The Mirror of Literature, Amusement, and Instruction. Volume 19, No. 541, April 7, 1832

His library is not large, but select; and as he does not sit in it excepting very occasionally, the fire grate is a movable one, and can be turned at will from parlour to library and vice versa,—a whim of his old acquaintance Dr. Trifle of Oxford. In it are his library table and stuffed chair; a bust of Pitt and another of Cicero; a patent inkstand and silver pen; an atlas, and maps upon rollers; a crimson screen, an improved "Secretaire;" a barometer and a thermometer. Upon the shelves may be found almost for certain Boswell's Johnson; Encyclopaedia Britannica; Peptic Precepts and Cook's Oracle; the Miseries of Human Life; Prideaux' Connexion of the Old and New Testament; Dr. Pearson's Culina Famulatrix Medecinae; Soame Jenyn's Essays; the Farrier's Guide; Selden's Table-talk; Archbishop Tillotson's Sermons; Henderson on Wines; Boscawen's Horace; Croker's Battles of Talavera and Busaco; Dictionary of Quotations; Lord Londonderry's Peninsular Campaigns; the Art of Shaving, with directions for the management of the Razor; Todd's Johnson's Dictionary; Peacham's Complete Gentleman; Harris' Hermes; Roget on the Teeth; Memoirs of Pitt; Jokeby, a Burlesque on Rokeby; English Proverbs; Paley's Moral Philosophy; Chesterfield's Letters; Buchan's Domestic Medicine; Debrett's Peerage; Colonel Thornton's Sporting Tour; Court Kalendar; the Oracle, or Three Hundred Questions explained and answered; Gordon's Tacitus an Elzevir Virgil; Epistolae obscurorum virorum; Martial's Epigrams; Tully's Offices; and Henry's Family Bible.

His general character for nicety is excellent, both in a moral and religious point of view: and he holds himself to have done a questionable thing in looking into a number of Harriette Wilson, in which a gay quondam friend of his figured. When he marries, the ceremony is performed by the Honourable and very Reverend the Dean of some place, to whom he claims a distant relationship. He takes his wine in moderation; never bets, nor plays above guinea points, and always at whist. He goes to church regularly; his pew is a square one, with green curtains. He dines upon fish on Good Friday, and declines visiting during Passion week in mixed parties. If he ever had any peccadilloes of any kind, they are buried in a cloud as snug as that which shrouded the pious Eneas when he paid his first visit to Queen Dido.

He dies, aged fifty-seven, of a pleuritic attack, complicated with angina pectoris; and having left fifty pounds to each of the principal charitable institutions of his neighbourhood, and fifty pounds to the churchwardens of his parish, to be distributed amongst the poor professing the religion of the Church of England, he is buried in his "family vault," and his last wish fulfilled,—that is to say, his epitaph is composed in Latin, and the inscription put up under the especial care and inspection of his friend Dr. Dusty of Oxford. Requiescat.

THE VILLAGE CEMETERY

In the New Monthly Magazine, just published is a powerful poem—the Splendid Village, by the author of "Corn-law Rhymes." from which we extract the following passage:

I sought the churchyard where the lifeless lie,And envied them, they rest so peacefully."No wretch comes here, at dead of night." I said,"To drag the weary from his hard-earn'd bed;No schoolboys here with mournful relics play,And kick the 'dome of thought' o'er common clay;No city cur snarls here o'er dead men's bones;No sordid fiend removes memorial stones.The dead have here what to the dead belongs,Though legislation makes not laws, but wrongs."I sought a letter'd stone, on which my tearsHad fall'n like thunder-rain, in other years,My mother's grave I sought, in my despair,But found it not! our grave-stone was not there!No we were fallen men, mere workhouse slaves,And how could fallen men have names or graves?I thought of sorrow in the wilderness,And death in solitude, and pitilessInterment in the tiger's hideous maw:I pray'd, and, praying, turn'd from all I saw;My prayers were curses! But the sexton came;How my heart yearn'd to name my Hannah's name!White was his hair, for full of days was he,And walk'd o'er tombstones, like their history.With well feign'd carelessness I rais'd a spade,Left near a grave, which seem'd but newly made,And ask'd who slept below? "You knew him well,"The old man answer'd, "Sir, his name was Bell.He had a sister—she, alas! is gone,Body and soul. Sir! for she married oneUnworthy of her. Many a corpse he tookFrom this churchyard." And then his head he shook,And utter'd—whispering low, as if in fearThat the old stones and senseless dead would hear—A word, a verb, a noun, too widely famed,Which makes me blush to hear my country named.That word he utter'd, gazing on my face,As if he loath'd my thoughts, then paus'd a space."Sir," he resumed, "a sad death Hannah died;Her husband—kill'd her, or his own son lied.Vain is your voyage o'er the briny wave,If here you seek her grave—she had no grave!The terror-stricken murderer fled beforeHis crime was known, and ne'er was heard of more.The poor boy died, sir! uttering fearful criesIn his last dreams, and with his glaring eyes,And troubled hands, seem'd acting, as it were,His mother's fate. Yes, Sir, his grave is there."

THE SELECTOR AND LITERARY NOTICES OF NEW WORKS

LANDERS' DISCOVERY OF THE TERMINATION OF THE NIGER

Our readers are already in possession of the outline of this memorable journey; though nothing but an attentive perusal of the Discoverers' Narrative can afford them the remotest idea of the dangers they encountered in their progress. To gratify this curiosity, Mr. Murray has considerately enough, printed their Journal in three volumes of the Family Library, and to say that they are, in interest, equal if not superior to any of the Series would be praise inadequate to their merits. The simple, unvarnished style of the Narrative is just suitable for a family fireside. We intend to quote a few scenes: at present

An African Horse-Race,

at Kiáma, in the kingdom of Borgoo from the first volume.

"In the afternoon, all the inhabitants of the town, and many from the little villages in its neighbourhood, assembled to witness the horse-racing, which takes place always on the anniversary of the 'Bebun Sàlah,' and to which every one had been looking forward with impatience. Previous to its commencement, the king, with his principal attendants, rode slowly round the town, more for the purpose of receiving the admiration and plaudits of his people than to observe where distress more particularly prevailed, which was his avowed intention. A hint from the chief induced us to attend the course with our pistols, to salute him as he rode by; and as we felt a strong inclination to witness the amusements of the day, we were there rather sooner than was necessary, which afforded us, however, a fairer opportunity of observing the various groups of people which were flocking to the scene of amusement.

"The race-course was bounded on the north by low granite hills; on the south by a forest; and on the east and west by tall shady trees, among which were habitations of the people. Under the shadow of these magnificent trees the spectators were assembled, and testified their happiness by their noisy mirth and animated gestures. When we arrived, the king had not made his appearance on the course; but his absence was fully compensated by the pleasure we derived from watching the anxious and animated countenances of the multitude, and in passing our opinions on the taste of the women in the choice and adjustment of their fanciful and many-coloured dresses. The chief's wives and younger children sat near us in a group by themselves; and were distinguished from their companions by their superior dress. Manchester cloths of inferior quality, but of the most showy patterns, and dresses made of common English bed-furniture, were fastened round the waist of several sooty maidens, who, for the sake of fluttering a short hour in the gaze of their countrymen, had sacrificed in clothes the earnings of a twelve-month's labour. All the women had ornamented their necks with strings of beads, and their wrists with bracelets of various patterns, some made of glass beads, some of brass, others of copper; and some again of a mixture of both metals: their ancles also were adorned with different sorts of rings, of neat workmanship.

"The distant sound of drums gave notice of the king's approach, and every eye was immediately directed to the quarter from whence he was expected. The cavalcade shortly appeared, and four horsemen first drew up in front of the chief's house, which was near the centre of the course, and close to the spot where his wives and children and ourselves were sitting. Several men bearing on their heads an immense quantity of arrows in huge quivers of leopard's skin came next, followed by two persons who, by their extraordinary antics and gestures, we concluded to be buffoons. These two last were employed in throwing sticks into the air as they went on, and adroitly catching them in falling, besides performing many whimsical and ridiculous feats. Behind these, and immediately preceding the king, a group of little boys, nearly naked came dancing merrily along, flourishing cows' tails over their heads in all directions. The king rode onwards, followed by a number of fine-looking men, on handsome steeds; and the motley cavalcade all drew up in front of his house, where they awaited his further orders without dismounting. This we thought was the proper time to give the first salute, so we accordingly fired three rounds; and our example was immediately followed by two soldiers, with muskets which were made at least a century and a half ago.

"Preparations in the mean time had been going on for the race, and the horses with their riders made their appearance. The men were dressed in caps and loose tobes and trousers of every colour; boots of red morocco leather, and turbans of white and blue cotton. The horses were gaily caparisoned; strings of little brass bells covered their heads; their breasts were ornamented with bright red cloth and tassels of silk and cotton; a large quilted pad of neat embroidered patchwork was placed under the saddle of each; and little charms, enclosed in red and yellow cloth, were attached to the bridle with bits of tinsel. The Arab saddle and stirrup were in common use; and the whole group presented an imposing appearance.

"The signal for starting was made, and the impatient animals sprung forward and set off at a full gallop. The riders brandished their spears, the little boys flourished their cows' tails, the buffoons performed their antics, muskets were discharged, and the chief himself, mounted on the finest horse on the ground, watched the progress of the race, while tears of delight were starting from his eyes. The sun shone gloriously on the tobes of green, white, yellow, blue, and crimson, as they fluttered in the breeze; and with the fanciful caps, the glittering spears, the jingling of the horses' bells, the animated looks and warlike bearing of their riders, presented one of the most extraordinary and pleasing sights that we have ever witnessed. The race was well contested, and terminated only by the horses being fatigued and out of breath; but though every one was emulous to outstrip his companion, honour and fame were the only reward of the competitors.

"A few naked boys, on ponies without saddles, then rode over the course, after which the second and last heat commenced. This was not by any means so good as the first, owing to the greater anxiety which the horsemen evinced to display their skill in the use of the spear and the management of their animals. The king maintained his seat on horseback during these amusements, without even once dismounting to converse with his wives and children who were sitting on the ground on each side of him. His dress was showy rather than rich, consisting of a red cap, enveloped in the large folds of a white muslin turban; two under tobes of blue and scarlet cloth, and an outer one of white muslin; red trousers, and boots of scarlet and yellow leather. His horse seemed distressed by the weight of his rider, and the various ornaments and trappings with which his head, breast, and body, were bedecked. The chief's eldest and youngest sons were near his women and other children, mounted on two noble looking horses. The eldest of these youths was about eleven years of age. The youngest being not more than three, was held on the back of his animal by a male attendant, as he was unable to sit upright in the saddle without this assistance. The child's dress was ill suited to his age. He wore on his head a tight cap of Manchester cotton, but it overhung the upper part of his face, and together with its ends, which flapped over each cheek, hid nearly the whole of his countenance from view; his tobe and trousers were made exactly in the same fashion as those of a man, and two large belts of blue cotton, which crossed each other, confined the tobe to his body. The little legs of the child were swallowed up in clumsy yellow boots, big enough for his father; and though he was rather pretty, his whimsical dress gave him altogether so odd an appearance, that he might have been taken for anything but what he really was. A few of the women on the ground by the side of the king wore large white dresses, which covered their persons like a winding-sheet. Young virgins, according to custom, appeared in a state of nudity; many of them had wild flowers stuck behind their ears, and strings of beads, &c., round their loins; but want of clothing did not seem to damp their pleasure in the entertainment, for they appeared to enter into it with as much zest as any of their companions. Of the different coloured tobes worn by the men, none looked so well as those of a deep crimson colour on some of the horsemen; but the clean white tobes of the Mohammedan priests, of whom not less than a hundred were present on the occasion, were extremely neat and becoming. The sport terminated without the slightest accident, and the king's dismounting was a signal for the people to disperse.

"We have here endeavoured, to the best of our ability, to describe an African horse-race, but it is impossible to convey a correct idea of the singular and fantastic appearance of the numerous groups of people that met our view on all sides, or to describe their animation and delight; the martial equipment of the soldiers and their noble steeds, and the wild, romantic, and overpowering interest of the whole mass. Singing and dancing have been kept up all night, and the revellers will not think of retiring to rest till morning."

FINE ARTS

MR. HAYDON'S EXHIBITION

Mr. Haydon has completed his Xenophon and the 10,000 first seeing the Sea from Mount Thèches—a brilliantly glowing page of Grecian heroism, and a splendid specimen of the highest order of historical painting. It represents the celebrated retreat of the 10,000 valorous Greeks, with Xenophon at their head, whose only hope of release from one of the most perilous situations—was to reach the sea. The action of the picture is thus described by the artist:

"This, of course, was accepted—they altered their course, and, while the army was in full march over Mount Thèches, the advanced guard, in coming to the top, came suddenly in view of a magnificent valley, with the SEA in the extreme distance, glittering along an extended coast, and mingling with the hazy horizon!

"The whole guard burst out into a furious shout of enthusiastic exultation the SEA! the SEA! was echoed along the whole army, below in the passes; Xenophon, from the uproar, thinking they were attacked, galloped forward with the cavalry; 1 but seeing the cause, joined in the shout! The feeling was too powerful to be resisted—men, women, and children, the veteran, the youth, the officer, the private, beasts of burden, cattle, and horses, broke up like a torrent that had burst a mountain rock, and rushed, headlong to the summit!

"As each, in succession, lifted his head up above the rocks, and really saw the SEA, nothing could exceed the affecting display of gratitude and enthusiastic rapture!—some embraced, some cried like children, some stamped like madmen, some fell on their knees and thanked the gods, others were mute with gratitude, and stared as if bewildered!

"Never was such a scene seen! as soon as the soldiers recovered something like reason, a trophy on a heap of stones and shields, was erected. The army descended the Colchian Mountains, and reached Trapezus, the modern Trebizon, after a march of 1,155 leagues, during two hundred and fifteen days, where they embarked for their native country.

"The moment I have taken is when Xenophon seeing the sea has rode forward to shout it to the army. He is waving his helmet with one hand, and pointing to the sea with the other, mounted on a skew-bald charger.

"Below the army are rushing up—in the centre is an officer, on a blood Arab, carrying his wife. A veteran soldier on his left is supporting an exhausted youth who has sunk on his shield, and pointing out the path to the army. On the right, is a young man carrying up on his back his aged father who has lost his helmet—the trumpeter lower down, is blowing a blast to collect the rear guard which are mounting behind him, while near the mare's head is the Greek band with trumpets and cymbals encouraging the men. The army is rushing up under an opening of the rock to the left, while the advanced guard of cavalry are trotting down the shelving top of a precipice, the horses excited and snuffing up the sea air with ecstasy."

It would, however, be difficult to convey, by description, the overpowering energy and mighty struggle of the scene before us, or the masterly skill with which the painter has brought within a few square feet of canvass, one of the most astounding events in the history of man. Its moral tendency should be a lasting lesson of the secret spring of honourable success in life—decision of character and well-directed energies to accomplish great ends—though applicable to every station of life, however humble.

Xenophon is a distant figure in this effective picture: his action, as well as that of the cavalry, about him is admirably expressed: he appears on the pinnacle of triumph; his charger snuffs the very gale of glory, and the uncurbed energy of exultation seems to animate those immediately around him. The eye descends to the checkered toil beneath: the brawny soldier bearing the delicate form of his lovely wife, which is well contrasted with the bold, muscular figure of the former: the exhausted youth, and the veteran directing the army, but especially the former, are finely drawn and painted: the bare head of the aged man, with his few last locks fluttering in the wind, contrasts with the burly-headed trumpeter, whose thick throat and outblown cheeks denote the energy which he is throwing into this last inspiring call to victory over difficulty. The head of the soldier's blood Arab is one of the finest studies of the group: you almost see the breath of his nostrils; the hinder parts and tail of the horse are not quite of equal merit. These are but a few of the points of excellence in the picture: its colouring is censurable for its roughness, especially by those who enjoy the smoothly-finished productions of certain British artists; but we may look to such in vain for the powerful drawing and forcible expression which characterize this, the finest of Mr. Haydon's pictures.

In the same room, vis a vis the Xenophon, is the Mock Election picture described at some length in No. 304, of The Mirror. About the walls are thirteen finished sketches and studies also by Mr. Haydon. We may notice them anon.

PAINTING ON GLASS

An exhibition of paintings in enamel colours on glass has been opened at No. 357, Strand, which is likely to prove attractive to the patrons of art as well as to the sight-seeing public. It consists of faithful copies of Harlow's Kemble Family; Martin's Belshazzar, Joshua, and Love among the Roses; Sir Joshua Reynolds's celebrated group of Charity, and a tasteful composition of a Vase of Flowers with fruit, &c. The whole are ably executed, and calculated to advance the art of painting on glass to its olden eminence. The copies from Martin are of the size of his prints, and are perhaps the most successful: that of Joshua commanding the Sun to stand still is powerfully striking: the supernal light breaking from the dense panoply of clouds is admirably executed, and the minuteness of the architectural details and the fighting myriads is indescribable. In the Hall of Belshazzar, the perspective is ably preserved throughout, though the interest of the picture is not of that intense character that we recognise in Joshua. The painting of the Trial of Queen Katherine is of the size of Clint's masterly print: it required greater delicacy in copying than did either of its companion pictures, since it has few of the strong lights and vivid contrasts so requisite for complete success on glass. The costumes are well managed, as the red of Wolsey's robes, and the massy velvet dress of Katherine. Of this print, by the way, there are appended to the Catalogue a few particulars which may be new and pleasant to the reader. Thus:—

"The Picture is on mahogany panel, 1-1/2 inch in thickness, and in size, about 7 feet by 5 feet. It originated with Mr. T. Welsh, the meritorious professor of music, in whose possession the picture remains. This gentleman commissioned Harlow to paint for him a kit-cat size portrait of Mrs. Siddons, in the character of Queen Katherine in Shakspeare's Play of Henry VIII., introducing a few of the scenic accessories in the distance. For this portrait Harlow was to receive twenty-five guineas; but the idea of representing the whole scene occurred to the artist, who, with Mr. Welsh, prevailed upon most of the actors to sit for their portraits: in addition to these, are introduced portraits of the friends of both parties, including the artist himself. The sum ultimately paid by Mr. Welsh was one hundred guineas; and a like sum was paid by Mr. Cribb, for Harlow's permission to engrave the well-known print, to which we have already adverted. The panel upon which the picture is painted, is stated to have cost the artist 15l.

"Concerning this picture we find the following notice by Knowles, in his Life of Fuseli. 'In the performance of this work, he (Harlow) owed many obligations to Fuseli for his critical remarks; for, when he first saw the picture, chiefly in dead-colouring, he said, 'I do not disapprove of the general arrangement of your work, and I see you will give it a powerful effect of light and shadow; but you have here a composition of more than twenty figures, or, I should rather say, parts of figures, because you have not shown one leg or foot, which makes it very defective. Now, if you do not know how to draw legs and feet, I will show you,' and taking up a crayon, he drew two on the wainscot of the room. Harlow profited by these remarks; and the next time we saw the picture, the whole arrangement in the fore-ground was changed. Fuseli then said, 'so far you have done well: but now you have not introduced a back figure, to throw the eye of the spectator into the picture;' and then pointed out by what means he might improve it in this particular. Accordingly, Harlow introduced the two boys who are taking up the cushion." 2

"It has been stated that the majority of the actors in the scene sat for their portraits in this picture. Mr. Kemble, however, refused, when asked to do so by Mr. Welsh, strengthening his refusal with emphasis profane. Harlow was not to be defeated, and he actually drew Mr. Kemble's portrait in one of the stage-boxes of Covent Garden Theatre, while the great actor was playing his part on the stage. The vexation of such a ruse to a man of Mr. Kemble's temperament, can better be imagined than described: how it succeeded, must be left to the judgment of the reader. Egerton, Pope, and Stephen Kemble, were successively painted for Henry VIII., the artist retaining the latter. The head of Mr. Charles Kemble was likewise twice painted: the first, which cost Mr. C. Kemble many sittings, was considered by himself and others, very successful. The artist thought otherwise; and, contrary to Mr. Kemble's wish and remonstrance, he one morning painted out the approved head: in a day or two, however, entirely from recollection, Harlow re-painted the portrait with increased fidelity. Mr. Cunningham, we may here notice, has erroneously stated, that Harlow required but one sitting of Mrs. Siddons. The fact is, the accomplished actress held her up-lifted arm frequently till she could hold it raised no longer, and the majestic limb was finished from another original."