of his second great work—one in which the peculiar powers of his genius were
more fully developed, and on the execution of which, from peculiar circumstances, he
entered with the most excited enthusiasm. During the first year of his residence at Rome,
Mr Hogan happening to be present at an evening meeting of artists of eminence, the
conversation turned on the difficulty of producing any thing in sculpture perfectly original;
and to Mr Hogan’s astonishment, the celebrated British sculptor Gibson stated as his
opinion that it was impossible now to imagine an attitude or expression in the human
figure which had not been already appropriated by the great sculptors of antiquity. This
opinion, though coming from one to whom our countryman then looked up, appeared to
him a strange and unsound one, and with the diffidence of an artist whose powers were
as yet untried, he ventured to express his dissent from it; when Gibson, astonished at his
presumption, somewhat pettishly replied, “Then let us see if you are able to produce
such an original work!” The challenge thus publicly offered could not be refused by one of
Hogan’s temperament; and the young sculptor, stung with the taunt, lost no time in
entering upon a work which was to test his abilities as an artist, and to rescue his
character from the imputation of vanity and rashness. Under such feelings Mr Hogan
toiled day and night at his work, till he submitted to the artists in whose presence the
challenge had been offered, the result of his labours—his statue of the Drunken Faun—a
work which the great Thorwaldsen pronounced a miracle of art, and which, if Hogan had
never produced another, would have been alone sufficient to immortalize his name. It is
to be regretted that this figure, which has all the beauty and truth of the antique
sculpture, combined with the most perfect originality, and which Mr Hogan himself has
recently expressed his conviction that it is beyond his power to excel, should never have
been executed in marble; but a cast of it, presented by Lord de Tabley to the Royal Irish
Institution (though intended by Mr Hogan for the Dublin Society), may still be seen in
their deserted hall.
We have given these, as we trust, not uninteresting details of Mr Hogan’s early life, at
greater length than the limits assigned to our article can well allow, and we must notice
his subsequent career in briefer terms. Though enrolled now among the resident
sculptors in Rome, his difficulties were not yet over; and in spite of the most enthusiastic
efforts on his part, they might and probably would have been ineffectual in sustaining
him, if no friendly aid had come to his assistance. In two years after his arrival in Rome,
or at the end of the year 1825, Hogan found himself again in a state of embarrassment,
without a commission, his funds exhausted, or at least reduced to a state inadequate to
the necessary outlay of a sculptor in the purchase of marble, the rent of a studio, and the
payment of living models. For his extrication from these difficulties he was again indebted
to the liberality of Lord de Tabley and the zeal of his advocate Mr Carey, by whom a
second subscription was collected, chiefly in England, amounting to one hundred and fifty
pounds; of which sum twenty-five pounds was contributed by Lord de Tabley in the first
instance, and twenty-five pounds by the Royal Irish Institution. Trifling as this amount
was, it proved sufficient for its object, and Mr Hogan was never again necessitated to
receive pecuniary assistance from the public.
He applied himself forthwith to the production of a marble figure intended for his friend
and former master Sir Thomas Deane, but which when finished his necessities obliged
him to dispose of to the present Lord Powerscourt, and for which he received one
hundred pounds, being barely the cost of the marble and roughing out or boasting. This
statue, which is about half the size of life, is now preserved in Powerscourt House; and
we may remark, that it is the only work of our countryman in the possession of an Irish
nobleman. His next important work was the exquisite statue of the Dead Christ, now
placed beneath the altar of the Roman Catholic church in Clarendon Street. This work
was originally ordered for a chapel in Cork by the Rev. Mr O’Keeffe; but that gentleman,
on its arrival in Dublin, not being able to raise the funds required for its payment,
permitted Mr Hogan to dispose of it to the clergymen of Clarendon Street, who paid for it
the sum originally stipulated, namely, four hundred and fifty pounds; and we need
scarcely add, that this statue is one of the most interesting objects of art adorning our
metropolitan city. Mr Hogan subsequently executed a duplicate of this statue, but with
some changes in the design, for the city of Cork; but we regret to have to add that he
has been as yet but very inadequately rewarded for his labours on that work, a sum of
two hundred and thirty-seven pounds being still due him, and the amount which he has
actually received (two hundred pounds) being barely the cost of the marble and rough
workmanship.
The execution of this statue was followed by that of a large sepulchral monument in
basso relievo to the memory of the late Dr Collins, Roman Catholic Bishop of Cloyne—a
figure of Religion holding in her lap a medallion portrait of the bishop. For this work Mr
Hogan was to have received two hundred pounds, but there is still a balance of thirty
pounds due to him.
We next find Mr Hogan engaged on a second work for our city—the Pieta, or figures of
the Virgin and the Redeemer, of colossal size, executed in plaster for the Rev. Dr
Flanagan, Roman Catholic Rector of the chapel in Francis Street, which it now adorns. Of
this work, an engraving, with a masterly description and eulogium from the pen of the
Marchese Melchiori, a great authority in matters of critical taste in the fine arts, has been
published in the Ape Italiana—a work of the highest authority, published monthly in
Rome; and we should state for the honour of our country, that our own Hogan and the
sculptor Gibson are the only British artists whose works have as yet found a place in it.
Mr Hogan’s subsequent works, exclusive of a number of busts, may now be briefly
enumerated. First, a marble figure of the late Archbishop of Paris, about two and a half
feet high, executed for the Lord de Clifford; second, the Judgment of Paris—two figures
in marble about the same height as the last—for General Sir James Riall, an Irish baronet
resident in Bath; third, a monumental alto relievo to the memory of Miss Farrell of Dublin,
executed for her mother, and considered by Gibson as the best of all our sculptor’s
works; fourth, a Genio on a sarcophagus, a monument for the family of the late Mr
Murphy of Cork; and, lastly, the Monument to Dr Doyle, on which we have now to utter a
few remarks.
Of the general design of this noble monument our prefixed illustration will afford a
tolerably correct idea; but it would require more than one illustration of this kind to
convey an adequate notion of its various beauties and merits, for there is scarcely a point
in which it can be viewed in which it is not equally effective and striking. The subject, as
a sculptural one should be, is of the most extreme simplicity, and yet of the most
impressive interest—a Christian prelate in the act of offering up a last appeal to heaven
for the regeneration of his country, which is personified by a beautiful female figure, who
is represented in an attitude of dejection at his side. In this combination of the real and
the allegorical there is nothing obscure or unintelligible even to the most illiterate mind.
In the figure of the prostrate female we recognise at a glance the attributes of our
country, and there existed no necessity for the name “Erin,” inserted in very questionable
taste upon her zone, to determine her character. She is represented as resting on one
knee, her body bent and humbled, yet in her majestic form retaining a fullness of beauty
and dignity of character; her turret-crowned head resting on one arm, while the other,
with an expression of melancholy abandonment, reclines on and sustains her ancient
harp. In the male figure which stands beside her in an attitude of the most unaffected
grace and dignity, we see a personification of the sublime in the Episcopal character. He
stands erect, his enthusiastic and deeply intellectual countenance directed upwards
imploringly, while with one hand he touches with delicate affection his earthly mistress,
and with the other, stretched forth with passionate devotion, he appeals to heaven for
her protection. This is true and enduring poetry; and, as expressive of the sentiment of
religious patriotism unalloyed by any selfish consideration, is far superior to the thought
which Moore has so exquisitely expressed in the well-known lines—

“In my last humble prayer to the spirit above,

Thy name shall be mingled with mine!”

Such is the touching poetical sentiment embodied in this work, which, considered merely
as a work of art, has merits above all praise. In the beauty of its forms, its classical purity
of design, its simplicity and freedom from affectation or mannerism, its exquisite finish
and characteristic execution, and its pervading grace, truth, and naturalness, it is beyond
question the finest production of art in monumental sculpture that Irish genius has
hitherto achieved; and, taken all and all, is, as we honestly believe, without a rival in any
work of the same class in the British empire.
We regret to have to state that Mr Hogan is, as we are informed, as yet unpaid for this
great national work, or that at least there is more than a moiety of the sum agreed for,
which was one thousand pounds, remaining due to him. But surely his country, which has
the deepest interest in sustaining him in his career of glory, will not suffer him to depart
from her shores without fulfilling her part of a compact with one who has so nobly
completed his. We cannot believe it.
It will be seen by a retrospective glance at the details which we have given of Mr Hogan’s
labours during the past seventeen years in which he has been toiling as a professional
artist, that those labours have been any thing but commensurately rewarded; they have
indeed been barely sufficient to enable him to sustain existence. But brighter prospects
are opening upon him for the future. His character as a sculptor is now established
beyond the possibility of controversy. His merits have been recently recognised and
honoured by the highest tribunal in the City of the Arts with a tribute of approbation
never before bestowed on a native of the British Isles: he has been elected unanimously,
and without any solicitation or anticipation on his part, a member of the oldest Academy
of the Fine Arts in Europe—that which enrolled amongst its members the divine Raphael,
and all the other illustrious artists of the age of Leo, and which holds its meetings upon
their graves—the Academy of the Virtuosi del Pantheon. His fellow-countrymen are also
beginning to have a just appreciation of his merits, and are coming forward nobly to
supply him with employment for future years; and when he returns to his Roman studio,
it will be to labour on works worthy of his country’s liberality, and calculated to raise her
fame amongst the civilized nations of the world. Need we add, that he has our most
ardent wishes for his future success and happiness!
P.
For the satisfaction of our readers we are induced to append to the preceding notice of Mr Hogan the following list of
some of the principal commissions which he has recently received in Ireland;—
The Monument to the late Mr Secretary Drummond.
A Statue of the late Mr William Crawford of Cork, for which Mr Hogan is to receive L.1000.
A monumental alto relievo, consisting of three figures, to the memory of the late Mr William Beamish, for Blackrock
Chapel, Cork—L.650.
Monument to the late Dr Brinkley, Bishop of Cloyne. A colossal figure in relievo for the Cathedral of Cloyne.
An alto relievo for the Convent at Rathfarnham.
An alto relievo for the Chapel at Ross, county of Wexford, commissioned from John Maher, Esq. M. P.—&c. &c.
 ON ANIMAL TAMING.
FIRST ARTICLE.
That all animals, however fierce and ungovernable may be their natural dispositions, have
nevertheless implanted by a wise Providence within their breasts a certain awe, a vague,
indefinable dread of man, which, although meeting with him for the first time, will induce
them to fly his presence, or at all events shun encounter, is, we think, a fact which no
observer of nature will deny. This instinct of submission to human beings exists among all
creatures, and the greater the intelligence they possess, the more powerful is its
operation. When we meet with instances of a nature calculated to overturn this theory—
such as wild animals attacking and destroying travellers, or preying upon the shepherd as
he guards his flock, with others of a similar description—instead of hastily presuming
upon the falsity of the above position, we should rather seek for some explanation of the
reasons which in these cases checked for the time the workings of the animal’s natural
instinct. These will be for the most part easily enough discovered, if sought for in a spirit
of impartial inquiry. The lion and the tiger are prompted by natural instinct to shun the
haunts and the presence of man—they choose for their lairs dark and impenetrable
forests—they select for their habitation a situation whither man has not as yet
approached—and according as the work of settlement and cultivation advances, they
retreat before it into their dark and gloomy fastnesses.
Does the traveller encounter a lion or a tiger? The animal is prompted by nature to give
place to him, and usually slinks off, growling with the thirst for blood, but still fearing to
attack man. The shouts of women and children suffice to scare the fierce and rapacious
wolves, as they descend in troops from the mountains to appease their hunger with
victims from the flocks of the shepherds. The bear meets with the bold hunter or
woodcutter in the American backwoods, but is never known to attack him, unless the
instinct of submission to man is overruled by other instincts for the time more imperative
in their demands. True, if the lion be hungry when the traveller shall cross his path, he
will sometimes, though such instances are of rare occurrence, attack and devour him.
True, if the wolves are unable to satisfy their appetite by other means, they will attack
and devour human beings; and if the bear be likewise rendered furious by the calls of
hunger, she will treat the woodsman with little ceremony. Still these instances only show
that hunger overcomes fear—an explanation which no one can refuse to admit. What
indeed will not the gnawings of hunger effect? Has it not caused fathers to butcher their
sons, mothers to devour the infant at their breast? When capable, then, of overcoming
the most powerful of instincts, maternal affection, and that too in the teeth of reason,
how can we wonder at its overcoming an inferior instinct, and that in a brute animal
where there existed nothing to be overcome beyond that instinct? I might write a vast
deal upon this subject; but my object is merely to show, at starting, that an instinctive
awe of man, and a disposition to yield to his authority, is inherent in the lower animals.
This, then, being the case, it will readily be perceived that the domestication of any
animal by man only requires that he should carefully remove all obstacles to the
operation of this instinctive principle; and on the other hand, employ suitable means to
strengthen and establish it. There are, doubtless, but few of my readers who have not
witnessed the performances of Van Amburgh, and likewise those of Van Buren with
Batty’s collection. They have, I am sure, been greatly astonished at the degree of
subjection to which these wild animals were reduced, and they are doubtless curious to
learn how this end was attained. As I happened to make myself acquainted with the
mode in which the subjection of these fierce brutes was effected, I am happy to be able
to render them some information. The treatment was simple enough. It consisted mainly
of two ingredients—1st, ample feeding, in order that the instinct of appetite should not
present itself in opposition to that of dread of man; and, 2d, liberal chastisement and
severe blows on the slightest appearance of rebellion, in order to strengthen and firmly
establish their awe of him.
I myself have devoted a good deal of time to the domestication of animals, and by
following out the two principles just laid down, I found myself invariably successful. The
polecat, although of inconsiderable size, is an animal of infinitely greater fierceness than
the tiger; yet I had one so thoroughly domesticated that it was permitted to enjoy perfect
liberty. I succeeded equally with the fox, the badger, and the otter, as a paper which
recently appeared in the Penny Journal was designed to show. In fact, I should say that
mere fierceness is but a very slight obstacle to domestication—timidity is much harder to
be overcome. The timid races of animals require a mode of treatment directly opposed to
the above. They require to have their dread of man diminished, and their boldness
encouraged. If you wish to tame a very timid animal, instead of supplying it with food
you must let it fast, in order to render it so bold with hunger that it will eat in your
presence and from your hand. If you can get its confidence raised to such a degree that
it will bite you or attempt to do so, so much the better—those little vices will afterwards
be easily eradicated. I have succeeded in familiarizing the most timid creatures—the rat
and the mouse, for instance. The public has already had an account of how I succeeded
with the former of these animals in the pages of the “Medical Press” and “Naturalist.”
Some of these days I shall give a paper on the latter in the Penny Journal.
Van Amburgh has done much with his animals; but in consequence of exhibiting with
specimens not as yet perfectly subdued, he has met with some severe accidents. More
caution and less haste would have prevented these. One of the principal ingredients that
should enter into the composition of an animal tamer, is courage. If the animal you are
endeavouring to domesticate perceive that you fear it—and animals are instinctively
sharp-sighted—from that instant all chance of control ceases. You must be prepared to
endure bites, scratches, &c. with, at all events apparent, recklessness, and should never
suffer any thing to delay your chastisement: the severer it is, the less frequently will you
have to repeat it. Van Amburgh possesses this ingredient in an eminent degree. I once
saw him exhibiting with his superb Barbary lion, since dead; as he left the cage, the
animal rushed at him, and succeeded in inflicting a sharp scratch upon his hand. Now,
had Van Amburgh displayed fear, or in short acted otherwise than he did, his reign had
been over, and the lion would in all probability have renewed his attack the next
opportunity, and have killed him. But what did he do? He returned into the cage, and
advancing sternly and undauntedly towards the lion, saluted him with a shower of blows
over the head and face, with the small iron rod which he always carried with him. And
mark the result. The brute at once yielded, quailed before his master, who, planting a
foot upon the prostrate body of his late assailant, coolly wiped the blood from his hand,
amidst the deafening plaudits of the spectators, who had witnessed the appalling scene
with feelings more easily imagined than described.
There is another description of animal taming, which I must not omit to mention, viz, by
charms or drugs. There were, and are indeed still to be met with, although more rarely
than formerly, persons who profess to be able, by some secret spell or charm, to tame
the fiercest horse, or calm the fury of the most ferocious watch-dog. There are also
persons who follow the trade of rat-catching, and pretend that by means of certain drugs
they can entice away all the rats from the premises to which they are called in to exercise
their skill. There are also a set of men in India and Persia who profess to charm serpents,
and draw them from their holes. Of these last it is not at present my design to speak. I
may, however, return to them in a future paper.
The first of these, or those who pretend to possess the power of quelling the spirit of the
horse, or appeasing the vigilant fury of the dog, are now but few in number, and very
seldom to be met with. They abounded more in Ireland than they did in the sister
kingdom, and were called “whisperers.” Perhaps the best mode in which I can bring them
and their practices before my readers, is by giving them an account of the last and most
celebrated whisperer that we recollect. His name was James Sullivan, and he possessed
the power of taming the most furious horse, if left alone with him for about half an hour.
The name of this singular man is recorded by Townsend in his “Survey of the County of
Cork,” and we shall quote his account of Sullivan’s performances, to which he states
himself to have been an eye-witness:—
“James Sullivan was a native of the county of Cork, and an awkward ignorant rustic of
the lowest class, generally known by the appellation of ‘the Whisperer;’ and his
profession was horse-breaking. The credulity of the vulgar bestowed that epithet upon
him from an opinion that he communicated his wishes to the animal by means of a
whisper, and the singularity of his method gave some colour to the superstitious belief. As
far as the sphere of his control extended, the boast of veni, vidi, vici, was more justly
claimed by James Sullivan than by Cæsar, or even Bonaparte himself. How his art was
acquired, or in what it consisted, is likely to remain for ever unknown, as he has lately
left the world without divulging it. His son, who follows the same occupation, possesses
but a small portion of the art, having either never learned its true secret, or being
incapable of putting it in practice. The wonder of his skill consisted in the short time
requisite to accomplish his design, which was performed in private, and without any
apparent means of coercion. Every description of horse, or even mule, whether
previously broke, or unhandled, whatever their peculiar vices or ill habits might have
been, submitted without show of resistance to the magical influence of his art, and in the
short space of half an hour became gentle and tractable. The effect, though
instantaneously produced, was generally durable; though more submissive to him than to
others, yet they seemed to have acquired a docility unknown before. When sent for to
tame a vicious horse, he directed the stable in which he and the object of his experiment
were placed, to be shut, with orders not to open the door until a signal was given. After a
tete-a-tete between him and the horse for about half an hour, during which little or no
bustle was heard, the signal was made; and on opening the door, the horse was seen
lying down, and the man by his side, playing familiarly with him, like a child with a puppy
dog. From that time he was found perfectly willing to submit to discipline, however
repugnant to his nature before. Some saw his skill tried on a horse which could never
before be brought to stand for a smith to shoe him. The day after Sullivan’s half-hour
lecture, I went, not without some incredulity, to the smith’s shop, with many other
curious spectators, where we were eye-witnesses of the complete success of his art.
This, too, had been a troop horse, and it was supposed, not without reason, that after
regimental discipline had failed, no other would be found availing. I observed that the
animal seemed afraid whenever Sullivan either spoke or looked at him. How that
extraordinary ascendancy could have been obtained, it is difficult to conjecture. In
common cases this mysterious preparation was unnecessary. He seemed to possess an
instinctive power of inspiring awe, the result perhaps of natural intrepidity, in which I
believe a great part of his art consisted; though the circumstance of the tete-a-tete
shows that upon particular occasions something more must have been added to it. A
faculty like this would in other hands have made a fortune, and great offers have been
made to him for the exercise of his art abroad; but hunting, and attachment to his native
soil, were his ruling passions. He lived at home in the style most agreeable to his
disposition, and nothing could induce him to quit Dunhallow and the foxhounds.” Other
whisperers have lived since Sullivan, but none of them have attained an equal degree of
fame. I met with one some years ago of the name of O’Hara, and I can truly affirm that
his performances were indeed wonderful, and precisely similar to those of Sullivan. How
O’Hara discovered the secret, I know not; neither am I sure that it was identical with that
possessed by Sullivan. On one occasion, while under the influence of liquor, O’Hara was
heard to declare that the secret lay in rocking the horse; but on another, when equally
tipsy, he mentioned biting the animal’s ear. It is already I believe known to those
acquainted with horses, that by grasping the shoulder with one hand just where the
mane begins, and laying the other with firmness upon the crupper, and then swaying the
animal backwards and forwards, beginning with a very gentle motion and gradually
increasing it, you will in a few minutes be able to throw the horse on his side with a
comparatively trifling degree of exertion; and it is certain that this treatment is frequently
resorted to by knowing jockeys to break the spirit of a stubborn horse; for after having
been thrown twice, or at most thrice, the spirit of the animal seems wholly subdued, and
he appears possessed with the most unqualified respect and dread of the person who
threw him. This was in all probability what O’Hara meant by rocking, and I have little
doubt but that this was one of the component parts, at all events, of the treatment
resorted to by the whisperers. As to biting the ear, I have seen this tried, and that
successfully. If you succeed in getting the ear of the most vicious horse between your
teeth, and bite it with all your force, you will find the rage of the animal suddenly
subside, his spirit will appear to have forsaken him, and a word or a look from you will
cause him to start and tremble with excess of terror. Once the ferocity of an animal is
removed, it is an easy matter to conciliate his affections. May not these two modes of
treatment combined, or one or the other, as the occasion seemed to require, have
constituted the secret of the wonder-working whisperers? The suggestion is at least
plausible, and the experiment should be fully tried ere it be rejected.
In an article which appeared lately on the subject of animal taming in the Times
newspaper, mention is made of Mr King, owner of the “learned horse” at present
exhibiting in London. This person states that his secret depends upon pressing a certain
nerve in the horse’s mouth, which he calls the “nerve of susceptibility.” May not the set of
whispering have likewise depended upon compressing with the teeth some similar nerve
in the ear?
H. D. R.
 RELICS.
BY J. U. U.

“Raphael was buried in the Pantheon (Sta. Maria della Rotunda), in a chapel which he
had himself endowed, and near the place where his betrothed bride had been laid. The
immediate neighbourhood was afterwards selected by other painters as their place of
rest. Baldassane Peruzzi, Giovanni da Udine, Pierino del Vaga, Taddeo Zuccaro, and
others, are buried near. No question had ever existed as to the precise spot where the
remains of the master lay; but a few years since the Roman antiquaries began to raise
doubts even respecting the church in which Raphael was buried. In the end, permission
was obtained to make actual search; and Vasari’s account was in this instance verified.
The tomb was found as he describes it, behind the altar itself of the chapel above
mentioned. Four views of the tomb and its contents were engraved from drawings by
Cammucini, and thus preserve the appearance that presented itself. The shroud had been
fastened with a number of metal rings and points; some of these were kept by the
sculptor Fabrio of Rome, who is also in possession of casts from the skull and right hand.
Passavant remarks, judging from the cast, that the skull was of a singularly fine form.
The bones of the hand were all perfect, but they crumbled into dust after the mould was
taken. The skeleton measured about five feet seven inches. The coffin was extremely
narrow, indicating a very slender frame. The precious relics were ultimately restored to
the same spot, after being placed in a magnificent sarcophagus, presented by the
present Pope.”—Quarterly Review.
Ay, there are glorious things even in the dust
Which still must ever from the human heart
Win homage next devotion. ’Tis in vain
To ask the wherefore, or demand what are they
Amid the keen realities of life?
Old coin, or broken casque, or fretted stone—
The waste of Time—the rack upon life’s shore
Thrown up by the spent waves of centuries—
They have no meaning in the vulgar tongue;
Their very uses know them not—things past
Into the chaos of forgotten forms.
But here the root of this deep error lies.

The world’s deep Lethé onward blindly glides,

A perishable Present! glorious only
Because no Future and no Past are seen
To scare or shame its dreamy voyager.
In dull forgetfulness the error lies,
That hath no feeling of the mighty Past
Espoused to sense, and purblind as the mole
To all that meets the intellectual eye:
To such Iona is a heap of stones,
And Marathon a desert …
… O, how changed!
The meanest thing on which great Time hath set
His awful stamp (the long-surviving thought
Left by the mind of other days) appears
To knowledge and the gaze of memory,
More instantaneous than those words of power
Which ancient legends say the tomb obeyed—
The broken pillar, and the moss-grown pile,
Dilate into antique magnificence:
At once the stern old rampart crowns its height—
The donjon keep, the tower of ancient pride,
The rock-built fortress of old robber kings,
Start into life, and from their portals pour
Mailed foray forth, or pomp of feudal war.
The temple swells from vacancy, o’erarching
With pillared roof, and dim solemnity,
The worship of old time. The dry bones live
Of ancient ages: monarch, sage, and bard,
Stand in their living lineaments, invested
With power, or wisdom, or the gift of song.

These still are common ruins—the remains

Of those who were the vulgar of their day,