diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:37:11 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:37:11 -0700 |
| commit | 578c3c00459317c6720540ace6f798ca81f4ec32 (patch) | |
| tree | fd179f0d19e58951d136d33dbd8840576c6c29e5 /old/11543-h | |
Diffstat (limited to 'old/11543-h')
| -rw-r--r-- | old/11543-h/11543-h.htm | 1982 | ||||
| -rw-r--r-- | old/11543-h/images/545-1.png | bin | 0 -> 36789 bytes | |||
| -rw-r--r-- | old/11543-h/images/545-2.png | bin | 0 -> 36674 bytes | |||
| -rw-r--r-- | old/11543-h/images/545-3.png | bin | 0 -> 34682 bytes | |||
| -rw-r--r-- | old/11543-h/images/545-4.png | bin | 0 -> 69675 bytes |
5 files changed, 1982 insertions, 0 deletions
diff --git a/old/11543-h/11543-h.htm b/old/11543-h/11543-h.htm new file mode 100644 index 0000000..eeae1da --- /dev/null +++ b/old/11543-h/11543-h.htm @@ -0,0 +1,1982 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> +<meta name="generator" content= +"HTML Tidy for Solaris (vers 1st October 2003), see www.w3.org" /> +<meta http-equiv="Content-Type" content= +"text/html; charset=us-ascii" /> +<title>The Mirror of Literature, Issue 545.</title> + +<style type="text/css"> +/*<![CDATA[*/ + + <!-- + body {margin-left: 10%; margin-right: 10%;} + p {text-align: justify;} + blockquote {text-align: justify;} + h1,h2,h3,h4,h5,h6 {text-align: center;} + pre {font-size: 0.7em;} + + hr {text-align: center; width: 50%;} + html>body hr {margin-right: 25%; margin-left: 25%; width: 50%;} + hr.full {width: 100%;} + html>body hr.full {margin-right: 0%; margin-left: 0%; width: 100%;} + hr.short {text-align: center; width: 20%;} + html>body hr.short {margin-right: 40%; margin-left: 40%; width: 20%;} + + .note, .footnote + {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + + span.pagenum + {position: absolute; left: 1%; right: 91%; font-size: 8pt;} + + .poem + {margin-left:10%; margin-right:10%; margin-bottom: 1em; text-align: left;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem p.i2 {margin-left: 1em;} + .poem p.i4 {margin-left: 2em;} + .poem p.i6 {margin-left: 3em;} + .poem p.i8 {margin-left: 4em;} + .poem p.i10 {margin-left: 5em;} + + .figure + {padding: 1em; margin: 0; text-align: center; font-size: 0.8em; margin: auto;} + .figure img + {border: none;} + .figure p + + .side { float:right; + font-size: 75%; + width: 25%; + padding-left:10px; + border-left: dashed thin; + margin-left: 10px; + text-align: left; + text-indent: 0; + font-weight: bold; + font-style: italic;} + --> +/*]]>*/ +</style> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Mirror of Literature, Amusement, and +Instruction, by Various + +This eBook is for the use of anyone anywhere 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 + + +Title: The Mirror of Literature, Amusement, and Instruction + Vol. 19, Issue 545, May 5, 1832 + +Author: Various + +Release Date: March 11, 2004 [EBook #11543] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE MIRROR OF LITERATURE *** + + + + +Produced by Jonathan Ingram, David King, and the Online Distributed +Proofreading Team + + + + + + +</pre> + +<hr class="full" /> +<span class="pagenum"><a id="page273" name="page273"></a>[pg +273]</span> +<h1>THE MIRROR<br /> +OF<br /> +LITERATURE, AMUSEMENT, AND INSTRUCTION.</h1> +<hr class="full" /> +<table width="100%" summary="Volume, Number, and Date"> +<tr> +<td align="left"><b>Vol. 19. No. 545.</b></td> +<td align="center"><b>SATURDAY, MAY 5, 1832</b></td> +<td align="right"><b>[PRICE 2d.</b></td> +</tr> +</table> +<hr class="full" /> +<h2>ZOOLOGICAL GARDENS, REGENTS'S PARK.</h2> +<div class="figure" style="width:60%;"><a href= +"images/545-1.png"><img width="100%" src="images/545-1.png" alt= +"" /></a> Emu Enclosure</div> +<div class="figure" style="width:60%;"><a href= +"images/545-2.png"><img width="100%" src="images/545-2.png" alt= +"" /></a> Pelican Enclosure</div> +<div class="figure" style="width:60%;"><a href= +"images/545-3.png"><img width="100%" src="images/545-3.png" alt= +"" /></a> Aviary for Small Birds</div> +<p>Our strolls to this scene of intellectual amusement, (or "the +gardens with a long name," as Lord Mulgrave's new heroine naively +calls them,) are neither few nor far between. The acquaintance is +of some standing, since <i>The Mirror</i> was the first journal +that contained any pictorial representation of these Gardens, or +any connected notice of the animals.<a id="footnotetag1" name= +"footnotetag1"></a><a href="#footnote1"><sup>1</sup></a> At that +time the Society had not published their "List," and our twopenny +guide was common in the hands of visiters. We do not ask for the +thanks of the Council in contributing to their annual receipts, now +usually amounting to £10,000.: we were studying the interest +of our readers, which uniformly brings its own reward. The first of +the present illustrations is the <i>Emu Enclosure</i>, in the old +Garden. Several broods of <i>Emus</i> have been reared by the +Society at their Farm at Kingston Hill; and some of the year's +birds are usually exhibited here. Next is the <i>Pelican +Enclosure</i>, containing a house of mimic rock-work, and a +capacious tank of water, the favourite element of the Pelican. One +pair in mature plumage, and a second pair, supposed to be the young +of the same species, are exhibited. The third Cut is the <i>Aviary +for small and middle-sized birds</i>, at the north-eastern corner +of the Garden. Here are kept various British Birds, as the +different species of Crows and Song Birds. The bamboo ornaments of +the building are not, therefore, of the appropriate character that +we so much admire elsewhere in the Gardens.</p> +<div class="figure" style="width:60%;"><a href= +"images/545-4.png"><img width="100%" src="images/545-4.png" alt= +"" /></a> "Happy Jerry"</div> +<span class="pagenum"><a id="page274" name="page274"></a>[pg +274]</span> +<p>The individual with this felicitous <i>soubriquet</i>, was a +specimen of the great Mandrill Baboon, in its adult state, the +<i>Papio Maimon</i> of Geoffrey, and the <i>Cynocephalus Maimon</i> +of Desmarest. It is a native of the Gold Coast and Guinea, in +Africa, where whole droves of them often plunder the orchards and +vineyards. Their colours are greyish brown, inclining to olive +above; the cheeks are blue and furrowed, and the chin has a +sharp-pointed orange beard; the nose grows red, especially towards +the end, where it becomes of a bright scarlet. Such are, however, +only the colours of the adult animal; the young differs materially, +on which account it has been considered by naturalists as a +distinct species.</p> +<p>Jerry is now a member of death's "antic court," but his +necrology may be interesting to the reader. Mr. Cross describes him +as "from on board a slave vessel that had been captured off the +Gold Coast, in the year 1815," when he was supposed to be three +years old. He was landed at Bristol, and was there purchased by the +proprietor of a travelling menagerie, who kept him for some years, +and taught him the various accomplishments he after excelled in, as +sitting in a chair, smoking, drinking grog, &c.; probably he +required but little tuition in the latter; since we find a fondness +for fermented liquors numbered among his habits by the biographers +of his species. In 1828, Jerry was purchased by Mr. Cross, and +exhibited at the King's Mews, when he appeared in full vigour, and +attracted a large number of daily visitors. He was fed daily from +the table of his owner, and almost made a parlour guest; taking +tea, toast, bread and butter, soup, boiled and roast meats, +vegetables, pastry, &c., with as much <i>gout</i> as any member +of a club in his vicinity. In 1829, his eccentricities reached the +royal ear at Windsor, and George the Fourth, (whose partiality to +<i>exotics</i>, animate or inanimate, was well known,) sent an +"express command" that Jerry should attend at the Castle. The +invitations of royalty are always undeclinable, and Jerry obeyed +accordingly. The King was much amused with his visiter, and, says +our informant, "his Majesty was delighted at seeing him eat the +state dinner, consisting of venison, &c., which had been +prepared for him."<a id="footnotetag2" name= +"footnotetag2"></a><a href="#footnote2"><sup>2</sup></a> Thus, +Jerry was not in the parlous state described by Touchstone: he was +not damned, like the poor shepherd: <i>he</i> had been to court. He +had also learnt good and gallant manners. He recognised many of his +frequent visiters, and if any female among them was laid hold of, +in his presence, he would bristle with rage, strike the bars of his +cage with tremendous force, and violently gnash his teeth at the +ungallant offender.</p> +<p>In the autumn of 1831, Jerry's health began to decline, and he +was accordingly removed from Charing Cross to the suburban +salubrity of the Surrey Zoological Gardens. All was of no avail: +though, as a biographer would say of a nobler animal, every remedy +was tried to restore him to health. Life's fitful fever was well +nigh over with him, and in the month of December last—he +died. His body was opened and examined, when it appeared that his +death was through old age; and, although he had been a free liver, +and, as Mr. Cross facetely observes, "was not a member of a +Temperance Society," his internal organization did not seem to have +suffered in the way usually consequent upon hard drinking. Perhaps +a few ascetic advocates of cant and care-wearing abstinence will +think that we ought to conceal this exceptionable fact, lest +Jerry's example should be more frequently followed. Justice demands +otherwise; and as the biographers of old tell us that Alexander the +Great died of hard-drinking, so ought we to record that Happy +Jerry's life was not shortened by the imperial propensity: in this +case, the monkey has beat the man: proverbially, the man beats the +monkey. Jerry had, however, his share of ailment: he had been a +martyr to that love-pain, the tooth-ache; several of his large +molar teeth being entirely decayed. This circumstance accounted for +the gloomy appearance he would sometimes put on, and his covering +his head with his hands, and laying it in his chair. Poor fellow! +we could have sympathized with him from our very hearts—we +mean teeth. Jerry's remains have been carefully embalmed, (we hope +in his favourite spirit,) and are now at the Surrey Gardens; where +the arrival of a living congener is daily expected. Meanwhile, will +nobody write the <i>hic jacet</i> of the deceased? or no publisher +engage for his reminiscences? Mr. Cross would probably supply the +skeleton—of the memoir—not of his poor dead Jerry. What +tales could he have told of the slave-stricken people of the Gold +Coast, what horrors of the slave-ship whence <span class= +"pagenum"><a id="page275" name="page275"></a>[pg 275]</span> he was +taken, what a fine graphic picture of his voyage, and his travels +in England, <i>à la Prince Puckler Muskau</i>, not +forgetting his visit to Windsor Castle.</p> +<p>Baboons may be rendered docile in confinement; though they +almost always retain the disposition to revenge an injury. At the +Cape, they are often caught when young, and brought up with milk; +perhaps Jerry was so nurtured; and Kolben tells us, that they will +become as watchful over their master's property as the most +valuable house-dog is in Europe. Many of the Hottentots believe +they can speak, but that they avoid doing so lest they should be +enslaved, and compelled to work! What a libel upon human nature is +conveyed in this trait of savage credulity. The bitterest reproofs +of man's wickedness are not only to be found in the varnished +lessons of civilization. Here is a touching piece of simplicity +upon which James Montgomery might found a whole poem.</p> +<p>Baboons, in their native countries, are sometimes hunted with +dogs, but their chase is often fatal to the assailants. Mr. +Burchell tells us that several of his dogs were wounded by the +bites of baboons, and two or three dogs were thus bitten asunder. A +species of baboon common in Ceylon, often attains the height of +man. It is very fearless; and Bishop Heber relates that an +acquaintance of his having on one occasion shot a young baboon, the +mother came boldly up and wrested the gun out of his hand without +doing him any injury.</p> +<hr /> +<p>By way of pendent, we add the present state of THE ZOOLOGICAL +SOCIETY, from the report just completed.</p> +<pre> +Gross amount of the income of last year £17,633<a id="footnotetag3" + name="footnotetag3"></a><a href="#footnote3"><sup>3</sup></a> +Being an increase over the preceding year of 1,857 +Receipts of four months of the past year 3,330 +Receipts of corresponding months of the present year 3,755 +<i>Receipts of the Society since its formation</i> + In 1827 £ 4,079 + 1828 11,515 + 1829 13,991 + 1830 15,806 + 1831 17,662<a href= +"#footnote3"><sup>3</sup></a> + ———- +Total since its formation £63,053 + +<i>Visiters to the Gardens</i>. + +In 1830—224,745 paying 9,773£ + 1831—258,936 11,425£ + +<i>Visiters to the Museum</i>. + +In 1831—11,636 paying 333£ +Number of Fellows 2,074 +</pre> +<p>The Society have obtained a grant of nine acres and a half of +land, in the Regent's Park, contiguous to their gardens; and they +intend to devote 1,000<i>l</i>. annually to the improvement of the +Museum.</p> +<hr /> +<h3>THE CURFEW BELL.</h3> +<h4>(<i>To the Editor</i>.)</h4> +<p>Observing in your No. 543, some remarks relating to the ancient +custom of ringing the Curfew Bell, and that <i>Reginald</i>, your +correspondent, had withheld the name of the village where he heard +the Curfew rang, I am led to suppose that it may not be +uninteresting to your readers to be informed, that at Saint Helen's +Church, Abingdon, this custom is still continued; the bell is rung +at eight o'clock every night, and four o'clock every morning, +during the winter months; why it is rung in the morning I do not +know; perhaps some of your readers can inform me. There are eight +bells in Saint Helen's tower, but the fifth or sixth is generally +used as the Curfew, to distinguish it from the death-bell, for +which purpose the tenor is used, and is rung at the same time at +night if a death has happened in the course of the day, and for +that night supersedes the necessity of ringing the Curfew. The +Curfew Bell is rung, and not tolled, as <i>Reginald</i> states: +therefore, what he heard, I suppose to have been the death bell. +M.D.</p> +<h4>(<i>From another Correspondent</i>.)</h4> +<p>The custom of tolling the Curfew is still retained in the town +of Sandwich, to which place your correspondent, <i>Reginald</i>, no +doubt alludes, as the sea-shore is distant about two miles; hence +is distinctly visible the red glare of the Lighthouse on Ramsgate +Pier, as also the North Foreland. G.C.</p> +<hr /> +<h3>COIN OF EDWARD III.</h3> +<h4>(<i>For the Mirror</i>.)</h4> +<p>A beautiful gold coin, a noble of the reign of Edward III., was +discovered, some time since, by the workmen employed in excavating +the river Witham, in the city of Lincoln. The coin is in excellent +preservation. The impress <span class="pagenum"><a id="page276" +name="page276"></a>[pg 276]</span> represents the half-length +figure of Edward in a ship, holding a sword in the right hand, and +in the left a sceptre and shield, with the inscription "EDWARDUS +DEI GRA. REX ANGL., DYS. HYB. ET AGT." On the shield are the arms +of England and France quarterly. On the reverse, a cross fleury +with lionaux, inscribed, "JESVS AUTEM TRANSIENS PER MEDIUM ILLORUM +IBAT." These coins are very scarce, and remarkable as being the +first impressed with the figure of a ship; this is said to have +been done to commemorate the victory obtained by Edward over the +French fleet off Sluys, on Midsummer-day, 1340, and which is +supposed to have suggested to Edward the idea of claiming +superiority over every other maritime power—a dominion which +his successors have now maintained for nearly five hundred years. +W.G.C.</p> +<hr /> +<h3>PENDERELL JEWEL.</h3> +<h4>(<i>For the Mirror</i>.)</h4> +<p>An ancient medal, or coin, ornamented with jewels, was +purchased, a few years since, of one of the descendants of +Penderell, to whom it was presented by Charles II., as a valuable +token of his gratitude for certain protection afforded by him to +that prince, when endeavouring to effect his escape in disguise +from England, in the year 1648. It consists of a gold coin of +Ferdinand II., dated 1638, surrounded by a row of sixteen +brilliants enchased in silver, enriched with blue enamel, and +bearing the motto, "<i>Usque ad aris fidelis</i>." The reverse is +also enameled, and the jewel is intended to be worn as an ornament +to the person. W.G.C.</p> +<hr /> +<h3>PECUNIARY COMPENSATION FOR PERSONAL INJURIES.</h3> +<h4>(<i>For the Mirror</i>.)</h4> +<p>The present laws which enable a person to obtain pecuniary +compensation for personal injuries, appear to be founded on very +ancient precedent. Mr. Sharon Turner, in his History of the +Anglo-Saxons, gives a statement of the sums at which our ancestors +valued the various parts of their earthly tenements. He says "Homer +is celebrated for discriminating the wounds of his heroes with +anatomical precision. The Saxon legislators were not less anxious +to distinguish between the different wounds to which the body is +liable, and which from their laws, we infer that they frequently +suffered. In their most ancient laws these were the +punishments:</p> +<p>"The loss of an eye or of a leg, appears to have been considered +as the most aggravated injury that could arise from an assault, and +was therefore punished by the highest fine, or fifty shillings.</p> +<p>"To be made lame, was the next most considerable offence, and +the compensation for it was thirty shillings.</p> +<p>"For a wound which caused deafness, twenty-five shillings.</p> +<p>"To lame the shoulder, divide the chine bone, cut off the thumb, +pierce the diaphragm, or to tear off the hair and fracture the +skull, was each punished by a fine of twenty shillings.</p> +<p>"For cutting off the little finger, eleven shillings.</p> +<p>"For cutting off the great toe, or for tearing off the hair +entirely, ten shillings.</p> +<p>"For piercing the nose, nine shillings.</p> +<p>"For cutting off the fore finger, eight shillings.</p> +<p>"For cutting off the gold-finger, for every wound in the thigh, +for wounding the ear, for piercing both cheeks, for cutting either +nostril, for each of the front teeth, for breaking the jaw bone, +for breaking an arm, six shillings.</p> +<p>"For seizing the hair so as to hurt the bone, for the loss of +either of the eye teeth, or the middle finger, four shillings.</p> +<p>"For pulling the hair so that the bone become visible, for +piercing the ear or one cheek, for cutting off the thumb nail, for +the first double tooth, for wounding the nose with the fist, for +wounding the elbow, for breaking a rib, or for wounding the +vertebrae, three shillings.</p> +<p>"For every nail (probably of the fingers) and for every tooth +beyond the first double tooth, one shilling.</p> +<p>"For seizing the hair, fifty scoettas.</p> +<p>"For the nail of the great toe, thirty scoettas.</p> +<p>"For every other nail, ten scoettas."</p> +<p>W.A.R.</p> +<hr class="full" /> +<h2>THE COSMOPOLITE.</h2> +<hr /> +<h3>THE POETRY OF ANCIENT DAYS.</h3> +<h4>(<i>For the Mirror</i>.)</h4> +<div class="poem"> +<div class="stanza"> +<p>Little Jack Horner, sat in a corner,</p> +<p class="i2">Eating a Christmas pie,</p> +<p>He pulled out a plum with his finger and thumb,</p> +<p class="i2">And said what a good boy am I.</p> +</div> +</div> +<p>Of all the poems that delight our infancy, there is no one +perhaps which makes a more lasting impression on the memory and the +imagination, than the preceding. The name of its author is lost in +the shades of remote antiquity; <span class="pagenum"><a id= +"page277" name="page277"></a>[pg 277]</span> and even the century +when it first made its appearance, has eluded the vigilance of +antiquarian research. Before entering upon its poetical merits, we +must observe a striking peculiarity in the diction: there is not a +single word in it, but that is of Anglo-Saxon origin, so that it +may be considered as an admirable specimen of pure English, and as +calculated to inspire the infant mind with a distaste for the +numerous exotic terms, which, in the present age, disfigure our +language. It has been well remarked in the review of that ancient +poem, Jack and Jill, that the reader's interest in the hero and +heroine is not divided with subordinate characters. But the poem of +Jack Horner possesses this excellence in a more eminent degree; in +the former the interest, is divided between two, in the latter it +is concentrated in one; and, notwithstanding the ingenuity of the +reviewer, it must be confessed that so little is indicated by the +poet, as to the character of Jack and Jill, that we feel no more +interest in their fate, tragical as it is, than if they were +designated by the letters X and Y of algebraical notoriety; or by +the names of those personages, who figure in legal fictions, John +Doe and Richard Roe.</p> +<p>Not so with Jack Horner: the very incident recorded in the first +line lets us into his character; he is evidently a lover of +solitude and of solitary contemplation. He is not, however, a +gloomy ascetic; he takes into his corner a Christmas pie, and, +while he leisurely gratifies his palate, his mind feasts on the +higher luxury of an approving conscience. It has been said that the +man who loves solitude must be either an angel or a demon. Horner +had more of the former in his composition; he retired from the busy +haunts of his playmates not to meditate mischief, but to feast upon +the pie, which had probably been given him as a reward for his good +conduct, and indulge in the delightful thoughts to which the +consciousness of deserving it gave rise. But here it may be +objected, why instead of eating his pie in a corner, did he not +share it with his companions? The remark is pertinent, but the +circumstance only evinces the admirable management of the poet; to +represent his hero without a defect would be to outrage nature, and +to render imitation hopeless. Horner, it must be admitted, with all +his excellence, was too fond of good eating; it is in vain to deny +it; his deliberately pulling out a plum with his finger and thumb, +shows the epicure, not excited by the voracity of hunger, but +evidently aiming to protract his enjoyment. The exclamation which +follows savours of vanity; but when his youth is recollected, this +will be deemed a venial error, and it must also be considered that +his few faults were probably compensated by a constellation of +excellencies. This poem has been imitated, (I will not say +successfully, for its beautiful simplicity is in fact inimitable,) +by one of the greatest statesmen and classical scholars of the +present century, Mr. Canning; and it is melancholy to reflect that, +while a monument is erecting to the memory of the latter and his +name lives in the mouths of men, all traces of that original poet, +whose inspirations he sought to imitate, are entirely lost. The +lines of Mr. Canning are to be found in his "Loves of the +Triangles:"</p> +<div class="poem"> +<div class="stanza"> +<p>Thus youthful Homer rolled the roguish eye.</p> +<p>Culled the dark plum from out the Christmas pie,</p> +<p>And cried in self applause, how good a boy am I.</p> +</div> +</div> +<p>P.Q.</p> +<hr class="full" /> +<h2>ANECDOTE GALLERY.</h2> +<hr /> +<h3>GEORGE THE FIRST.</h3> +<p>Previously to the King's arrival in this country, a proclamation +had been issued, offering, in case the Pretender should land in any +part of the British isles, the sum of 100,000<i>l</i>. for his +apprehension. At the first masquerade which the King attended in +this country, an unknown lady, in a domino, invited him to drink a +glass of wine at one of the side-tables; he readily assented, and +the lady filling a bumper, said, "Here, mask, the Pretender's +health."—Then filling another glass, she presented it to the +King, who received it with a smile, saying, "I drink, with all my +heart, to the health of every unfortunate prince."</p> +<p>The person of the King, says Walpole, is as perfect in my memory +as if I saw him but yesterday: it was that of an elderly man, +rather pale, and exactly like his pictures and coins; not tall, of +an aspect rather good than august, with a dark tie wig, a plain +coat, waistcoat and breeches, of snuff-coloured cloth, with +stockings of the same colour, and a blue riband over all.</p> +<p>He often dined, after shooting, at Sir Robert Walpole's house on +Richmond Hill; where he indulged his partiality for punch to such +an extent, that the Duchess of Kendal enjoined the Germans who +usually accompanied him, to restrain him from drinking too much: +but they went about their task with so little address, that the +King took offence, and silenced them by the coarsest epithets in +their mother tongue.</p> +<span class="pagenum"><a id="page278" name="page278"></a>[pg +278]</span> +<p>He appears to have entertained a very low opinion of the +political integrity of his courtiers, and the honesty of his +household. He laughed at the complaints made by Sir Robert Walpole +against the Hanoverians, for selling places; and would not believe +that the custom was not sanctioned by his English advisers and +attendants. Soon after his first arrival in this country, a +favourite cook, whom he had brought from Hanover grew melancholy, +and wanted to return home. The King having inquired why he wanted +to quit his household, the fellow replied, "I have long served your +Majesty honestly, not suffering any thing to be embezzled in your +kitchen; but here, the dishes no sooner come from your table, than +one steals a fowl, another a pig, a third a joint of meat, a fourth +a pie, and so on, till the whole is gone; and I cannot bear to see +your Majesty so injured!" The King, laughing heartily, said, "My +revenues here enable me to bear these things; and, to reconcile you +to your place, do you steal like the rest, and mind you take +enough." The cook followed this advice, and soon became a very +expert thief.</p> +<p>Toland says, in a pamphlet published about the year 1705, I need +give no more particular proof of the King's frugality in laying out +the public money, than that all the expenses of his court, as to +eating, drinking, fire, candles, and the like, are duly paid every +Saturday night; the officers of his army receive their pay every +month, and all the civil list are cleared every half year. He was +greatly annoyed by the want of confidence in his economy, displayed +by his British subjects; lamenting to his private friends that he +had left his electorate to become a begging King; and adding, that +he thought it very hard to be constantly opposed in his application +for supplies, which it was his intention to employ for the benefit +of the nation.</p> +<p>The account of the death of George the First was first brought +to Walpole, in a dispatch from Townshend, who had accompanied that +monarch to the continent. The minister instantly repaired to the +palace at Richmond. The new King had then retired to take his usual +afternoon nap. On being informed that his father was dead, he could +scarcely be brought to put faith in the intelligence, until told +that the minister was waiting in the ante-chamber with Lord +Townshend's despatch. At length, he received Walpole, who, +kneeling, kissed his hand, and inquired whom he would please to +appoint to draw up the address to the Privy Council. "Sir Spencer +Compton," replied the King, an answer which signified Sir Robert's +dismissal.</p> +<hr /> +<h3>DEATH OF QUEEN CAROLINE.</h3> +<p>When very near her end, she inquired of one of the physicians in +attendance, "How long can this last?" "Your Majesty will soon be +eased of your pains," was the reply. "The sooner the better," said +the Queen: and she then most fervently engaged in extempore prayer. +Shortly afterwards, she twice desired that cold water might be +thrown over her, to support her strength, while her family put up a +final petition in her behalf. "Pray aloud," said she, "that I may +hear you." She then faintly joined them in repeating the Lord's +prayer; and, at its conclusion, calmly laid down, waved her hand, +and expired.</p> +<hr /> +<h3>GEORGE THE SECOND.</h3> +<p>At one period, while the Duke of Newcastle was in power, in the +reign of George II. many serious complaints were made relative to +the settlement of public accounts. The King, at length, became +acquainted with the alleged grievances, and warmly remonstrated +with the Duke on his carelessness and inattention; protested that +he was determined, at once for his own satisfaction and that of his +aggrieved people, to look into the papers himself. "Is your Majesty +in earnest?" asked the Duke. The King replied in the affirmative, +and the Duke promised to send him the accounts. At an early hour on +the following morning, the King was disturbed by an extraordinary +noise in the courtyard of his palace, and, looking out of the +window, he perceived a cart or a wagon laden with books and papers, +which, on inquiry he found had been sent by the Duke of Newcastle. +Shortly afterwards the minister himself appeared, and the King +asked him what he meant by sending a wagon-load of stationery to +the palace. "These are the documents relative to the public +accounts," replied his grace, "which your Majesty insisted on +examining; and there is no other mode of forwarding them except by +carts or wagons. I expect a second load will arrive in a few +minutes." "Then, my Lord Duke," replied the King, "you may make a +bonfire of them for me. I would rather be a galley-slave than go +through the rubbish; so away with it, and countermand the cart +which you say is coming; but pray let me hear no more complaints on +this subject."</p> +<p>On another occasion, he sent, in a fury, for the duke's brother, +Mr. Pelham, and inquired, in a coarse and angry <span class= +"pagenum"><a id="page279" name="page279"></a>[pg 279]</span> +manner, why the civil list had not been paid. Pelham replied that +he had been compelled to use the money for some public and more +important purpose. The King, however, would not admit of this +excuse; and swore, if the arrears were not instantly paid, he would +get another minister. "I am determined," said he, "not to be the +only master in my dominions who does not pay his servants' wages." +One day, it appears that he was actually without a shilling in his +pocket; for it is related that a half idiot labourer while the King +was inspecting the progress of some repairs at Kensington, having +asked his Majesty for something to drink, the King, although +offended, was yet ashamed to refuse the fellow, and put his hand +into the usual receptacle of his cash; but, to his surprise and +confusion, found it empty. "I have no money," said he, angrily. +"Nor I either," quoth the labourer; "and for my part, I can't think +what has become of it all."</p> +<p>Few men were more deeply impressed with the value of money, +although he occasionally startled those about him, by being +unexpectedly liberal, as in the cases of his donation to the +university of Cambridge, and his submitting to the extortion of the +Dutch innkeeper. One evening while passing by a closet in which +wood was kept for the use of the bed-chamber, he dropped some +guineas, one of which having rolled under the door, he said to the +page in waiting, "We must get out this guinea: let us remove the +fuel." In a short time, with the attendant's aid, he found the +guinea, which, however, he gave to his fellow-labourer, as a reward +for the exertions of the latter, in helping him to take the wood +out of the closet, observing, "I do not like any thing to be lost, +but I wish every man to receive the value of his work."</p> +<p>Of the hastiness of George the Second's temper, several examples +have been given: but it was never, perhaps, more ludicrously +displayed than in his first interview with Dr. Ward. The King +having been afflicted for some time with a violent pain in his +thumb, for which his regular medical attendants could afford him no +relief, he sought the assistance of Ward, whose famous pills and +drops were then in great estimation. The doctor, being aware of the +King's complaint, went to the palace, at the time commanded, with, +it is said, a specific concealed in the hollow of his hand. On +being admitted to his Majesty's presence, he, of course, proceeded +to examine the royal thumb; which he suddenly wrenched with such +violence, that the King called him a cursed rascal, and +condescended to kick his shins. He soon found, however, that the +doctor, had as it were, magically relieved his thumb from pain: and +so grateful did he feel to Ward, whom he now termed his Esculapius, +that he prevailed on him to accept a handsome carriage and horses, +and shortly afterwards, presented his nephew, who subsequently +became a general, with an ensigncy in the guards.—<i>From the +Georgian Era</i>.</p> +<hr class="full" /> +<h2>NOTES OF A READER.</h2> +<hr /> +<h3>THE HUNCHBACK.</h3> +<h4><i>A Play, by James Sheridan Knowles</i>.</h4> +<p>It would be rather <i>mal-apropos</i> to write the Beauties of +the Hunchback, but such a term is elliptically applicable to the +following passages from Mr. Knowles's clever and original +play:—</p> +<div class="poem"> +<div class="stanza"> +<p>INSIGNIFICANT ENEMIES.</p> +</div> +<div class="stanza"> +<p>Is't fit you waste your choler on a burr?</p> +<p>The nothings of the town; whose sport it is</p> +<p>To break their villain jests on worthy men,</p> +<p>The graver still the fitter! Fie, for shame!</p> +<p>Regard what such would say? So would not I,</p> +<p>No more than heed a cur.</p> +</div> +<div class="stanza"></div> +<div class="stanza"> +<p>HONOURABLE SUCCESS.</p> +</div> +<div class="stanza"> +<p>What merit to be dropp'd on fortune's hill?</p> +<p>The honour is to mount it.</p> +<p>* * * Knowledge, industry,</p> +<p>Frugality, and honesty;—the sinews</p> +<p>The surest help the climber to the top,</p> +<p>And keep him there.</p> +</div> +<div class="stanza"></div> +<div class="stanza"> +<p>WISE PRECEPT.</p> +</div> +<div class="stanza"> +<p class="i10">Better owe</p> +<p>A yard of land to labour, than to chance</p> +<p>Be debtor for a rood!</p> +</div> +<div class="stanza"></div> +<div class="stanza"> +<p>THE TOWN.</p> +</div> +<div class="stanza"> +<p>Nine times in ten the town's a hollow thing,</p> +<p>Where what things are is naught to what they show;</p> +<p>Where merit's name laughs merit's self to scorn!</p> +<p>Where friendship and esteem that ought to be</p> +<p>The tenants of men's hearts, lodge in their looks</p> +<p>And tongues alone. Where little virtue, with</p> +<p>A costly keeper, passes for a heap;</p> +<p>A heap for none, that has a homely one!</p> +<p>Where fashion makes the law—your umpire which</p> +<p>You bow to, whether it has brains or not.</p> +<p>Where Folly taketh off his cap and bells,</p> +<p>To clap on Wisdom, which must bear the jest!</p> +<p>Where, to pass current you must seem the thing,</p> +<p>The passive thing, that others think, and not</p> +<p>Your simple, honest, independent self!</p> +</div> +<div class="stanza"></div> +<div class="stanza"> +<p>LOVE.</p> +</div> +<div class="stanza"> +<p>Say but a moment, still I say I love you.</p> +<p>Love's not a flower that grows on the dull earth;</p> +<p>Springs by the calendar; must wait for sun—</p> +<p>For rain;—matures by parts,—must take its time</p> +<p>To stem, to leaf, to bud, to blow. It owns</p> +<p>A richer soil, and boasts a quicker seed!</p> +<p>You look for it, and see it not; and lo!</p> +<span class="pagenum"><a id="page280" name="page280"></a>[pg +280]</span> +<p>E'en while you look, the peerless flower is up,</p> +<p>Consumate in the birth!</p> +</div> +<div class="stanza"> +<p>In joining contrasts lieth love's delight.</p> +<p>Complexion, stature, nature, mateth it,</p> +<p>Not with their kinds, but with their opposites.</p> +<p>Hence hands of snow in palms of russet lie;</p> +<p>The form of Hercules affects the sylph's</p> +<p>And breasts that case the lion's fear-proof heart,</p> +<p>Find their lov'd lodge in arms where tremors dwell!</p> +<p>Haply for this, on Afric's swarthy neck,</p> +<p>Hath Europe's priceless pearl been seen to hang,</p> +<p>That makes the orient poor! So with degrees,</p> +<p>Rank passes by the circlet-graced brow</p> +<p>Upon the forehead bare of notelessness,</p> +<p>To print the nuptial kiss!</p> +</div> +<div class="stanza"></div> +<div class="stanza"> +<p>COUNTRY LIFE.</p> +</div> +<div class="stanza"> +<p>The life I'd lead!</p> +<p>But fools would fly from it; for O! 'tis sweet!</p> +<p>It finds the heart out, be there one to find;</p> +<p>And corners in't where store of pleasures lodge,</p> +<p>We never dream'd were there! It is to dwell</p> +<p>'Mid smiles that are not neighbours to deceit;</p> +<p>Music whose melody is of the heart</p> +<p>And gifts that are not made for interest,—</p> +<p>Abundantly bestow'd, by nature's cheek,</p> +<p>And voice, and hand! It is to live on life,</p> +<p>And husband it! It is to constant scan</p> +<p>The handiwork of heaven! It is to con</p> +<p>Its mercy, bounty, wisdom, power! It is</p> +<p>To nearer see our God!</p> +</div> +<div class="stanza"></div> +<div class="stanza"> +<p>JEALOUSY.</p> +</div> +<div class="stanza"> +<p>A dreadful question is it, when we love,</p> +<p>To ask if love's return'd! I did believe</p> +<p>Fair Julia's heart was mine—I doubt it now.</p> +<p>But once last night she danced with me, her hand</p> +<p>To this gallant and that engaged, as soon</p> +<p>As asked for! Maid that loved would scarce do this!</p> +<p>Nor visit we together as we used,</p> +<p>When first she came to town. She loves me less</p> +<p>Than once she did—or loves me not at all.</p> +<p>Misfortune liketh company: it seldom</p> +<p>Visits its friends alone.</p> +</div> +<div class="stanza"></div> +<div class="stanza"> +<p>A MAIDEN HEART.</p> +</div> +<div class="stanza"> +<p>A young woman's heart,</p> +<p>Is not a stone to carve a posey on!</p> +<p>Which knows not what is writ on't—which you may buy,</p> +<p>Exchange or sell,—keep or give away,</p> +<p>It is a richer—yet a poorer thing!</p> +<p>Priceless to him that owns and prizes it;</p> +<p>Worthless when own'd, not priz'd; which makes the man</p> +<p>That covets it, obtains it, and discards it,—</p> +<p>A fool, if not a villain.</p> +</div> +<div class="stanza"></div> +<div class="stanza"> +<p>A CURATE'S SON.</p> +</div> +<div class="stanza"> +<p>Better be a yeoman's son!</p> +<p>Was it the rector's son, he might be known,</p> +<p>Because the rector is a rising man,</p> +<p>And may become a bishop. He goes light.</p> +<p>The curate ever hath a loaded back.</p> +<p>He may be called yeoman of the church</p> +<p>That sweating does his work, and drudges on</p> +<p>While lives the hopeful rector at his ease.</p> +</div> +</div> +<hr /> +<h3>CHARACTER OF GEORGE THE FOURTH.</h3> +<p>In the third and concluding volume of the <i>Life and Reign of +George IV</i>., (a portion of Dr. Lardner's <i>Cabinet +Library</i>,) we find the following summary of the earthly career +of the late King—shaded with some admixture of severity, but, +altogether, to be commended for the manliness and unflinching +spirit in which it is written. Our contemporary biography sadly +lacks vigorous and plain-speaking summaries of character.</p> +<p>"In the events and achievements which give interest and lustre +to his regency and reign, George IV. had personally no share. He +was but contemporary with them. To the progress of science, of +literature, of legislation, he was a stranger. The jealous +limitations of the regal power,—the independence, enterprise, +and social advancement of the nation, would account and afford +excuse for this: but were he absolute as Louis XIV.,—obeyed +and imitated with the same implicit servility,—the higher +purposes of intellectual being were beyond his range. With the fine +arts his relations were more close and personal. The progress of +architecture was sudden and astonishing, during the epoch which +will bear his name. London, before his accession to the executive +power, was a rich, populous, elegantly built capital, but without a +due proportion of prominent structures characterized by +architectural grandeur, beauty, or curiosity. In a few years +magnificent lines and masses of building were begun and completed; +but they were mainly the growth of wealth, vanity, speculation, and +peace. Where his influence was directly felt it proved unfortunate. +He lavished millions in creating vicious models, and fantastic +styles of architecture, and brought into fashion artists without +capacity or taste. There was not in his kingdom a more discerning +judge of painting; but he had no imagination for the higher class +of art. He preferred the exquisite and humorous realities of the +Dutch painters to the poetic or historic schools of Italy; and, +though a studious collector, he gave no great impulse to native +talent. In music he had both taste and skill: he encouraged an art +which formed one of his enjoyments; and if his patronage has +brought forth no composer of the first order, the cause may exist +in some circumstances of national inaptitude.</p> +<p>"It is necessary to go back some centuries for an English king +to whom he bears the nearest likeness in <i>ensemble</i> of +character. The parallel at first sight may be thought injurious, +but the likeness will upon consideration be found striking and +complete. George IV. had in his youth the eclat of personal +endowment, education, and accomplishment,—of success in the +fashionable exercises and graces of his age,—and of that +reckless prodigality which obtains popular homage and applause in a +prince. <span class="pagenum"><a id="page281" name= +"page281"></a>[pg 281]</span> Henry VIII. in his youth was one of +the most brilliant personages of Europe. A fine person,—the +accomplishments of his time in literature and the arts,—the +display of gorgeous prodigality,—raised him to a sort of +chivalrous rivalry with Francis I. In mental culture he excelled +George IV., who owes much of his reputation for capacity and +acquirement to an imposing manner, and the eagerness to applaud a +prince: stripped of this charm, his ideas and language appeared +worse than common when he put them on paper. Both had the same +dominant ambition to be distinguished and imitated, as the arbiters +of fashion in dress for the costliness, splendour, or novelty of +their toilet. Henry VIII. and George IV. surrounded themselves with +the men most distinguished for wit and talent, with a remarkable +coincidence of motive, as ministering to their vanity or pleasures; +but as soon as they became troublesome or useless, both cast them +off with the same careless indifference. Henry VIII., it is true, +sacrificed to his own caprices, or to court intrigue, the lives of +those whom he had chosen for his social familiarity;—whilst +George IV. merely turned off his so called friends, and thought of +them no more. But such is the difference between barbarism and +tyranny on the one side, and civilization and freedom on the other: +that which was death in the former, is but court disgrace in the +latter. George IV. was not cruel—he had even a certain +susceptibility; the spectacle of human suffering revolted him: but +suffering to affect him must have been present to his sense. Was +Henry VIII. gratuitously cruel? That does not appear. He took no +pleasure for itself in shedding blood, and avoided being a witness +of it. Had he been obliged to look on whilst Anne Boleyn and Sir +Thomas More were bleeding, he probably would have spared them. He +sacrificed them to his impulses from mere selfish indifference. +With their wives and mistresses Henry VIII. and George IV. were +governed by the same self-indulgent despotism—the same animal +disgusts. Henry VIII. had six wives, and sent one to the scaffold +as the prelude to his marriage with another. George IV. had only +one wife, but she suffered the persecutions of six; and if she +escaped decapitation or divorce, it was from no failure of +inclination or instruments. Henry VIII. was the tyrant of his +people, and George IV. was not: yet is there even here a +similitude. Both surrendered their understandings to their +ministers, upon the condition of subserviency to their personal +desires. What George would have been in the age of Henry it might +be ungracious to suppose; but it may be asserted that Henry, had he +been reserved for the close of the eighteenth century, would have a +very different place in opinion and history as a king and as a +man,—such are the beneficent, humanizing influences of +knowledge, civilization, the spirit of religious tolerance, and +laws mutually guarding and guarded by public liberty!"</p> +<hr /> +<h3>AN ECLIPSE AT BOOSSA.</h3> +<h4>(<i>From Landers' Travels, vol. ii.</i>)</h4> +<p>"About ten o'clock at night, when we were sleeping on our mats, +we were suddenly awoke by a great cry of distress from innumerable +voices, attended by a horrid clashing and clattering noise, which +the hour of the night tended to make more terrific. Before we had +time to recover from our surprise, old Pascoe rushed breathless +into our hut, and informed us with a trembling voice that 'the sun +was dragging the moon across the heavens.' Wondering what could be +the meaning of so strange and ridiculous a story, we ran out of the +hut half dressed, and we discovered that the moon was totally +eclipsed. A number of people were gathered together in our yard, in +dreadful apprehension that the world was at an end, and that this +was but the 'beginning of sorrows.' We learnt from them that the +Mahomedan priests residing in the city, having personified the sun +and moon, had told the king and the people that the eclipse was +occasioned through the obstinacy and disobedience of the latter +luminary. They said that for a long time previously the moon had +been displeased with the path she had been compelled to take +through the heavens, because it was filled with thorns and briers, +and obstructed with a thousand other difficulties; and therefore +that, having watched for a favourable opportunity, she had this +evening deserted her usual track, and entered into that of the sun. +She had not, however, travelled far up the sky, on the forbidden +road, before the circumstance was discovered by the sun, who +immediately hastened to her in his anger, and punished her +dereliction by clothing her in darkness, forcing her back to her +own territories, and forbidding her to shed her light upon the +earth. This story, whimsical as it may seem, was received with +implicit confidence in its truth by the king and queen <span class= +"pagenum"><a id="page282" name="page282"></a>[pg 282]</span> and +most of the people of Boossà; and the cause of the noises +which we had heard, and which were still continuing with renewed +vehemence, was explained to us by the fact that they were all +'assembled together in the hope of being able to frighten away the +sun to his proper sphere, and leave the moon to enlighten the world +as at other times.' This is much after the manner of many savage +nations.</p> +<p>"While our informant was yet speaking to us, a messenger arrived +at our yard from the king, to tell us the above tale, and with an +invitation to come to see him immediately. Therefore, slipping on +the remainder of our clothes, we followed the man to the residence +of his sovereign, from outside of which the cries proceeded, and +here we found the king and his timid partner sitting on the ground. +Their usual good spirits and cheerful behaviour had forsaken them +entirely; both appeared overwhelmed with apprehension, and trembled +at every joint. Like all their subjects, in the hurry of fear and +the suddenness of the alarm, they had come out of their dwellings +half dressed, the head and legs, and the upper part of their +persons, being entirely exposed. We soon succeeded in quelling +their fears, or at least in diminishing, their apprehension. The +king then observed, that neither himself nor the oldest of his +subjects recollected seeing but one eclipse of the moon besides the +one he was gazing at; that it had occurred exactly when the +Falátahs began to be formidable in the country, and that it +had forewarned them of all the wars, disasters, and calamities, +which subsequently took place.</p> +<p>"We had seated ourselves opposite to the king and queen, and +within two or three feet of them, where we could readily observe +the moon and the people without inconvenience, and carry on the +conversation at the same time. If the royal couple shuddered, with +terror on beholding the darkened moon, we were scarcely less +affected by the savage gestures of those within a few yards of us +and by their repeated cries, so wild, so loud, and so piercing, +that an indescribable sensation of horror stole over us, and +rendered us almost as nervous as those whom we had come to comfort. +The earlier part of the evening had been mild, serene, and +remarkably pleasant; the moon had arisen with uncommon lustre, and +being at the full, her appearance was extremely delightful. It was +the conclusion of the holidays, and many of the people were +enjoying the delicious coolness of a serene night, and resting from +the laborious exertions of the day; but when the moon became +gradually obscured, fear overcame every one. As the eclipse +increased, they became more terrified. All ran in great distress to +inform their sovereign of the circumstance, for there was not a +single cloud to cause so deep a shadow, and they could not +comprehend the nature or meaning of an eclipse. The king was as +easily frightened as his people, being equally simple and ignorant; +he would not therefore suffer them to depart. Numbers sometimes +beget courage and confidence, he thought; so he commanded them to +remain near his person, and to do all in their power to restore the +lost glory of the moon.</p> +<p>"In front of the king's house, and almost close to it, are a few +magnificent cotton-trees, round which the soil had been freed from +grass, &c., for the celebration of the games. On this spot were +the terrified people assembled, with every instrument capable of +making a noise which could be procured in the whole town. They had +formed themselves into a large treble circle, and continued running +round with amazing velocity, crying, shouting, and groaning with +all their might. They tossed and flung their heads about, twisted +their bodies into all manner of contortions, jumped into the air, +stamped with their feet on the ground, and flourished their hands +above their heads. No scene in the romance of Robinson Crusoe was +so wild and savage as this; and a large wood fire, with a few men +spitted and roasting before it, was alone wanting to render it +complete! Little boys and girls were outside the ring, running to +and fro, clashing empty calabashes against each other, and crying +bitterly; groups of men were blowing on trumpets, which produced a +harsh and discordant sound; some were employed in beating old +drums; others again were blowing on bullock's horns; and in the +short intervals between the rapid succession of all these +fiend-like noises, was heard one more dismal than the rest, +proceeding from an iron tube, accompanied by the clinking of +chains. Indeed, everything that <i>could</i> increase the uproar +was put in requisition on this memorable occasion; nor did it cease +till midnight, when the eclipse had passed away. Never have we +witnessed so extraordinary a scene as this. The diminished light, +when the eclipse was complete, was just sufficient to enable us to +distinguish the various groups of people, and contributed in no +small degree to render the scene still more imposing. <span class= +"pagenum"><a id="page283" name="page283"></a>[pg 283]</span> If an +European, a stranger to Africa, were to be placed on a sudden in +the midst of the terror-struck people, he would imagine himself to +be among a legion of demons, holding a revel over a fallen spirit; +so peculiarly unearthly wild, and horrifying was the appearance of +the dancing group, and the clamour which they made. It was perhaps +fortunate for us that we had an almanac with us, which foretold the +eclipse; for although we neglected to inform the king of this +circumstance, we were yet enabled to tell him and his people the +exact time of its disappearance. This succeeded in some measure in +suppressing their fears, for they would believe anything we might +tell them; and perhaps, also, it has procured for us a lasting +reputation 'and a name.' 'Oh,' said the king, 'there will be sorrow +and crying this night from Wowow to Yàoorie. The people will +have no one to comfort or condole with them; they will fancy this +eclipse to be the harbinger of something very dreadful; and they +will be in distress and trouble till the moon shall have regained +her brightness.' It was nearly one o'clock when we left the king +and queen, to return to our hut; everything was then calm and +silent, and we lay down to rest in peace."</p> +<hr class="full" /> +<h2>SPIRIT OF DISCOVERY</h2> +<h3>POTTERY.</h3> +<p>Appended to the volume of the <i>Transactions of the Society of +Arts</i>, just published, are selections from a series of +Illustrations on Pottery and Porcelain, which were read before the +Society by their ingenious secretary, Mr. Arthur Aikin. We quote a +few.</p> +<h4><i>Raphael China.</i></h4> +<p>"Raffaello himself is said in his youth to have painted, or at +least to have given designs for painting, in enamel on glazed +earthenware. Such works are commonly known by the name of Raphael +china, two interesting specimens of which, from the collection of +R.H. Solly, Esq., are now before you. From some casual flaws in the +back of these plates, it may be seen that the body of them is red +earthenware in one, and grayish brown in the other, and of rather a +coarse quality. Mr. Windus also has sent a plate, doubtless of +Italian manufacture, bearing the date of 1533, thirteen years after +the death of Raffaello. He has also sent a singular specimen of a +somewhat similar ware, but with the figures in high relief, and far +inferior to the former as a work of art.</p> +<p>"Mr. Brockedon informs me that, in his journey among the alps +last year, he saw some beautiful specimens of Raphael china, in the +possession of the hostess of an inn at the village of Rauris, in +Carinthia. They consisted of three dishes; the subjects painted on +them are, Pan and Apollo, Jupiter and Semele, and on the largest, +Apollo surrounded by wreaths of nymphs and satyrs, and on the rim +are entwined Cupids: this latter dish is about twenty inches in +diameter, and bears an inscription, in Italian, purporting that it +was made at Rome, in 1542, in the manufactory of Guido di Merlingho +Vassaro, a native of Urbino. The date is twenty-two years after the +death of Raphael; but, as the manufacturer was a fellow-townsman of +that celebrated artist, the inscription, taken in connexion with +the anecdote of Vasari already mentioned, is interesting, as +throwing light on the association of the name of Raffaello with +this species of ware."</p> +<h4><i>Delft or Dutch.</i></h4> +<p>"It is probably from Italy that Holland received this art. The +Venetians, the Genoese, and the Florentines, had very extensive +commercial dealings with the merchants of Antwerp and of other +towns in the Low Countries; it is therefore extremely likely that +the potters of Holland, to whom is due the first fabrication of +clay tobacco-pipes of excellent quality, derived their knowledge of +glazed ware from this source. The town of Delft was the centre of +these potteries, in which were fabricated the tiles known in +England by the name of Dutch; and the delft were employed for table +services, and for other domestic purposes. Considered merely with +regard to its material, the Dutch potters seem to have improved on +their Italian original, being probably instigated by a comparison +with the blue and white patterns of Nankin, which was now largely +imported by the Dutch from China and Japan, and which is a coarse, +yellowish, porcelain body, covered by an opaque white glaze. In the +ornamental part, however, the Dutch fell immeasurably short of the +potters of Florence; blue seems to have been the only colour +employed by them; and their favourite patterns appear to have been +either copies of the Chinese, or European and Scripture subjects +treated in a truly Chinese manner and taste.</p> +<p>"It is about two hundred years ago since some Dutch potters came +and <span class="pagenum"><a id="page284" name="page284"></a>[pg +284]</span> established themselves in Lambeth, and by degrees a +little colony was fixed in that village, possessed of about twenty +manufactories, in which was made the glazed pottery and tiles +consumed in London and in various other parts of the kingdom. Here +they continued in a flourishing state, giving employment to many +hands in the various departments of their art, till about fifty or +sixty years ago; when the potters of Staffordshire, by their +commercial activity, and by the great improvements introduced by +them in the quality of their ware, in a short time so completely +beat out of the market the Lambeth delft manufacturers, that this +ware is now made only by a single house, and forms the smallest +part even of their business.</p> +<p>"The articles of delft ware, for which there still continues to +be an effective demand, are plain white tiles for dairies and for +lining baths, pomatum pots, and a few jugs, and other similar +articles of a pale blue colour."</p> +<p>(<i>To be continued.</i>)</p> +<hr class="full" /> +<h2>SPIRIT OF THE PUBLIC JOURNALS.</h2> +<hr /> +<h3>NON-PROPOSALS, OR DOUBTS RESOLVED.</h3> +<div class="poem"> +<div class="stanza"> +<p>I wonder when 'twill be our turn</p> +<p class="i2">A wedding here to keep!</p> +<p>Sure Thomson's "<i>flame</i>" might quicker burn,</p> +<p class="i2">His "<i>love</i>" seems gone to sleep!</p> +<p>I wonder why he hums and haws</p> +<p class="i2">With 'kerchief at his nose:</p> +<p>And then makes one expecting pause,——</p> +<p class="i2">Yet still he don't propose.</p> +</div> +<div class="stanza"> +<p>I wonder whether Bell or Bess,</p> +<p class="i2">It is he most admires,</p> +<p>Even Mistress Match'em cannot guess—</p> +<p class="i2">It really patience tires.</p> +<p>He hung, last night, o'er Bella's chair,</p> +<p class="i2">And things seem'd at a close—</p> +<p>To-day 'twas Bess was all his care,</p> +<p class="i2">But yet he don't propose.</p> +</div> +<div class="stanza"> +<p>He's gone to concert, play, and ball,</p> +<p class="i2">So often with them now,</p> +<p>That it must seem to one and all</p> +<p class="i2">As binding as a vow.</p> +<p>He certainly <i>does</i> mean to take</p> +<p class="i2">One of the girls, and close</p> +<p>The life he leads—the flirting rake—</p> +<p class="i2">But yet he don't propose.</p> +</div> +<div class="stanza"> +<p>I often wonder what he thinks</p> +<p class="i2">We ask him here to do—</p> +<p>Coolly he Cockburn's claret drinks,</p> +<p class="i2">And wins from me at Loo.</p> +<p>For twenty months he's dangled on,</p> +<p class="i2">The foremost of their beaux,</p> +<p>While half-a-dozen else have gone,—</p> +<p class="i2">And still he don't propose.</p> +</div> +<div class="stanza"> +<p>No matter—'tis a comfort, though,</p> +<p class="i2">To know he will take <i>one</i>,</p> +<p>And even tho' Bess and Bella go,</p> +<p class="i2">He still may fix on Fan.</p> +<p>I'll have him in the family,</p> +<p class="i2">That's sure—But, why, you look—</p> +<p>"Oh, madam, Mr. Thomson's just</p> +<p class="i2">Got married to his cook——"</p> +</div> +<div class="stanza"> +<p><span style="margin-left:3em"><i>Tait's Edinburgh +Magazine.</i></span></p> +</div> +</div> +<hr /> +<h3>THE WAVERLEY NOVELS.</h3> +<p>Perhaps no writer has ever enjoyed in his lifetime so extensive +a popularity as the Author of Waverley. His reputation may be truly +said to be not only British, but European—and even this is +too limited a term. He has had the advantage of writing in a +language used in different hemispheres by highly civilized +communities, and widely diffused over the surface of the globe; and +he has written at a period when communication was facilitated by +peace; while to the wonder of his own countrymen, he has to an +unexampled degree established an ascendency over the tastes of +foreign nations. His works have been sought by foreigners with an +avidity equalling, nay, almost exceeding, that with which they have +been received among us. The conflicting literary tastes of France +and Germany, which twenty years ago seemed diametrically opposed, +and hopelessly irreconcilable, have at length united in admiration +of him. In France he has effected a revolution in taste, and given +victory to the "Romantic School." He has had not only readers, but +imitators. Among Frenchmen, the author of "Cinq Mars" may be cited +as a tolerably successful one. Italy, in which what <i>we</i> call +"Novels" were previously unknown, has been roused from its torpor, +and has found a worthy imitator of British talent in the author of +the "Promessi Sposi." Of the Waverley Novels, six editions have +been published in Paris. Many of them have been translated into +French, German, Italian, and other languages. To be read both on +the banks of the Ganges and the Ohio; and to be found, as is +mentioned by Dr. Walsh, where perhaps no other English book had +ever come—on the very verge of civilization, on the borders +of Turkey—this is indeed a wide reign and a proud +distinction; but prouder still to be not only read, but to have +subjugated, as it were, and moulded the literary tastes of the +civilized world. Voltaire is the writer who, in his lifetime, has +approached nearest to this extent of popularity. Sovereigns courted +and corresponded with him; his own countrymen were enthusiastic in +his praise; and so general was a knowledge of the French language, +that a large majority of the well-educated throughout Europe, were +familiar with his writings. But much of this popularity was the +popularity of partisanship. He served a cause, and for such +service, and not alone as the meed of genius, were honours lavished +upon him. The people of France, by whom he was almost deified in +his <span class="pagenum"><a id="page285" name="page285"></a>[pg +285]</span> latter years, regarded him less as the literary marvel +of their land, than as the man once persecuted by despotism, and +the ablest assailant of those institutions which they were +endeavouring to undermine. But Voltaire, with all his popularity, +has left impressed on literature scarcely any distinguishable +traces of his power. He exhibited no marked originality of +style—he founded no school—and as for his imitators, +where are they? To justify the admiration he excited, one must +consider not merely how well, but how much and how variously he has +written. With the exception of Voltaire, and perhaps of Lord Byron, +there is scarcely a writer whose popularity, while he lived, passed +beyond the precincts of his own country. This, until latterly, was +scarcely possible. Till near the middle of the eighteenth century, +what had been long called the "Republic of Letters" existed only in +name. It is not truly applicable but to the present period, when +the transmission of knowledge is rapid and easy, and no work of +unquestionable genius can excite much interest in any country, +without the vibration being quickly felt to the uttermost limits of +the civilized world. How little this was previously the case is +evident from the fact, that numerous and important as were the +political relations of England with the continent, and successfully +as we had attended to the cultivation of letters, yet it is +scarcely more than a hundred years since we were first known on the +continent to have what might deserve to be called "a Literature." +Shakspeare, Dryden, and Pope, successively enjoyed in their own +country the highest popularity as writers. Of these, it may +reasonably be doubted whether the name of the first had been ever +heard out of it. We can find no evidence which shows that the +second had a wider fame. Pope was indeed better known; for +literature had been made conspicuous through honours paid to it by +the statesmen of Queen Anne; and Pope was the friend of a peer +politically eminent, and was thought, in conjunction with him, to +have written a poem, of which, if the poetry was disregarded, the +opinions were not unacceptable to the "philosophers" of the +continent.</p> +<p>One of the points of view in which the Author of Waverley is +first presented to us is, as a delineator of human character. When +we regard him in this light, we are struck at once by the fertility +of his invention, and the force, novelty, and fidelity of his +pictures. He brings to our minds, not abstract beings, but +breathing, acting, speaking individuals. Then what variety! What +originality! What numbers! What a gallery has he set before us! No +writer but Shakspeare ever equalled him in this respect. Others may +have equalled, perhaps surpassed him, in the elaborate finishing of +some single portrait (witness the immortal Knight and Squire of +Cervantes, Fielding's Adams, and Goldsmith's Vicar); or may have +displayed, with greater skill, the morbid anatomy of human +feeling—and our slighter foibles and finer sensibilities have +been more exquisitely touched by female hands—but none save +Shakspeare has ever contributed so largely, so valuably, to our +collection of characters;—of pictures so surprisingly +original, yet, once seen, admitted immediately to be conformable to +Nature. Nay, even his anomalous beings are felt to be generally +reconcilable with our code of probabilities; and, as has been said +of the supernatural creations of Shakspeare, we are impressed with +the belief, that if such beings did exist, they would be as he has +represented them.—<i>Edinburgh Review.</i></p> +<hr /> +<h3>MEN COMPARED WITH BEES.</h3> +<h4>(<i>From a continuation of "the Indicator," by Leigh +Hunt.</i>)</h4> +<p>It has been thought, that of all animated creation, the bees +present the greatest moral likeness to man; not only because they +labour and lay up stores, and live in communities, but because they +have a form of government and a monarchy. Virgil immortalized them +after a human fashion. A writer in the time of Elizabeth, probably +out of compliment to the Virgin Queen, rendered them <i>dramatis +personae</i>, and gave them a whole play to themselves. Above all, +they have been held up to us, not only as a likeness, but as "a +great moral lesson;" and this, not merely with regard to the duties +of occupation, but the form of their polity. A monarchical +government, it is said, is natural to man, because it is an +instinct of nature: the very bees have it.</p> +<p>It may be worth while to inquire a moment into the value of this +argument; not as affecting the right and title of our Sovereign +Lord King William the Fourth (whom, with the greatest sincerity, we +hope God will preserve!), but for its own sake, as well as for +certain little collateral deductions. And, in the first place, we +cannot but remark how unfairly the animal creation are treated, +with reference to the purposes of moral example. We degrade or +exalt them, <span class="pagenum"><a id="page286" name= +"page286"></a>[pg 286]</span> as it suits the lesson we desire to +inculcate. If we rebuke a drunkard or a sensualist, we think we can +say nothing severer to him than to recommend him not to make "a +beast of himself;" which is very unfair towards the beasts, who are +no drunkards, and behave themselves as nature intended. A horse has +no habit of drinking; he does not get a red face with it. The stag +does not go reeling home to his wives. On the other hand, we are +desired to be as faithful as a dog, as bold as a lion, as tender as +a dove; as if the qualities denoted by these epithets were not to +be found among ourselves. But above all, the bee is the argument. +Is not the honey-bee, we are asked, a wise animal?—We grant +it.—"Doth he not improve each passing hour?"—He is +pretty busy, it must be owned—as much occupied at eleven, +twelve, and one o'clock, as if his life depended on it:—Does +he not lay up stores?—He does.—Is he not social? Does +he not live in communities?—There can be no doubt of +it.—Well, then, he has a monarchical government; and does not +that clearly show that a monarchy is the instinct of nature? Does +it prove, by an unerring rule, that the only form of government in +request among the obeyers of instinct, is the only one naturally +fitted for man?</p> +<p>In answering the spirit of this question, we shall not stop to +inquire how far it is right as to the letter, or how many different +forms of polity are to be found among other animals, such as the +crows, the beavers, the monkeys; neither shall we examine how far +instinct is superior to reason, nor why the example of man himself +is to go for nothing. We will take for granted, that the bee is the +wisest animal of all, and that it is a judicious thing to consider +his manners and customs, with reference to their adoption by his +inferiors, who keep him in hives. This naturally leads us to +inquire, whether we could not frame all our systems of life after +the same fashion. We are busy, like the bee; we are gregarious, +like him; we make provision against a rainy day; we are fond of +flowers and the country; we occasionally sting, like him; and we +make a great noise about what we do. Now, if we resemble the bee in +so many points, and his political instinct is so admirable, let us +reflect what we ought to become in other respects, in order to +attain to the full benefit of his example.</p> +<hr /> +<p>But we have not yet got half through the wonders, which are to +modify human conduct by the example of this wise, industrious, and +monarch-loving people. Marvellous changes must be effected, before +we have any general pretension to resemble them, always excepting +in the aristocratic particular. For instance, the aristocrats of +the hive, however unmasculine in their ordinary mode of life, are +the only males. The working-classes, like the sovereign, are all +females! How are we to manage this? We must convert, by one sudden +meta-morphosis, the whole body of our agricultural and +manufacturing population into women! Mrs. Cobbett must displace her +husband, and tell us all about Indian corn. There must be not a man +in Nottingham, except the Duke of Newcastle; and he trembling lest +the Queen should send for him. The tailors, bakers, carpenters, +gardeners, must all be Mrs. Tailors and Mrs. Bakers. The very name +of John Smith must go out. The Directory must be Amazonian. This +commonalty of women must also be, at one and the same time, the +operatives, the soldiers, the virgins, and the legislators of the +country! They must make all we want, fight all our enemies, and +even get up a Queen for us when necessary; for the sovereigns of +the hive are often of singular origin, being manufactured! +literally "made to order," and that too by dint of their eating! +They are fed and stuffed into royalty! The receipt is, to take any +ordinary female bee in its infancy, put it into a royal cradle or +cell, and feed it with a certain kind of jelly; upon which its +shape alters into that of sovereignty, and her Majesty issues +forth, royal by the grace of stomach. This is no fable, as the +reader may see on consulting any good history of bees. In general, +several Queen-bees are made at a time, in case of accidents; but +each, on emerging from her apartment, seeks to destroy the other, +and one only remains living in one hive. The others depart at the +head of colonies, like Dido.</p> +<p>To sum up then the conditions of human society were it to be +re-modelled after the example of the bee, let us conclude with +drawing a picture of the state of our beloved country, so modified. +Imprimis, all our working people would be females, wearing swords, +never marrying, and occasionally making queens. They would grapple +with their work in a prodigious manner, and make a great noise. +Secondly, our aristocracy would be all males, never working, never +marrying, (except when sent for,) always eating or sleeping, and +annually having their throats cut. The bee-massacre takes place in +July; when accordingly <span class="pagenum"><a id="page287" name= +"page287"></a>[pg 287]</span> all our nobility and gentry would be +out of town, with a vengeance! The women would draw their swords, +and hunt and stab them all about the West end, till Brompton and +Bayswater would be choked with slain.</p> +<p>Thirdly, her Majesty the Queen would either succeed to a quiet +throne, or, if manufactured, would have to eat a prodigious +quantity of jelly in her infancy; and so alter growing into proper +sovereign condition, would issue forth, and begin her reign either +with killing her royal sisters, or leading forth a colony to +America or New South Wales. She would then take to husband some +noble lord for the space of one calendar hour, and dismissing him +to his dullness, proceed to lie in of 12,000 little royal +highnesses in the course of the eight following weeks, with others +too numerous to mention; all which princely generation with little +exception, would forthwith give up their title, and divide +themselves into lords or working-women as it happened; and so the +story would go round to the end of the chapter, bustling, working, +and massacring:—and here ends the sage example of the +Monarchy of the Bees.</p> +<p>We must observe nevertheless, before we conclude, that however +ill and tragical the example of the bees may look for human +imitation, we are not to suppose that the fact is anything like so +melancholy to themselves. Perhaps it is no evil at all, or only so +for the moment. The drones, it is true, seem to have no fancy for +being massacred; but we have no reason to suppose, that they, or +any of the rest concerned in this extraordinary instinct, are aware +of the matter beforehand; and the same is to be said of the combats +between the Queen-bees; they appear to be the result of an +irresistible impulse, brought about, by the sudden pressure of a +necessity. Bees appear to be very happy, during far the greater +portion of their existence. A modern writer, of whom it is to be +lamented that a certain want of refinement stopped short his +perceptions, and degraded his philosophy from the finally expedient +into what was fugitively so, has a passage on this point, as +agreeable as what he is speaking of. "A bee among the flowers in +spring," says Dr. Paley, "is one of the cheerfullest objects that +can be looked upon. Its life appears to be all enjoyment, <i>so +busy and so pleased</i>."—<i>Abridged from the New Monthly +Magazine</i>.</p> +<hr class="full" /> +<h2>THE GATHERER.</h2> +<hr /> +<p><i>Toast of a Scotch Peer</i>.—Lord K—, dining at +Provost S—'s, and being the only peer present, one of the +company gave a toast, "The Duke of Buccleugh." So the peerage went +round till it came to Lord K—, who said he would give them a +peer, which, although not toasted, was of more use than the whole. +His lordship gave "The Pier of Leith."—<i>Chambers's Edin. +Jour.</i></p> +<p>Caroline, Queen of George II. amused herself by reading Butler's +<i>Analogy of Religion to Human Nature</i>; a book which Hoadley, +Bishop of Winchester, said always gave him the head-ache, if he +only looked into it.</p> +<p>After George II. had ceased to visit the theatres, Macklin's +farce of <i>Love A-la-mode</i> having been acted with much +applause, he sent for the manuscript, and had it read over to him +by a sedate old Hanoverian gentleman, who being but little +acquainted with English, spent eleven weeks in puzzling out the +author's meaning!</p> +<p><i>Ships</i>.—During the early part of the last century, +as has been remarked, almost all the towns of England were on the +water (in the navy.) Of the few persons who have been so highly +esteemed as to have their names given to men of war, are Dr. +Franklin and Joan of Arc, who were thus honoured by the French. In +the English navy, the ships the Royal George have been singularly +unfortunate. The Great Harry also was burnt in the reign of Queen +Mary.</p> +<p><i>Personal Ornament</i>.—The city of Kano, the great +emporium of the kingdom of Houssa, in Africa, is celebrated for the +art of dyeing cotton cloth, which is afterwards beaten with wooden +mallets until it acquires a japan gloss. The women dye their hair +with indigo, and also their hands, feet, legs, and eyebrows. Their +legs and arms thus painted, look as if covered with dark blue +gloves and boots. Both men and women colour their teeth a +blood-red, which is esteemed a great ornament. T. GILL.</p> +<p><i>A "Manager."</i>—Colley Cibber gives the following +spirited description of a famous theatrical manager in his day; +"That he was as sly a tyrant as ever was at the head of a theatre, +for he gave the actors more liberty, and fewer day's pay than any +of his predecessors; he would laugh with them over a bottle, and +trick them in their bargains; he kept <span class="pagenum"><a id= +"page288" name="page288"></a>[pg 288]</span> them poor, that they +might not be able to rebel; and sometimes merry, that they might +not think of it"</p> +<p><i>Newton's Weather Wisdom</i>.—Sir Isaac Newton was once +riding over Salisbury Plain, when a boy, keeping sheep, called to +him—"Sir, you had better make haste on, or you will get a wet +jacket." Newton looking round and observing neither clouds nor +speck on the horizon, jogged on, taking very little notice of the +rustic's information. He had made but a few miles, when a storm +suddenly arising, wetted him to the skin. Surprised at the +circumstance, and determined, if possible, to ascertain how an +ignorant boy had attained a precision and knowledge in the weather, +of which the wisest philosophers would be proud, he rode back, wet +as he was. "My lad," said Newton, "I'll give thee a guinea if thou +wilt tell me how thou canst foretell the weather so truly." "Will +ye, sir? I will then," said the boy, scratching his head, and +holding out his hand for the guinea. "Now, sir," having received +the money, and pointing to his sheep, "when you see that black ram +turn his tail towards the wind, 'tis a sure sign of rain within an +hour." "What," exclaimed the philosopher, "must I, in order to +foretell the weather, stay here, and watch which way that black ram +turns his tail?" "Yes, sir," replied the boy. Off rode Newton, +quite satisfied with his discovery, but not much inclined to avail +himself of it, or to recommend it to others.<span style= +"margin-left:3em">W.G.C.</span></p> +<p><i>Primitive Lamp</i>.—The inhabitants of the Landes, in +the south of France, being cut off from the rest of the world, have +it not in their power, except when once or twice a year they travel +to the nearest towns with their wool, to purchase candles; and as +they have no notion how these can be made, they substitute in their +place a lamp fed with the turpentine extracted from the fir-trees. +The whole process is simple and primitive. To obtain the +turpentine, they cut a hole in the tree, and fasten a dish in it to +catch the sap as it oozes through, and as soon as the dish is +filled, they put a wick of cotton into the midst of the liquor, and +burn it as we do a lamp.<span style= +"margin-left:3em">W.G.C.</span></p> +<p><i>Turning the Back</i>.—In this and all countries of +Europe, to turn the back upon persons of rank or in authority, is +considered highly improper; a striking instance of which may be +seen in the mode in which messengers from the Lords retreat along +the floor of the House of Commons. In the interior of Africa it is +quite otherwise. There the court assemble round the sovereign +invariably with their backs to him.<span style="margin-left:3em">T. +GILL.</span></p> +<p>A gentleman having frequently reproved his servant, an Irish +girl, for boiling eggs too hard, requested her in future, to boil +them only three minutes by the clock. "Sure, sir," replied the +girl, "how shall I do that, for your honour knows the clock is +always a quarter of an hour too fast."<span style= +"margin-left:3em">W.G.C.</span></p> +<p><i>Unhappy Fate of Camoens</i>.—Camoens the celebrated +Portuguese poet, was shipwrecked at the mouth of the river Meco, on +the coast of Camboja, and lost his whole property; but through the +assistance of his black servant, he saved his life and his poems, +which he bore through the waves in one hand,<a id="footnotetag4" +name="footnotetag4"></a><a href="#footnote4"><sup>4</sup></a> +whilst he swam ashore with the other: his black servant begged in +the streets of Lisbon for the support of his master, who died in +1579. It is said that his death was accelerated by the anguish with +which he foresaw the ruin impending over his country. In one of his +letters (says his biographer) he uses these remarkable expressions: +"I am ending the course of my life; the world will witness how I +have loved my country. I have returned not only to die in her +bosom, but to die with her." He was buried as obscurely as he had +closed his life, in St. Anne's Church, and the following epitaph +was inscribed over his grave:—</p> +<div class="poem"> +<div class="stanza"> +<p class="i4">"Here lies Lewis de Camoens,</p> +<p class="i2">Prince of the Poets of his time.</p> +<p>He lived poor and miserable, and died</p> +<p class="i4">such, Anno Domini, 1579."</p> +</div> +</div> +<p>P.T.W.</p> +<p><i>The Philosopher's Stone</i>.—Sir Kenelm Digby was +relating to King James that he had seen the true Philosopher's +Stone, in the possession of a hermit in Italy; and when the king +was very curious to understand what sort of a stone it was, and Sir +Kenelm being much puzzled in describing it, Sir Francis Bacon, who +was present, interposed, and said, "Perhaps it was a +<i>whetstone</i>."</p> +<p>N.B. There is an old <i>proverbial</i> expression, in which an +excitement to a lie was called a <i>whetstone</i>.<span style= +"margin-left:3em">P.T.W.</span></p> +<hr class="full" /> +<blockquote class="footnote"><a id="footnote1" name= +"footnote1"></a> <b>Footnote 1</b>:<a href= +"#footnotetag1">(return)</a> +<p>The <i>Literary Gazette</i> first published the Ground Plan of +the Zoological Gardens, from a lithograph circulated among the +members, towards the close of the year 1827. In seeking to do +ourselves justice, we must not forget others. Our first Engraving, +a <i>Bird's Eye View of the Gardens</i> from an original sketch, +appeared in No. 330, of <i>The Mirror</i>, September 6, 1828.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote2" name= +"footnote2"></a> <b>Footnote 2</b>:<a href= +"#footnotetag2">(return)</a> +<p>This reminds us of the attachment of the late Duke of Norfolk to +his dogs. They were admitted to the apartment in which his Grace +dined; and he often selected the fine cuts from joints at table, +and threw the pieces to the curs upon the polished oak floors of +Aruudel Castle.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote3" name= +"footnote3"></a> <b>Footnote 3</b>:<a href= +"#footnotetag3">(return)</a> +<p>These items, which are not quite correct, are from the +<i>Morning Chronicle</i> report.</p> +</blockquote> +<blockquote class="footnote"><a id="footnote4" name= +"footnote4"></a> <b>Footnote 4</b>:<a href= +"#footnotetag4">(return)</a> +<p>Precious Salvage.</p> +</blockquote> +<hr class="full" /> +<p><i>Printed and Published by J. LIMBIRD, 143, Strand. (near +Somerset House,) London; sold by ERNAEST FLEISCHER, 626, New +Market, Leipsic; G.G. BENNIS, 55, Rue Neuve, St. Augustin, Paris; +and by all Newsmen and Booksellers.</i></p> +<hr class="full" /> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Mirror of Literature, Amusement, +and Instruction, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK THE MIRROR OF LITERATURE *** + +***** This file should be named 11543-h.htm or 11543-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/1/5/4/11543/ + +Produced by Jonathan Ingram, David King, and the Online Distributed +Proofreading Team + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere 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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. For example: + + https://www.gutenberg.org/etext06 + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + + https://www.gutenberg.org/1/0/2/3/10234 + +or filename 24689 would be found at: + https://www.gutenberg.org/2/4/6/8/24689 + +An alternative method of locating eBooks: + https://www.gutenberg.org/GUTINDEX.ALL + + + + +</pre> + +</body> +</html> diff --git a/old/11543-h/images/545-1.png b/old/11543-h/images/545-1.png Binary files differnew file mode 100644 index 0000000..5f30c4d --- /dev/null +++ b/old/11543-h/images/545-1.png diff --git a/old/11543-h/images/545-2.png b/old/11543-h/images/545-2.png Binary files differnew file mode 100644 index 0000000..c7a842c --- /dev/null +++ b/old/11543-h/images/545-2.png diff --git a/old/11543-h/images/545-3.png b/old/11543-h/images/545-3.png Binary files differnew file mode 100644 index 0000000..ad301a0 --- /dev/null +++ b/old/11543-h/images/545-3.png diff --git a/old/11543-h/images/545-4.png b/old/11543-h/images/545-4.png Binary files differnew file mode 100644 index 0000000..81d2cf3 --- /dev/null +++ b/old/11543-h/images/545-4.png |
