We detach this little descriptive gem from Sir Walter Scott's
"Anne of Geierstein," just published. An outline of this very
delightful novel will be found in a SUPPLEMENT with the
present number of the MIRROR.
"The ancient tower of Geierstein, though neither extensive,
nor distinguished by architectural ornament, possessed an air
of terrible dignity by its position on the very verge of the
opposite bank of the torrent, which, just at the angle of the
rock on which the ruins are situated, falls sheer
over a cascade of nearly a hundred feet in height, and then
rushes down the defile, through a trough of living rock,
which perhaps its waves have been deepening since time itself
had a commencement. Facing, and at the same time looking down
upon this eternal roar of waters, stood the old tower, built
so close to the verge of the precipice, that the buttresses
with which the architect had strengthened the foundation,
seemed a part of the solid rock itself, and a continuation of
its perpendicular ascent. As usual, throughout Europe in the
feudal times, the principal part of the building was a
massive square pile, the decayed summit of which was rendered
picturesque, by flanking turrets of different sizes and
heights, some round, some angular, some ruinous, some
tolerably entire, varying the outline of the building as seen
against the stormy sky."
Since the death of his illustrious contemporary, Canova,
Thorwaldsen, born at Copenhagen in 1771-2, has occupied the
public eye as head of the modern school. The character and
powers of this master are doubtless of a very elevated rank:
but neither in the extent nor excellence of his works, do we
apprehend his station to be so high as sometimes placed. The
genius of the Danish sculptor is forcible, yet is its energy
derived more from peculiarity than from real excellence. His
ideal springs less from imitation of the antique, or of
nature, than from the workings of his own individual
mind—it is the creation of a fancy seeking forcible
effect in singular combinations, rather than in general
principles; therefore hardly fitted to excite lasting or
beneficial influence upon the age. Simplicity and imposing
expression seem to have hitherto formed the principal objects
of his pursuit; but the distinction between the simple and
rude, the powerful and the exaggerated, is not always
observed in the labours of the Dane. His simplicity is
sometimes without grace; the impressive—austere, and
without due refinement. The air and contours of his heads,
except, as in the Mercury—an excellent example both of
the beauties and defects of the artist's style—when
immediately derived from antiquity, though grand and
vigorous, seldom harmonize in the principles of these efforts
with the majestic regularity of general nature. The forms,
again, are not unfrequently poor, without a vigorous
rendering of the parts, and destitute at times of their just
roundness. These defects may in some measure have arisen from
the early and more frequent practice of the artist in
relievos. In this department, Thorwaldsen is unexceptionably
to be admired. The Triumph of Alexander, originally intended
for the frieze of the government palace at Milan,
notwithstanding an occasional poverty, in the materials of
thought, is, as a whole, one of the grandest compositions in
the world; while the delicacy of execution, and poetic
feeling, in the two exquisite pieces of Night and Aurora,
leave scarcely a wish here ungratified. But in statues,
Thorwaldsen excels only where the forms and sentiment admit
of uncontrolled imagination, or in which no immediate
recourse can be had to fixed standards of taste, and to the
simple effects of nature. Hence, of all his works, as
admitting of unconfined expression, and grand peculiarity of
composition, the statues of the Apostles, considered in
themselves, are the most excellent. Thorwaldsen, in fine,
possesses singular, but in some respects erratic genius. His
ideas of composition are irregular; his powers of fancy
surpass those of execution; his conceptions seem to lose a
portion of their value and freshness in the act of
realizement. As an individual artist, he will command
deservedly a high rank among the names that shall go down to
posterity. As a sculptor, who will influence, or has extended
the principles of the art, his pretensions are not great; or,
should this influence and these claims not be thus limited,
the standard of genuine and universal excellence must be
depreciated in a like degree.—Meme's History of
Sculpture, &c.
One of the singularities of the time is an unwillingness to
tell the truth, even when there is no ground for suppressing
or perverting it. It is so frequently under or overstated by
most persons in this country who speak and write, according
to the side they have espoused, or the inclinations and
political principles of those by whom they are likely to be
read or heard, that they at last persuade themselves there is
a sort of impropriety in presenting facts in their proper
colours.—Quarterly Review.
A ballad of Roosje is perhaps the most touchingly told
story which the Dutch possess. It is of a maid—a
beloved maid—born at her mother's death—bred
up 'midst the tears and kisses of her
father—prattling thoughtlessly about her
mother—every one's admiration for beauty, cleverness,
and virtue—gentle as the moon shining on the downs. Her
name was to be seen written again and again on the sands by
the Zeeland youths—and scarcely a beautiful flower
bloomed but was gathered for her. Now in Zeeland, when the
south-winds of summer come, there comes too a delicate fish,
which hides itself in the sand, and which is dug out as a
luxury by the young people. It is the time of sport and
gaiety—and they venture far—far over the flat
coast into the sea. The boys drag the girls among the
waves—and Roosje was so dragged, notwithstanding many
appeals. "A kiss, a kiss, or you go further," cried her
conductor—she fled—he followed, both
laughing:—"Into the sea—into the sea," said all
her companions—he pushes her on—it is deeper, and
deeper—she shrieks—she sinks—they sink
together—the sands were faithless—there was no
succour—the waves rolled over them—there was
stillness and death:—The terrified playmates
looked—
"All silently,—they look'd again—
And silently sped home—
And every heart was bursting then,
But every tongue was dumb.
"And still and stately o'er the wave,
The mournful moon arose,
Flinging pale beams upon the grave,
Where they in peace repose.
"The wind glanc'd o'er the voiceless sea,
The billows kissed the strand—
And one sad dirge of misery
Fill'd all the mourning land."
Foreign Quarterly Review.
The discouragement of colonization is certainly not the
feeling of the great majority of the people of England, and
it is equally certain that it is not the policy of this
empire. Whatever may be the fate of the several British
colonies at some future and distant period, it is something
at least to have spread our laws and language, and moral
character, over the most distant parts of the globe. The
colonies that speak the language of Old England—that
preserve her manners and her habits—will always be her
best customers; and their surplus capital will always centre
in the mother country. It was not the opinion of our
ancestors, that colonies were an incumbrance;
they—good, stupid souls—imagined that colonies
enlarged the sphere of commerce—-that commerce required
ships—that ships created seamen for manning the royal
navy, and that the whole contributed to individual wealth, to
the national revenue, and the national strength; and such we
believe still to be the opinion of men of sound practical
knowledge, whose minds are unwarped by abstract systems and
preconceived theories, to which every thing must be made to
bend. Such, too, was the feeling of that extraordinary man,
who, with the solitary exception of England, exacted homage
from every crowned head of Europe. This man, in the plenitude
of his power, felt that something was still wanting to enable
him to grapple with one little island, invulnerable by its
maritime strength, the sinews of which he knew to be derived
from its colonies: he felt that, deprived as he was of
"ships, colonies, and commerce," England was able to stand
alone among nations, and to bid defiance to his overwhelming
power. That cunning fox, too, by whose councils he was
occasionally guided, knew too well the degree of strength
that England derived from her colonies, which he described to
be her very vitals, and which could only be reached by a
powerful navy. He designated them as the sheet anchor of
Great Britain—the prop that supported her maritime
superiority—the strongholds of her power. "Deprive her
of her colonies," said Talleyrand. "and you break down her
last wall; you fill up her last ditch."—Fas est et
ab hoste doceri.—Quarterly Review.
As a certificate of your intention to be punctual, you may
send your friends, a similar billet to the following:—
My dear Sir,
The honour of your company is requested to dine with
—— on Fryday, 1828.
The favour of a positive answer is requested, or the
proffered plate will be appropriated as it was when—
Sir Ill-bred Ignorance returned the following
answer:—"I shall be quite happy to come if I possibly
can." Such words the committee voted were equivalent to
these—I'll come, if in the mean time I am not invited
to a party that I like better.—Dr. Kitchiner.
Has very little, as a city, to recommend it. It is
characterized by much active industry within doors, the
savans and mechaniciens being pent up in their
closets and ateliers, and very little gaiety pervades the
promenades. Some parts of the town are sufficiently
picturesque; the overhanging roofs, for which it is
remarkable, are, however, too lofty to screen the pedestrian
from the rain, especially
if accompanied by a high wind, and form no shade
from the sun. The pavement of the streets is bad, and their
irregularity is a considerable drawback from the internal
appearance. The pavement of the inclined plane in the Hotel
de Ville, by which we gain the arduous ascent that conducts
to the Passport office, is a curiosity of its kind, and
perhaps unique. The city is tolerably well fenced in with
walls within walls, draw and suspension bridges, and gates;
while stakes and chains secure from surprise on the part of
the lake. The small canton of Geneva, though in the vicinity
of the Great Alpine chain and the mountains of the Jura,
includes no mountains. The name of the city and canton has
been traced by the etymologists to a Celtic origin;
Gen, a sally-port or exit, and av, a river,
probably because the Rhone here leaves the Leman lake. The
eagle on the escutcheon of the city arms indicates its having
been an imperial city; and it is believed the key was
an adjunct of Pope Martin V., in the year 1418. The motto on
the scroll, "Ex tenebris lux," appears to have existed
anterior to the light of the Reformation. The number
of inhabitants may now be estimated at about 22,000; but it
appears, by a census in 1789, to have been 26,148. In this
moral city, it is computed that every twelfth birth is
illegitimate. The number of people engaged in clock and
watch-making and jewellery, may be safely rated at 3,000. In
years favourable to these staple manufactures 75,000 ounces
of gold are employed, which is almost equally divided between
watches and jewellery. The daily supply of silver is about
134 ounces. Pearls form an article of considerable value in
the jewellery, and have been rated at no less a sum that
1,200 francs daily. 70,000 watches are annually made, only
one-twelfth of which are in silver. More than fifty distinct
branches are comprised in the various departments, and each
workman, on the average, earns about three shillings
a-day.—Mr. John Murray's Tour.
Some folks eat two or three times as much as others—for
instance, our incomparable and inspired composer, Handel,
required uncommonly large and frequent supplies of food.
Among other stories told of this great musician, it is said
that whenever he dined alone at a tavern, he always
ordered "dinner for three;" and on receiving an answer
to his question—"Is de tinner retty?"—"As soon as
the company come."—He said, con strepito, "Den
pring up te Tinner prestissimo, I am de gombany."
From one of Dr. Parr's Letters.
His letters put me in mind of tumult and anarchy; there is
sedition in every sentence; syllable has no longer any
confidence in syllable, but dissolves its connexion as
preferring an alliance with the succeeding word. A page of
his epistle looks like the floor of a garden-house, covered
with old, crooked nails, which have just been released from a
century's durance in a brick wall. I cannot cast my eyes on
his character without being religious. This is the only good
effect I have derived from his writings; he brings into my
mind the resurrection, and paints the tumultuous
resuscitation of awakened men with a pencil of masterly
confusion. I am fully convinced of one thing, either that he
or his pen is intoxicated when he writes to me, for his
letters seem to have borrowed the reel of wine, and stagger
from one corner of the sheet to the other. They remind me of
Lord Chatham's administration, lying together heads and
points in one truckle-bed.
The same quantity of wine diluted intoxicates sooner than the
same quantity drank in the same time without dilution;
the wine being applied to a larger surface of the stomach,
acts with proportionably greater quickness—though wine
diluted sooner intoxicates, its effects are
sooner over.—Dr. Kitchiner.
Of the total population of New South Wales, which, in round
numbers, may be taken at 40,000, the Free Emigrants
amount only to about ............ 7,000
Native Children ................. 5,000
Emancipated Convicts............. 8,000
Convicts in Servitude .......... 20,000
______
40,000
As Cooke, the solicitor-general, was beginning to open the
pleadings at the trial of Charles I, the king gently tapped
him on the shoulder with his cane, crying "Hold, hold!" At
the same moment the silver head of the cane fell off, and
rolled on the floor.
The comforts and benefits to be derived from a well
cultivated garden, by a poor man's family, are almost beyond
calculation. What a resource for hours after work, or when
trade is dull, and regular work scarce! What a contrast and
counteraction is the healthy, manly, employment which a
cottage garden affords, to the close, impure, unwholesome
air, the beastliness and obscenity, the waste of time, the
destruction of morals, the loss of character, money, and
health, which are the inmates of too many common
ale-houses!—Gardener's Mag.
Painting, were the use of it universal, would be a powerful
means of instruction to children and the lower orders; and
were all the fine surfaces, which are now plain, and
absolutely wasted, enriched with the labours of the art, if
they once began to appear, they would accumulate rapidly; and
were the ornamented edifices open to all, as freely as they
ought to be, a wide field of new and agreeable study would
offer itself. A person, who thoroughly understood the
well-chosen subjects, and was qualified to explain them to a
stranger, could not be devoid of knowledge, nor could his
mind want food for constant contemplation. The sense of
beauty has hitherto been little cultivated in Great Britain;
but it certainly exists, and shows itself principally in
laying out gardens and pleasure-grounds with unrivalled
skill.—Edin. Review.