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Hannibal was thus disappointed in the main object of his advance, and he had no means of effecting any thing against Rome itself, where Fulvius and Fabius confined themselves strictly to the defensive, allowing him to ravage the whole country without opposition, up to the very walls of Rome. Nothing therefore remained for him but to retreat, and he accordingly recrossed the Anio, and marched slowly and sullenly through the land of the Sabines and Samnites, ravaging the country which he traversed. From thence he retired to the Bruttii, leaving Capua to its fate. The city soon after surrendered to the Romans. Its punishment was terrible. All the leaders of the insurrection were beheaded; the chief men were imprisoned; and the rest of the people were sold. The city and its territory were confiscated, and became part of the Roman domain.

The internal evidence of the wooden figures themselves--nothing analogous to which, it should be remembered, can be found in the chapel of 1687--points to a much earlier date. I have met with no school of sculpture belonging to the early part of the eighteenth century to which they can be plausibly assigned; and the supposition that they are the work of some unknown local genius who was not led up to and left no successors may be dismissed, for the work is too scholarly to have come from any one but a trained sculptor. I refer of course to those figures which the artist must be supposed to have executed with his own hand, as, for example, the central figure of the Crucifixion group and those of the Magdalene and St. John. The greater number of the figures were probably, as was suggested to me by Mr. Ranshaw, of Lowth, executed by a local woodcarver from models in clay and wax furnished by the artist himself. Those who examine the play of line in the hair, mantle, and sleeve of the Magdalene in the Crucifixion group, and contrast it with the greater part of the remaining draperies, will find little hesitation in concluding that this was the case, and will ere long readily distinguish the two hands from which the figures have mainly come. I say "mainly," because there is at least one other sculptor who may well have belonged to the year 1709, but who fortunately has left us little. Examples of his work may perhaps be seen in the nearest villain with a big hat in the Flagellation chapel, and in two cherubs in the Assumption of the Virgin.

Mr. Wallace observed two male adult Orangs (Mias Kassu of the Dyaks), however, so very different from any of these that he concludes them to be specially distinct; they were respectively 3 feet 81/2 inches and 3 feet 91/2 inches high, and possessed no sign of the cheek excrescences, but otherwise resembled the larger kinds. The skull has no crest, but two bony ridges, 13/4 to 2 inches apart, as in the _Simia morio_ of Professor Owen. The teeth, however, are immense, equalling or surpassing those of the other species. The females of both these kinds, according to Mr. Wallace, are devoid of excrescences, and resemble the smaller males, but are shorter by 11/2 to 3 inches, and their canine teeth are comparatively small, subtruncated and dilated at the base, as in the so-called _Simia morio_, which is, in all probability, the skull of a female of the same species as the smaller males. Both males and females of this smaller species are distinguishable, according to Mr. Wallace, by the comparatively large size of the middle incisors of the upper jaw.

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