Are those the ancient turrets of Verona? THE highly-raised expectations with which a traveller first sets his foot in Italy are not fated to receive disappointment in Verona, the first town that greets his sight as he descends the Rhetian Alps. In this descent he has met with grand and beautiful features of landscape, in some cases inspiring a feeling akin to terror. Thus, in the defiles between Roveredo and Ala, the river Adige becomes a torrent, the mountains break into rocks and precipices, sometimes approaching the road, or rising perpendicularly above it, or hanging over it in majestic grandeur. A vast tract in these wilds, covered with fragments of rock, and appearing like the ruins of an earthquake, seems to have made a deep impression on the mind of Dante, who uses it to describe to his readers one of his infernal ramparts. Cary thus translates the passage: The place where to descend the precipice On this side Trento struck, shouldering the wave, VOL. XXV. These terrific scenes gradually disappear; the moun tains diminish, and at length sink into hills of gentle elevation, and at last, leaving the region of torrents and defiles, you behold the plains of Italy spread out in their vast extent and luxuriance. Seated on the last swell of the Alps, and formed into a peninsula by the beautiful curve of the Adige, Verona presents a most inviting and elegant appearance, which has called forth the eulogiums of most travellers. Eve lyn says of it, that the situation is the most delightful he ever saw, sweetly mixed with rising ground and valleys, elegantly planted with trees, "on which Bacchus seems riding, as it were, in triumph, every autumn, for the vines reach from tree to tree." The hills behind the town are also adorned with villas and gardens, where the graceful cypress and the tall poplar contrast with the massy groups of ilex and laurel. Mrs. Piozzi describes it as the gayest of towns, beautifully situated, with venerable mountains in the distance, and the silver Adige winding through the valley. "Such a glow of blossoms," she adds, "now ornaments the rising grounds, and such cheerfulness smiles in the sweet faces of its inhabitants, that one is tempted to think it the birth-place of Euphrosyne. Here are vines, mulberries, olives; of course wine, silk, and oil; everything that can seduce, everything that ought to satisfy desiring man. Here then, in consequence, do actually delight to reside mirth and good humour in their holiday dress." 777 The distant aspect of Verona does not promise more than is actually realized on entering the town. The river divides the town into two unequal parts. The streets are long, but not wider than those of other continental towns: the buildings, however, are handsome, and often present, in the forms of the doors, windows, &c., fine proportions and elaborate workmanship. But to the stranger's eye, the grand object of interest in Verona is the ancient amphitheatre, one of the noblest specimens of Roman magnificence yet existing. The date of this edifice is uncertain, but it is supposed to be about the same age as the Coliseum at Rome, which building it equals in materials and solidity, though not in size. The Veronese amphitheatre is built principally of marble. It measures, in its outward circumference, about thirteen hundred feet, while the length of the arena is upwards of two hundred feet. It is calculated that twenty-two thousand persons could be accommodated on the seats, (which rise from the arena in fortyfive ranges, to the top of the second story of outward arches,) and that the arena itself would contain twelve housand more. Of the outer circuit of the amphiheatre, which originally consisted of seventy-two arches, only four are presented; but the interior is almost entirely perfect. The general appearance of this most interesting structure is well depicted in Murray's excellent Hand Book for Northern Italy, in the following terms:-" Altogether the dark mass has great dignity and grandeur. The deep shadows under the arcades and vaults below, the general aspect of venerable and grey old age, contrasted with the garlands of green-growing plants which crown the walls, all form a picture equally pleasant to eye and mind. Many of the arcades are occupied by smiths and farriers, and petty dealers, nestled in the cavernlike arches; and, strange as it may seem, it is more satisfactory to see the old dead buildings thus vivified, than it would be were it tricked out as at Nimes. Not less interesting is the walk round the summit, which should in no wise be neglected. On the one side are the towers and buildings of the city; on the other you look down into the huge crater. The vomitoria, gaping, as it were, amidst the concentric ranges, and in the centre, the arena, now green and grassy. This is intersected by various branches and passages, uncovered not long since, and of which it would be difficult to point out the peculiar application to the cruel games once exhibited here. One deep subterraneous passage, however, seems to have been adapted for the purpose of allowing the beasts to issue forth. * * * * The stranger should also occupy an hour in walking round the massy interior corridors, and up and down the staircases, of which the complication is such, ascending and descending, that no intelligible idea can be formed of them except by actual inspection." This vast monument of ancient grandeur, and of ancient barbarity, has been at different periods in later times employed as a place of meeting, when large assemblages of the populace were required to be collected together. On one occasion it was the scene of a bullbaiting, exhibited in honour of the Emperor Joseph, by the governor and people. The seats were crowded, and, as Mr. Eustace observes, "a Roman emperor was once more hailed in a Roman amphitheatre with the tities of Cæsar and Augustus, by spectators who pretend, and almost deserve, to be Romans." On another occasion, the amphitheatre was made the scene of a very different spectacle. The sovereign pontiff being at Verona in 1782, was requested by the magistrates to give the people an opportunity of testifying their veneration. Accordingly the amphitheatre was chosen as a place of meeting for the assembled thousands, and there the pope, with eyes and hands uplifted to heaven, implored a benediction on the prostrate multitudes which had gathered together from all the neighbouring provinces, and crowded to overflowing the vast amphitheatre. A ridiculous contrast to this imposing spectacle was afforded when the French entered into Verona. They erected a wooden theatre near one of the grand portals, and acted farces and pantomimes for the amusement of the army. This absurdity was looked on by the Veronese with much indignation. Though in itself more harmless than their own ferocious bull-baitings, yet they were deeply offended that their ancient monument, to which they had always shown a proud attachment, and on the preservation of which they had expended considerable sums of money, should be disfigured by such paltry exhibitions. Besides the amphitheatre, there are other relics of Roman architecture in Verona; a gate, inscribed with the name of Gallienus, in the middle of the street called the Corso; and another similar, though of chaster form | in the Via Leoni, where it stands as a front to an insig nificant house. Opposite the Town-hall are the tombs of the Scaligers, the ancient lords of Verona, partaking of the characters of the shrine, the monumental cross, and the market cross. Mr. Stewart Rose remarks, as indicative of the peculiar properties of Italian climate, that a curious unpainted iron trellice, forming the protection of these monuments, and apparently of the same age, has not been injured by time, although some parts of it, as the armorial bearings of the Scaligers, are extremely thin. "The Italian air," he says, "even when charged with sea-salt, as in the Venetian islets, seems to have very little effect upon iron." The palaces of Verona testify to the high ability of their architect, San Micheli, who flourished in this city, and was nearly contemporary with Palladio. The palaces Canossa, Terzi, Bevilacqua, and Pompei, were erected by this architect; and of these some consider Pompei his master-piece, others give the precedence to Canossa. The latter has a beautiful and imposing appearance as seen from the Adige, and presents on its frieze a singular ornament, which is scarcely remarked amidst its magnificent architecture. This is a multitude of mitres placed there by order of Louis Canossa, bishop of Bayeux, who caused this palace to be built. The churches of Verona are numerous and magnificent. There, as in other towns of Italy, the principal church is not the cathedral, but the church of some popular saint, some benefactor of the country, whose temple is generally the most national monument of the city. Such is the church of San Zeno, which is richer in its architecture than the Duomo, and purer in its style. It appears to have been begun about the commencement of the tenth century, and has few admixtures of the pointed style. It has a lofty campanile, sculptures, that correct drawings of them alone, it is and a portal adorned with such curious and remarkable said, would fill a volume. The church is large and majestic, the solemn aspect of the interior being, however, strangely contrasted with the grotesque appearance of some of the monuments. The statue of San Zeno, in red Veronese marble, has a merry laughing countenance; the colour of the marble adding to his jovial rubicund appearance. San Zeno was bishop of Verona in 362, in the reign of Julian the Apostate. He was born in Africa, but said to be by descent a Syrian. Some of his sermons, still extant, are not deficient in power and eloquence, but are written in a barbarous style. There is a fine crypt in this edifice, forming a complete church in itself. There is also a dreary and neglected cloister of Romanesque architecture. Near the church is a cemetery, in which is an ancient mausoleum, the subject of a thousand fabulous stories. An inscription denotes it to have been the tomb of Pepin, king of Italy, son of Charlemagne; but this inscription is modern, and not to be depended on. As in the case of San Zeno, so in that of the Duomo, or cathedral itself, the entrance porch is the most remarkable portion of the whole edifice. The columus rest upon colossal griffins, of admirable finish and workmanship. One of these is in the act of griping a serpent, which, turning round, bites the paw that holds it down. The other griffin grasps two heads, and upon their flanks are sculptured wheels. On either side of the door are sculptured grim and grotesque-looking sentinels, and over the portal is a very ancient bassorelievo, representing the Adoration of the Magi. A profusion of strange grotesque figures ornaments the portal. One is that of a boar-pig, standing on his hind legs, dressed in a monk's robe and cowl, and holding in his fore-paws a book inscribed, "A. B. Porcell." The porch of the transept of the Duomo is also worthy of notice, being rich in strange sculptures. The interior of the church has been Gothicized. It is described by Mr. Murray as "a noble and characteristic specimen of Italian Gothic, which must in no wise be judged by the rules of our cathedrals; bold, wide-spreading, six arches, striding, as it were, from end to end of the nave, each arch at least double the size of the largest which we see in similar circumstances, even in France and Germany. The mouldings are large, bold, and simple, carrying the eye along the arches. They consist of a peculiar combination of fillets, with a broad band interposed, nearly peculiar to Verona, and this ornament is admirably suited to the general effect of the style. All is dimly seen in the crimson light produced by the curtains and hangings, shrouding the very few windows contained by this great building, and producing the most impressive effect of secluded grandeur; a union of the temple and the tabernacle." In the baptistery of this cathedral is a very large octangular font, with rude but effective sculptures of Scripture subjects. It is more than thirty feet in circumference, and hewn out of a single block of Verona marble. There are a few fine paintings in this cathedral, among which is the Assumption, by Titian, which was restored to the cathedral, after having been carried to Paris. The church of San Fermo Maggiore is interesting for its curious wooden roof and remarkable monuments. The church of San Eufemia abounds in frescoes and paintings. The churches of Verona are forty in number, so that it is impossible to particularize them severally; that of Santa Maria della Scala must be mentioned as containing the tomb of Maffei, the historian of Verona, and one of the most able and judicious of Italian antiquaries, who died in 1755. To promote the study of antiquities he founded a museum, and established also a literary society at his own house. A tomb in an ancient chapel was formerly shown by the Veronese as the tomb of Juliet; but the destruction of the building some years since destroyed the illusion. Yet for the sake of English travellers, who eagerly seek out for some relic of the touching drama of their illustrious poet, another tomb has been recently erected in the garden of Orfanotcofio. It is of red marble, and before it was exalted to its present dignity it served for a washing trough. The author of Sketches descriptive of Italy, naïvely says: "Did it not possess an extensive claim on the notice of strangers, this tomb would certainly be mistaken for a common water trough, for it is formed of the coarsest red marble, without any ornament. If therefore it had any connection with Juliet, it was probably her coffin. The garden in which it now stands occupies the site of a church belonging to an old monastery, which was destroyed by the explosion of a powder-mill, moored in the neighbouring Adige. The old woman who has the care of it, tells the story of Juliet's death, as it is related in the Italian novel from which Shakspeare drew the materials of his matchless drama. Every English visitor, she says, carries away a bit of the marble; a circumstance she greatly deplores, not considering that her telling them all so, is the very way to effect the continuance of the custom." Verona contributed largely to the reputation of Roman literature, by furnishing such luminaries as Catullus, Macer, Cornelius Nepos, Pomponius Secundus, Vitruvius, and Pliny the elder. Later periods also produced their illustrious men to Verona, where also the immortal Dante found protection under the roof of one of the most magnificent of Verona's rulers, the celebrated Can Grande. Distressed men of talent were received in the palace of this noble personage, and supplied with everything necessary to their convenience and to the prosecution of their studies. A number of apartments were set apart for the use of such persons, according to their respective ranks. To each person were assigned a certain number of domestics, and a table abundantly supplied. The different apartments were distinguished by appropriate emblems and devices; Victory, for warriors; Hope, for exiles; the Muses, for poets; Mercury, for artists; Paradise, for preachers. The dining-rooms were ornamented with pictures representing the vicissitudes of fortune; and the lord sometimes invited one or other of his guests to dine at his own table. Among the individuals thus honoured, Guido de Castello de Reggio and Dante Alighieri are especially mentioned, and the latter did not forget to immortalize his noble and generous host in his poems. The tomb of Can Grande is one of the objects of interest at Verona. In our sketch of this interesting town, it has been impossible to do more than indicate a few of the more striking attractions; for Verona is so full of the treasures of art, and so rich in historical associations, that a volume would scarcely exhaust its store of attractions. Moore's beautiful translation of a poem by Catullus, whose favourite retreat was Sermione, a promontory of the Lago di Garda, must close our article. Sweet Sermio! thou the very eye Of all peninsulas and isles Or sleep enwreathed by Neptune's smiles. And gaze in safety upon thee! Our hearts at ease, our perils past; The ills of all life's former track- Abroad, at home, laugh out for me! As the lily pleases with the noble simplicity of its appearance, the tulip is admired for the gaiety and multiplicity of its colours. Never was cup either painted or enamelled with such a profusion of dyes. Its tinges are so glowing, its contrasts so strong, and the arrangement of them both so elegant and artful! 'Twas lately the pride of the border, and the reigning beauty of the delightful season. quisitely fine as the rainbow, and almost as extremely tran sient. It spread, for a little moment, its glittering plumage, but has now laid all its variegated and superior honours down. Those radiant stripes are blended, alas! rudely blended with common mould.—HERVEY. As ex Ar all times we are a mystery to ourselves! We cannot fathom our own souls, but not unfrequently we catch glimpses of their awful capabilities and untold powers of happiness or misery. Some sudden pang of remorse; the slow anticipation of a cruel sorrow; the loss of an object dear to us; or the intense yearning of deep affection, frequently startles us with the dreadful conviction of how much we may be made to suffer; and then comes the thirst for sympathy, and the fear that we shall not find it. The world knows nothing of our heart; the best friend may not him, our efforts to explain ourselves most frequently end understand its many windings; and even if we could trust in the simple declaration, that words cannot express what we mean. In short, as far as human sympathy goes, there must still be many a time when a man feels that he is utterly alone.-Truth without Prejudice. THE VILLAGE CHURCH. Dear is the ancient village church, which rears Buttress and porch, and arch with mazy round Knew they their bliss, who own their dwelling nigh, In life to worship, and, when dead, to lie!-BISHOP MANT. IN a former article the practice (still continued in some of the continental churches), of ringing the church bells during a thunder storm, was briefly alluded to. On turning to the volume of the Annuaire, for 1838, we find that M. Arago has gravely discussed the reasons for this usage, in order to ascertain whether they are founded on any philosophical basis. In the previous pages he had noticed the opinion entertained by many persons, though, it appears, on insufficient grounds, that a discharge of artillery will frequently dissipate gathering clouds, and thus disperse a thunder storm. It is just possible that the ringing of bells might have been likewise adopted, under the idea that the vibrations thus caused in the atmosphere might have some effect in dispersing a rising storm; but, as M. Arago observes, it is very probable that this custom of ringing bells on such occasions may be traced to an earlier period than the invention of powder, and if so, it could not have been derived from the belief in the efficacy of artillery. No doubt we approach more nearly to the truth in supposing this singular custom to be derived from religious considerations. The extracts given by M. Arago from the prayers offered up, according to the ritual of Paris on the baptism of bells, sufficiently prove that virtue is supposed to be imparted to the bells themselves, by which the spirit of the storm is brought into subjugation. Prayers are offered for the blessing of God on the bell, so that every time it sounds, it may dissipate the malign influence of evil spirits, drive away thunderstorms and hurricanes, and preserve the people froin the calamities occasioned thereby. Some of the blessings solemnly implored on behalf of the bell, are too repugnant to Protestant feelings to allow of our transcribing them, but there is repeated mention of the power, which, when thus consecrated, the church bell is expected to possess, of causing storms of wind, hail, or thunder to lose their violence, and of putting to flight the evil spirits of the air, supposed to be concerned in the stirring up of tempests. But it is the opinion of M. Arago, that another cause may have powerfully co-operated with religious feelings to introduce this custom of ringing in a storm. He directs attention to the fact, that when men are in any kind of dread or alarm, they often seek to allay such feelings by mere noise. A fearful person passing through a dark place, often affects to sing; if civil war ravages a town, the tocsin or alarm bell is rung for a much longer time than is really necessary to call the people to arms; savages, likewise, on the appearance of an eclipse, utter the most deafening cries, in the hope of driving away that which terrifies them. Having said thus much, it would be out of place to follow our learned authority in his reasoning as to whether the ringing of bells be not dangerous, rather than otherwise, during a thunder storm; we may, however, notice, that he strongly recommends, for the sake of the ringers, that the practice should be everywhere discontinued. We now return to the subject of the bell-towers, already alluded to, as forming so pleasing a feature in several village churches in retired districts. The church of St. Nicholas at Biddestone, Wilts, affords an interesting example of a form of bell-turret, still met with in various parts of the country, and evidently of great antiquity. Not long since, another beautiful example of a similar kind was furnished by the same village, in the ruined church of St. Peter's, which stood as a venerable memento of past ages, though long since deserted, and not applied to any ecclesiastical purposes. From the windows of the manor house, in the immediate vicinity of the ruin, the fine old bell-turret, in the dilapidated condition indicated by the faint lines in our engraving, has often been contemplated by the writer of this notice with feelings of interest and curiosity, and with a desire to penetrate into the history of the period when from thence the simple summons was given to call the inhabitants of the village, and the members of the monastic institution, of which it probably formed a part, to their devotions. Thus desirous of obtaining information on this head, we have sought and found the following particulars in Walker's Examples of Gothic Architecture, which we now present, in a slightly modified form, to those who may find an interest in these relics of a former period. The churches of St. Peter and St. Nicholas, remarkable for their picturesque bell-turrets, seem to be of great antiquity. St. Nicholas is, in point of style, much older than St. Peter's, which latter comes under the denomination of Perpendicular English; while the former, from the string-course under the spire downwards, is decidedly Norman. The presentations to the living, however, always mention the church of St. Peter before the vicarage of St. Nicholas, and we may therefore safely presume that there must have been a building called St. Peter's, long anterior to that which has since been known by that name. Of these two bell-towers, the one seems to have been copied from the other, and most probably the original design was executed in the old church of St. Peter's and has thus been perpetuated. Whether this was the primitive form of the bell-turret in Saxon times, would be a curious inquiry, and not without interest. On this point the opinion of an ingenious antiquary, C. W. Loscombe, Esq., is given. "Finding churches," he says, "with these peculiar characteristics so widely scattered over the country, all of them exhibiting ornaments of the earliest period, and differing so much in general from what we know to be Norman buildings, the inference I draw is, that they must be referred to the fashion of a time, and not of a locality, and that that time must be the Saxon." The church of St. Peter must have been at one time much larger, and the more ancient portions bore an earlier date than those which till lately existed. Opposite to the door leading from the porch into the nave, was another door with an early English arch and ornament; and in the north wall was a piscina* of the same date: this probably was in a chantry chapel, belonging to some ancient owner of the manor house, within the precincts of which the church stood. The arch which led to this chantry chapel was even visible, though built up, and with a window inserted; there was also another arch, filled up, which led into the chancel. The extremely dilapidated condition of this venerabie church has lately led, we regret to say, to its being taken down, so that not a vestige of St. Peter's, or its bell-turret, is now remaining on the original site. The following particulars of the removal of this structure have been kindly communicated to us by T. Little, Esq., of Biddestone. The church of Biddestone St. Peter had been in a ruinous condition for many years; the timbers and roof had fallen in, and the walls had also partially given way. In the spring of the year 1841 it was in so dangerous a state, that it was obliged to be removed as a matter of safety. The stones of the old building were used in enlarging the church of Biddestone St. Nicholas, which was too small to accommodate the inhabitants with convenient sittings. The bell-turret, which was carefully taken down, is now placed in the ornamental gardens of G. P. Scrope, Esq., at Castle Combe. In removing the buildings, nothing of interest was discovered the timber and wood-work being quite decayed, there were no traces of ornamental work of any description. Neither was there any sign of monument or date throughout the building; and in clearing the ground, which I have now converted into a garden, we did not find a grave-stone, or anything which might lead to the supposition that it had been used as a burial-ground. I think it may be taken as a proof that no one has been buried here for many years, that the different members of the Mountjoy family, to whom the estate belonged for nearly two centuries, are interred in the chancel of St. Nicholas. The Manor House, in which I reside, is very ancient. On looking at a schedule of the title-deeds, I find that the estate was purchased by the Mountjoys in 1656, of a Sir Gilbert Prinn. There are some fine old specimens of carved work, both in wood and stone, in different parts of the house, and there are also fragments of ancient armour. The patronage of the living appears by the early presentations to have been vested in the prior of Monkton Farley, and afterwards devolved on the lord of the manor, when the vicarage of St. Nicholas, and the chapel Piscina. a niche on the south side of the altar in Roman Catholic churches, containing a small basin and water drain, through which the priest emptied the water in which he had washed his hands before the communion; also that in which the chalice had been rinsed; of the wine prepared for the sacrament had by some accident been ren and if any dered impure, and unfit for the purpose, it was also poured away through the piscina. These niches frequently have a shelf across them, which was sometimes used as a credence: they are also frequently double, especially in the large churches. Piscina is the term used by Durandus, and other ancient authors of high authority, but these niches are called by a variety of names. Lavatory is a term frequently used, and on equally good authority, as in the contract for Catterick Church," an awter and a lavatory accordant;" and in the catalogue of furniture for the Royal Chapel at Eltham, sixth of Henry the Eighth, towels are mentioned "for the altar and for the lavatorie." In ancient missals, the terms sacrarium and lavaerum, are also used as synonymous with piscina. -Glossary of Architecture. Oxford of Slaughterford, were annexed to it. It is now in the patronage of Winchester College, and is a discharged rectory, composed of the two rectories of St. Peter and St. Nicholas, in the archdeaconry of Wilts, and diocese of Sarum, valued in K. B. 27. 13s. 4d.,-annual value, P. R. 1401. There are two other churches in the immediate neighbourhood of Biddestone, which have bell-turrets built upon the same plan, namely, those of Corston and Leighde-la-Mere. The bell-turret of Corston church is situated upon the west gable, and is very elegantly constructed. The transverse block springs from a corbel above the west window. The turret beneath the spire is cruciform below, but becomes octagonal at the top. The base of the spire is ornamented with a delicate moulding and battlement, and at the top is a beautiful finial. Corston is about two miles from Malmesbury, on the Chippenham road. Leigh-de-la-Mere is situated about eight miles to the north-west of Chippenham; and the bell-turret there is more enriched than either of the preceding, the sides being adorned with shafts, and pierced by beautiful pointed arches. This belfry is in the centre of the building, rising from the chancel arch. The lower part of it forms in its section a cross, the upper part an octagon. There is also a somewhat similar bell-turret at Acton Turville, on the borders of Gloucestershire, between Badminton and Corsham; and one at Boxwell, in the same county. At Bindsey, near Oxford, is a similar one, mentioned by Ingram as being probably, at least in part, of a date anterior to the Norman conquest. THE PINE-APPLE. ANANASSA, or the Pine-Apple, belongs to the natural order Bromeliaceae, growing wild in the woods of South America, and now generally cultivated in European gardens. It is distinguished from the Bromelia, to which it was once referred, by its succulent fruit collected in a compact head. The name pine-apple seems derived from the general resemblance of the fruit to a large cone of the pine tree. ananas. "No great skill in botanical physiognomy was necessary," says Beckman, "to discover the excellence of the It recommended itself so much by its taste, smell, and colour, as to attract the notice of the first Europeans who visited Brazil; and we find it praised by the earliest writers on America, who give an account of it, as well as of tobacco, maize, and other productions of the new world." Gonçalo Hernandez de Oviedo was probably the first person who described and delineated the pine-apple. This author was born at Madrid in 1478, went to America in 1513, and in 1535 was governor of Domingo. In the last-mentioned year his General History of America was printed at Seville. At that time three kinds of ananas were known, which in America were called yayama, boniama, and yayagna, but by the Spaniards pinas. Attempts had then been made to send the fruit to Spain by pulling it before it was ripe; but it had always become spoiled in the course of the voyage. Oviedo had also tried to send slips or young shoots to Europe, but these also died by the way. But he had some hopes that means would be found to rear the pine-apple in Spain, (where maize had already been successfully introduced,) provided it could be transported from America with sufficient expedition. Geronimo Benzono, a Milanese who resided in Mexico from 1541 to 1555, published his History of the New World at Venice, in 1568. In this work he highly extols the pinas, and expresses his opinion that no fruit on the earth can be more pleasant: that sick persons who loathed all other food relish it. After him Andrew Thevet, a French monk who was in |