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diff --git a/old/54534-h/54534-h.htm b/old/54534-h/54534-h.htm deleted file mode 100644 index 658ed37..0000000 --- a/old/54534-h/54534-h.htm +++ /dev/null @@ -1,1845 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of The Irish Penny Journal, Vol. 1 No. 25, December 19, 1840, by Various. - </title> - - <link rel="coverpage" href="images/cover.jpg" /> - -<style type="text/css"> - -a { - text-decoration: none; -} - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1,h2,h3 { - text-align: center; - clear: both; -} - -hr { - margin-top: 2em; - margin-bottom: 2em; - clear: both; -} - -hr.tb { - width: 45%; - margin-left: 27.5%; - margin-right: 27.5%; -} - -p { - margin-top: 0.5em; - text-align: justify; - margin-bottom: 0.5em; -} - -table { - margin: 1em auto 1em auto; - width: 40em; -} - -.pagenum { - position: absolute; - right: 4%; - font-size: smaller; - text-align: right; - font-style: normal; -} - -.blockquote { - margin-left: 10%; - margin-right: 10%; -} - -.center { - text-align: center; -} - -.figcenter { - margin: auto; - text-align: center; -} - -.gap4 { - margin-top: 4em; -} - -.poetry-container { - text-align: center; - margin: 1em; -} - -.poetry { - display: inline-block; - text-align: left; -} - -.poetry .stanza { - margin: 1em 0em 1em 0em; -} - -.poetry .verse { - text-indent: -3em; - padding-left: 3em; -} - -.poetry .indent12 { - text-indent: 9em; -} - -.right { - text-align: right; -} - -.smaller { - font-size: smaller; -} - -.smcap { - font-variant: small-caps; - font-style: normal; -} - -.smcapuc { - font-variant: small-caps; - font-style: normal; - text-transform: lowercase; -} - -@media handheld { - -img { - max-width: 100%; - width: auto; - height: auto; -} - -.poetry { - display: block; - margin-left: 1.5em; -} - -.blockquote { - margin-left: 5%; - margin-right: 5%; -} -} - </style> - </head> -<body> - - -<pre> - -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) - - - - - - -</pre> - - -<p><span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span></p> - -<h1>THE IRISH PENNY JOURNAL.</h1> - -<table summary="Headline layout"> - <tr> - <td class="smcap">Number 25.</td> - <td class="center">SATURDAY, DECEMBER 19, 1840.</td> - <td class="right smcap">Volume I.</td> - </tr> -</table> - -<div class="figcenter gap4" style="width: 430px;"> -<img src="images/hogan.jpg" width="430" height="500" alt="Hogan’s monument to Doyle" /> -</div> - -<h2>THE MONUMENT TO THE MEMORY OF DR DOYLE, BY HOGAN.</h2> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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 -<cite>Triumph of Silenus</cite>, 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 <cite>Silenus</cite> -and <cite>Satyrs</cite>, 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.”</p> - -<p>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<span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span> -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. <span class="smcap">Hogan</span> may receive thousands -of pounds from future patrons, but it is to Lord de <span class="smcap">Tabley’s</span> -timely encouragement that he will be indebted for every thing.”</p> - -<p>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.”</p> - -<p>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.</p> - -<p>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 <span class="smcap">Eve</span>, 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.</p> - -<p>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 <em>you</em> 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The execution of this statue was followed by that of a large -sepulchral monument in <i lang="it">basso relievo</i> 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.</p> - -<p>We next find Mr Hogan engaged on a second work for our -city—the <i lang="it">Pieta</i>, 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 <cite>Ape Italiana</cite>—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.</p> - -<p>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 <i lang="it">alto relievo</i> 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 <i lang="it">Genio</i> 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.</p> - -<p>Of the general design of this noble monument our prefixed -illustration will afford a tolerably correct idea; but it would<span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span> -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—</p> - -<div class="poetry-container"> -<div class="poetry"> -<div class="verse">“In my last humble prayer to the spirit above,</div> -<div class="verse">Thy name shall be mingled with mine!”</div> -</div> -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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> - -<p class="right">P.</p> - -<div class="smaller"> - -<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;—</p> - -<p>The Monument to the late Mr Secretary Drummond.</p> - -<p>A Statue of the late Mr William Crawford of Cork, for which Mr Hogan -is to receive L.1000.</p> - -<p>A monumental alto relievo, consisting of three figures, to the memory of -the late Mr William Beamish, for Blackrock Chapel, Cork—L.650.</p> - -<p>Monument to the late Dr Brinkley, Bishop of Cloyne. A colossal figure -in relievo for the Cathedral of Cloyne.</p> - -<p>An alto relievo for the Convent at Rathfarnham.</p> - -<p>An alto relievo for the Chapel at Ross, county of Wexford, commissioned -from John Maher, Esq. M. P.—&c. &c.</p> - -</div> - -<h2 class="gap4">ON ANIMAL TAMING.</h2> - -<h3>FIRST ARTICLE.</h3> - -<p>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.</p> - -<p>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 <span class="smcapuc">MAN</span>. 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 <em>hungry</em> -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<span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span> -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.</p> - -<p>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 <em>otter</em>, as -a paper which recently appeared in the Penny Journal was -designed to show. In fact, I should say that mere <em>fierceness</em> -is but a very slight obstacle to domestication—<em>timidity</em> 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 <em>dread</em> of man diminished, and their <em>boldness</em> -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.</p> - -<p>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 <span class="smcapuc">COURAGE</span>. 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.</p> - -<p>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.</p> - -<p>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:—</p> - -<p>“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 <i lang="la">veni, vidi, vici</i>, 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 <i lang="fr">tete-a-tete</i> 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 <i lang="fr">tete-a-tete</i> 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 <em>rocking</em> the horse; but -on another, when equally tipsy, he mentioned <em>biting</em> 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<span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span> -by <em>rocking</em>, 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 <em>biting the ear</em>, 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.</p> - -<p>In an article which appeared lately on the subject of animal -taming in the <cite>Times</cite> 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?</p> - -<p class="right">H. D. R.</p> - -<h2 class="gap4">RELICS.<br /> -<span class="smaller">BY J. U. U.</span></h2> - -<p>“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.”—<cite>Quarterly Review.</cite></p> - -<div class="poetry-container"> -<div class="poetry"> -<div class="stanza"> -<div class="verse">Ay, there are glorious things even in the dust</div> -<div class="verse">Which still must ever from the human heart</div> -<div class="verse">Win homage next devotion. ’Tis in vain</div> -<div class="verse">To ask the wherefore, or demand what are they</div> -<div class="verse">Amid the keen realities of life?</div> -<div class="verse">Old coin, or broken casque, or fretted stone—</div> -<div class="verse">The waste of Time—the rack upon life’s shore</div> -<div class="verse">Thrown up by the spent waves of centuries—</div> -<div class="verse">They have no meaning in the vulgar tongue;</div> -<div class="verse">Their very uses know them not—things past</div> -<div class="verse">Into the chaos of forgotten forms.</div> -<div class="verse">But here the root of this deep error lies.</div> -</div> -<div class="stanza"> -<div class="verse">The world’s deep Lethé onward blindly glides,</div> -<div class="verse">A perishable Present! glorious only</div> -<div class="verse">Because no Future and no Past are seen</div> -<div class="verse">To scare or shame its dreamy voyager.</div> -<div class="verse">In dull forgetfulness the error lies,</div> -<div class="verse">That hath no feeling of the mighty Past</div> -<div class="verse">Espoused to sense, and purblind as the mole</div> -<div class="verse">To all that meets the intellectual eye:</div> -<div class="verse">To such Iona is a heap of stones,</div> -<div class="verse">And Marathon a desert …</div> -<div class="verse indent12">… O, how changed!</div> -<div class="verse">The meanest thing on which great Time hath set</div> -<div class="verse">His awful stamp (the long-surviving thought</div> -<div class="verse">Left by the mind of other days) appears</div> -<div class="verse">To knowledge and the gaze of memory,</div> -<div class="verse">More instantaneous than those words of power</div> -<div class="verse">Which ancient legends say the tomb obeyed—</div> -<div class="verse">The broken pillar, and the moss-grown pile,</div> -<div class="verse">Dilate into antique magnificence:</div> -<div class="verse">At once the stern old rampart crowns its height—</div> -<div class="verse">The donjon keep, the tower of ancient pride,</div> -<div class="verse">The rock-built fortress of old robber kings,</div> -<div class="verse">Start into life, and from their portals pour</div> -<div class="verse">Mailed foray forth, or pomp of feudal war.</div> -<div class="verse">The temple swells from vacancy, o’erarching</div> -<div class="verse">With pillared roof, and dim solemnity,</div> -<div class="verse">The worship of old time. The dry bones live</div> -<div class="verse">Of ancient ages: monarch, sage, and bard,</div> -<div class="verse">Stand in their living lineaments, invested</div> -<div class="verse">With power, or wisdom, or the gift of song.</div> -</div> -<div class="stanza"> -<div class="verse">These still are common ruins—the remains</div> -<div class="verse">Of those who were the vulgar of their day,</div> -<div class="verse">Who battled, built, and traded, and so died,</div> -<div class="verse">Leaving no trace but nameless monuments,</div> -<div class="verse">The cast attire of ages, which but serve</div> -<div class="verse">To show the present how the past went mad,</div> -<div class="verse">And, like Cassandra, prophesy in vain.</div> -<div class="verse">The earth yet bears more glorious vestiges</div> -<div class="verse">Of Time’s illustrious few, whose memory</div> -<div class="verse">Is greater than the greatest thing that lives—</div> -<div class="verse">Haloed by veneration, wonder, love—</div> -<div class="verse">Whose very tombs stand in life’s calendar</div> -<div class="verse">Eras of thought once seen. Is there an eye</div> -<div class="verse">Could coldly gaze on aught that bears a trace</div> -<div class="verse">Of Avon’s matchless master of the breast?</div> -<div class="verse">Who could approach old Dryburgh’s tombs, and feel not</div> -<div class="verse">The illustrious presence of his great compeer,</div> -<div class="verse">Whose tomb yet moistens with a nation’s woe,</div> -<div class="verse">Whose star is young in heaven? Or who can walk</div> -<div class="verse">Unmoved the cloisters and religious aisles</div> -<div class="verse">Where Milton lies, renowned with “prophets old,”</div> -<div class="verse">And honoured Newton, to whom the starred vault</div> -<div class="verse">Is an enduring monument, as much</div> -<div class="verse">As the Pantheon’s dome is Angelo’s?</div> -</div> -<div class="stanza"> -<div class="verse">What is the pride of kings, the world’s vain splendour,</div> -<div class="verse">To such a presence as they witnessed there</div> -<div class="verse">Who disinterred the bones of Raphael,</div> -<div class="verse">Awful from the repose of centuries?</div> -<div class="verse">There stood that day a solemn, anxious crowd</div> -<div class="verse">Around that altar which conceals beneath</div> -<div class="verse">The mighty master’s relics—for there was a doubt</div> -<div class="verse">If it were truly there that he was laid.</div> -<div class="verse">And there they found all the dull grave could keep</div> -<div class="verse">Of that Immortal. With no common awe</div> -<div class="verse">They bent o’er his dark cell, as it disclosed</div> -<div class="verse">Its treasure to the selfsame holy light</div> -<div class="verse">That gladdened oft of old the master’s heart,</div> -<div class="verse">And waked his heaven-eyed genius; while beneath</div> -<div class="verse">The shadowy splendour of that spacious dome</div> -<div class="verse">He stood in living sanctity, a pure</div> -<div class="verse">And heavenly-minded man—even where they stood</div> -<div class="verse">To gaze upon his dust—and all around</div> -<div class="verse">He scattered bright and hallowed images</div> -<div class="verse">Of perfect beauty—in their brightness there</div> -<div class="verse">Still lying as he left them. Shadows fair</div> -<div class="verse">Of angel form and feature—ye who gaze</div> -<div class="verse">In clouded splendour through those cloisters old,</div> -<div class="verse">Looking as things of life—could ye behold</div> -<div class="verse">Those slender bones, they were the living hand</div> -<div class="verse">Beneath whose touch ye started into being</div> -<div class="verse">And grew to light and beauty, covering</div> -<div class="verse">Your storied frescoes with the lines of grace,</div> -<div class="verse">Harmonious hues and features of the sky.</div> -<div class="verse">And yonder is your birthplace, yon light skull—</div> -<div class="verse">The slight and delicate shrine of all that mind!</div> -<div class="verse">’Tis a strange thought how vast a world resolved</div> -<div class="verse">In thy small compass! Senseless as thou art,</div> -<div class="verse">Who could behold thee as a mouldering bone,</div> -<div class="verse">The mere dust of unsphered humanity?</div> -<div class="verse">There, from that lowly cell as rose to light</div> -<div class="verse">The canonized remains of one whose mind</div> -<div class="verse">Hath been a worship to the eye of ages,</div> -<div class="verse">They were not seen thus coldly—time gave back</div> -<div class="verse">Its venerable honours registered</div> -<div class="verse">Deep in the heart of living Italy—</div><span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span> -<div class="verse">A crown of many-tinted sanctities.</div> -<div class="verse">Thy beauty, goodness, and pure innocence,</div> -<div class="verse">Thy faculty of vision, gift divine,</div> -<div class="verse">Rushed round thee as a glory—thou wert seen</div> -<div class="verse">With all thy laurels round thy honoured tomb.</div> -<div class="verse">Thine is no pile of unrecording stone—</div> -<div class="verse">Pale marble column or tall pyramid,</div> -<div class="verse">That vainly robs oblivion of its prey:</div> -<div class="verse">Thy name lives on each lip—thy monuments</div> -<div class="verse">Are treasures fondly kept midst precious things,</div> -<div class="verse">Sought out in every land which the sun warms</div> -<div class="verse">To nobler thoughts—thine are perennial wreaths</div> -<div class="verse">Of trophies yet surviving, when the fame</div> -<div class="verse">Of fields that rang through Europe, and made pale</div> -<div class="verse">The peaceful hamlets of an hundred realms,</div> -<div class="verse">Have shrunk within the fretted register,</div> -<div class="verse">The silent scroll, named History—still the halls</div> -<div class="verse">Of national state or regal pomp are bright</div> -<div class="verse">With thy far-sought creations, costliest</div> -<div class="verse">Among the treasured trophies of the mind;</div> -<div class="verse">And as thy time on earth was consecrated</div> -<div class="verse">To sacred labours meet for holy walls—</div> -<div class="verse">So would I deem thy gifted spirit still,</div> -<div class="verse">Invested in its light of heavenly thoughts,</div> -<div class="verse">The minister of some pure temple, where</div> -<div class="verse">No human errors mingle with the work.</div> -</div> -</div> -</div> - -<h2 class="gap4">ON THE POWER OF FLUIDS.</h2> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>There is, however, in reality, be it distinctly understood, -no power absolutely gained; but the man’s force is <em>concentrated</em>, -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span> -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 <em>entire</em>, 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.</p> - -<p>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.</p> - -<p class="right">T. A.</p> - -<p class="gap4"><span class="smcap">Disagreeable People.</span>—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.—<cite>Hazlitt’s -Table-Talk.</cite></p> - -<p class="gap4"><span class="smcap">Necessity of a Thorough Education.</span>—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 <em>made</em> 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.—<cite>Wyse on Education.</cite></p> - -<p class="gap4"><span class="smcap">Home.</span>—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.—<cite>Johnson.</cite></p> - -<p class="gap4">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.—<cite>The Reflector.</cite></p> - -<p class="gap4">The very consciousness of being beloved by the object of -our attachment, will disarm of its terrors even death itself.—<cite>D’Israeli.</cite></p> - -<p class="gap4">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.</p> - -<p class="gap4">Love labour; if you do not want it for food, you may for -physic.</p> - -<p class="gap4">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.</p> - -<p class="gap4">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.</p> - -<p class="gap4">With discretion the vicious preserve their honour, and without -it the virtuous lose it.</p> - -<p class="gap4">A good conscience is the finest opiate.—<cite>Knox.</cite></p> - -<hr class="tb" /> - -<div class="blockquote"> - -<p>Printed and published every Saturday by <span class="smcap">Gunn</span> and <span class="smcap">Cameron</span>, at the Office -of the General Advertiser, No. 6, Church Lane, College Green, Dublin.—Agents:—<span class="smcap">R. -Groombridge</span>, Panyer Alley, Paternoster Row, London; -<span class="smcap">Simms</span> and <span class="smcap">Dinham</span>, Exchange Street, Manchester; <span class="smcap">C. Davies</span>, North -John Street, Liverpool; <span class="smcap">J. Drake</span>, Birmingham; <span class="smcap">Slocombe & Simms</span>, -Leeds; <span class="smcap">Frazer</span> and <span class="smcap">Crawford</span>, George Street, Edinburgh; and -<span class="smcap">David Robertson</span>, Trongate, Glasgow.</p></div> - - - - - - - - -<pre> - - - - - -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-h.htm or 54534-h.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. 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