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: ASCII

*** 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.

VOL. XII, NO. 333.] SATURDAY, SEPTEMBER 27, 1828. [PRICE 2d.

       *       *       *       *       *




FIRE TOWER

[Illustration: 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 fasciae 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 fire[1] of the 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.


    [1] 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.

    [2] "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."

       *       *       *       *       *




SOME ACCOUNT OF STIRBITCH FAIR.

BY A SEPTUAGENARIAN.

(_For the Mirror._)


(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,

    Mr. Samuel Saul, the beadle, and his
    assistant, in full costume, with their
    staves tipped with silver, bearing
        the arms of the Corporation.
    Next followed two trumpeters, in gowns,
              on horseback.
          Sackbut and clarionets.
                The mace.
  The Worshipful the Mayor, in a scarlet gown.
      The Vicar of Barnwell, (formerly the
        Abbot,) and other of the Clergy
              and Collegians.
        The Corporate Body, two and two.
              The Deputy Beadle.
    All the train, as above, on horseback,
          robed in full costume.

    Then followed Gentlemen and Ladies in
      their carriages and on horseback,
      invited by the Mayor to the grand
        dinner given on the occasion.


The proclamation was read, (heads uncovered,) first at the upper end
of the fair, next in the Mead where the pottery 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 leather[3]. 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 5,000_l_. 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
1,000_l_. to 1,200_l_. for Norwich and Yorkshire goods. A lace-dealer
from Tavistock-street likewise attended here with a stock of 2,000_l_.
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 2,000_l_. during the
fair; and the father of the writer of this article, who attended the
fair during forty years, usually brought away from 1,200_l_. to
1,500_l_. for goods sold and paid for on the spot, exclusive of those
sold on credit to respectable dealers, farmers, and gentry. On 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:--


          (_Plain chant_.)

  "Over thy head I ring this bell,
                         [_Rings the bell_,
  Because thou art an infidel,
  And such I know thee by thy smell.

               CHORUS.

  With a hoccius proxius mandamus,
  Let no vengeance light on him,
  And so call upon him."


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,

[Greek: Senua]


    [3] 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.


       *       *       *       *       *




NOTES ON NORTHERN LITERATURE.

(_For the Mirror_.)


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 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:--

        "Here lies Samsoe;
  He wrote _Dyveke_ and died."


       *       *       *       *       *

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.


  Let some the joys of Bacchus praise,
  The vast delights which he conveys,
    And pride them in their wine;
  Let others choose the nice _morceau_,
  The piquant joys of feasting know,
    But other gifts are mine.

  Give me, ye gods, my quantum suff.
  Of Grimstone's or Gillespie's snuff--
    These are the sorts I crave;
  Defend me from the Lundyfoot,
  'Tis to my nostrils worse than soot,
    And from the Irish save.

  Your Prince's Mixture I despise,
  It clogs the head and dims the eyes--
    The nose rejects such burden;
  Sure 'tis the critic's vast delight,
  So dull and stupidly they write,
    I call for witness ----.

  Oh! where shall I for courage fly?
  Or what restorative apply?
    A pinch be my resource;
  Perchance the French are not polite,
  And with my country wish to fight,
    Then I must grieve perforce;

  Or, if with doubt the bosom heaves.
  The heart for Grecian sorrows grieves,
    And pines to see them fail.
  Such critics sometimes court the muse,
  And I perchance the rhymes peruse,
    Then heaves the breast with pain.

  To soothe the mind in such an hour,
  A pinch of snuff has ample power--
    One pinch--all's well again.
  A pinch of snuff delights again,
  And makes me view with great disdain,
    And soothes my patriot grief.

  Thus for the list of human woes,
  The pangs each mortal bosom knows,
    I find in snuff relief:
  It makes me feel less sense of sorrow,
  When modern bards their verses borrow,
    And soothes my patriot grief.

  Then let me sing the praise of snuff--
  Give me, ye gods, I pray, enough--
    Let others boast their wine;
  Let some prefer the nice _morceau_
  And piquant joys of feasting know,
    The bliss of snuff be mine.


       *       *       *       *       *




ODE ON A COLLEGE FEAST DAY.

(_For the Mirror._)


  Hark! hear ye not yon footsteps dread
  That shook the hall with thundering tread?
      With eager haste,
      The fellows past.
    Each intent on direful work.
  High lifts the mighty blade and points the deadly fork!

  But hark! the portals sound and pacing forth,
      With steps, alas! too slow,
  The college gips of high illustrious worth
      With all the dishes in long order go;
      In the midst, a form divine,
      Appears the fam'd Sir-loin;
      And soon with plums and glory crown'd,
      A mighty pudding sheds its sweets around.
  Heard ye the din of dinner bray?
      Knife to fork, and fork to knife:
      Unnumber'd heroes through the glorious strife,
  Through fish, flesh, pies, and puddings cut their destin'd way.

  See, beneath the mighty blade,
      Gor'd with many a ghastly wound,
  Low the fam'd Sir-loin is laid,
      And sinks in many a gulph profound.
      Arise, arise, ye sons of glory,
      Pies and puddings stand before ye;
      See, the ghosts of hungry bellies
      Point at yonder stand of jellies;
      While such dainties are beside ye.
      Snatch the goods the gods provide ye:
      Mighty rulers of this state,
      Snatch before it be too late,
  For, swift as thought, the puddings, jellies, pies,
  Contract their giant bulks, and shrink to pigmy size.

  From the table now retreating,
      All around the fire they meet,
  And, with wine, the sons of eating,
      Crown, at length, the mighty treat:
        Triumphant plenty's rosy graces
        Sparkle in their jolly faces:
        And mirth and cheerfulness are seen
        In each countenance serene.
        Fill high the sparkling glass,
          And drink the accustom'd toast;
          Drink deep, ye mighty host,
        And let the bottle pass.
  Begin, begin, the jovial strain,
        Fill, fill, the mystic bowl,
  And drink, and drink, and drink again,
        For drinking fires the soul

  But soon, too soon, with one accord they reel
        Each on his seat begins to nod.
  All conquering Bacchus' power they feel,
        And pour libations to the jolly god.
  At length with dinner, and with wine oppressed,
  Down in their chairs they sink, and give themselves to rest.

HUGH DELMORE.


       *       *       *       *       *





THE TOPOGRAPHER

VISIT TO MATLOCK BATHS.

(_For the Mirror._)


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 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 deg. 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

  "Sweet retirement court the shade."


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."

       *       *       *       *       *




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;
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
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_.

    [4] See "Painting Cats," page 190.

       *       *       *       *       *


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 opera of their own; but
nothing can be more noisy, or less harmonious than the music at the
Academie 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.


  I praised the earth, in beauty seen,
  With garlands gay of various green;
  I praised the sea, whose ample field
  Shone glorious as a silver shield,
  And earth and ocean seemed to say,
  "Our beauties are but for a day."

  I praised the sun, whose chariot roll'd
  On wheels of amber and of gold;
  I praised the moon, whose softer eye
  Gleamed sweetly through the summer sky;
  And moon and sun in answer said,
  "Our days of light are numbered."

  Oh God, oh good beyond compare!
  If thus thy meaner works are fair!
  If thus thy bounties gild the span
  Of ruined earth, and sinful man;
  How glorious must the mansion be
  Where thy redeem'd shall dwell with thee!


       *       *       *       *       *


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
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._


    [5] 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.

       *       *       *       *       *


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."

       *       *       *       *       *




THE SELECTOR;

AND LITERARY NOTICES OF _NEW WORKS_.

       *       *       *       *       *


A RUSSIAN WEDDING.

(_From Dr. Granville's Travels._)


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, 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 gynaeceum 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, 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 _a 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, 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


  "A snapper-up of unconsidered trifles."
  Shakspeare.

       *       *       *       *       *


OBSTINATE PUN.

_Aliquid is mater unite dextra ordinari laeto 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.

_The following Novels are already Published:_

                                        _s._ _d._
  Mackenzie's Man of Feeling             0    6
  Paul and Virginia                      0    6
  The Castle of Otranto                  0    6
  Almoran and Hamet                      0    6
  Elizabeth, or the Exiles of Siberia    0    6
  The Castles of Athlin and Dunbayne     0    6
  Rasselas                               0    8
  The Old English Baron                  0    8
  Nature and Art                         0    8
  Goldsmith's Vicar of Wakefield         0   10
  Sicilian Romance                       1    0
  The Man of the World                   1    0
  A Simple Story                         1    4
  Joseph Andrews                         1    6
  Humphry Clinker                        1    8
  The Romance of the Forest              1    8
  The Italian                            2    0
  Zeluco, by Dr. Moore                   2    0
  Edward, by Dr. Moore                   2    6
  Roderick Random                        2    6
  The Mysteries of Udolpho               3    6
  Peregrine Pickle                       4    6


       *       *       *       *       *

_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.txt or 15087.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.