The Project Gutenberg EBook of The Mirror of Literature, Amusement, and
Instruction, No. 333, by Various

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: The Mirror of Literature, Amusement, and Instruction, No. 333
       Vol. 12, Issue 333, September 27, 1828

Author: Various

Release Date: February 17, 2005 [EBook #15087]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK THE MIRROR OF LITERATURE, ***




Produced by Jonathan Ingram, David Garcia and the PG Online
Distributed Proofreading Team.

THE MIRROR
OF
LITERATURE, AMUSEMENT, AND INSTRUCTION.

FIRE TOWER

Throughout Scotland and Ireland there are scattered great numbers of round towers, which have puzzled all antiquarians. They have of late obtained the general name of Fire Towers, and our engraving represents the view of one of them, at Brechin, in Scotland. It consists of sixty regular courses of hewn stone, of a brighter colour than the adjoining church. It is 85 feet high to the cornice, whence rises a low, spiral-pointed roof of stone, with three or four windows, and on the top a vane, making 15 feet more, in all 100 feet from the ground, and measuring 48 feet in external circumference.

Many of these towers in Ireland vary from 35 to 100 feet. One at Ardmore has fasciæ at the several stories, which all the rest both in Ireland and Scotland, seem to want, as well as stairs, having only abutments, whereon to rest timbers and ladders. Some have windows regularly disposed, others only at the top. Their situation with respect to the churches also varies. Some in Ireland stand 25 to 125 feet from the west end of the church. The tower at Brechin is included in the S.W. angle of the ancient cathedral, to which it communicates by a door.

There have been numerous discussions respecting the purposes for which these towers were built; they are generally adjoining to churches, whence they seem to be of a religious nature. Mr. Vallencey considers it as a settled point, that they were an appendage to the Druidical religion, and were, in fact, towers for the preservation of the sacred fire¹ of the [pg 194] Druids or Magi. To this Mr. Gough, in his description of Brechin Tower,² raises an insuperable objection. But they are certainly not belfries; and as no more probable conjecture has been made on their original purpose, they are still known as Fire Towers.

For this curious relic we are indebted to Mr. Godfrey Higgins's erudite quarto, entitled "The Celtic Druids," already alluded to at page 121 of our present volume.

SOME ACCOUNT OF STIRBITCH FAIR.

BY A SEPTUAGENARIAN.

(Stirbitch Fair, as our correspondent observes, was once the Leipsic or Frankfurt of England. He has appended to his "Account" a ground plan of the fair, which we regret we have not room to insert; the gaps or spaces in which, serve to show how much this commercial carnival (for such it might be termed) has deteriorated; for the remaining booths were built on the same site as during the former splendour of the fair. Our correspondent accounts for this "decay, by the facilities of roads and navigable canals for the conveyance of goods;" the shopkeepers, &c, "being able to get from London and the manufacturing districts, every article direct, at a small expense, the fair-keepers find no market for their goods, as heretofore." His paper is, however, a curious matter-of-fact description of Stirbitch, "sixty years since." We have been compelled to reject all but one verse of the "Chaunt," on account of some local allusions, the justice of which we do not deny, but which are scarcely delicate enough for our pages.

Stirbitch is still a festival of considerable extent, although it has lost so much of its commercial importance. There are but few fortnight fairs left: Portsmouth, we recollect, lasts 14 days, and there is a fair held on some fine downs in Dorsetshire, which extends to that period.)

Stirbitch Fair is held in a large field near Barnwell, about two miles from Cambridge, covering a space of ground upwards of two miles in circumference. It commences on the 16th day of September, and continues till the beginning of October, for the sale of all kinds of manufactured and other goods, and likewise for horses.

The etymology of the name of this fair has been much disputed. A silly tradition has been handed down, of a pedlar who travelled from the north to this fair, where, being very weary, he fell asleep at the only inn in the place. A person coming into the room where he lay, the pedlar's dog growled and woke his master, who called out, "Stir, bitch"; when the dog seized the man by the throat, which proved to be the master of the inn, who, to get released from the gripe of the dog, confessed his intention was, with the aid of the ferryman who rowed him over from Chesterton, to rob the pedlar; from which circumstance the fair ever after obtained the name of Stirbitch. But a more reasonable derivation might be found in the known custom of holding a festival on the anniversary of the dedication of any religious foundation. There is a small and very ancient chapel, or oratory, of Saxon architecture, still standing in the field where the fair is kept; but to what saint dedicated, is not recorded. I know not if a St. Ower is to be found in the calendar; if there is, it will, by adding "wijk," or "wych," a district or boundary, be no great stretch of invention to account for a transition from "St. Ower wijch" to Stirbitch; or perhaps from a rivulet which empties itself into the Cam at Quy-water, small streams, in some counties, being called "stours."

Leaving this argument, however, at the road-side chapel, we must proceed to the fair, where the "busy hum of men" announced the approach of the mayor and corporate body to make proclamation. First are,

The proclamation was read, (heads uncovered,) first at the upper end of the fair, next in the Mead where the pottery [pg 195] and coal fair were held, and last at a little inn near the horse fair, in which place a "Pied-poudre" court was held during the fair, for deciding disputes between buyers and sellers, and for punishing abuses and breaches of the peace in a summary way—stocks and a whipping-post being placed before the door for that purpose. Here the mayor and the cavalcade partook of some refreshment.

Should the harvest be backward, and the corn not off the ground, the booths, nevertheless, are erected, the farmers being, as they admit, more than indemnified for their losses in that case, by the immense quantity of litter, offal, and soil left on the ground after the standings and booths are cleared away; besides which, they seize on every thing left upon the land after a fixed day. This has sometimes occurred, and the forfeiture of the goods and chattels so seized has been recognised judicially as a fine for the trespass. This local custom, sanctioned by usage from time immemorial, is without appeal.

The booths were from 15 to 20 feet wide by 25 to 30 feet deep; they were set out in two apartments, the one behind, about 10 feet wide, serving for bed-room, dining-room, parlour, and dressing-room, The bedstead was of four posts and a lath bottom, on which was laid a truss of clean, dry straw, serving as a palliasse, with bed and bedding. The front was fitted up with counters and shelves. The stubble was well trodden into the ground; over which were laid sawdust and boards behind and before the counters, to secure the feet from damp. The shutters, of the space allowed for the windows, were fixed with hinges, and when let down, rested upon brackets, serving as showboards for goods. The booths were constructed of new boards, with gutters for carrying the rain off, and covered with stout hair cloth, with which also a covering was made to an arcade in front, about 10 feet wide. Under this the company walked, protected from rain or the heat of the sun.

The proclamation being made, the clamour and din from the trumpets, drums, gongs, and other noisy instruments, began. The road from Cambridge was actually covered with post-chaises, hackney-coaches from London, gigs, and carts, which brought visiters to the fair from Jesus-lane, in Cambridge, at sixpence each. As soon as you passed the village of Barnwell, your attention was attracted by flags streaming from the show-booths, suttling-booths, &c.; whilst your ears were stunned with the "harsh discord" of a thousand Stentorian bawlers, and the clang of jarring instruments of music. The show-booths were the first on entering the fair, being situated on the north side of the high road. Here were three companies of players, viz. the Norwich company, a very large booth; Mrs. Baker's, whose clown, Lewy Owen, was "a fellow of infinite jest and merriment;" and Bailey's. The latter had formerly been a merchant, and was the compiler of a Directory which bore his name, and was a work of some celebrity and great utility. Fronting these were the fruit and gingerbread stands. On the opposite side of the road stood the cheese fair, attended by dealers from all parts, and where many tons' weight changed hands in a few days, some for the London market, by the factors from thence; and such cheeses as were brought from Gloucester, Cheshire, and Wiltshire, and not made elsewhere, were purchased by the dealers and farmers of Norfolk, Suffolk, and Essex. Opposite the cheese fair, on the north side of the road, stood the small chapel, which was then used as a warehouse for wool, hops, seed, and leather³. Here were the wool-staplers, hop-factors, leather-sellers, and seedsmen. The range of booths in the front were for glovers, leather-breeches makers, saddlers, and other dealers in leather. Opposite to this, at the end of the line of show-booths, Garlick-row commenced; the first range being occupied by hardwaremen, silversmiths, jewellers, and fine ironmongery. The next range was the row of mercers and linen-drapers, where a draper from Holborn had a stock of not less than 5,000l. value. The next range of booths was occupied by stuff-merchants, hosiers, lacemen, milliners, and furriers; here one vender has been known to receive from 1,000l. to 1,200l. for Norwich and Yorkshire goods. A lace-dealer from Tavistock-street likewise attended here with a stock of 2,000l. value, together with many other respectable tradesmen, with goods according to the London fashion. Then followed the ladies and gentlemen's shoe-makers, hatters, and perfumers; and next to the inn was an extensive store of oils, colours, and pickles, kept by an oilman from Limehouse, whose returns were seldom less than 2,000l. during the fair; and the father of the writer of this article, who attended the fair during forty years, usually brought away from 1,200l. to 1,500l. for goods sold and paid for on the spot, exclusive of those sold on credit to respectable dealers, farmers, and gentry. On [pg 196] the outside of the inn were temporary stables for baiting the horses belonging to the visiters. The carriages were drawn up in the fields in a line with the stables or standings for the horses.

Next was the oyster fair; the oysters from Lynn, called the Lynn channel, were the size of a horse's hoof, and were opened with a pair of pincers. At the bottom, in the Mead, next the river, was the coal fair; opposite which were the pottery and fine Staffordshire wares. Returning to and opposite the oyster fair was the horse fair, held on the Friday in the week after the proclamation. The show of beautiful animals here was, perhaps, unrivalled by any fair in the empire; the choicest hunters and racers from Yorkshire, muscular and bony draught-horses from Suffolk and every other breeding county, drew together dealers and gentlemen from all quarters, so that many hundreds of valuable animals changed masters in the space of twelve hours. Higher up was Dockrell's coffee-house and tavern, spacious and well stored with excellent accommodations. About 200 yards onward was Ironmonger-row, where the dealers from Sheffield, Birmingham, Wolverhampton, and other parts, kept large stocks of all sorts of iron and tin wares, agricultural implements, and tools of every description. About 20 yards from them, westward, and bordering on the road, were slop-sellers, dealers in haubergs, wagoners' frocks, and other habiliments for ploughmen; and next, the Hatters'-row. Behind Garlick-row, next the show booths, stood the basket fair, where were sold rakes for haymakers, scythe-hafts, and other implements of husbandry, of which one dealer has been known to sell a wagon-load or two.

Having now made the promenade of the fair, let us step into one of the suttling booths. The principal booth was the Robin Hood, behind Garlick-row, which was fitted up with a good sized kitchen, detached from a long room and parlour. Here were tables covered with baize, and settles of common boards covered with matting. The roof covering was of hair cloth, the same as the shops, but not boarded.

When a new-comer or fresh man arrived to keep the fair, he was required to submit to the ceremony of christening, as it was called, which was performed as follows:—On the night following the horse-fair day, which was the principal day of the whole fair, a select party occupied the parlour of the Robin Hood, or some other suttling booth, to which the novice was introduced, as desirous of being admitted a member, and of being initiated. He was then required to choose two of the company as sponsors, and being placed in an arm-chair, his shoes were taken off, and his head uncovered. The officiator, vested in a cantab's gown and cap, with a book in one hand and a bell in the other, with a verger on each side, robed, and holding staves (alias broomsticks) and candles, preceded by the suttler, bearing a bowl of punch, entered the parlour, and demanded "If there was an infidel present?" Being answered, "Yes," he asked, "What did he require?" Answer. "To be initiated." Q. "Where are the oddfathers?" R. "Here we are." He then proceeded as follows:—

Supper was then served up, at the moderate charge of one shilling a head, exclusive of beer and liquors. The cloth being cleared, the smokers ranged themselves round the fire, and kept up the meeting with mirth and harmony, till all retired and were lulled to anticipating dreams of the profits of the coming day, to which they woke with the sun, cheerful and unenvious of each other's success. Such was Stirbitch fair some sixty years ago, as witnessed by

Your constant reader,
Σηνυα

NOTES ON NORTHERN LITERATURE.

Tordenskiold is a name frequently met with in the annals of Denmark. A singular anecdote is connected with one of the bravest individuals who ever bore the name—the renowned Admiral Tordenskiold, of the days of Frederick IV. While he was yet a young and undistinguished naval officer, he chanced to be in the hall of the royal palace at the time that the king, wearied with the flatteries of some courtiers, who were congratulating him on the success of his war with Sweden, exclaimed, "Ay, I know what you will say, but I should like to know the opinion of the Swedes themselves." Tordenskiold slipped unobserved from the royal palace, hurried to his ship, set sail, and was in an hour on the coast of Sweden. The first sight that caught his eye on landing was a bridal procession. Hastily seizing bride, bridegroom, minister, peasants, and all, he hurried them [pg 197] aboard, and returned to Denmark. Two hours had scarcely elapsed from the moment of the king's expressing his wish, when Tordenskiold, stepping from the crowd of courtiers who surrounded his majesty, informed him that he had now an excellent opportunity of gratifying his wishes, as Swedes of every class of society were in waiting. The astonished monarch, who had not yet missed the young captain from the hall, demanded his meaning; and on being informed of the adventure, summoned the captives to his presence. After gratifying his curiosity, he dismissed them with a handsome present, and ordered them to be conveyed back to Sweden. The promptness of young Tordenskiold was not forgotten, and he speedily rose to the high admiralship of Denmark, a post which he filled with more glory than any other of his countrymen, either before or since.

The memoirs of Lewis Holberg, which have lately appeared in English, are remarkably curious and interesting. It is not generally known, that this celebrated writer, the Moliere of Denmark, was educated at Oxford, whither he repaired penniless, to secure a good education.

Holberg, Samsoe, and Oehlenschlager are the three dramatic luminaries of Denmark. The best production of Samsoe is the play of Dyveke, produced a few days after his death. Such was the enthusiasm it excited, that the following epitaph was proposed to be inscribed on his tomb, in the public cemetery of Copenhagen:—

The best poet that Sweden has ever produced is Esaias Tegner, the bishop of Wexio, now living. His first production was Axel, a short poem on the adventures of one of those pages of Charles XII. who were sworn to a single life, to be entirely devoted to the fortunes of war. He has struck out great interest by plunging this hero in love, and painting the conflicts between his passion and his reverence for his oath. The words have been translated into Danish, German, and English. The latter translation appeared in Blackwood's Magazine. Although the Danish language is so akin to the Swedish, that translation is the worst of the three. It is said that this poem procured Tegner the bishoprick of Wexio. A singular circumstance is connected with it. A German literary gentleman was so delighted with the version of it in his own language, that he actually studied Swedish for the sole purpose of reading it in the original.

A compliment like this has rarely been paid, as the poem does not contain more than about a thousand lines. Since then, Tegner has written a poem, entitled Frethioff's Sage founded on one of the wild and singular traditions of the North. It has been more popular than even Axel, and the announcement of a third poem from the same hand, said to outdo all former efforts, excites the greatest interest in Stockholm.

Novels have only been introduced within these few years in Denmark. Ingemann is their most successful manufacturer. His last production is entitled Valdemar Seier, or Waldemar the victorious. The Danes have translations of Sir Walter Scott and Cooper.

It is supposed there are not above three persons in Copenhagen who cannot speak German. Oehlenschlager, the best modern author of Denmark, writes equally well in German and Danish.

ANGLO-SVECUS.

PLEASURES OF SNUFF-TAKING.

ODE ON A COLLEGE FEAST DAY.

HUGH DELMORE.

THE TOPOGRAPHER

VISIT TO MATLOCK BATHS.

It was on a fine evening in autumn, when the rays of departing day began to glimmer in the west, and twilight had just spread her dusky gloom. All was silent, save the low rushing of the Derwent stream, purling its way through dense groves, and winding round the stupendous rock of Matlock's Vale. As I paced along, the grave, sombre hue of evening fell full on the rocks, which rose in magnificent grandeur, and seemed to look with contempt on all around them. These beauties, combined with the gray tint of the stone, the cawing of the rooks, which nestle in the crevices and underwood, with now and then the screeching of the night-owl,—were such as would make the most cold and indifferent acknowledge the delight to be enjoyed in the silent walks of nature.

Perhaps among all the varied scenery in the north of England, none is more sublime than that of Matlock; whose romantic range, interspersed with some of the finest touches of art, forms an interesting contrast. The road from the village to the Baths is as diversified as sublime. It is situated in the bosom of a deep vale; here, on one side, rocks or crags, tower above you to the height of two hundred feet; at the base they form, a graceful slant, which is covered with thick, clustering foliage. On the summit, verdure is seen; and sometimes sheep, unconscious of their danger, will stray, and nip the grass from the very edge. Beneath flows the river Derwent, now, in rapid, though solemn state, reminding us of the peaceful stream of life—but only in fictitious calm, luring on to its more ruffled scenes; next, a rushing noise reminds you a cataract is near, which, combined with the rustling of the foliage by the breeze, wakens the mind to gratifying contemplation. The other side is bounded by immense hills, which have a gradual ascent. Along the regular connexion of the road are cottages, whose symmetry adds the charm of artificial embellishment to this luxuriant display of nature. Here you perceive [pg 199] a sumptuous villa; a little farther, a simple cot, where nature has displayed her master-hand: but the most charming group is where three rows of cottages rise in regular succession towards the summit of the hill, their gardens contrasting with the barren appearance of their opposite neighbours. These delightful scenes alternate until your arrival at the Baths.

The Baths are situated about one mile from the village of Matlock, and are a collection of lodging-houses, which, during the summer season, are usually occupied. The baths are filled by springs, which issue in great abundance from limestone rocks; the water is exceedingly clear, and bears a temperature of 68° Fahrenheit. Here are the wells which produce the petrifactions; any substance placed in them being, in the course of a few months, covered with stone. Visiters are in the habit of leaving various articles, which, by the ensuing season, thus become incrusted. Birds' nests with eggs in them, baskets, shoes, &c. &c. are among the articles which may be seen here.

Matlock abounds with subterraneous caverns, which excite the surprise and admiration of strangers. These are entered by a passage, formed with immense labour through the solid rock. In the interior you are surrounded by brilliant crystallizations, various kinds of metallic ores, spars, &c., with petrifactions hanging from the roof, pendent as icicles. The roofs of the numerous caves are of different descriptions; some have the appearance of arches formed by the hand of man, others appear to be immense masses of rock, which have fallen into their present situation by chance, or through some violent convulsion of the earth, by which they have been disjointed and separated. In several of them there are fine springs of limpid water. Here are likewise several productive lead mines.

At the Museum the most interesting productions of the Peak are to be seen. Many of the specimens are manufactured into vases, copied from the antique. Besides the natural productions of the place, there are a great variety of fine alabaster vases from Florence, with statues of various kinds of Italian marble. Immediately facing the museum are the gardens, called the Museum Gardens, in which are several grottoes, curiously ornamented. Perched upon a rock, just at the entrance, is a fine venerable hawk, of the bustard species, which was winged about four years ago, and took its station there, from which spot it rarely moves.

The Botanical Gardens, belonging to Mr. Bownes, are much visited, and contain nearly seven hundred indigenous plants. They are situated along the rise of the hill, known by the name of the Heights of Abraham, from the summit of which can be enjoyed the most extensive views of the scenery round Matlock.

About half a mile from Matlock Baths is situated Willersley Castle, the seat of R. Arkwright, Esq., built by his father, the late Sir R. Arkwright. No spot could be more happily chosen for the site of a mansion than than of Willersley. By the liberality of Mr. A. strangers are admitted to the grounds, gardens, &c.; after passing through which, you reach the summit of the hills, which immediately face the Old and New Baths. This range of rocks is variously named; one, called the Lover's Leap, is a most terrific height. After winding by a circuitous route, you are led to the Lover's Walk, which is a shady path immediately at the base. Here lovers may in

In passing through one of the caverns, our guide, after describing to us the various places, in general had a comment to make; one I well remember. The solemnity of the situation, and stupendous grandeur of the cave, struck me with mournful awe. At one part of the cave there was a large hole or well, surrounded by a wooden railing, which our guide informed us was fathomless. A party passing through the cavern, in the full buoyancy of youth, after having expressed their surprise and admiration at the wonders of the place, were preparing to retire, when this spot was mentioned to them. Anxious to see all the curiosities, they returned to this, when one of the party, in a playful mood, placed his hands upon the shoulders of a young lady, and gently pushed her forward. Somewhat terrified, she uttered a scream, but finding herself unhurt, she endeavoured to turn round, when, horrible to relate, the railing gave way, and she was precipitated into the abyss. Picture to yourselves, if possible, the consternation caused by this dreadful occurrence. The alarm was given, ropes, &c. provided, a man immediately lowered, but all their efforts were ineffectual, for the body was never discovered.

M.S.P.

STEAKS.

People who want to enjoy a steak should eat it with shalots and tarragon. Mr. Cobbett says, an orthodox clergyman once told him that he and six others once ate some beef-steaks with shalots and tarragon, and that they "voted unanimously, that beef-steaks never were so eaten before."

[pg 200]

FINE ARTS.

THE CAT RAPHAEL.

Gottfried Mind was born at Bern, in the year 1768. His father, but a short time before, had come in the capacity of joiner and form-cutter into Switzerland from Lipsich, in Upper Hungary, and had fixed his abode at Warblaufen, a village near Bern, where he was chiefly employed for the paper-manufactory of one Herr Gruner, and soon after his arrival purchased the freedom of Pizif, in the Waadtland. Young Mind, on account of his weak constitution of body, was in great measure left to himself, perhaps in the hope of making him healthier and stronger by the cheap and easy means of idle running about. Herr Gruner was a lover of art; during summer he had a German artist, named Legel, in his house, a talented and active man, who often, in country excursions, drew buildings and cattle from nature. This excited the attention of young Mind in some of his idle rambles: he followed Legel every where, and watched him while he worked. Legel, touched with compassion for the poor boy, showed him what he was engaged with, or what he had already finished; and, in the end, would take him along with him in his walks, or amuse him in his own apartment with exhibitions of prints. In particular, he allowed the boy, as often as he liked, to turn over Ridinger's Animals, of which Herr Gruner had a collection; and some of these Mind was not long in trying to imitate with the lead pencil, preferring above all lions, which continued long his favourite animals. These attempts Legel from time to time corrected, and, from less to more, the youngster at length ventured to copy from nature, like his master, and to draw some sheep, goats, and cats.

His father, the joiner, however, thought that to draw on paper was nothing, and wood was the only material on which it was worth one's pains to work. Accordingly, whenever the boy asked paper for drawing, he threw him a bit of wood; so that Gottfried was fain to try also cutting animals in wood, an art in which he speedily attained such dexterity, that, by degrees, his wooden sheep and goats came to ornament all the presses and mantel-pieces in the village. Occasionally, too, he tried drawing likenesses of some peasant boys of Worblaufen, or carving them in wood; and these attempts were not unsuccessful.

It is unknown on whose recommendation Mind, in his eighth year, was placed at the academy for poor children, which Pestalozzi had previously instituted at Neuenhof, near Bern, Aargau; but, in the year 1778, we find, in the authentic account of that institution, published by the Economic Society of Bern, the following short and somewhat clumsily expressed notice:—"Friedly Mynth of Bossi (Mind of Pizy), of the bailliwick of Aubonne, resident in Worblaufen, very weak, incapable of hard work, full of talent for drawing, a strange creature, full of artist-caprices, along with a certain roguishness: drawing is his whole employment: a year and a half here: ten years old." Neither do we know how long he remained at this academy; somewhere between the years 1780 and 1785, he came to the painter, Sigmund Hendenberger, at Bern, a man who had formed himself mostly at Paris in the Boucher school, but afterwards rather inclined to Greuze's style, and who, by his painting of Swiss family pieces, had acquired a considerable sum of money, and a reputation not undeserved. With this person Mind learnt his art of drawing, and colouring with water-colours, &c. but nothing more; in all the other branches of human knowledge he remained at the lowest grade; for he could with difficulty be made to write his name, and he had not the slightest idea of arithmetic. Thus, for example:—once, when he had to pay the postman six kreuzers for a letter, and Madame Freudenberger gave him the money in two silver pieces, he positively refused to take them and carry them down, affirming that two pieces were not enough; and, though his mistress assured him that these were equal in value to six kreuzers, still he persisted in his refusal, and went on grumbling until the six kreuzers, one by one, were counted into his hand. This ignorance and helplessness his master was not slow to take advantage of, so that poor Mind never once thought of looking about him for a better place. From his entrance into Freudenberger's house up to the time of his death, there is nothing to tell of him except that he spent his whole life on the selfsame stool, busied in colouring Freudenberger's sheets so long as he was alive, and, after his death, in drawing and painting, after his own fancy, bears, cats, and children at play, for the benefit of the widow, with the same pitiful day's wages which he had formerly received from his master. Many artists, after Freudenberger's death, would gladly have taken poor Mind into their service, but, like his beloved cats, he was so attached to the house, to his corner and its appurtenances, that he constantly turned a deaf ear to such proposals; [pg 201] and, at last, when Madame Freudenberger began to notice that the people wished to buy away her Friedli from her, she would not let them come near him; and only at rare times, and by way of special favour, allowed a few acquaintances, whom she could depend on, to visit him in her presence. She used, for the most part, to sit beside him herself, with her knitting implements, spurring him on to work. When he had to copy any of his drawings, he usually sketched the outline of them against the glass of the window; and if, on these occasions, it chanced that some boy, cat, dog, or other street passenger he might think worth looking at, withdrew his eye for a moment from the work, his taskmistress failed not to squall forth—"Gaping out again! Not a bit of work done all day! Sit down with thee! Mind thy paper, and give over spying!" How meanly he was kept in regard to clothing—how he had to sleep, for his life long, in a child's bed, far too short for him, for want of a straw mattress—and how, under such continual toil and miserable constraint, he at last sank, and died of water in the chest, it is now needless to say or to lament. We turn, rather, to the more pleasing contemplation of what Mind, in this most unfavourable situation, nevertheless succeeded in performing, and rendering himself as an artist.

Mind's special talent for representing cats was discovered and awakened by chance.⁴ It was not till after Freudenberger's death that Mind fully developed his peculiar talent for the objects to which, subsequently, through his whole life, he applied himself with such special affection, and which, accordingly, he succeeded in representing with such fidelity and truth. The condition of peasant children, their sorrows and joys, their sports and bickerings—the coarse insolence of the richer, the timid dispiritment of the needy, all stood in lively remembrance before his fancy, which liked to go back into that first and only period of his freedom, though, perhaps, also of his beggarhood. In Freudenberger's school he had learned a natural, easy, and comprehensible arrangement of little groups, and a neat, dainty manner, in which wise it was no difficult task for him to represent such scenes with truth and grace. Thus we find these pictures of his, which, for the most part, are painted on small sheets, his sports, banterings, quarrellings, sledge-parties of children, with their half-frozen but still merry faces, in their puffy yet not unpicturesque costume; his beggar-boys, with their rag-ware on their backs, are almost always genial and pleasing. In the course of his narrow, in-doors life, he had worked himself into a friendly, nay, as it were, almost paternal relation with domestic and fire-side animals, especially with cats. While he sat painting, a cat might generally be seen sitting on his back or on his shoulder; and many times he kept, for hours, the most awkward postures, that he might not disturb it. Frequently there was a second cat sitting by him on the table, watching how the work went on; sometimes a kitten or two lay in his lap under the table. Frogs (in bottle) floated beside his easel; and with all these creatures he kept up a most playful, loving style of conversation; though, often enough, any human beings about him, or such even as came to see him, were growled or grunted at in no social fashion. His countenance, especially in latter years, was a mixture of the bear's, the lion's, and the human, for most part of a dull brick-colour; so that many people, particularly children, were afraid to look at him. In figure he was very small, and bent; but, at the same time, had hands and fingers of extraordinary size and coarseness, with which, nevertheless, he produced the cleanest and prettiest drawings. His chief diligence and most careful elegance he brought to work in the painting of his beloved cats. In right delineation of their forms he had the art to seize the general nature of this animal, and, in the portrait-like indication of their various physiognomies, to reflect the specific character of each. The sycophantic look full of falseness, the dainty movements of the kittens, several of which are sometimes painted sporting round their dam—all this, in the most multifarious postures, turns, groups, sports, and quarrels, is depicted with a true observance to nature,—nay, one might say with genius and fidelity.

On Sundays and winter nights, Mind, by way of pastime, used, out of dried, wild chestnuts, to carve little cats, bears, and other beasts, and this with so much art that these little dainty toys were shortly in no less request than his drawings. It is a pity that insects, such as frequently exist in the interior of chestnuts, have already destroyed so many of these carvings.

At the Barengraben (bear-yard) in Bern, where a few live bears are always to be seen, Mind passed many a happy hour; and, between the beasts and him there seemed to prevail a singularly confidential feeling. The moment Friedli—such was the name Mind was best known by in Bern—made his appearance, the bears hastened towards him with friendly [pg 202] grumbling, stationed themselves on their hind feet, and received, impartially, each a piece of bread or an apple out of his pocket. For this reason, bears, next to cats, were a favourite subject of his art; and he reckoned himself, not unjustly, better able to delineate these animals than even celebrated painters have been. Moreover, next to his intercourse with living cats and bears, Mind's greatest joy was in looking at objects of art, especially copper-plates, in which, too, animal figures gave him most satisfaction.

Herr Sigmund Wagner, of Bern, who possesses a choice collection of copper-plates, frequently invited Mind, on winter Sunday evenings, to his house, and would then show him his volumes. While Herr Wagner might be writing, reading, or drawing, Mind, grumbled to himself half-aloud, made his remarks on each sheet, and frequently gave a true, stubborn, rugged judgment even on the most celebrated masters, especially on pictures of animals; for, among these, nothing pleased him but the lions of Rubens, of Rembrandt, and Potter, and the stags of Kidinger; the other animals of the latter he declared to be falsely drawn. Even the most applauded cats of Cornelius Vischer and Wenzel Hollar could not obtain his approbation. After such picture-reviewing he used to drink tea with Herr Wagner; and it seemed as if the baked ware presented therewith was somewhat to his taste. Such evenings were, to a certain extent, his heaven upon earth; nevertheless, he sometimes replied to Herr Wagner's invitation with a "could not come—his Busi (puss) was sick—he must stay with her." Another time he signified "that Busi was like to have kittens to-day, and so it was impossible to leave her."

Mind seldom drew from Nature; at most he did it with a few strokes. His conception was so strong, that whatever he had once strictly observed, stamped itself so firmly in his memory that, on his return home, and often a considerable time afterwards, he could represent it with entire fidelity. On such occasions he would look now and then, as it were, into himself; and when at these moments, he lifted his head, his eyes had something dreamy in them.

An increasing disorder in the breast had put him past all exertion for the space of a year; and, on the 17th of November, 1814, a paroxysm of his malady carried him off, in the 46th year of his age.

Foreign Review.

THE COLISEUM, REGENT'S PARK,

Will be opened in about four months. Our readers are aware that it will present a Panoramic View of London, taken from the dome of St. Paul's Cathedral, and imitated in a bungling manner in a recent pantomime at Covent Garden Theatre. The picture covers 40,000 square feet, or nearly an acre of canvass; the dome of the building on which the sky is painted, is 30 feet more in diameter than the cupola of St. Paul's; and the circumference of the horizon visible from the point of view, is nearly 130 miles. "The Coliseum" is evidently a misnomer, since the building is very similar to the Pantheon at Rome; but we perceive by a letter from the proprietor, that its proper designation is the "Colosseum."

MR. HAYDON

Has just finished a companion to his admirable picture of the Mock Election in the King's Bench, viz. the Chairing of the Members. The first-mentioned is now in the king's collection at Windsor.

NOTES OF A READER

THE JEWS.

The undeviating and uniform identity of the features and general character of countenance, which accompany the Jews, wherever they settle, is one of the most curious phenomena in nature; climate and all those physical circumstances belonging to localities, which work such wonderful changes in the physical character of man, appear to have no influence upon the tribe of Israel. The circumcised of Monmouth-street is as like that of Judea-Gape, in Frankfort, as two individuals of the same nation can be; let them be by birth and residence German, English, Russian, Portuguese, or Polish, still the one and only set of features belonging to the race will be seen equally in all.—Granville's, Tour.

FRENCH MUSIC.

About the year 1760, Piccini, who was the Rossini of his day, was called to Paris to reform the grand opera. The French, roused by the elegant tirades of Rousseau, and the piquant witticisms of all the foreigners who visited Paris, began to conceive it possible that their music was not the finest in the world. The reform which Piccini introduced, was however, but partial, and the French insisted on having Italian music adapted to French words. They have still an [pg 203] opera of their own; but nothing can be more noisy, or less harmonious than the music at the Académie Royale—all tumult, glitter, and show. There is no ballet, except that incidental to the opera; but in scenery and machinery they surprise the English visiter. The French military bands too are equally discordant; so fond are they of drums, that they seem to have converted the tympana of their ears into parchment.

MATHEMATICS.

We consider it quite possible to bring down to ordinary capacities even the truths of pure mathematics, by the substitution of a less general and precise species of evidence. We have ourselves made the attempt, and hence we are satisfied of its entire practicability. Into what a small space would the useful and practical truths of geometry be reduced, were we to dispense with the auxiliary propositions which are required merely to complete the rigid process of demonstration. How simple, for example, would be the doctrine of parallel lines!—Foreign Review.

THE SOUTH SEAS.

The government of the United States are fitting out a commercial expedition to explore the South Seas. The vessels are to stay long enough to complete the necessary inquiries, to ensure the safety of the traders, and to give time for the establishment and consolidation of relations of reciprocal utility. The advantages which it is evident America must derive from this undertaking will, it is supposed, not cost more than 50,000 dollars—Lit. Gaz.

THE OPERA.

Rousseau defines the opera to be a dramatic, lyrical, and scenic representation, in which agreeable sensations are conveyed by the combined effect of all the fine arts, the poetry and action being addressed to the mind, the music to the ear, and the scenic decorations to the eye of the spectator.

PICTURESQUE DRESSES IN SPANISH MARKETS.

On entering Madrid by the gate of Toledo, or the Place de la Cenada, where the market is held, nothing is more striking than the confused mass of people from the country and provinces. There a Castilian draws around him with dignity the folds of his ample cloak, like a Roman senator in his toga. Here a cowherd from La Mancha, with his long goad in his hand, clad in a kilt of ox-skin, whose antique shape bears some resemblance to the tunic worn by the Roman and Gothic warriors. Farther on may be seen men with their hair confined in long nets of silk. Others wearing a kind of short brown vest, striped with blue and red, conveying the idea of Moorish garb. The men who wear this dress come from Andalusia.

HYMN.

MECHANICAL TRIUMPHS.

To those interested in the mechanical sciences, and their application to manufactures and the arts, England offers larger scope of observation than any other country in the world. Throughout the vast establishments of our cotton, woollen, linen, silk, and hardware manufactures, there is even less to create astonishment in the multitude and variety of the products, than in the exquisite perfection of the machinery employed—machinery, such in kind, that it seems almost to usurp the functions of human intelligence. No one can conceive its completeness, who has not witnessed the workings of the power-loom, or seen the mechanism by which the brute power of steam is made to effect the most minute and delicate processes of tambouring. Nor can any one adequately comprehend the mighty agency of the steam-engine, who has not viewed the machinery of some of our mining districts, where it is employed on a scale of magnitude and power unequalled elsewhere. In Cornwall,⁵ especially, steam-engines may be seen working with a thousand horse power, and capable (according to a usual mode of estimating their perfection as machinery) of raising nearly 50,000,000 pounds of water through the space of a foot, by the combustion of a single bushel of [pg 204] coals. No Englishman, especially if destined to public life, can fitly be ignorant of these great works and operations of art which are going on around him; and if time can be afforded in general education for Paris, Rome, and Florence, time is also fairly due to Glasgow, Manchester, Leeds, Birmingham, and Sheffield.—Q. Rev.

LEARNING FRENCH.

Fashion dominates in this, as in other things. Of late its dictation has been to cradle children in French; often, even to prohibit English in the nursery and school-room; and, frequently, at a later time, to detach our youth from their own country, for the sake of forwarding the same object in foreign pensions, or schools. We have seen this fashion extending itself to more mature life; and serious and discreet men, senators and judges, toiling painfully through elements, vocabularies, and rules of pronunciation, to acquire an amount of speech sufficient to attract ridicule, and produce inconvenience, but very inadequate to any useful or ornamental purpose.—Ibid.

POOR-MAN-OF-MUTTON

Is a term applied to the remains of a shoulder of mutton, which, after it has done its regular duty as a roast at dinner, makes its appearance as a broiled bone at supper, or upon the next day.

The late Earl of B., popularly known by the name of Old Rag, being indisposed in a hotel in London, the landlord came to enumerate the good things he had in his larder, to prevail on his guest to eat something. The earl at length, starting suddenly from his couch, and throwing back a tartan night-gown which had covered his singularly grim and ghastly face, replied to his host's courtesy; "Landlord, I think I could eat a morsel of a poor man." Boniface, surprised alike at the extreme ugliness of Lord B.'s countenance, and the nature of the proposal, retreated from the room, and tumbled down stairs precipitately; having no doubt that this barbaric chief, when at home, was in the habit of eating a joint of a tenant or vassal when his appetite was dainty.—Jamieson's Diet.

THE GREEN ROOM.

Nothing can be more striking than to hear a lady, who has just been figuring upon the stage as a coquette or a romp, explaining to some friend the distress she is labouring under in consequence of the serious illness of her mother or aunt; or to see a gentleman fresh from the boards, upon which he has been amusing the audience as Caleb Quotem or Jeremy Diddler, with tears in his eyes, and a low comedy wig on his head, giving an account of the melancholy state of his wife and three children, all dying of scarlatina; but such is too often the case: too often, while the player is tortured with physical pain, or sinking under moral distress, he is obliged in his vocation to wear the face of mirth, and distort his features into the extremes of grimace. The actress, writhing under the pangs of ingratitude in man, or insult from woman, is similarly driven to strain her lungs to charm the ears of an audience, or exhibit her graceful figure to the best advantage in the animated dance, for the amusement of the half-price company of a one shilling gallery, while her heart is bursting with sorrow; add to all these inevitable ills, the constant labour of practice and rehearsal, the caprice of the public, the tyranny of managers, the rarity of excellence, the misery of defeat, and the uncertainty of health and capability, and then might one ask, Who would be an actor, who could be any thing else?—Hook's Gervase Skinner.

The first Italian performer that made any distinguished figure in London was Valentini, a true, sensible singer at that time, but of a throat too weak to sustain those melodious warblings, for which the fairer sex have since idolized his successors. However, this defect was so well supplied by his action, that his hearers bore with the absurdity of his singing his first part of Turnus, in Camilla, all in Italian, while every other character was sung and recited to him in English.—Life of Colley Gibber.

To attain complex and difficult ends by simple means, whether in physics or politics, falls not to the lot of man. What should we think of the man who should insist on having a simple watch, which should answer every object of that machine, and yet possess the simplicity of a sun-dial? The artificer would naturally say to such a customer, "Sir, if you want a sun-dial, you can have a very cheap and a very simple one; but if you desire a watch, I shall be glad to learn how its operations are to be accomplished without complex mechanism."

[pg 205]

THE SELECTOR;
AND
LITERARY NOTICES OF
NEW WORKS.

A RUSSIAN WEDDING.

Early one day in November, a kind young friend, the son of Mr. Anderson, the oldest English merchant in St. Petersburgh, whose attentions to me were unremitting, put a finely embossed card into my hands, on which was printed, in Russian characters, the following invitation, literally translated:—

"Ivan Ivanovitch and Prascovia Constantinova Ivanoff humbly request the favour of your attendance on the marriage ceremony of their daughter Anna Ivanowna with Nicholai Demetrivich Borissow, and to the dinner-table, this November the 13th day, in the year 1827, at two o'clock in the afternoon."

On the embossed border of the card, delicately edged with rose colour, the emblematic figure of Hymen was represented on the one side, standing under a palm-tree, between the sleeping dogs of fidelity, and inviting from the other side the figures of the bride and bridegroom. I learned that the parties were wealthy Russian hemp-commission agents, and most excellent people; and as such an invitation promised to afford me an opportunity of witnessing the church marriage ceremony, of which I had read so many dissimilar accounts, I gladly accepted it. At two, the friends of the parties assembled from all quarters in the winter church of the Annunciation, in the Vassileiostrow, where a great concourse of people had already collected round the choristers or chanters, who, in the most delightful manner imaginable, and in the fuga style, were singing hymns, mixing with skilful combination the sopranos and bass voices. We beguiled half an hour in listening to their strains, waiting for the arrival of the bride. In the meantime I surveyed the picturesque groups of people that kept gradually forming in various parts of the church, where the kaftaned Russian, with his well-caressed beard, mixed with the throng of young and good-looking females. Some of the latter, dressed in the fashion of the country, their heads profusely ornamented with gold and embroidered veils; and others, according to the more attractive garb of the French, presented a striking contrast to many of the assembled men, whom I understood to belong to the class of Russian merchants, but who wore neither the kaftan nor the beard. Their smooth and shaven faces, with the general style of dress common to most of the European nations, scarcely permitted their being distinguished from several English merchants present, who had been invited on the occasion. The officiating priest, decked in his rich church vestments, accompanied by the deacon advanced from the sanctuary towards the door of entrance into the church, and there received the pair about to be made happy, to whom he delivered a lighted taper, making, at the same time, the sign of the cross thrice on their foreheads, and conducted them to the upper part of the nave. Incense was scattered before them, while maids, splendidly attired, walked between the paranymphy, or bridegroom and bride. The Greek church requires not the presence of either of the parents of the bride on such an occasion. Is it to spare them the pain of voluntarily surrendering every authority over their child to one who is a stranger to her blood? I stood by the side of the table on which were deposited the rings, and before which the priest halted at the conclusion of a litany, wherein the choristers assisted, and from which he pronounced, in a loud and impressive voice, the following prayer, his face being turned towards the sanctuary, and the bride and bridegroom placed immediately behind him, holding their lighted tapers:—

"O Eternal God! thou who didst collect together the scattered atoms by wonderous union, and didst join them by an indissoluble tie, who didst bless Isaac and Rebecca, and made them heirs of thy promise; give thy blessing unto these thy servants, and guide them in every good work: for thou art the merciful God, the lover of mankind, and to thee we offer up our praise, now and for ever, even unto ages of ages."

The import of this beautiful invocation was at the time, interpreted to me by a friend well acquainted with the whole service and office of espousals, the language of which he assured me was all equally impressive. The priest, next turning round to the couple, blessed them, and taking the rings from the table, gave one to each, beginning with the man, and proclaiming aloud that they stood betrothed, "now and for ever, even unto ages of ages," which declaration he repeated thrice to them, while they mutually exchanged the rings an equal number of times. The rings were now again surrendered to the priest, who crossed the forehead of the couple with them, and put them on the fore-finger of the right hand of each; and turning to the sanctuary, read another impressive part of the service, [pg 206] in which an allusion is made to all the circumstances in the Holy Testament, where a ring is mentioned as the pledge of union, honour, and power; and prayed the Lord "to bless the espousals of thy servants, Anna Ivanowna and Nicholai Demetrivich, and confirm them in thy holy union; for thou in the beginning didst create them, male and female, and appointed the woman for a help to the man, and for the succession of mankind. Let thine angel go before them to guide them all the days of their life." The priest now taking hold of the hands of both parties, led them forward and caused them to stand on a silken carpet, which lay spread before them. The congregation usually watch this moment with intense curiosity, for it is augured that the party who steps first on the rich brocade will have the mastery over the other through life. In the present case, our fair bride secured possession of this prospective privilege with modest forwardness. Two silver imperial crowns were next produced by a layman, which the priest took, and first blessing the bridegroom, placed one of them on his head, while the other, destined for the bride, was merely held over her head by a friend, lest its admirable superstructure, raised by Charles, the most fashionable perruquier of the capital, employed on this occasion, should be disturbed. That famed artist had successfully blended the spotless flower, emblematic of innocence, with the rich tresses of the bride, which were farther embellished by a splended tiara of large diamonds. Her white satin robe, from the hands of Mademoiselle Louise, gracefully penciling the contours of her bust, was gathered around her waist by a zone studded with precious stones, which fastened to her side a bouquet of white flowers. The common cup being now brought to the priest, he blessed it, and gave it to the bridegroom, who took a sip from its contents thrice, and transferred it to her who was to be his mate, for a repetition of the same ceremony. After a short pause, and some prayers from the responser, in which the choristers joined with musical notes, the priest took the bride and bridegroom by the hand, the friends holding their crowns, and walked with them round the desk thrice, having both their right hands fast in his, from west to east, saying—

"Exult, O Isaiah! for a virgin has conceived and brought forth a son, Emanuel, God and man; the East is his name. Him do we magnify, and call the virgin blessed!"

Then taking off the bridegroom's crown, he said—

"Be thou magnified, O bridegroom, as Abraham! Be thou blessed as Isaac, and multiplied as Jacob, walking in peace, and performing the commandments of God in righteousness."

In removing the bride's crown, he exclaimed—

"And be thou magnified, O bride, as Sarah! Be thou joyful as Rebecca, and multiplied as Rachael; delighting in thine own husband, and observing the bounds of the law, according to the good pleasure of God."

The ceremony now drew to its conclusion, the tapers were extinguished and taken from the bride and bridegroom, who walking towards the holy screen were dismissed by the priest, received the congratulations of the company, and saluted each other. We all now hurried to our carriages, the youngest to their sledges, and took the direction of the house of the bride's father, where we were received by that person in his Russian costume, and with a flowing beard, who conducted the company, at the sound of a full band of music, into the banqueting-room, already prepared for about fifty guests, with tables decked with golden plateaux and vases bearing artificial flowers, mixed with piles of fruit and bonbons. Here a large assemblage of friends had already met, through which we made our way to an inner room, where the bride, seated by the side of her mother, and surrounded by matrons and damsels, received, with becoming modesty, our congratulations. I was surprised at finding in the gynæceum of a class of society of this description, such agreeable and easy manners, untainted by the least gaucherie or awkward pretensions. My engagement prevented my remaining to dinner; but I returned time enough in the evening to be present at the conclusion of the day's ceremony. The dinner had passed off without any remarkable occurrence, and considering the ominous quantity of Champagne consumed (a very favourite beverage on all gala days with the middle classes of society at St. Petersburgh), I found the party almost philosophical. Toasts to the bride and bridegroom had been repeatedly drunk, and the night was far advanced when the passajonaiatetz took the bride by the hand, and conducted her into the bed-chamber, where he consigned her to the care of all the married ladies present, himself retiring immediately after. Those matrons assisted in disrobing her of the bridal vestments, and in assuming the garb appropriate to the chamber in which they were. The passajonaiatetz next performed the like office of conducting the bridegroom to the chamber, [pg 207] who put on his schlafrock, or nightgown, the married ladies having previously retired. These operations being concluded, the doors of the bed-chamber were thrown open, and we all walked in in procession, quaffing a goblet of Champagne to the health of the parties, kissing the bride's hands, who returned the salutations on our cheeks, and embracing à la Francaise the cheeks of the bridegroom, who luckily, in the present instance, had neither the Russian beard nor the modern English whiskers. With one voice we then wished the happy pair a hearty blessing, and withdrew, when the doors were closed. The company gradually dispersed. Dinners and dancing went on for three successive days. On the first of these I attended for a few minutes, being determined to satisfy my curiosity to the last. I had, however, to pay for this indulgence, having been compelled, by immemorial usage, on entering the room, to drink a bumper of the sparkling juice to the dregs in honour of the bride, to undergo the same ceremony of bride and bridegroom's salutation, and to whirl half a round of a waltz with the former. But I had made up my mind to bear even worse inconveniences than these, should it have been necessary, rather than forego the advantage of judging for myself of the truth or falsehood of the many exaggerated and fanciful descriptions given by travellers of a Russian wedding. To complete this account of what I witnessed, I should add, that on the eighth day, the happy pair attended once more at the church, for the ceremony of "dissolving the crowns," which is performed by the priest, with appropriate prayers, in allusion to the rites of matrimony.

THE ANECDOTE GALLERY

DOCTOR PARR.

Dr. Parr's nature was highly social; and he almost always spent his evenings in the company of his family and his domestic visiters, or in that of some neighbouring friends. He was fond of the pleasures of the table; and probably, in the course of the whole year, few days passed in which he did not meet some social party, round the festive board, either at home or abroad. At such times his dress was in complete contrast with the costume of the morning, for he appeared in a well-powdered wig, and always wore his band and cassock. On extraordinary occasions he was arrayed in a full-dress suit of black velvet, of the cut of the old times, when his appearance was imposing and dignified.

After dinner, but not often till the ladies were about to retire, he claimed, in all companies, his privilege of smoking, as a right not to be disputed; since, he said, it was a condition, "no pipe, no Parr," previously known, and peremptorily imposed on all who desired his acquaintance. Speaking of the honour once conferred upon him, of being invited to dinner at Carlton-house, he always mentioned, with evident satisfaction, the kind condescension of his present Majesty, then Prince of Wales, who was pleased to insist upon his taking his pipe as usual. Of the Duke of Sussex, in whose mansion he was not unfrequently a visiter, he used to tell, with exulting pleasure, that his Royal Highness not only allowed him to smoke, but smoked with him. He often represented it as an instance of the homage which rank and beauty delight to pay to talents and learning, that ladies of the highest stations condescended to the office of lighting his pipe. He appeared to no advantage, however, in his custom of demanding the service of holding the lighted paper to his pipe from the youngest female who happened to be present; and who was, often, by the freedom of his remarks, or by the gaze of the company, painfully disconcerted. This troublesome ceremony, in his later years, he wisely discarded.

The reader will probably recollect, in the well-known story, his reply to the lady by whom he had been hospitably entertained, but who refused to allow him the indulgence of his pipe. In vain he pleaded that such indulgence had always been kindly granted in the mansions of the highest nobility, and even in the presence and in the palace of his sovereign. "Madam," said Dr. Parr to the lady, who still remained inexorable, "you must give me leave to tell you, you are the greatest—" whilst she, fearful of what might follow, earnestly interposed, and begged that he would express no rudeness—"Madam," resumed Dr. Parr, speaking loud, and looking stern, "I must take leave to tell you, you are the greatest—tobacco-stopper in England." This sally produced a loud laugh; and having enjoyed the effects of his wit, he found himself obliged to retire, in order to enjoy the pleasures of his pipe.

Dr. Parr was accustomed to amuse himself in the evening with cards, of which the old English game of whist was his favourite. But no entreaties could induce him to depart from a resolution, which he adopted early in life, of never playing, in any company whatever, for more than a nominal stake. Upon one occasion only, he had been persuaded, [pg 208] contrary to his rule, to play with the late Bishop Watson for a shilling, which he won. Pushing it carefully to the bottom of his pocket, and placing his hand upon it, with a kind of mock solemnity, "There, my Lord Bishop," said he, "this is a trick of the devil; but I'll match him: so now, if you please, we will play for a penny;" and this was ever after the amount of his stake. He was not, on that account, at all the less ardent in the prosecution, or the less joyous in the success, of the rubber. He had a high opinion of his own skill in this game, and could not very patiently tolerate the want of it in his partner. Being engaged with a party, in which he was unequally matched, he was asked by a lady how the fortune of the game turned? when he replied, "Pretty well, Madam, considering that I have three adversaries!"

Even ladies were not spared, who incurred his displeasure, either by pertinacious adherence to the wrong in opinion, or by deficiency of attention to the right and the amiable in conduct. To one, who had violated, as he thought, some of the little rules of propriety, he said, "Madam, your father was a gentlemen, and I thought that his daughter might have been a lady." To another, who had held out in argument against him, not very powerfully, and rather too perseveringly, and who had closed the debate by saying, "Well, Dr. Parr, I still maintain my opinion." He replied, "Madam, you may, if you please, retain your opinion, but you cannot maintain it."

THE GATHERER

OBSTINATE PUN.

Aliquid is mater unite dextra ordinari læto he at.

A liquid is matter united extraordinarily to heat.

A worthy Cambrian at the recent Eisteddfod, or Welsh Musical Festival, after staying a short time at the concert, walked off, shaking his head, exclaiming, "I like singing and drinking by turns—here it is all sing and no drink—that will never do."

PARISIAN MARRIAGE MART.

Among the curious institutions in Paris, is an establishment by a marriage negotiator, by means of which persons who are seeking for wives are enabled to view all the females upon his list, who are placed in different rooms with glazed doors, so classed as to give an easy reference to the particulars on his books, as to their ages, fortunes, and qualifications. When the inspector is satisfied with these particulars, and with the personal appearance, an interview takes place, and the bargain is struck.

Captain Basil Hall has addressed a letter to a Scotch newspaper, stating that the story of his walking 16,000 miles in fifteen months, is a hoax—the whole journey being performed in land conveyances and steam-vessels! Not a line is written of the "Book" of these exploits, said to be "in the press;" the latter is by no means so great a blunder as the former.

A facetious gourmand suggests that the old story of "lighting a candle to the devil," or as it has been corrupted, "holding a candle to the devil," probably arose from the adage of "GOD sends meat, and the devil sends cooks,"—and was an offering to his Infernal Majesty, by some epicure who was in want of a cook.

GERMAN MODE OF PREVENTING TIPPLING.

The following is a late order from the mayor of a department in the Isere:—-"All persons drinking and tippling upon Sundays and holidays, in coffee-houses, &c. during the celebration of mass or vespers, are hereby authorized to depart without paying for what they have had."

*_** ERRATA at page 189—for Quoites read Quoties, and in the same line insert hyphen—thus, mori-.

LIMBIRD'S EDITION OF THE

BRITISH NOVELIST, Publishing in Monthly Parts, price 6d. each.—Each Novel will be complete in itself, and may be purchased separately.

Footnote 1: (return) Like the ancient Jews and Persians, the Druids had a sacred and inextinguishable fire, which was preserved with the greatest care. At Kildare it was guarded, from the most remote antiquity, by an order of Druidesses, who were succeeded in later times by an order of Christian Nuns. The fire was fed with peeled wood, and never blown with the mouth, that it might not be polluted.

Footnote 2: (return) "On the west front of the tower are two arches, one within the other in relief. On the point of the outermost is a crucifix, and between both, towards the middle, are figures of the Virgin Mary and St. John, the latter holding a cup with a lamb. The outer arch is adorned with knobs, and within both is a small slit or loop. At the bottom of the outer arch are two beasts couchant. If one of them by his proboscis was not evidently an elephant, I should suppose them the supporters of the Scotch arms. Parallel with the Crucifix are two plain stones, which do not appear to have had anything upon them. Here is not the least trace of a door in these arches, nor anywhere else, except in the church."

Footnote 3: (return) A church or chapel is generally to be found throughout the whole Christian world near a ferry, to which the passenger went to propitiate the Deity before embarking, and to express his gratitude when safely arrived.

Footnote 4: (return) See "Painting Cats," page 190.

Footnote 5: (return) It is a remarkable proof of the amount of improvement effected in some of the Cornish steam engines, that the result obtained from a given quantity of coal, estimated in the manner alluded to above, is nearly three times as great now as it was twenty years ago. Nor will the spectator find more cause for astonishment in the magnitude of these engines, than in the order, or even beauty, of every minute part pertaining to them. The furniture of a drawing-room is not more scrupulously arranged, or preserved in a state of higher polish, than are those huge representatives of human power.

Printed and Published by J. LIMBIRD, 143, Strand, (near Somerset-House.) London: sold by ERNEST FLEISCHER, 626, New Market, Leipsic; and by all Newsmen and Booksellers.

End of the Project Gutenberg EBook of The Mirror of Literature, Amusement,
and Instruction, No. 333, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK THE MIRROR OF LITERATURE, ***

***** This file should be named 15087-h.htm or 15087-h.zip *****
This and all associated files of various formats will be found in:
        https://www.gutenberg.org/1/5/0/8/15087/

Produced by Jonathan Ingram, David Garcia and the PG Online
Distributed Proofreading Team.


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations.  To donate, please visit: https://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.


Most people start at our Web site which has the main PG search facility:

     https://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.