Take time to reflect on all the things you have, not as a result of your merit or hard<b> work or because God or chance or the efforts of other people have given them to you.
"Maybe now they'll let me turn round", thought Gregor and went back to work. He could not help panting loudly with the effort and had sometimes to stop and take a rest. No-one was making him rush any more, everything was left up to him. As soon as he had finally finished turning round he began to move straight ahead. He was amazed at the great distance that separated him from his room, and could not understand how he had covered that distance in his weak state a little while before and almost without noticing it. He concentrated on crawling as fast as he could and hardly noticed that there was not a word, not any cry, from his family to distract him. He did not turn his head until he had reached the doorway. He did not turn it all the way round as he felt his neck becoming stiff, but it was nonetheless enough to see that nothing behind him had changed, only his sister had stood up. With his last glance he saw that his mother had now fallen completely asleep.
Thus relieved of a grievous load, I from that hour set to work afresh, resolved to pioneer my way through every difficulty: I toiled hard, and my success was proportionate to my efforts; my memory, not naturally tenacious, improved with practice; exercise sharpened my wits; in a few weeks I was promoted to a higher class; in less than two months I was allowed to commence French and drawing. I learned the first two tenses of the verb _Etre_, and sketched my first cottage (whose walls, by-the- bye, outrivalled in slope those of the leaning tower of Pisa), on the same day. That night, on going to bed, I forgot to prepare in imagination the Barmecide supper of hot roast potatoes, or white bread and new milk, with which I was wont to amuse my inward cravings: I feasted instead on the spectacle of ideal drawings, which I saw in the dark; all the work of my own hands: freely pencilled houses and trees, picturesque rocks and ruins, Cuyp-like groups of cattle, sweet paintings of butterflies hovering over unblown roses, of birds picking at ripe cherries, of wren's nests enclosing pearl-like eggs, wreathed about with young ivy sprays. I examined, too, in thought, the possibility of my ever being able to translate currently a certain little French story which Madame Pierrot had that day shown me; nor was that problem solved to my satisfaction ere I fell sweetly asleep.
Nevertheless, it was not easy, with the face of his beloved wife fresh before him, to compose his mind to what it must bear. His hold on life was strong, and it was very, very hard, to loosen; by gradual efforts and degrees unclosed a little here, it clenched the tighter there; and when he brought his strength to bear on that hand and it yielded, this was closed again. There was a hurry, too, in all his thoughts, a turbulent and heated working of his heart, that contended against resignation. If, for a moment, he did feel resigned, then his wife and child who had to live after him, seemed to protest and to make it a selfish thing.
2. JOHN (Jan) VAN EYCK (? 1385-1440). The date of his birth is not more accurately known than that of his elder brother, but he was born much later than Hubert, who took charge of him and made him his "disciple." Under this tuition John learnt to draw and paint, and mastered the properties of colours from Pliny. Later on, Hubert admitted him into partnership, and both were made court painters to Philip of Charolais. After the breaking up of the prince's household in 1421, John became his own master, left the workshop of Hubert, and took an engagement as painter to John of Bavaria, at that time resident at the Hague as count of Holland. From the Hague he returned in 1424 to take service with Philip, now duke of Burgundy, at a salary of 100 livres per annum, and from that time till his death John van Eyck remained the faithful servant of his prince, who never treated him otherwise than graciously. He was frequently employed in missions of trust; and following the fortunes of a chief who was always in the saddle, he appears for a time to have been in ceaseless motion, receiving extra pay for secret services at Leiden, drawing his salary at Bruges, yet settled in a fixed abode at Lille. In 1428 he joined the embassy sent by Philip the Good to Lisbon to beg the hand of Isabella of Portugal. His portrait of the bride fixed the duke's choice. After his return he settled finally at Bruges, where he married, and his wife bore him a daughter, known in after years as a nun in the convent of Maeseyck. At the christening of this child the duke was sponsor, and this was but one, of many distinctions by which Philip the Good rewarded his painter's merits. Numerous altarpieces and portraits now give proof of van Eyck's extensive practice. As finished works of art and models of conscientious labour they are all worthy of the name they bear, though not of equal excellence, none being better than those which were completed about 1432. Of an earlier period, a "Consecration of Thomas à Becket" has been preserved, and may now be seen at Chatsworth, bearing the date of 1421; no doubt this picture would give a fair representation of van Eyck's talents at the moment when he started as an independent master, but that time and accidents of omission and commission have altered its state to such an extent that no conclusive opinion can be formed respecting it. The panels of the "Worship of the Lamb" were completed nine years later. They show that John van Eyck was quite able to work in the spirit of his brother. He had not only the lines of Hubert's compositions to guide him, he had also those parts to look at and to study which Hubert had finished. He continued the work with almost as much vigour as his master. His own experience had been increased by travel, and he had seen the finest varieties of landscape in Portugal and the Spanish provinces. This enabled him to transfer to his pictures the charming scenery of lands more sunny than those of Flanders, and this he did with accuracy and not without poetic feeling. We may ascribe much of the success which attended his efforts to complete the altarpiece of Ghent to the cleverness with which he [reproduced the varied aspect of changing scenery, reminiscent here of the orange groves of Cintra, there of the bluffs and crags of his native valley. In all these backgrounds, though we miss the scientific rules of perspective with which the van Eycks were not familiar, we find such delicate perceptions of gradations in tone, such atmosphere, yet such minuteness and perfection of finish, that our admiration never flags. Nor is the colour less brilliant or the touch less firm than in Hubert's panels. John only differs from his brother in being less masculine and less sternly religious. He excels in two splendid likenesses of Jodocus Vijdts and his wife Catherine Burluuts. The same vigorous style and coloured key of harmony characterizes the small "Virgin and Child" of 1432 at Ince, and the "Madonna," probably of the same date, at the Louvre, executed for Rollin, chancellor of Burgundy. Contemporary with these, the male portraits in the National Gallery, and the "Man with the Pinks," in the Berlin Museum (1432-1434), show no relaxation of power; but later creations display no further progress, unless we accept as progress a more searching delicacy of finish, counterbalanced by an excessive softness of rounding in flesh contours. An unfaltering minuteness of hand and great tenderness of treatment may be found, combined with angularity of drapery and some awkwardness of attitude in the full length portrait couple (John Arnolfini and his wife) at the National Gallery (1434), in which a rare insight into the detail of animal nature is revealed in a study of a terrier dog. A "Madonna with Saints," at Dresden, equally soft and minute, charms us by the mastery with which an architectural background is put in. The bold and energetic striving of earlier days, the strong bright tone, are not equalled by the soft blending and tender tints of the later ones. Sometimes a crude ruddiness in flesh strikes us as a growing defect, an instance of which is the picture in the museum of Bruges, in which Canon van der Paelen is represented kneeling before the Virgin under the protection of St George (1434). From first to last van Eyck retains his ability in portraiture. Fine specimens are the two male likenesses in the gallery of Vienna (1436), and a female, the master's wife, in the gallery of Bruges (1439). His death in 1440/41 at Bruges is authentically recorded. He was buried in St Donat. Like many great artists he formed but few pupils. Hubert's disciple, Jodocus of Ghent, hardly does honour to his master's teaching, and only acquires importance after he has thrown off some of the peculiarities of Flemish teaching. Petrus Cristus, who was taught by John, remains immeasurably behind him in everything that relates to art. But if the personal influence of the van Eycks was small, that of their works was immense, and it is not too much to say that their example, taken in conjunction with that of van der Weyden, determined the current and practice of painting throughout the whole of Europe north of the Alps for nearly a century. Entry: 2
His son, JASPER HEYWOOD (1535-1598), who translated into English three plays of Seneca, the _Troas_ (1559), the _Thyestes_ (1560) and _Hercules Furens_ (1561), was a fellow of Merton College, Oxford, but was compelled to resign from that society in 1558. In the same year he was elected a fellow of All Souls College, but, refusing to conform to the changes in religion at the beginning of the reign of Elizabeth, he gave up his fellowship and went to Rome, where he was received into the Society of Jesus. For seventeen years he was professor of moral theology and controversy in the Jesuit College at Dillingen, Bavaria. In 1581 he was sent to England as superior of the Jesuit mission, but his leniency in that position led to his recall. He was on his way back to the Continent when a violent storm drove him back to the English coast. He was arrested on the charge of being a priest, but, although extraordinary efforts were made to induce him to abjure his opinions, he remained firm. He was condemned to perpetual exile on pain of death, and died at Naples on the 9th of January 1598. His translations of Seneca were supplemented by other plays contributed by Alexander Neville, Thomas Nuce, John Studley and Thomas Newton. Newton collected these translations in one volume, _Seneca, his tenne tragedies translated into Englysh_ (1581). The importance of this work in the development of English drama can hardly be over-estimated. Entry: HEYWOOD
Before the fortunate circumstances which governed the work of the 'sixties became decisive, illustrations of a transitional character, but tending to the same end, had been produced by John Tenniel, John Gilbert, Birket Foster, Harrison Weir, T. Creswick, W. Mulready and others; but their methods were too vague and diffuse to bear as yet the mark of a school; no single influence gave a unity to their efforts. On some of them Adolf von Menzel's illustrations to Kügler's _Frederick the Great_, published in England in 1844, may have left a mark; Gilbert certainly shows traces of the influence of Delacroix and Bonington in the free, loose method of his draughtsmanship, independent of accurate modelling, and with here and there a paint-like dab of black to relieve a generally colourless effect; while Tenniel, with cold, precise lines of wire-drawn hardness, remained the representative of the past academic style, influencing others by the dignity of his fine technique, but with his own feeling quite untouched by the Pre-Raphaelite and romantic movement which was soon to occupy the world of illustration. In greater or less degree it may be said of the work of all these artists that, as it antedates, so to the end does it stand somewhat removed in character from, the school with which for a time it became contemporary. The year which decisively marked the beginning of new things in illustration was 1857, the year of the Moxon _Tennyson_ and of Wilmott's _Poets of the Nineteenth Century_, with illustrations by Rossetti, Millais, Holman Hunt and Ford Madox Brown. In these artists we get the germ of the movement which afterwards came to have so wide a popularity. At the beginning, Pre-Raphaelite in name, poetic and literary in its choice of subjects, the school quickly expanded to an acceptance of those open-air and everyday subjects which one connects with the names of Frederick Walker, Arthur B. Houghton, G. F. Pinwell and M. North. The illustrations of the Pre-Raphaelites were eminently thoughtful, full of symbolism, and with a certain pressure of interest to which the epithet of "intense" came to be applied. As an example of their method of thought-transference from word to form, Madox Brown's drawing for the Dalziel Bible of "Elijah and the Widow's Son" may be taken. The restoration of life to a dead body, of a child to its mother, is there conveyed with many illustrative touches and asides, which become clumsy when stated in words. The hen bearing her chicken between her wings is a perfectly direct and appropriate pictorial symbol, but a far more imaginative stroke is the shadow on the wall of a swallow flying back to the clay bottle where it has made its nest. Here is illustration full of literary symbolism, yet wholly pictorial in its means; and in this it is entirely characteristic of Pre-Raphaelite feeling, with its method of suggesting, through externals, consideration as opposed to mere outlook. Of this phase Rossetti must be accounted the leader, but it was Millais who, by the sheer weight of his personality, carried English illustration along with him from Pre-Raphaelitism to the freer romanticism and naturalistic tendencies of the 'sixties. Rossetti, with his poetic enthusiasm, his strong personal magnetism and dramatic power of composition, may be said to have brought about the awakening; it was Millais who, by his rapid development of style, his original and daring technique, turned it into a movement. When he started, there were many influences behind him and his fellow-workers--among older foreign contemporaries, those of Menzel and Rethel; and behind these again something of the old masters. But through a transitional period, represented by his twelve drawings of "The Parables," which appeared first in _Good Words_, Millais emerged in to the perfect independence of his illustrations to Trollope's novels, _Framley Parsonage_, and _The_ _Small House at Allington_, his own master and the master of a new school. Depicting the ugly fashions of his day with grave dignity and distinction, and with a broad power of rendering type in work which had the aspect of genre, he drew the picture of his age in a summary so embracing that his illustrations attain the rank almost of historical art. For art of this sort the symbolism of the Pre-Raphaelites lost its use: the realization in form of a character conveyed by an author's words, the happy suggestion of a locality helping to fix the writer's description, the verisimilitudes of ordinary life, even to trivial detail, carried out with real pictorial conviction, were the things most to be aimed at. Pictorial conviction was the great mark of the illustrative school of the 'sixties. The work of its artists has absorbed so completely the interest and reality of the letterpress that the results are a model of what faithful yet imaginative illustration should be. In the illustrated magazines of this period, _Once a Week_, _Good Words_, _Cornhill_, _London Society_, _The Argosy_, _The Leisure Hour_, _Sunday at Home_, _The Quiver_ and _The Churchman's Family Magazine_, as well as others, is to be found the best work of this new school of illustrators; and with the greater number of them it cannot be mistaken that Millais is the prevailing force. Entry: ILLUSTRATION
MANNING, HENRY EDWARD (1808-1892), English Roman Catholic cardinal, was born at Totteridge, Hertfordshire, on the 15th of July 1808,[1] being the third and youngest son of William Manning, a West India merchant, who was a director of the Bank of England and governor, 1812-1813, and who sat in Parliament for some thirty years, representing in the Tory interest Plympton Earle, Lymington, Evesham, and Penryn consecutively. His mother, Mary, daughter of Henry Leroy Hunter, of Beech Hill, Reading, was of a family said to be of French extraction. Manning's boyhood was mainly spent at Coombe Bank, Sundridge, Kent, where he had for companions Charles and Christopher Wordsworth, afterwards bishops of St Andrews and of Lincoln. He was educated at Harrow, 1822-1827, Dr G. Butler being then the head master, but obtained no distinction beyond being in the cricket eleven in 1825. He matriculated at Balliol College, Oxford, in 1827, and soon made his mark as a debater at the Union, where Gladstone succeeded him as president in 1830. At this date he was ambitious of a political career, but his father had sustained severe losses in business, and in these circumstances Manning, having graduated with first-class honours in 1830, obtained the year following, through Viscount Goderich, a post as supernumerary clerk in the colonial office. This, however, he resigned in 1832, his thoughts having been turned towards a clerical career under Evangelical influences, which affected him deeply throughout life. Returning to Oxford, he was elected a fellow of Merton College, and was ordained; and in 1833 he was presented to the rectory of Lavington-with-Graffham in Sussex by Mrs Sargent, whose granddaughter Caroline he married on the 7th of November 1833, the ceremony being performed by the bride's brother-in-law, Samuel Wilberforce, afterwards bishop of Oxford and of Winchester. Manning's married life was of brief duration. His young and beautiful wife was of a consumptive family, and died childless (July 24, 1837). The lasting sadness that thus early overshadowed him tended to facilitate his acceptance of the austere teaching of the Oxford Tracts; and though he was never an acknowledged disciple of Newman, it was due to the latter's influence that from this date his theology assumed an increasingly High Church character, and his printed sermon on the "Rule of Faith" was taken as a public profession of his alliance with the Tractarians. In 1838 he took a leading part in the Church education movement, by which diocesan boards were established throughout the country; and he wrote an open letter to his bishop in criticism of the recent appointment of the ecclesiastical commission. In December of that year he paid his first visit to Rome, and called on Dr Wiseman in company with W. E. Gladstone. In January 1841 Shuttleworth, bishop of Chichester, appointed him archdeacon, whereupon he began a personal visitation of each parish within his district, completing the task in 1843. In 1842 he published a treatise on _The Unity of the Church_, and his reputation as an eloquent and earnest preacher being by this time considerable, he was in the same year appointed select preacher by his university, thus being called upon to fill from time to time the pulpit which Newman, as vicar of St Mary's, was just ceasing to occupy. Four volumes of his sermons appeared between the years 1842 and 1850, and these had reached the 7th, 4th, 3rd and 2nd editions respectively in 1850, but were not afterwards reprinted. In 1844 his portrait was painted by Richmond, and the same year he published a volume of university sermons, in which, however, was not included the one on the Gunpowder Plot. This sermon had much annoyed Newman and his more advanced disciples, but it was a proof that at that date Manning was loyal to the Church of England as Protestant. Newman's secession in 1845 placed Manning in a position of greater responsibility, as one of the High Church leaders, along with Pusey and Keble and Marriott; but it was with Gladstone and James Hope (afterwards Hope-Scott) that he was at this time most closely associated. In the spring of 1847 he was seriously ill, and that autumn and the following winter he spent abroad, chiefly in Rome, where he saw Newman "wearing the Oratorian habit and dead to the world." He had public and private audiences with the pope on the 9th of April and the 11th of May 1848, but recorded next to nothing in his diary concerning them, though numerous other entries show an eager interest in everything connected with the Roman Church, and private papers also indicate that he recognized at this time grave defects in the Church of England and a mysterious attractiveness in Roman Catholicism, going so far as to question whether he might not one day be a Roman Catholic himself. Returning to England, he protested, but with moderation, against the appointment of Hampden as bishop of Hereford, and continued to take an active part in the religious education controversy. Through the influence of Samuel Wilberforce, he was offered the post of sub-almoner to Queen Victoria, always recognized as a stepping-stone to the episcopal bench, and his refusal of it was honourably consonant with all else in his career as an Anglican dignitary, in which he united pastoral diligence with an asceticism that was then quite exceptional. In 1850 the decision of the privy council, that the bishop of Exeter was bound to institute the Rev. G. C. Gorham to the benefice of Brampford Speke in spite of the latter's acknowledged disbelief in the doctrine of baptismal regeneration, brought to a crisis the position within the Church of England of those who believed in that Church as a legitimate part of the infallible _Ecclesia docens_. Manning made it clear that he regarded the matter as vital, though he did not act on this conviction until no hope remained of the decision being set aside or practically annulled by joint action of the bishops. In July he addressed to his bishop an open letter on "The Appellate Jurisdiction of the Crown in Matters Spiritual," and he also took part in a meeting in London which protested against the decision. In the autumn of this year (1850) was the great popular outcry against the "Papal aggression" (see WISEMAN), and Manning, feeling himself unable to take part in this protest, resigned, early in December his benefice and his archdeaconry; and writing to Hope-Scott, who a little later became a Roman Catholic with him, stated his conviction that the alternative was "either Rome or licence of thought and will." He was received into the Roman Catholic Church by Father Brownbill, S.J., at the church in Farm Street, on Passion Sunday, the 6th of April 1851. On the following Sunday he was confirmed and received to communion by Cardinal Wiseman, who also, within ten weeks of his reception, ordained him priest. Manning thereupon proceeded to Rome to pursue his theological studies, residing at the college known as the "Academy for Noble Ecclesiastics," and attending lectures by Perrone and Passaglia among others. The pope frequently received him in private audience, and in 1854 conferred on him the degree of D.D. During his visits to England he was at the disposal of Cardinal Wiseman, who through him, at the time of the Crimean War, was enabled to obtain from the government the concession that for the future Roman Catholic army chaplains should not be regarded as part of the staff of the Protestant chaplain-general. In 1857 the pope, _proprio motu_, appointed him provost (or head of the chapter) of Westminster, and the same year he took up his residence in Bayswater as superior of a community known as the "Oblates of St Charles," an association of secular priests on the same lines as the institute of the Oratory, but with this difference, that they are by their constitution at the beck and call of the bishop in whose diocese they live. The community was thus of the greatest service to Cardinal Wiseman, whose right-hand man Manning thenceforward became. During the eight years of his life at Bayswater he was most active in all the duties of the priesthood, preaching, hearing confessions, and receiving converts; and he was notably zealous to promote in England all that was specially Roman and papal, thus giving offence to old-fashioned Catholics, both clerical and lay, many of whom were largely influenced by Gallican ideas, and had with difficulty accepted the restoration of the hierarchy in 1850. In 1860 he delivered a course of lectures on the pope's temporal power, at that date seriously threatened, and shortly afterwards he was appointed a papal domestic prelate, thus becoming a "Monsignor," to be addressed as "Right Reverend." He was now generally recognized as the able and effective leader of the Ultramontane party among English Roman Catholics, acting always, however, in subordination to Cardinal Wiseman; and on the latter's death (Feb. 15, 1865) it was felt that, if Manning should succeed to the vacant archbishopric, the triumph of Ultramontanism would be secured. Such a consummation not being desired by the Westminster chapter, they submitted to the pope three names, and Manning's was not one of them. Great efforts were made to secure the succession for the titular archbishop Errington, who at one time had been Wiseman's coadjutor with that right reserved to him, but who had been ousted from that position by the pope acting under Manning's influence. In such circumstances Pius IX. could hardly do otherwise than ignore Errington's nomination, as he also ignored the nomination of Clifford, bishop of Clifton, and of Grant, bishop of Southwark; and, by what he humorously described as "the Lord's own _coup d'état_," he appointed Manning to the archiepiscopal see. Consecrated at the pro-cathedral at Moorfields (since destroyed) by Dr Ullathorne, bishop of Birmingham (June 8, 1865), and enthroned there (Nov. 6), after receiving the _pallium_ in Rome, Manning began his work as archbishop by devoting himself especially to the religious education of the poor and to the establishment of Catholic industrial and reformatory schools. He steadily opposed whatever might encourage the admission of Catholics to the national universities, and so put his foot down on Newman's project to open a branch house of the Oratory at Oxford with himself as superior. He made an unsuccessful and costly effort to establish a Catholic university at Kensington, and he also made provision for a diocesan seminary of strictly ecclesiastical type. Jealous of the exclusive claims of the Roman Church, he procured a further condemnation at Rome of the "Association for the Promotion of the Unity of Christendom," which advocated prayers for the accomplishment of a kind of federal union between the Roman, Greek and Anglican Churches, and in a pastoral letter he insisted on the heretical assumption implied in such an undertaking. He also worked for the due recognition of the dignity of the secular or pastoral clergy, whose position seemed to be threatened by the growing ascendancy of the regulars, and especially of the Jesuits, whom, as a practically distinct organization within the Church, he steadily opposed. In addition to his diocesan synods, he presided in 1873 over the fourth provincial synod of Westminster, which legislated on "acatholic" universities, church music, mixed marriages, and the order of a priest's household, having previously taken part, as theologian, in the provincial synods of 1853 and 1859, with a hand in the preparation of their decrees. But it was chiefly through his strenuous advocacy of the policy of defining papal infallibility at the Vatican council (1869-1870) that Manning's name obtained world-wide renown. In this he was instant in season and out of season. He brought to Rome a petition in its favour from his chapter at Westminster, and during the progress of the council he laboured incessantly to overcome the opposition of the "inopportunists." And he never ceased to regard it as one of the chief privileges of his life that he had been able to take an active part in securing the definition, and in having heard with his own ears that doctrine proclaimed as a part of divine revelation. In 1875 he published a reply to Gladstone's attack on the Vatican decrees; and on the 15th of March in that year he was created cardinal, with the title of SS. Andrew and Gregory on the Coelian. He was present at the death of Pius IX. (Feb. 7, 1878); and in the subsequent conclave, while some Italian cardinals were prepared to vote for his election to fill the vacant chair, he himself supported Cardinal Pecci, afterwards known as Leo XIII. With him, however, Manning found less sympathy than with his predecessor, though Manning's advocacy of the claims of labour attracted Leo's attention, and influenced the encyclical which he issued on the subject. After the Vatican council, and more especially after the death of Pius IX., Manning devoted his attention mainly to social questions, and with these his name was popularly associated during the last fifteen years of his life. From 1872 onwards he was a strict teetotaller, not touching alcohol even as a medicine, and there was some murmuring among his clergy that his teaching on this subject verged on heresy. But his example and his zeal profoundly influenced for good the Irish poor forming the majority of his flock; and the "League of the Cross" which he founded, and which held annual demonstrations at the Crystal Palace, numbered nearly 30,000 members in London alone in 1874. He sat on two royal commissions, the one on the housing of the working classes (1884), and the other on primary education (1886); and in each case the report showed evident marks of his influence, which his fellow-commissioners recognized as that of a wise and competent social reformer. In the cause of labour he was active for many years, and in 1872 he set an example to the clergy of all the churches by taking a prominent part in a meeting held in Exeter Hall on behalf of the newly established Agricultural Labourers' Union, Joseph Arch and Charles Bradlaugh being among those who sat with him on the platform. In later years his strenuous advocacy of the claims of the working classes, and his declaration that "every man has a right to work or to bread" led to his being denounced as a Socialist. That he was such he denied more than once (Lemire, _Le Cardinal Manning et son action sociale_, Paris, 1893, p. 210), nor was he ever a Socialist in principle; but he favoured some of the methods of Socialism, because they alone seemed to him practically to meet the case of that pressing poverty which appealed to his heart. He took a leading part in the settlement of the dockers' strike in the autumn of 1889, and his patient and effectual action on this and on similar occasions secured for him the esteem and affection of great numbers of working men, so that his death on the 14th of January 1892, and his funeral a week later, were the occasion for a remarkable demonstration of popular veneration. The Roman Catholic Cathedral at Westminster is his joint memorial with his predecessor, Cardinal Wiseman. Entry: MANNING