diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-02-07 01:01:17 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-07 01:01:17 -0800 |
| commit | 5f54180db95a12969b8d8e4cc837bd34da5b8b3c (patch) | |
| tree | 859a879412ae21543fd25b91032a42551d07ee60 /old/54534-0.txt | |
| parent | 32c787593f7beb464e71309d982226a62c252d84 (diff) | |
Diffstat (limited to 'old/54534-0.txt')
| -rw-r--r-- | old/54534-0.txt | 1549 |
1 files changed, 0 insertions, 1549 deletions
diff --git a/old/54534-0.txt b/old/54534-0.txt deleted file mode 100644 index 856916d..0000000 --- a/old/54534-0.txt +++ /dev/null @@ -1,1549 +0,0 @@ -The Project Gutenberg EBook of The Irish Penny Journal, Vol. 1 No. 25, -December 19, 1840, by Various - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Irish Penny Journal, Vol. 1 No. 25, December 19, 1840 - -Author: Various - -Release Date: April 10, 2017 [EBook #54534] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK IRISH PENNY JOURNAL, DEC 19, 1840 *** - - - - -Produced by Brownfox and the Online Distributed Proofreading -Team at http://www.pgdp.net (This file was produced from -images generously made available by JSTOR www.jstor.org) - - - - - - - - - - - THE IRISH PENNY JOURNAL. - - NUMBER 25. SATURDAY, DECEMBER 19, 1840. VOLUME I. - -[Illustration: THE MONUMENT TO THE MEMORY OF DR DOYLE, BY HOGAN.] - -In presenting our readers with a drawing, made expressly for the purpose, -of the Monumental Sculpture intended to memorise the mortal form of an -illustrious Irishman, who was beloved and honoured by the great mass of -his countrymen, and respected for his talents by all, we have done that -which we trust will give as much pleasure to most of our readers, as it -has afforded gratification to ourselves. - -This monument is indeed a truly interesting one, whether considered in -reference to its subject--the character of the distinguished individual -whose memory it is designed to honour--the circumstances which have given -it existence--or, lastly, as a work of high art, the production of an -Irishman whose talents reflect lustre on his country. It is, however, in -this last point of view only, that, consistently with the plan originally -laid down for the conduct of our little periodical, we can venture to -treat of it; and considered in this way, we cannot conceive a subject -more worthy of attracting public attention or more legitimately within -the scope of one of the primary objects our Journal was designed to -effect--namely, to make our country, and its people, without reference to -sect or party, more intimately known than they had been previously, not -only to strangers, but even to Irishmen themselves. - -In our present object, therefore, of lending our influence, such as it -is, to make the merits of a great Irish artist more thoroughly known -and justly appreciated, by our countrymen in particular, than they have -hitherto been, we are only discharging a duty necessarily imposed upon -us; and the pleasure which we feel in doing so would be great indeed, -if it were not diminished by the saddening reflection that it should -be so necessary in the case of an artist of his eminence. But, alas! -the scriptural adage, that no man is a prophet in his own country, is -unfortunately nowhere so strikingly illustrated as in Ireland, and of -this fact Mr Hogan is a remarkable example. Holding, as he unquestionably -does, a high place among the most eminent sculptors of Europe, he is as -yet unpatronized by the aristocracy of his native country--is indeed -perhaps scarcely known to them. - -Mr Hogan is not, as generally supposed, a native of Cork: he was born at -Tallow, in the county of Waterford, in 1800, where his father carried on -the business of a builder. He is of good family, both by the paternal -and maternal sides; his father being of the old Dalcassian tribe of the -O’Hogans, the chiefs of whom were located in the seventeenth century at -Ardcrony, in the county of Tipperary, four miles and a half to the north -of Nenagh, where the remains of their castle and church are still to -be seen. By the mother’s side he is descended from the celebrated Sir -Richard Cox, Lord Chief Justice of Ireland in the reign of William and -Mary, and Lord Chancellor in that of Queen Anne, his mother, Frances Cox, -being the great-granddaughter of that eminent individual. - -Having received the ordinary school education, he was placed by his -father, in the year 1812, under an attorney in Cork, named Michael -Footte, with a view to his ultimately embracing the legal profession, -and in this situation he remained for two years. This was the most -unhappy period of his existence; for, like Chantrey, the greatest of -British sculptors, who was also articled to an attorney, being endowed -by nature expressly to become an artist, the original bias of his mind -to drawing and carving had by this time become a passion; and despite of -the frequent chastisements his master bestowed on him, in the exuberance -of his zeal to curb what he considered his idle propensities, his whole -soul was given, not to law, but to the Fine Arts, and an artist he became -accordingly. His father and his master seeing the utter uselessness of -any further attempts to divert his mind from its apparently destined -course, he was released from his irksome employment, and at the age of -fourteen entered the office of Mr Deane, now Sir Thomas Deane, of Cork, -as an apprentice, where he was soon employed as a draughtsman and carver -of models, with a view to his becoming ultimately an architect. In Mr -Deane he found a master who had the intellect to enable him to appreciate -his talents, and the good feeling to induce him to encourage them; and -the first use he made of the chisels with which his patron supplied him, -was to produce a carving in wood of a female skeleton the size of life, -on which Dr Woodroffe for a season was able to lecture his pupils, as -if it were, what it actually seems, a real skeleton in form and colour. -Under the instruction of this gentleman Mr Hogan studied anatomy for -several years, during which period he made for his improvement many -carvings in wood of hands and feet, and also essayed his talents on a -figure of Minerva the size of life, which still remains over the entrance -of the Life and Fire Insurance Office in the South Mall. - -But though Mr Hogan was thus employed in pursuits congenial to his -tastes, and to a great degree conducive to his future eminence as a -sculptor, the idea of embracing sculpture as a profession did not occur -to him for several years after, nor were the requisite means of study -for that profession provided for the student in Cork at this time. There -was as yet in that city no Academy of Arts or other institution like -those in Dublin, provided, for the use of students, with those objects -which are so essential to the formation of a correct taste in the -higher departments of the Fine Arts, namely, a selection of casts from -the antique statues: and until such subjects for study were acquired, -the efforts of genius, however ardent, in the pursuit of beauty and -excellence, were necessarily blind and fortuitous. Happily, however, -this desideratum was at length supplied in Cork, where a Society for -Promoting the Fine Arts was formed in February 1816; and to this -Society the Prince Regent, in 1818, through the intercession of the -late Marquis of Conyngham and other Irish noblemen who had influence -with him, was induced to present a selection of the finest casts from -the antique statues, which had been sent him as a gift by the Roman -Pontiff, and the value of which the Prince but little appreciated. The -result was not only beyond anything that the most sanguine could have -anticipated in the rapid creation of artists of first-rate excellence, -but also in establishing the fact that among our own countrymen the -finest genius for art abundantly exists, and that it only requires -the requisite objects for study, with encouragement, to develope it. -The presence of these newly acquired treasures of ancient art, which -consisted of one hundred and fifteen subjects selected by Canova, and -cast under his direction, kindled a flame in Mr Hogan’s mind never to -be extinguished but with life, and he immediately applied himself to -their study with his whole heart and soul. Thus occupied he remained -till 1823, surrounded and excited to emulation by the kindred spirits of -Mac Clise, Scottowe, Ford--the glorious Ford!--Buckley the architect, -equally glorious--Keller, his own brother Richard, and many other of -lesser names--many of whom, alas for their own and their country’s fame! -paid the price of their early distinction with their lives. Well may the -people of Cork feel proud of this constellation of youthful genius--a -brighter one was never assembled together in recent times. - -The period, however, had now arrived when the eagle wing of Hogan was -to try its strength; and most fortunately for him, an accident at this -time brought to Cork a man more than ordinarily gifted with the power to -assist him in its flight. The person we allude to was the late William -Paulett Carey, an Irishman no less distinguished for his abilities as a -critical writer on works of art, than for his ardent zeal in aiding the -struggles of genius, by making their merit known to the world. In August -1823, this gentleman, on the occasion of paying a visit to the gallery of -the Cork Society, “accidentally saw a small figure of a Torso, carved in -pine timber, which had fallen down under one of the benches. On taking -it up,” to continue Mr Carey’s own interesting narrative, “he was struck -by the correctness and good taste of the design, and the newness of -the execution. He was surprised to find a piece of so much excellence, -apparently fresh from the tool, in a place where the arts had been so -recently introduced, and where he did not expect to meet anything but -the crude essays of uninstructed beginners. On inquiry he was informed -it was the work of a young native of Cork, named Hogan, who had been -apprenticed to the trade of a carpenter under Mr Deane, an eminent -builder, and had at his leisure hours studied from the Papal casts, and -practised carving and modelling with intense application. Hogan was then -at work above stairs, in a small apartment in the Academy. The stranger -immediately paid him a visit, and was astonished at the rich composition -of a _Triumph of Silenus_, consisting of fifteen figures, about fourteen -inches high, designed in an antique style, by this self-taught artist, -and cut in bas-relief, in pine timber. He also saw various studies of -hands and feet; a grand head of an Apostle, of a small size; a copy of -Michael Angelo’s mask; some groups in bas-relief after designs by Barry; -and a female skeleton, the full size, after nature; all cut with delicacy -and beauty, in the same material. A copy of the antique _Silenus_ and -_Satyrs_, in stone, was chiselled with great spirit; and the model of a -Roman soldier, about two feet high, would have done credit to a veteran -sculptor. A number of his drawings in black and white chalks, from the -Papal casts, marked his progressive improvement and sense of ideal -excellence. The defects in his performances were such as are inseparable -from an early stage of untaught study, and were far overbalanced by their -merits. When his work for his master was over for the day, he usually -employed his hours in the evening in these performances. The female -skeleton had been all executed during the long winter nights.” - -Becoming thus acquainted with Mr Hogan’s abilities, Mr Carey, with that -surprising prophetic judgment with which he was so eminently gifted, -at once predicted the young sculptor’s future fame, and proclaimed his -genius in every quarter in which he hoped it might prove serviceable to -him. He commenced by writing a series of letters, which were inserted -in the Cork Advertiser, “addressed to the nobility, gentry, and opulent -merchants, entreating them to raise a fund by subscription, to defray the -expense of sending Hogan to Italy, and supporting him there for three -or four years, to afford him the advantages of studying at Rome.” But -for some time these letters proved ineffectual, and would probably have -failed totally in their object but for Mr Carey’s untiring zeal. Acting -under his direction, Mr Hogan was induced to address a letter to that -noble patron of British genius, the late Lord de Tabley, then Sir John -Fleming Leicester, and to send him at the same time two specimens of his -carvings, “as the humble offering of a young self-taught artist.” This -letter, which was backed by one from Mr Carey himself, was responded -to at once in a letter written in the kindest spirit, and which -contained an enclosure of twenty-five pounds as Sir John’s subscription -to the proposed fund. This was the first money actually paid in, and -subscriptions soon followed from others. Through Mr Carey’s enthusiastic -representations, the Royal Irish Institution was induced to contribute -the sum of one hundred pounds, and the Royal Dublin Society to vote -twenty-five pounds for some specimens of his carvings which Mr Hogan -submitted to their notice. These acts of liberality were honourable to -those public bodies; yet, as Mr Carey well observed, it was to Lord de -Tabley’s generosity that Mr Hogan’s gratitude was most due. Here, as he -said, “was a young man of genius in obscurity, and wholly unknown to his -lordship, rescued from adversity in the unpromising morning of life--a -self-taught artist built up to fame and fortune by his munificence--a -torch lighted, which I hope will burn bright for ages, to the honour of -the empire. HOGAN may receive thousands of pounds from future patrons, -but it is to Lord de TABLEY’S timely encouragement that he will be -indebted for every thing.” - -The subscriptions collected for Mr Hogan amounted in all to the sum of -two hundred and fifty pounds; and thus provided, he set out for Italy, -visiting London on his way, for the purpose of presenting letters to -Sir Thomas Lawrence and Sir Francis Chantrey, which Lord de Tabley had -given him, in the hope that they would procure him recommendatory letters -from those great artists that would be serviceable to him in Rome. But -these introductions proved of little value to him. Chantrey expressed -regret that he knew no one in the “Eternal City” to whom he could give -him a letter; and though Lawrence kindly gave him an introduction to -the Duchess of Devonshire, that distinguished lady had died a few days -before Mr Hogan reached Rome; “so that,” as Mr Carey remarks, “he found -himself an entire stranger, with little knowledge of the world, without -acquaintance or patron, and incapable of speaking the language, at the -moment of commencing his studies in Italy.” - -But the young sculptor, on leaving his native country, was provided by -Lord de Tabley with something more valuable than these letters to British -artists--namely, a commission to execute a statue in marble for him, as -soon as he should think himself qualified by his preparatory studies for -the undertaking. - -The statue, which was to launch the young sculptor into professional life -in Italy, was commenced soon after, but was not completed before his -noble patron had paid the debt of nature. Its subject, which is taken -from Gessner’s Death of Abel, is EVE, who shortly after her expulsion -from Paradise picks up a dead bird, which being the first inanimate -creature that she has seen, fills her with emotions of surprise, terror, -and pity. This statue, which is the size of life, and which is of -exquisite beauty, is now at Lord de Tabley’s seat in Cheshire. - -While this statue was in progress, Mr Hogan conceived the subject and -completed the model of his second great work--one in which the peculiar -powers of his genius were more fully developed, and on the execution of -which, from peculiar circumstances, he entered with the most excited -enthusiasm. During the first year of his residence at Rome, Mr Hogan -happening to be present at an evening meeting of artists of eminence, the -conversation turned on the difficulty of producing any thing in sculpture -perfectly original; and to Mr Hogan’s astonishment, the celebrated -British sculptor Gibson stated as his opinion that it was impossible -now to imagine an attitude or expression in the human figure which had -not been already appropriated by the great sculptors of antiquity. This -opinion, though coming from one to whom our countryman then looked up, -appeared to him a strange and unsound one, and with the diffidence of -an artist whose powers were as yet untried, he ventured to express his -dissent from it; when Gibson, astonished at his presumption, somewhat -pettishly replied, “Then let us see if _you_ are able to produce such -an original work!” The challenge thus publicly offered could not be -refused by one of Hogan’s temperament; and the young sculptor, stung with -the taunt, lost no time in entering upon a work which was to test his -abilities as an artist, and to rescue his character from the imputation -of vanity and rashness. Under such feelings Mr Hogan toiled day and -night at his work, till he submitted to the artists in whose presence -the challenge had been offered, the result of his labours--his statue -of the Drunken Faun--a work which the great Thorwaldsen pronounced a -miracle of art, and which, if Hogan had never produced another, would -have been alone sufficient to immortalize his name. It is to be regretted -that this figure, which has all the beauty and truth of the antique -sculpture, combined with the most perfect originality, and which Mr Hogan -himself has recently expressed his conviction that it is beyond his -power to excel, should never have been executed in marble; but a cast of -it, presented by Lord de Tabley to the Royal Irish Institution (though -intended by Mr Hogan for the Dublin Society), may still be seen in their -deserted hall. - -We have given these, as we trust, not uninteresting details of Mr Hogan’s -early life, at greater length than the limits assigned to our article -can well allow, and we must notice his subsequent career in briefer -terms. Though enrolled now among the resident sculptors in Rome, his -difficulties were not yet over; and in spite of the most enthusiastic -efforts on his part, they might and probably would have been ineffectual -in sustaining him, if no friendly aid had come to his assistance. In two -years after his arrival in Rome, or at the end of the year 1825, Hogan -found himself again in a state of embarrassment, without a commission, -his funds exhausted, or at least reduced to a state inadequate to the -necessary outlay of a sculptor in the purchase of marble, the rent of a -studio, and the payment of living models. For his extrication from these -difficulties he was again indebted to the liberality of Lord de Tabley -and the zeal of his advocate Mr Carey, by whom a second subscription was -collected, chiefly in England, amounting to one hundred and fifty pounds; -of which sum twenty-five pounds was contributed by Lord de Tabley in the -first instance, and twenty-five pounds by the Royal Irish Institution. -Trifling as this amount was, it proved sufficient for its object, and Mr -Hogan was never again necessitated to receive pecuniary assistance from -the public. - -He applied himself forthwith to the production of a marble figure -intended for his friend and former master Sir Thomas Deane, but which -when finished his necessities obliged him to dispose of to the present -Lord Powerscourt, and for which he received one hundred pounds, being -barely the cost of the marble and roughing out or boasting. This statue, -which is about half the size of life, is now preserved in Powerscourt -House; and we may remark, that it is the only work of our countryman in -the possession of an Irish nobleman. His next important work was the -exquisite statue of the Dead Christ, now placed beneath the altar of -the Roman Catholic church in Clarendon Street. This work was originally -ordered for a chapel in Cork by the Rev. Mr O’Keeffe; but that gentleman, -on its arrival in Dublin, not being able to raise the funds required for -its payment, permitted Mr Hogan to dispose of it to the clergymen of -Clarendon Street, who paid for it the sum originally stipulated, namely, -four hundred and fifty pounds; and we need scarcely add, that this statue -is one of the most interesting objects of art adorning our metropolitan -city. Mr Hogan subsequently executed a duplicate of this statue, but with -some changes in the design, for the city of Cork; but we regret to have -to add that he has been as yet but very inadequately rewarded for his -labours on that work, a sum of two hundred and thirty-seven pounds being -still due him, and the amount which he has actually received (two hundred -pounds) being barely the cost of the marble and rough workmanship. - -The execution of this statue was followed by that of a large sepulchral -monument in _basso relievo_ to the memory of the late Dr Collins, Roman -Catholic Bishop of Cloyne--a figure of Religion holding in her lap a -medallion portrait of the bishop. For this work Mr Hogan was to have -received two hundred pounds, but there is still a balance of thirty -pounds due to him. - -We next find Mr Hogan engaged on a second work for our city--the _Pieta_, -or figures of the Virgin and the Redeemer, of colossal size, executed in -plaster for the Rev. Dr Flanagan, Roman Catholic Rector of the chapel in -Francis Street, which it now adorns. Of this work, an engraving, with a -masterly description and eulogium from the pen of the Marchese Melchiori, -a great authority in matters of critical taste in the fine arts, has -been published in the _Ape Italiana_--a work of the highest authority, -published monthly in Rome; and we should state for the honour of our -country, that our own Hogan and the sculptor Gibson are the only British -artists whose works have as yet found a place in it. - -Mr Hogan’s subsequent works, exclusive of a number of busts, may now -be briefly enumerated. First, a marble figure of the late Archbishop -of Paris, about two and a half feet high, executed for the Lord de -Clifford; second, the Judgment of Paris--two figures in marble about the -same height as the last--for General Sir James Riall, an Irish baronet -resident in Bath; third, a monumental _alto relievo_ to the memory of -Miss Farrell of Dublin, executed for her mother, and considered by -Gibson as the best of all our sculptor’s works; fourth, a _Genio_ on a -sarcophagus, a monument for the family of the late Mr Murphy of Cork; -and, lastly, the Monument to Dr Doyle, on which we have now to utter a -few remarks. - -Of the general design of this noble monument our prefixed illustration -will afford a tolerably correct idea; but it would require more than one -illustration of this kind to convey an adequate notion of its various -beauties and merits, for there is scarcely a point in which it can be -viewed in which it is not equally effective and striking. The subject, -as a sculptural one should be, is of the most extreme simplicity, and -yet of the most impressive interest--a Christian prelate in the act of -offering up a last appeal to heaven for the regeneration of his country, -which is personified by a beautiful female figure, who is represented in -an attitude of dejection at his side. In this combination of the real and -the allegorical there is nothing obscure or unintelligible even to the -most illiterate mind. In the figure of the prostrate female we recognise -at a glance the attributes of our country, and there existed no necessity -for the name “Erin,” inserted in very questionable taste upon her zone, -to determine her character. She is represented as resting on one knee, -her body bent and humbled, yet in her majestic form retaining a fullness -of beauty and dignity of character; her turret-crowned head resting on -one arm, while the other, with an expression of melancholy abandonment, -reclines on and sustains her ancient harp. In the male figure which -stands beside her in an attitude of the most unaffected grace and -dignity, we see a personification of the sublime in the Episcopal -character. He stands erect, his enthusiastic and deeply intellectual -countenance directed upwards imploringly, while with one hand he touches -with delicate affection his earthly mistress, and with the other, -stretched forth with passionate devotion, he appeals to heaven for her -protection. This is true and enduring poetry; and, as expressive of the -sentiment of religious patriotism unalloyed by any selfish consideration, -is far superior to the thought which Moore has so exquisitely expressed -in the well-known lines-- - - “In my last humble prayer to the spirit above, - Thy name shall be mingled with mine!” - -Such is the touching poetical sentiment embodied in this work, which, -considered merely as a work of art, has merits above all praise. -In the beauty of its forms, its classical purity of design, its -simplicity and freedom from affectation or mannerism, its exquisite -finish and characteristic execution, and its pervading grace, truth, -and naturalness, it is beyond question the finest production of art in -monumental sculpture that Irish genius has hitherto achieved; and, taken -all and all, is, as we honestly believe, without a rival in any work of -the same class in the British empire. - -We regret to have to state that Mr Hogan is, as we are informed, as yet -unpaid for this great national work, or that at least there is more than -a moiety of the sum agreed for, which was one thousand pounds, remaining -due to him. But surely his country, which has the deepest interest in -sustaining him in his career of glory, will not suffer him to depart from -her shores without fulfilling her part of a compact with one who has so -nobly completed his. We cannot believe it. - -It will be seen by a retrospective glance at the details which we have -given of Mr Hogan’s labours during the past seventeen years in which -he has been toiling as a professional artist, that those labours have -been any thing but commensurately rewarded; they have indeed been barely -sufficient to enable him to sustain existence. But brighter prospects -are opening upon him for the future. His character as a sculptor is now -established beyond the possibility of controversy. His merits have been -recently recognised and honoured by the highest tribunal in the City of -the Arts with a tribute of approbation never before bestowed on a native -of the British Isles: he has been elected unanimously, and without any -solicitation or anticipation on his part, a member of the oldest Academy -of the Fine Arts in Europe--that which enrolled amongst its members the -divine Raphael, and all the other illustrious artists of the age of -Leo, and which holds its meetings upon their graves--the Academy of the -Virtuosi del Pantheon. His fellow-countrymen are also beginning to have a -just appreciation of his merits, and are coming forward nobly to supply -him with employment for future years; and when he returns to his Roman -studio, it will be to labour on works worthy of his country’s liberality, -and calculated to raise her fame amongst the civilized nations of the -world. Need we add, that he has our most ardent wishes for his future -success and happiness! - - P. - -For the satisfaction of our readers we are induced to append to the -preceding notice of Mr Hogan the following list of some of the principal -commissions which he has recently received in Ireland;-- - -The Monument to the late Mr Secretary Drummond. - -A Statue of the late Mr William Crawford of Cork, for which Mr Hogan is -to receive L.1000. - -A monumental alto relievo, consisting of three figures, to the memory of -the late Mr William Beamish, for Blackrock Chapel, Cork--L.650. - -Monument to the late Dr Brinkley, Bishop of Cloyne. A colossal figure in -relievo for the Cathedral of Cloyne. - -An alto relievo for the Convent at Rathfarnham. - -An alto relievo for the Chapel at Ross, county of Wexford, commissioned -from John Maher, Esq. M. P.--&c. &c. - - - - -ON ANIMAL TAMING. - -FIRST ARTICLE. - - -That all animals, however fierce and ungovernable may be their natural -dispositions, have nevertheless implanted by a wise Providence within -their breasts a certain awe, a vague, indefinable dread of man, which, -although meeting with him for the first time, will induce them to fly his -presence, or at all events shun encounter, is, we think, a fact which -no observer of nature will deny. This instinct of submission to human -beings exists among all creatures, and the greater the intelligence they -possess, the more powerful is its operation. When we meet with instances -of a nature calculated to overturn this theory--such as wild animals -attacking and destroying travellers, or preying upon the shepherd as -he guards his flock, with others of a similar description--instead of -hastily presuming upon the falsity of the above position, we should -rather seek for some explanation of the reasons which in these cases -checked for the time the workings of the animal’s natural instinct. -These will be for the most part easily enough discovered, if sought for -in a spirit of impartial inquiry. The lion and the tiger are prompted -by natural instinct to shun the haunts and the presence of man--they -choose for their lairs dark and impenetrable forests--they select for -their habitation a situation whither man has not as yet approached--and -according as the work of settlement and cultivation advances, they -retreat before it into their dark and gloomy fastnesses. - -Does the traveller encounter a lion or a tiger? The animal is prompted by -nature to give place to him, and usually slinks off, growling with the -thirst for blood, but still fearing to attack MAN. The shouts of women -and children suffice to scare the fierce and rapacious wolves, as they -descend in troops from the mountains to appease their hunger with victims -from the flocks of the shepherds. The bear meets with the bold hunter or -woodcutter in the American backwoods, but is never known to attack him, -unless the instinct of submission to man is overruled by other instincts -for the time more imperative in their demands. True, if the lion be -_hungry_ when the traveller shall cross his path, he will sometimes, -though such instances are of rare occurrence, attack and devour him. -True, if the wolves are unable to satisfy their appetite by other means, -they will attack and devour human beings; and if the bear be likewise -rendered furious by the calls of hunger, she will treat the woodsman with -little ceremony. Still these instances only show that hunger overcomes -fear--an explanation which no one can refuse to admit. What indeed will -not the gnawings of hunger effect? Has it not caused fathers to butcher -their sons, mothers to devour the infant at their breast? When capable, -then, of overcoming the most powerful of instincts, maternal affection, -and that too in the teeth of reason, how can we wonder at its overcoming -an inferior instinct, and that in a brute animal where there existed -nothing to be overcome beyond that instinct? I might write a vast deal -upon this subject; but my object is merely to show, at starting, that -an instinctive awe of man, and a disposition to yield to his authority, -is inherent in the lower animals. This, then, being the case, it will -readily be perceived that the domestication of any animal by man only -requires that he should carefully remove all obstacles to the operation -of this instinctive principle; and on the other hand, employ suitable -means to strengthen and establish it. There are, doubtless, but few of -my readers who have not witnessed the performances of Van Amburgh, and -likewise those of Van Buren with Batty’s collection. They have, I am -sure, been greatly astonished at the degree of subjection to which these -wild animals were reduced, and they are doubtless curious to learn how -this end was attained. As I happened to make myself acquainted with -the mode in which the subjection of these fierce brutes was effected, -I am happy to be able to render them some information. The treatment -was simple enough. It consisted mainly of two ingredients--1st, ample -feeding, in order that the instinct of appetite should not present itself -in opposition to that of dread of man; and, 2d, liberal chastisement -and severe blows on the slightest appearance of rebellion, in order to -strengthen and firmly establish their awe of him. - -I myself have devoted a good deal of time to the domestication of -animals, and by following out the two principles just laid down, I found -myself invariably successful. The polecat, although of inconsiderable -size, is an animal of infinitely greater fierceness than the tiger; yet I -had one so thoroughly domesticated that it was permitted to enjoy perfect -liberty. I succeeded equally with the fox, the badger, and the _otter_, -as a paper which recently appeared in the Penny Journal was designed to -show. In fact, I should say that mere _fierceness_ is but a very slight -obstacle to domestication--_timidity_ is much harder to be overcome. -The timid races of animals require a mode of treatment directly opposed -to the above. They require to have their _dread_ of man diminished, and -their _boldness_ encouraged. If you wish to tame a very timid animal, -instead of supplying it with food you must let it fast, in order to -render it so bold with hunger that it will eat in your presence and from -your hand. If you can get its confidence raised to such a degree that it -will bite you or attempt to do so, so much the better--those little vices -will afterwards be easily eradicated. I have succeeded in familiarizing -the most timid creatures--the rat and the mouse, for instance. The public -has already had an account of how I succeeded with the former of these -animals in the pages of the “Medical Press” and “Naturalist.” Some of -these days I shall give a paper on the latter in the Penny Journal. - -Van Amburgh has done much with his animals; but in consequence of -exhibiting with specimens not as yet perfectly subdued, he has met -with some severe accidents. More caution and less haste would have -prevented these. One of the principal ingredients that should enter into -the composition of an animal tamer, is COURAGE. If the animal you are -endeavouring to domesticate perceive that you fear it--and animals are -instinctively sharp-sighted--from that instant all chance of control -ceases. You must be prepared to endure bites, scratches, &c. with, at all -events apparent, recklessness, and should never suffer any thing to delay -your chastisement: the severer it is, the less frequently will you have -to repeat it. Van Amburgh possesses this ingredient in an eminent degree. -I once saw him exhibiting with his superb Barbary lion, since dead; as he -left the cage, the animal rushed at him, and succeeded in inflicting a -sharp scratch upon his hand. Now, had Van Amburgh displayed fear, or in -short acted otherwise than he did, his reign had been over, and the lion -would in all probability have renewed his attack the next opportunity, -and have killed him. But what did he do? He returned into the cage, and -advancing sternly and undauntedly towards the lion, saluted him with a -shower of blows over the head and face, with the small iron rod which he -always carried with him. And mark the result. The brute at once yielded, -quailed before his master, who, planting a foot upon the prostrate body -of his late assailant, coolly wiped the blood from his hand, amidst the -deafening plaudits of the spectators, who had witnessed the appalling -scene with feelings more easily imagined than described. - -There is another description of animal taming, which I must not omit to -mention, viz, by charms or drugs. There were, and are indeed still to -be met with, although more rarely than formerly, persons who profess to -be able, by some secret spell or charm, to tame the fiercest horse, or -calm the fury of the most ferocious watch-dog. There are also persons who -follow the trade of rat-catching, and pretend that by means of certain -drugs they can entice away all the rats from the premises to which they -are called in to exercise their skill. There are also a set of men in -India and Persia who profess to charm serpents, and draw them from their -holes. Of these last it is not at present my design to speak. I may, -however, return to them in a future paper. - -The first of these, or those who pretend to possess the power of quelling -the spirit of the horse, or appeasing the vigilant fury of the dog, are -now but few in number, and very seldom to be met with. They abounded -more in Ireland than they did in the sister kingdom, and were called -“whisperers.” Perhaps the best mode in which I can bring them and their -practices before my readers, is by giving them an account of the last and -most celebrated whisperer that we recollect. His name was James Sullivan, -and he possessed the power of taming the most furious horse, if left -alone with him for about half an hour. The name of this singular man is -recorded by Townsend in his “Survey of the County of Cork,” and we shall -quote his account of Sullivan’s performances, to which he states himself -to have been an eye-witness:-- - -“James Sullivan was a native of the county of Cork, and an awkward -ignorant rustic of the lowest class, generally known by the appellation -of ‘the Whisperer;’ and his profession was horse-breaking. The credulity -of the vulgar bestowed that epithet upon him from an opinion that he -communicated his wishes to the animal by means of a whisper, and the -singularity of his method gave some colour to the superstitious belief. -As far as the sphere of his control extended, the boast of _veni, vidi, -vici_, was more justly claimed by James Sullivan than by Cæsar, or even -Bonaparte himself. How his art was acquired, or in what it consisted, -is likely to remain for ever unknown, as he has lately left the world -without divulging it. His son, who follows the same occupation, possesses -but a small portion of the art, having either never learned its true -secret, or being incapable of putting it in practice. The wonder of his -skill consisted in the short time requisite to accomplish his design, -which was performed in private, and without any apparent means of -coercion. Every description of horse, or even mule, whether previously -broke, or unhandled, whatever their peculiar vices or ill habits might -have been, submitted without show of resistance to the magical influence -of his art, and in the short space of half an hour became gentle and -tractable. The effect, though instantaneously produced, was generally -durable; though more submissive to him than to others, yet they seemed -to have acquired a docility unknown before. When sent for to tame a -vicious horse, he directed the stable in which he and the object of his -experiment were placed, to be shut, with orders not to open the door -until a signal was given. After a _tete-a-tete_ between him and the horse -for about half an hour, during which little or no bustle was heard, the -signal was made; and on opening the door, the horse was seen lying down, -and the man by his side, playing familiarly with him, like a child with -a puppy dog. From that time he was found perfectly willing to submit to -discipline, however repugnant to his nature before. Some saw his skill -tried on a horse which could never before be brought to stand for a smith -to shoe him. The day after Sullivan’s half-hour lecture, I went, not -without some incredulity, to the smith’s shop, with many other curious -spectators, where we were eye-witnesses of the complete success of his -art. This, too, had been a troop horse, and it was supposed, not without -reason, that after regimental discipline had failed, no other would -be found availing. I observed that the animal seemed afraid whenever -Sullivan either spoke or looked at him. How that extraordinary ascendancy -could have been obtained, it is difficult to conjecture. In common -cases this mysterious preparation was unnecessary. He seemed to possess -an instinctive power of inspiring awe, the result perhaps of natural -intrepidity, in which I believe a great part of his art consisted; -though the circumstance of the _tete-a-tete_ shows that upon particular -occasions something more must have been added to it. A faculty like this -would in other hands have made a fortune, and great offers have been made -to him for the exercise of his art abroad; but hunting, and attachment to -his native soil, were his ruling passions. He lived at home in the style -most agreeable to his disposition, and nothing could induce him to quit -Dunhallow and the foxhounds.” Other whisperers have lived since Sullivan, -but none of them have attained an equal degree of fame. I met with one -some years ago of the name of O’Hara, and I can truly affirm that his -performances were indeed wonderful, and precisely similar to those of -Sullivan. How O’Hara discovered the secret, I know not; neither am I sure -that it was identical with that possessed by Sullivan. On one occasion, -while under the influence of liquor, O’Hara was heard to declare that the -secret lay in _rocking_ the horse; but on another, when equally tipsy, -he mentioned _biting_ the animal’s ear. It is already I believe known to -those acquainted with horses, that by grasping the shoulder with one hand -just where the mane begins, and laying the other with firmness upon the -crupper, and then swaying the animal backwards and forwards, beginning -with a very gentle motion and gradually increasing it, you will in a -few minutes be able to throw the horse on his side with a comparatively -trifling degree of exertion; and it is certain that this treatment is -frequently resorted to by knowing jockeys to break the spirit of a -stubborn horse; for after having been thrown twice, or at most thrice, -the spirit of the animal seems wholly subdued, and he appears possessed -with the most unqualified respect and dread of the person who threw him. -This was in all probability what O’Hara meant by _rocking_, and I have -little doubt but that this was one of the component parts, at all events, -of the treatment resorted to by the whisperers. As to _biting the ear_, -I have seen this tried, and that successfully. If you succeed in getting -the ear of the most vicious horse between your teeth, and bite it with -all your force, you will find the rage of the animal suddenly subside, -his spirit will appear to have forsaken him, and a word or a look from -you will cause him to start and tremble with excess of terror. Once the -ferocity of an animal is removed, it is an easy matter to conciliate his -affections. May not these two modes of treatment combined, or one or the -other, as the occasion seemed to require, have constituted the secret of -the wonder-working whisperers? The suggestion is at least plausible, and -the experiment should be fully tried ere it be rejected. - -In an article which appeared lately on the subject of animal taming in -the _Times_ newspaper, mention is made of Mr King, owner of the “learned -horse” at present exhibiting in London. This person states that his -secret depends upon pressing a certain nerve in the horse’s mouth, which -he calls the “nerve of susceptibility.” May not the set of whispering -have likewise depended upon compressing with the teeth some similar nerve -in the ear? - - H. D. R. - - - - -RELICS. - -BY J. U. U. - - -“Raphael was buried in the Pantheon (Sta. Maria della Rotunda), in -a chapel which he had himself endowed, and near the place where his -betrothed bride had been laid. The immediate neighbourhood was afterwards -selected by other painters as their place of rest. Baldassane Peruzzi, -Giovanni da Udine, Pierino del Vaga, Taddeo Zuccaro, and others, are -buried near. No question had ever existed as to the precise spot -where the remains of the master lay; but a few years since the Roman -antiquaries began to raise doubts even respecting the church in which -Raphael was buried. In the end, permission was obtained to make actual -search; and Vasari’s account was in this instance verified. The tomb was -found as he describes it, behind the altar itself of the chapel above -mentioned. Four views of the tomb and its contents were engraved from -drawings by Cammucini, and thus preserve the appearance that presented -itself. The shroud had been fastened with a number of metal rings and -points; some of these were kept by the sculptor Fabrio of Rome, who is -also in possession of casts from the skull and right hand. Passavant -remarks, judging from the cast, that the skull was of a singularly fine -form. The bones of the hand were all perfect, but they crumbled into -dust after the mould was taken. The skeleton measured about five feet -seven inches. The coffin was extremely narrow, indicating a very slender -frame. The precious relics were ultimately restored to the same spot, -after being placed in a magnificent sarcophagus, presented by the present -Pope.”--_Quarterly Review._ - - Ay, there are glorious things even in the dust - Which still must ever from the human heart - Win homage next devotion. ’Tis in vain - To ask the wherefore, or demand what are they - Amid the keen realities of life? - Old coin, or broken casque, or fretted stone-- - The waste of Time--the rack upon life’s shore - Thrown up by the spent waves of centuries-- - They have no meaning in the vulgar tongue; - Their very uses know them not--things past - Into the chaos of forgotten forms. - But here the root of this deep error lies. - - The world’s deep Lethé onward blindly glides, - A perishable Present! glorious only - Because no Future and no Past are seen - To scare or shame its dreamy voyager. - In dull forgetfulness the error lies, - That hath no feeling of the mighty Past - Espoused to sense, and purblind as the mole - To all that meets the intellectual eye: - To such Iona is a heap of stones, - And Marathon a desert … - … O, how changed! - The meanest thing on which great Time hath set - His awful stamp (the long-surviving thought - Left by the mind of other days) appears - To knowledge and the gaze of memory, - More instantaneous than those words of power - Which ancient legends say the tomb obeyed-- - The broken pillar, and the moss-grown pile, - Dilate into antique magnificence: - At once the stern old rampart crowns its height-- - The donjon keep, the tower of ancient pride, - The rock-built fortress of old robber kings, - Start into life, and from their portals pour - Mailed foray forth, or pomp of feudal war. - The temple swells from vacancy, o’erarching - With pillared roof, and dim solemnity, - The worship of old time. The dry bones live - Of ancient ages: monarch, sage, and bard, - Stand in their living lineaments, invested - With power, or wisdom, or the gift of song. - - These still are common ruins--the remains - Of those who were the vulgar of their day, - Who battled, built, and traded, and so died, - Leaving no trace but nameless monuments, - The cast attire of ages, which but serve - To show the present how the past went mad, - And, like Cassandra, prophesy in vain. - The earth yet bears more glorious vestiges - Of Time’s illustrious few, whose memory - Is greater than the greatest thing that lives-- - Haloed by veneration, wonder, love-- - Whose very tombs stand in life’s calendar - Eras of thought once seen. Is there an eye - Could coldly gaze on aught that bears a trace - Of Avon’s matchless master of the breast? - Who could approach old Dryburgh’s tombs, and feel not - The illustrious presence of his great compeer, - Whose tomb yet moistens with a nation’s woe, - Whose star is young in heaven? Or who can walk - Unmoved the cloisters and religious aisles - Where Milton lies, renowned with “prophets old,” - And honoured Newton, to whom the starred vault - Is an enduring monument, as much - As the Pantheon’s dome is Angelo’s? - - What is the pride of kings, the world’s vain splendour, - To such a presence as they witnessed there - Who disinterred the bones of Raphael, - Awful from the repose of centuries? - There stood that day a solemn, anxious crowd - Around that altar which conceals beneath - The mighty master’s relics--for there was a doubt - If it were truly there that he was laid. - And there they found all the dull grave could keep - Of that Immortal. With no common awe - They bent o’er his dark cell, as it disclosed - Its treasure to the selfsame holy light - That gladdened oft of old the master’s heart, - And waked his heaven-eyed genius; while beneath - The shadowy splendour of that spacious dome - He stood in living sanctity, a pure - And heavenly-minded man--even where they stood - To gaze upon his dust--and all around - He scattered bright and hallowed images - Of perfect beauty--in their brightness there - Still lying as he left them. Shadows fair - Of angel form and feature--ye who gaze - In clouded splendour through those cloisters old, - Looking as things of life--could ye behold - Those slender bones, they were the living hand - Beneath whose touch ye started into being - And grew to light and beauty, covering - Your storied frescoes with the lines of grace, - Harmonious hues and features of the sky. - And yonder is your birthplace, yon light skull-- - The slight and delicate shrine of all that mind! - ’Tis a strange thought how vast a world resolved - In thy small compass! Senseless as thou art, - Who could behold thee as a mouldering bone, - The mere dust of unsphered humanity? - There, from that lowly cell as rose to light - The canonized remains of one whose mind - Hath been a worship to the eye of ages, - They were not seen thus coldly--time gave back - Its venerable honours registered - Deep in the heart of living Italy-- - A crown of many-tinted sanctities. - Thy beauty, goodness, and pure innocence, - Thy faculty of vision, gift divine, - Rushed round thee as a glory--thou wert seen - With all thy laurels round thy honoured tomb. - Thine is no pile of unrecording stone-- - Pale marble column or tall pyramid, - That vainly robs oblivion of its prey: - Thy name lives on each lip--thy monuments - Are treasures fondly kept midst precious things, - Sought out in every land which the sun warms - To nobler thoughts--thine are perennial wreaths - Of trophies yet surviving, when the fame - Of fields that rang through Europe, and made pale - The peaceful hamlets of an hundred realms, - Have shrunk within the fretted register, - The silent scroll, named History--still the halls - Of national state or regal pomp are bright - With thy far-sought creations, costliest - Among the treasured trophies of the mind; - And as thy time on earth was consecrated - To sacred labours meet for holy walls-- - So would I deem thy gifted spirit still, - Invested in its light of heavenly thoughts, - The minister of some pure temple, where - No human errors mingle with the work. - - - - -ON THE POWER OF FLUIDS. - - -That weight is a property of liquids, has been acknowledged by the -earliest observers; but the amount of that weight, its mode of acting, -and application to practice, have been left for recent times to discover. -A pint of water weighs somewhat more than a pound avoirdupois; and one -unacquainted with the facts in hydrostatics might deem it of little -consequence what shape the vessel that contained it might be, or what -the disposition and length of the column of water--for, after all, what -is it but a pound of water? No idea can be more erroneous. Under most -circumstances, it is not so much the quantity of the fluid as the manner -in which its particles are disposed, that determines its weight; and what -may appear still more extraordinary, a small quantity of fluid may be -made to balance, that is, to be of the same apparent weight as, a very -large quantity. This may be proved by taking a pair of scales, putting a -tumbler full of water into one dish, and balancing it by weights in the -other, then inverting a smaller glass and immersing it in the tumbler, -having the glass perfectly supported in the hand to prevent it touching -the sides or bottom; a portion of the water will now flow over the sides -of the tumbler--say one-half--yet the scales are still balanced; one-half -of the water is of the same weight apparently as the whole. A piece -of wood may be used instead of the glass with the same result, and it -may be of a size nearly to fill the cavity of the tumbler; yet if the -remaining water, which may amount to no more than a couple of spoonfuls, -rise to the same level as it did when full, it will exactly balance the -weights. This cannot be accounted for by saying that the wood or the -glass was equal to the water displaced, for if we use lead, which is -much heavier, or cork, and even card, which are much lighter, we shall -meet with no difference. This property belongs to the water; and as the -only constant fact was the same height of the fluid, to it must the -explanation be referred; and we thus arrive at a first principle, a law -in hydrostatics--that the pressure, or weight considered as a power, of -any fluid, is not in proportion to its quantity, but to its depth. - -Aware of this principle, if we wish to use water as a power, we can -economize it wonderfully, exerting a great pressure with a small -quantity. If we take a small wooden box, water-tight, bore a hole in it, -and fill it with water, adapt a long narrow tube to the hole, and fill -it up with water, the box will now be burst, and that by the very small -quantity contained in the tube. This tube may be a yard long, and very -narrow in diameter, not holding more than two ounces of fluid, yet the -pressure, being always in proportion to its depth, is the same as if it -had been as broad as the box. This pressure amounts to nearly one pound -on the square inch for every two feet of water. In the deepest parts of -the ocean the pressure must be exceedingly great, so much so that it is -probable they are uninhabitable, the pressure being too great for the -existence of fishes. This pressure, together with the total absence of -light at great depths, renders the existence of vegetable life also a -doubtful matter. There is a certain depth beyond which divers cannot -go, owing to the pressure of water on the surface of their chests being -greater than the resistance of air inside, respiration being thereby -impeded. - -A pipe a yard long, and acting on a yard square of fluid, will give a -pressure equal to the weight of fifteen cwt. if we use water. Should we -use quicksilver, the power of a ton weight may be obtained within the -space of a square foot in breadth, by a tube somewhat less than three -feet long, and not larger than a common goose quill--the pressure per -square inch in these cases depending on the height of the column of fluid. - -We can now understand what extensive and sometimes irremediable injury -may arise from the collection of a small but lofty column of water, -opening into a wide but confined space below. This sometimes occurs -when water gets into a narrow chink between buildings, and, finding its -way down, opens finally into some cavity under the floor. The pressure -exerted here is immense, and there are few bodies able to resist it. It -is owing to this that the pipes for conveying water are burst, on account -of the pressure exerted on the insides of the pipes; and this occurs the -more frequently, the higher the source from which they are filled. In -practice, every vessel containing liquid should increase in strength in -proportion to its depth. We have no doubt that a process similar to this -takes place on the large scale in nature, which is capable of uprooting -trees, rending rocks, producing earthquakes; for if we suppose that some -collections of water on the surface of a hill have found their way down -through crevices into a cavity in the body of the mountain which has no -external opening, as long as this cavity remains unfilled no evil arises, -but when it and the crevices also are completely filled, the pressure -exercised here is so immense, that even the sides of the hill cannot -withstand it. Perhaps this occurrence has not been sufficiently noticed -in explaining natural phenomena. It is usual to consider earthquakes and -volcanoes as solely the result of chemical action, excluding entirely -physical agency. - -The pressure of water may be rendered visible by blowing through a -tube under water into a tall glass jar. The bubble of air, small at -the bottom, as it rises, gradually enlarges from the diminution of the -pressure. - -The hydrostatic bellows, formed upon this principle, consists of nothing -more than a water-tight bellows, with a long pipe fixed into the valve -aperture. If this pipe be three feet long, and hold a quarter of a pint -of fluid, it will exert a pressure sufficient to raise three cwt. laid -upon a bellows, the area of the upper side of which is equal to about a -square foot and a half. Many are the uses to which this principle might -be applied in the several arts. - -Bramah’s Press is almost the only machine which has been extensively -used. By its means solid bars of iron can be cut through with ease. Hay -and cotton have been compressed by its means into a very small compass. -In the East Indies, where water-power is used, bales of cotton are -compressed into one-half the size of those from the West Indies. By its -means power may be multiplied, or rather concentrated, a thousand-fold. -As commonly made, a man working it may, by using the same force that -would raise half a cwt., apply a force amounting to twenty tons to the -work in hand; and by varying the proportions of the machine, pressure -might be brought to bear upon any body which would be perfectly -irresistible. - -There is, however, in reality, be it distinctly understood, no power -absolutely gained; but the man’s force is _concentrated_, as for instance -in compressing the bale of cotton, to an extent which, if the ordinary -mechanical powers of the lever or screw were employed, would require the -aid of ponderous machinery. - -Mr Bramah was therefore greatly mistaken when he published it as the -discovery of a new mechanical power: but he invented a beautiful and most -effective means of simply accumulating a prodigious force by the very -simple means of the hydrostatic pressure of fluids. - -Hydraulic or Bramah presses are applied in New York and other American -ports for the purpose of raising large vessels on strong wooden platforms -out of the water, for effecting repairs, &c. They are also employed in -removing houses--some of them brick, and three stories high--from one -part of a street to another. In this case strong wooden beams, like the -ways used in ship-launching, are placed under the house, and in the -direction of the intended site, and hydraulic presses are then employed -for pushing the house along, with prodigious force, and so gradually -and gently as not even to crack the plaster of a room ceiling. By -the same means the roof of a large cotton factory near Aberdeen was -raised _entire_, and an additional story added to the building, without -displacing a single slate! In this instance the roof was lifted gradually -about four inches at a time, progressing from end to end of the building, -the height of the walls being increased by a single row of bricks at a -time. - -Such are a few of the results of a single principle, a rule to which -there is no exception, which holds equally good in the organic as in the -inorganic world. Even the blood-vessels of the body are subject to this -law--the sides of all vessels below the level of the heart enduring an -additional outward pressure of half an ounce for every inch in height, -which at the toes would amount to somewhere about two pounds. When a -person stands erect in a bath, the pressure on all parts of the body is -not equal; it is greater upon the legs than upon the trunk; the former -are pressed upward, and hence in part the difficulty experienced in -standing upon the bottom in deep water. - - T. A. - - * * * * * - -DISAGREEABLE PEOPLE.--Some persons are of so teazing and fidgetty a turn -of mind, that they do not give you a moment’s rest. Everything goes -wrong with them. They complain of a headache or the weather. They take -up a book, and lay it down again--venture an opinion, and retract it -before they have half done--offer to serve you, and prevent some one else -from doing it. If you dine with them at a tavern, in order to be more -at your ease, the fish is too little done--the sauce is not the right -one; they ask for a sort of wine which they think is not to be had, or -if it is, after some trouble, procured, do not touch it; they give the -waiter fifty contradictory orders, and are restless and sit on thorns -the whole of dinner time. All this is owing to a want of robust health, -and of a strong spirit of enjoyment; it is a fastidious habit of mind, -produced by a valetudinary habit of body: they are out of sorts with -everything, and of course their ill-humour and captiousness communicates -itself to you, who are as little delighted with them as they are with -other things. Another sort of people, equally objectionable with this -helpless class, who are disconcerted by a shower of heaven’s rain, or -stopped by an insect’s wing, are those who, in the opposite spirit, will -have every thing their own way, and carry all before them--who cannot -brook the slightest shadow of opposition--who are always in the heat of -an argument, unless where they disdain your understanding so much as not -to condescend to argue with you--who knit their brows and roll their eyes -and clench their teeth in some speculative discussion, as if they were -engaged in a personal quarrel--and who, though successful over almost -every competitor, seem still to resent the very offer of resistance to -their supposed authority, and are as angry as if they had sustained some -premeditated injury. There is an impatience of temper and an intolerance -of opinion in this that conciliates neither our affection nor esteem. -To such persons nothing appears of any moment but the indulgence of a -domineering intellectual superiority, to the disregard and discomfiture -of their own and everybody else’s comfort. Mounted on an abstract -proposition, they trample on every courtesy and decency of behaviour; -and though, perhaps, they do not intend the gross personalities they are -guilty of, yet they cannot be acquitted of a want of due consideration -for others, and of an intolerable egotism in the support of truth and -justice. You may hear one of these impetuous declaimers pleading the -cause of humanity in a voice of thunder, or expatiating on the beauty of -a Guido, with features distorted with rage and scorn. This is not a very -amiable or edifying spectacle.--_Hazlitt’s Table-Talk._ - - * * * * * - -NECESSITY OF A THOROUGH EDUCATION.--Good education being a preparation -for social life, necessarily embraces the whole man--body, head, and -heart--for in social life the whole man is necessarily called into -exertion in one way or another almost every hour. But this is not -sufficient. There must be no preponderance, as well as no exclusion; a -limited or biassed education produces monsters. Some are satisfied with -the cultivation of a single faculty--some with the partial cultivation -of each. A child is trained up to working; he is hammered into a hardy -laborer--a stout material for the physical bone and muscle of the -state. This is good, so far as it goes; but it is bad, because it goes -no farther. He is not taught reading; he is not taught religion; above -all, he is not taught thinking. He never looks into his other self; he -soon forgets its existence; the man becomes all body; his intellectual -and moral being lies fallow. The growth of such a system will be a -sturdy race of machines--delvers and soldiers, but not men: so much -brute physical energy swinging loosely through society at the discretion -of those more spiritual natures to whom their education, neglected or -perverted in another way, gives wickedness with power, and teaches the -secrets of mind only as instruments to crush or bend men for their own -selfish purposes. Others educate the intellectual and moral being only; -the physical, once the building is raised, like an idle scaffolding, -is cast by. But the omission is injurious--often fatal: malady is laid -up, in all its thousand forms, in the infant and the child. It spreads -out upon the man. When his spirit is in the flush of its strength, and -his moral rivals his intellectual nature in compass and power, then it -is that the despised portion of his being rises up and avenges itself -for this contempt. The studious man feels, as he walks down life, a -thousand minute retaliations for the prodigal waste of his youthful -vigour. The body bows down beneath the burden of the mind; it wears -gradually away into weakness and incompetency; clouds of sickness, -pangs of pain, obscure, distort, weigh it to the earth. Health is not -a thing of organization only, but of training; it is to be laid up bit -by bit. We are to be _made_ healthy--tutored and practised into health. -Omit health in favour of the intellectual and moral faculties, and -you provide instruments, it is true, for mind, but instruments which, -when wanted, cannot be used. Intellectual and moral education may rank -before physical, but they are not more essential; the physical powers -are the hewers of wood and the drawers of water for the spiritual. The -base of the column is in the earth; but, without it, neither could the -shaft stand firm above it, nor the capital ascend to the sky.--_Wyse on -Education._ - - * * * * * - -HOME.--The great end of prudence is to give cheerfulness to those hours -which splendour cannot gild, and acclamation cannot exhilarate. Those -soft intervals of unbended amusement, in which a man shrinks to his -natural dimensions, and throws aside the ornaments or disguises which -he feels in privacy to be useless incumbrances, and to lose all effect -when they become familiar. To be happy at home is the ultimate result -of all ambition, the end to which every enterprise and labour tends, -and of which every desire prompts the prosecution. It is indeed at home -that every man must be known by those who would make a just estimate of -his virtue or felicity; for smiles and embroidery are alike occasional, -and the mind is often dressed for show in painted honour and fictitious -benevolence.--_Johnson._ - - * * * * * - -If it were enacted that only persons of high rank should dine upon three -dishes, the lower sort would desire to have three; but if commoners were -permitted to have as many dishes as they pleased, whilst the nobility -were limited to two, the inferior sort would not exceed that number. An -order to abolish the wearing of jewels has set a whole country in an -uproar; but if the order had only prohibited earrings to ladies of the -first quality, other women would not have desired to wear them.--_The -Reflector._ - - * * * * * - -The very consciousness of being beloved by the object of our attachment, -will disarm of its terrors even death itself.--_D’Israeli._ - - * * * * * - -The petty sovereign of an insignificant tribe of North America every -morning stalks out of his hovel, bids the sun good morrow, and points out -to him with his finger the course he is to take for the day. - - * * * * * - -Love labour; if you do not want it for food, you may for physic. - - * * * * * - -Industry often prevents what lazy folly thinks inevitable. Industry -argues an ingenuous, great, and generous disposition of soul, by -unweariedly pursuing things in the fairest light, and disdains to enjoy -the fruit of other men’s labours without deserving it. - - * * * * * - -He who lies under the dominion of any one vice must expect the common -effects of it. If lazy, to be poor; if intemperate, to be diseased; if -luxurious, to die betimes, &c. - - * * * * * - -With discretion the vicious preserve their honour, and without it the -virtuous lose it. - - * * * * * - -A good conscience is the finest opiate.--_Knox._ - - * * * * * - - Printed and published every Saturday by GUNN and CAMERON, at - the Office of the General Advertiser, No. 6, Church Lane, - College Green, Dublin.--Agents:--R. GROOMBRIDGE, Panyer Alley, - Paternoster Row, London; SIMMS and DINHAM, Exchange Street, - Manchester; C. DAVIES, North John Street, Liverpool; J. DRAKE, - Birmingham; SLOCOMBE & SIMMS, Leeds; FRAZER and CRAWFORD, - George Street, Edinburgh; and DAVID ROBERTSON, Trongate, - Glasgow. - - - - - -End of the Project Gutenberg EBook of The Irish Penny Journal, Vol. 1 No. -25, December 19, 1840, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK IRISH PENNY JOURNAL, DEC 19, 1840 *** - -***** This file should be named 54534-0.txt or 54534-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/4/5/3/54534/ - -Produced by Brownfox and the Online Distributed Proofreading -Team at http://www.pgdp.net (This file was produced from -images generously made available by JSTOR www.jstor.org) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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 in the United States with eBooks -not protected by U.S. copyright law. 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 -www.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 unprotected by copyright law 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 in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (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 The -Project Gutenberg Trademark LLC, 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 -works not protected by U.S. copyright law 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 1.F.3. 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 MERCHANTABILITY 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 are 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 information page at -www.gutenberg.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. 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 in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -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 checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.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 forty 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 not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: 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. - |