this purpose-wé hū in! wẻ hã în! concluding with a horrid yell resembling the war-whoop of the Indian savages, which noise and tumult continue for about half an hour, when the company retire to the farm-house to supper; which being over, large portions of ale and cider enable them to carouse and vociferate until two or three o'clock in the morning. At the same house, or that of a neighbouring farmer, a similar scene is renewed, beginning between eight and nine o'clock in the morning following, and so continued through the precious season of the wheat-harvest in this country. It must be okserved, that the labourers thus employed in reaping, receive no wages; but in lieu thereof they have an invitation to the farmer's house, to partake of a harvest frolic, and at Christmas also, during the whole of which time, and which seldom continues less than four or five days, the house is kept open night and day to the guests, whose behaviour during the time may be assimilated to the frolics of a beargarden. J. S. Mr. URBAN, Limehouse, Nov. 12. Onative County of Gloucester, I met with an Abridgment of Whitby's elaborate Commentary, edited by the Rev. T. D. Fosbrooke, a respectable Clergyman of the Diocese, and a gentleman well known to the Literary World. In perusing it, I could not fail to approve of the object for which it was published, and the manner in which, in general, it appears to have been executed. In a work which is calculated to do so much good, and which, as the Author in his Preface states, is recommended to the publick under the sanction of all the Bishops, it is a source of regret, that a few inaccuracies, from which indeed no human compositions can be altogether exempt, should be discoverable. There is one to which I am anxious to direct the attention of Mr. Fosbrooke; aud I am sure that, for so doing, he will do ample justice to the motive by which I have been actuated, in submitting it to the correction of his better and maturer judg ment. The inaccuracy to which I refer will be found at page 17. St. Matt. xxvii. 45. In a part of this chapter, GENT. MAG. November, 1816. as is well known, an account of the Crucifixion of our blessed Lord, and of the extraordinary circumstances with which it was attended, is given. In the event which was transacted on that tragical occasion, all Nature seemed to sympathize; and it is recorded, that from the sixth hour until the ninth hour, i. e. from mid-day, 12, till three o'clock in the afternoon, "there was darkness over all the land." The darkness then with which the whole land of Judæa was overspread, continued for the space of full three hours. To account for this darkness, in the note, ver. 45. it is mentioned by Mr. Fosbrooke that "the Sun was eclipsed!" Now, this is directly contrary to all astronomical authority on the subject. The day upon which the Saviour was crucified was the fifteenth day of the month, and it was Full-moon; consequently the Moon must then have been in opposition to the Sun, the Earth being intercepted; and the inference therefore is, that there could not have been any natural or ordinary eclipse of the Sun at the time of which we are speaking. The darkness was supernatural; and the period in which it continued, was so miraculous as to repel the idea of any ordinary solar eclipse; for, it is proved by the best astronomers, that no ordinary eclipse at any time has lasted for a longer time than two hours. Now, on a subject of this kind, here is no one whose authority stands higher, nor whose opinion can be more decisive, than Ferguson's; and what is the testimony with which he supplies us? "The darkness," says he, "at our Saviour's Crucifixion was supernatural. For he suffered on the day on which the Passover was eaten by the Jews, on which day it was impossible that the Moon's shadow could fall on the Earth, for the Jews kept the Passover at the time of Full-moon; nor does the darkness in total eclipses of the Sun last above four minutes in any place, whereas the darkness at the Cruci fixion lasted three hours, and overpread at least all the land of Judæa*." In further confirmation of the above, it may be stated, that in the greatest *Astronomy, &c. by James Ferguson, F.R. S. See chapt. xvii. of Eclipses, p. 273. elipse eclipse of the Sun that can happen at any time and place, the total darkness continues no longer than whilst the Moon is going one minute thirty-eight seconds from the Sun in her orbit; which is about three minutes and thirteen seconds of an hour. With respect to the darkness with which the land of Judæa was overspread, it may be mentioned rather as a matter of curiosity, than as a subject of importance, that Judæa does not appear to have been the only country to which it was confined, but that other places felt the influence of the supernatural darkness of three hours. Suidas, in verbo Alovos, informs us, that Dionysius, when he was at Heliopolis in Egypt, noticed the wonderful phænomenon, and at the time exclaimed, “ Either God himself is now suffering, or sympathizing with him that does suffer!" Yours, &c. JAMES RUDGE. Preface to the "General Outline of the Swiss Landscapes." IT T is time to explain what was the original intention of this thing; and what should have been the execution of it. In most books of Travels the Landscape is introduced as a circumstance only, and merely to fill up the picture. It might be worthy of inquiry, how far it could be made the principal subject, as in a landscapepainting? That Picturesque Gardening, in the original, may very powerfully affect the human mind, those, who have not themselves actually experienced it, may see exemplified in Sir William Chambers's "Dissertation upon Oriental Gardening." The same work is also a proof that in mere description it may be, not a little, interesting. Its original, however, is an artificial one; aud is out of the reach almost of human means, at least among European Nations. the following pages an attempt is made to estimate how far such a description might succeed where the original is a work of Nature: and secondly, what is its compass. In Sir William Chambers has shewn that Picturesque Gardening, both in the original and in the description, may produce the effect of the highest Epic and Dramatic Poetry. And since the Drama, as well as its elder sister Epic Poetry, should always convey some useful moral; so might also this species of composition. Picturesque Gardening may not only convey a temporary lesson; but it may likewise give a lasting stamp to the taste and character of a Nation. It is connected, therefore, with manners and government. And the high perfection to which two great Nations, ENGLAND and CHINA, so dissimilar to each other, have carried this Art, together with the celebrity of their respective and very dissimilar Governments, might suggest some very important reflections to a philosophical critick. Certain in the mean while it is, that these are the only two Nations, whether in antient or modern times, that have carried the Art of Ornamental Gardening to that degree of perfection, which supposes the knowledge of it as a Science. In the following work Switzerland is viewed as a single Pleasure-ground. It is divided into nine distinct compartments, under the following titles: Environs of the LAKE of GENEVA to the Westward; Environs to the Eastward; Environs of the JURA; The Oberland, or HIGHLANDS of the Alps; The FOREST-CANTON; The LAKE of the FOREST; The Valiais, or great RECESS of the ALPS; The GLACIERS; and lastly, The Swiss RIVERS. These titles are printed (I should rather say were, for the work itself is no more) at the top of the pages in Roman Capitals; under these was a running title in Italics, denoting the particular scene of each page: as for example, Character and Manners, Dairies of the Alps, Biography, Antiquities, Natural, and Civil History, &c. &c. But let us for a short moment suppose the work still in existence, as it once was, when this Preface was first written. A picture is here attempted, not in colours, but in words. Many parts still remain, and will probably now ever continue so, in the state of a sketch or memorandum only. The outline might easily be filled up; and then the whole task of invention is the previous disposition of the spectator's mind, together with the medium through which he views the landscape, and the order in which be views it. Or it may be said that a mere chart is here laid down of this kind of writing. The Author's profession is not that of Poetry-and 4 is even particularly uncongenial to works of imagination. Some professed Poet and Critick may, perhaps, execute a more regular and finished work. Modern Europe had long in its ARCHITECTURE a style of its own creation; as it had also in its MUSICK, its TACTICKS, and GOVERNMENT. But its POETRY still remained Grecian or Roman. At length, the Muse of Southey, of Scott, and Byron, civilized the feudal model; and produced a characteristic and national composition, on this side of the Alps, that may vie with the flutes aud clarions of the Antients. This chasm in Poetry, so long deplored, has been better filled up than that between Antient and Modern HISTORY has been by the splendid labours of Gibbon. I cannot but console myself with the anticipation that some one or other of the Southeys, the Scotts, and Byrons, the Craigs, or Campbells, of a future day, may navigate in these roads of Poetry and Criticism yet unexplored. That there are undiscovered worlds of writing, I have no doubt. This may, perhaps, be one of which I now only point out the way. More than this cannot be hoped for by one who has no Patron; whose faculties (strained more than they should have been) are broken by disappointment; and whose powers of life are fast decaying. Let that enterprising adventurer, who has perseverance and good fortune to execute, as well as thought to plan, a new subject, occupy it. Let him who has the sunshine of patronage, or is not chilly enough to want it, and who has the elements themselves combined with, and not against, him, make a new settlement here: and thus being, in fact, not by indication merely (and at a distance) the real discoverer. let him, like another Americus, perpetuate his name - only apologizes in excuse, or extenuation of its failing from what it might have been. And he would willingly throw it yet into the fire, as he did not long since with his Fragments on Italy (which some thought worthy of being preserved), from the high conception he has of the subject, if unfortunately this thing had not appeared in print already. Once it came out as a mere skeleton of a book; and a second time in its rough form of a hasty journal, without the least arrangement or correction *. The publick, who always play fairly, will allow him to revoke his cards, which he threw down inconsiderately. Perhaps too, in its candour, it may say, in turning over these leaves: By what fatality has it happened that such a hand as this was not played better?" L. S. 66 ARCHITECTURAL INNOVATION. Progress of Architecture in ENGLAND Internal survey: Basement story, or ground plan. It has been observed, that the contrivance, decorations, uniformity, and grand effect of the whole official part of the arrangement, is by far the most admired portion of the building; nay, it is as strongly maintained that it is superior to any other work of the time or since. Conviction must in some degree subscribe to this position; for, while the principal story over it admits no more than the common-place form of the rooms, &c. here fancy gives a loose to numerous masonic ideas unfettered by precise modes, which are so compatible with the higher departments of life; for what with the intermedial concurrence of lines, the accidental and sudden lights, the glaring, or the gloomy, and retiring half shades, the scene is at once uncommon and enchanting. Nay more, the entire story has received a noble and complete finish,' the face of each wall shewing the highest-wrought masonry; a cir *The title of it was "JOURNAL of a short EXCURSION among the SWISS LANDSCAPES, made in the Summer of the year 1794.” cumstance cumstance of strict attention, which is not, perhaps, so demonstrable in the story above. Cellars or vaults under portico, great hall and saloon, sustained by pilasters having bases and caps; that under saloon, double, and centrical in quaternion groins and ribs; the diagonal of ribs to vault under hall, say 60 feet, a fine work of emulation, after our Saxon architectural flights in this way. The other divisions of wine-cellars, little stone halls, corridores, arcades, stone gallery, &c. peculiarly pilastered and groined. There are a few rooms with wainscotting and flat cielings, as belonging to the steward, housekeeper, &c.; but a doubt arises whether they were originally so. The stairs are many and ample in short, the communications from and to every point are ready, free, and unembarrassed, each emanating from the thorough pierced corridores dividing the mass of the building. In centre of divisions, right and left, capacious areas and courts for lighting the corridores, &c. Decorations confined chiefly to the chimney-pieces of steward's and house-keeper's rooms. The first, plain kneed architrave with superstructure of pannelled pedestal supporting a busto, sided with scroll vases. The second, architrave and side vases similar, with large guideron shield on centre of the design. Kitchen: extremely lofty, an oblong of two cubes, each marked by pannelled pilasters and tablet caps, from which groins take their rise in pannelled ribs centering with perforated square tablets. The chimney-pieces large, and weil befitting the purpose of the office, which indeed is strongly in character with those sumptuous culinary erections of old times, at Glastonbury, Durham, Raby Castle, &c. Principal floor: after the passing of near a century, it is not to be expected but some alterations in a vast edifice like this would take place, either from an idea of greater convenience, fashion, or some other cause; or it may have so happened the first-meditated enrichments were never gone through with. There is certainly not a correspondent, or, as it should be, an increase of splendour from that witnessed externally, it is possible the mind, in contemplating that complete burst of enrichments, is rendered too sanguine in expecting Noticing the house centrically, the hall breaking up the height of three stories, an oblong, five divisions of open arches, in three tiers, left and right: first tier of arches give win dows; second ditto lead to vaulted corridores; third ditto, chimney-piece, now stopped up for buzaglio stoves, fourth and fifth ditto, to grand stairs, through which in view they have an unusual and magic effect. Second tier, right and left, five open arches for similar purposes to those just specified. Third tier, left and right, five arches for windows on each side, which, with others at each end of ball, a sufficient light is given thereto. The end of hall opposite the entrance side is in most respects similar to it; they both rise by Corinthian fluted columns in height the two first tiers of hall; between them Corinthian fluted columus of a lesser dimension supporting a large archway opening to corridore arrangement in pass to saloon: the effect is graud and striking, not alone presenting the entrance to saloon, but a cantelevered gallery over it, being the communication from each side of the building to chambers above. By way of key-stone to ditto large arch-way, royal arms; supporters, angels sounding trumpets; crest, a crown inclosed in palin branches. Upper, or window tier wholly painted with draperies, trophies, and diamond compartments; it is believed a very recent re-paint; as the penciling in no sort accords with the master-touch of the cieling by Sir James Thornhill. In consequence of the oblong form of ball the bounding frame for picture in the cieling is an oval, richly ornamented and gilt, containing a magnificent painting in scene, half pagan half costume, where we have our Warrior Duke in a Roman habit, introduced to a full assemblage of Gods and Goddesses. Allow they are allegorical allusions to great and glorious events, picturesque efforts of the Artist's skill. What then? are they the images of truth, in point of costumic repre sentation? |