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those under native governments, or where it is difficult to suppress the practice, as in ours. While they are thus as murderous and crimi nal as the common Thug, they are more successful in eluding the law, from their habit of throwing the bodies of their victims into rivers, which renders it a work of the greatest difficulty and nicety to procure evi. dence upon which to convict them. The strong corroboration afforded of the evidence of the ordinary Thug approver, by the actual bodies of the parties murdered, is entirely wanting in all cases of the Megpunnah Thug; and this serious want is not made up by any testimony the children obtained by these people can supply, they being too young to be received as evidence, even though capable of narrating every circumstance of their own cases. By, however, diligently comparing and sifting evidence, the officers of the Thuggee departinent have been enabled to carry conviction home to many of these unnatural criminals. Lieut. Mills, to whom, we believe, is entirely due the high credit of having discovered this very dangerous subdivision, or rather form, of Thuggee, has already procured the conviction of forty before the sessions judge of Meerut, and is about to bring one hundred more to trial.-Agra Ukhbar, Dec. 13, 1838.

The Gatherer.

THERE are few anecdotes told in favour of Foote's magnanimity; yet one deserves to be told. The epilogue to his farce of The Minor, contained a burlesque of the style and the manner of the well-known Whitefield, under the title of Dr. Squintem. During the run of the farce, it happened that Whitefield died. The epilogue was, withdrawn. On its being loudly called for by the audience, Foote came forward, and said, that he was incapable of holding up the dead to ridicule.-Blackwood.

Cranmer's Bible.-A copy of Cranmer's Bible, edition 1539, in folio, wanting the title page and two other leaves, was sold on Friday the 3rd inst., at Mr. L. Sotheby's rooms, for £50. The volume concludes with the following colophon:"The ende of the New Testament, and of the whole Byble, ffynished in Apryll, Anno MCCCCCXXXIX.

When I see leaves drop from the trees in the beginning of autumn, says Warwick, just such, think I, is the friendship of the world. While the sap of maintenance lasts, my friends swarm in abundance; but in the winter of my need they leave me naked.. He is a happy man who hath a true friend at his need; but he is more truly happy that hath no need of his friend...

"

Garrick's baptism is thus recorded in the narochial Register of All Saints' Church,

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Gloucester-"Chris: David, Son of Mr. Peter and Arabella Garrick-baptized ffebruare the 28, 1716.

The celebrated Nancy Dawson, the soul and delight of the audience when she performed, died at Haverstock Hill, near Hampstead, on Monday, June 8, 1767.

Pleasure is a rose, near which there ever grows the thorn of evil. It is wisdom's the thorn, and let its rich perfume exhale to work so carefully to cull the rose as to avoid heaven, in grateful adoration of Him who gave the rose to blow.

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The veritable physician, Francis Moore, says, in his almanack for this year, in the month of May, p. 11,-" I am sorry to find that there are likely to be broils and dissensions at home. The times are not likely, I fear, to be so tranquil as might be wished."

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Benevolence. There cannot be a more glorious object in creation, than a human being, replete with benevolence, meditating in what manner he might render himself most acceptable to his Creator, by doing most good to his creatures: Fielding.

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The first person who brought the making of porter to perfection, was Mr. James Harwood, an eminent brewer in Shoreditch; he died in October, 1762.

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- The workmen are now erecting a wall to enclose an additional portion of ground so as to enlarge the gardens of Northumberland House; this great improvement has been accomplished by removing a row of low old houses on a line from Northumberland-street' to Scotland-yaid; by which means the gar den front of this noble mansion will be thrown open to public view. It was near this spot that the body of Sellis was thrown into a hole, dug for the purpose, March, 1813.

On yesterday week, the theatre of Cheltenham was totally destroyed by fire. It was built in 1805, by Mr. J. Watson, a coadjutor of the John Kemble and Mrs. Siddons, both of whom, in the early part of their career, had appeared at Cheltenham: it was while acting here that the transcendent talents of Mrs. Siddons was duly appreciated by a gentleman who hastened to London, and induced Garrick to engage her.

This edifice originally formed three sides of a spacious quadrangle, the fourth side remaining open to the gardens aud river Thames; but after the estate the noise of so public a thoroughfare, the quadrangle became the property of Earl Algernon, who disliked was completed by a fourth side, towards the river, under the direction of Inigo Jones.

LONDON: Printed and published by J. LIMBIRD, 143, Strand, (near Somerset House); and sold by all Booksellers and Newsmen, Agent in PARIS, rican Library, 55, Rue Neuve St. Augustin.—In G, W. M. REYNOLDS, French, English, and Ame FRANGFORT, CHARLES JUGEL

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THE NEWLY-ERECTED)

EAST END OF THE GUILDHALL

OF THE CITY OF LONDON.

On the 14th of December, 1837, the Committee of City Lands, in a report, recommended that the east end of the Guildhall* should be made to correspond with the west end, as regards the architecture thereof, by forming Gothic panelling, at an expense of 2301.; and in a second report, 15th of March, 1838, the said committee add, "The clerk of the City Works having since reported that the three statues, formerly in front of the chapel in Guildhall-yard, were in possession of the Corporation; and might, in his opinion, be put into a state of repair at an expense of 60%, and be introduced at the east end of the Hall, in niches ;" and then the report goes on to say, that a proposal having been made" by Messrs. Robson and Estall for the execution of the said works, amounting to 452/. 6s. exclusive of the expense of the restoration of the said figures, the committee was of opinion that the introduction of the said statues would add much to the effect and general character of the building; and recommended therefore that they should be authorized to execute the said works, and to draw on the chamber for payment of the expense thereof." This last recommendation was confirmed 30th of March following; when the works proceeded; and they were finished by the end of the following month of October, from the drawings, and under the direction of Mr. Montague, the City architect, and of his highly-talented son. They are erected on the hustings at the east end of the Guildhall, consisting of four arched compartments of graceful proportions, with projecting rich-pointed cornice. The splendid statue of Queen Elizabeth is placed in the centre niche, with Charles I. on the south side, and Edward VI. on the north: the whole forming a very appropriate and imposing termipation to that end of the Hall; reflecting the highest credit on the talents of the artists, and also on the improving taste of the citizens of London.

The Memoires d'Angleterre, 1693, in speaking of the Guildhall, makes the following curious remark: -"Il est à croire que la grand salé étoit autrefois dorée, puisque le mot de Guild, ou Gild Hall, signifie sale dorée."

It is to the urbanity and kindness of this gen tleman, by the liberal use of his drawings, and rendering every facility to our artist, that we have been enabled to present our readers with the accompanying engraving.

Derived from hus (a house,) and thing (causa,) i. e. a house where causes are tried: it is a platform of timber raised on the floor of the hall; and was formerly the supreme court of judicature within the city of London-a very ancient court of record.(a). It was separated from the interior by a screen with an arch in the centre; which screen was removed about the time of George I. There is an engraving of it

extant.

(a) Privilegia Londini; 3rd edit., p. 35.

In the Gentleman's Magazine, vol. ix. N. s. p. 652, it says "These statues, which are made to travel from the Exchange to the Guildhall Chapel, were Edward VI. Charles I. and the Queen of the latter; although it was generally styled Queen Elizabeth, to whose portrait it bore not the least resemblance ;" &c.

We cannot surmise what grounds the writer had for making such assertions. The statue is not that of the Queen of Charles I.; it having the crown on the head, the globe in the left hand, and evidently has had the sceptre in the right, could not have been for any other than a crowned head; and it is well known, that Henrietta Maria was never crowned, on account of her religion. It would be a waste of time to dilate on this point; but nevertheless it may be as well to give the two following authorities in corroboration of the fact.

In a letter from Mr. Mead to Sir Martin Stuteville, announcing the king's coronation, (MS. Harl. 389,) it says:--

"The coronation of the King was on Thursday (as passengers from Loudon tell us,) but private. The king went to Westminster church by water. The Queen was not crowned, but stood at a window in the meantime, looking on; and her ladies frisking and dancing in the room. God grant his Majestie a happy reign.

"Christ Col.

Feb. 4th, 1626."]

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And again: we know of no statue of a Queen Consort of England: they are not

entitled to it Henrietta Maria was never Queen of England, she was merely the Queen of Charles King of England. Queen, signifies a wife; but by way of excellence, the wife of the King; and in the laws of England is, either she who holds the crown of this realm by right of blood, or who is married to the King: the first of which is called Queen Regnant, and the last Queen Consort. She who holdeth by blood is, in construction of law, the same with the King, and hath the like legal power in all respects; but a Queen Consort is inferior to the King, and his subject. Staund Prærog. 10. 3 Inst. 7. 1 Mar. Parl. 2. chap. 1.

Speaking of the inferiority of a Queen Consort, William, of Malmesbury, says:— "Non enim West Saxones reginam, vel juxta regem sedere, vel Reginæ appellatione insigniri patiuntur, (for the West Saxons do not permit the Queen to sit near the King,

The statue of Charles I., having his foot symbolically on a scorpion; we may conclude it was not erected until after the restoration of his son, the second Charles. It was seulptured by W. Stone..

or be honoured with the appellation of Queen). Asserius Menevensis, who lived and was familiar with King Alured, from whom he had this relation : "Gens occidentalium Saxonum (saith he) Reginam justa regem sedere non patitur; nec etiam reginam appellari, sed regis conjugem per. mitti. (The West Saxons, says he, do not suffer the Queen to sit near the King; nor even to be called Queen; but allow her the name of the King's wife.)-Hence, the reasons why a Queen Consort is not entitled to a public national statue, she not being a sovereign.

And again: Is it probable, that the Citi zens of London would place a statue of a bigoted mischievous Roman Catholic, like Henrietta Maria, in front of a Protestant place of worship? The idea is preposterous. Besides, in an account of Guildhall Chapel, published by Nichols and Son, in speaking of the statues, it says, "Queen Elizabeth, with a phoenix under her;" which evidently alludes to the resuscitation, in her person, of the Protestant religion. With all these facts before us, together with the striking resemblance which the statue of Elizabeth bears to all the accredited portraits of that sovereign, by Nicholas Hilliard, Oliver, and other authorised painters, it places the statue beyond the shadow of a doubt to be that of Queen Elizabeth-and of no other person; and a splendid piece of sculpture it is.

SONG.

BRING ME A BOUQUET OF ROSES!

BY ANDREW PARK,

Σ

Author of " The Superstitions of Scotland,"—" What is Woman?" &c &c.

BRING me a bouquet of roses!-
Let them be both fresh and gay:-
Flowers which breathing love discloses
To my dear one far away!

Let them be the Sharon's blossom,-
Fragrant as at dewy morn;

For the one who owns this bosom,

Must have those which bear no thorn!
He was kind when he was near me,
Even in absense still the same;

Plant a tendril-let it rear me

Buds as cherished as his name!

That when these sweet flowers are spreading,
In their blossoms I may know
Each new thought his heart o'erlading,
Whether it be joy or woe!

Geutle flowers! ye charm, ye please me!
Why were such foud love-tints given?
Surely ye were born to ease me,

Cherished as I am, by heaven!
This bouquet shall charm my dear one;
'Tis as sweet as love cau be!-
He who breathes a kind sincere one,
As the fragraut soul in thee!

It is well known Elizabeth was very vain of her personal beauty and accomplishments; and feeling insulted at the incorrectness of the portraitures of her, that were daily being published, a law was passed prohibiting the sale of any portraits of the Queen but what were duly authenticated, or licensed.

+ The rose of Sharon has not a single thorn.

(For the Mirror.)

On Death how oft thy cruel shaft doth reud,
And part asunder many a loving friend!
But none on whom thy hand has fall'n before
Was half so dear to me, so rich a store
As this sweet child, who in the bloom of youth
And health, has perished! Now like sad Ruth,
In vain I would repel the rising tear,
Nought can me comfort, nought can soothe or cheer.
In vain I check the sigh, and strive to smile,-
'Tis but a mockery, a treach'rous wile;
For how can I forget? did I not to him bear
More than a sister's love? it was so dear,
So ardent an affection; for I look'd on him
As some fond mother on her child. 'Twas sin
To idolize him thus, to plan long years
And schemes of happiness; having no fears
That death might intervene. Alas! I woke
From that brief dream, to feel more keen the stroke.
Where are those spirits flown-so buoyant, light,
Which once were mine, shedding around delight?
The sound of music's strings are silent long;"
Where is the meriy laugh, the sprightly song?
The world that erst seem'd like a fairy land,
Bright with imaginary dreams, and hand in hand,
With flow'ry pleasures, now appears to me
A region dark with woe, and sad reality.
I dreamt not once of care, now o'er this breast
The waves of trouble roll: sorrow's my guest;

All things that formerly look'd bright and fair
Oft I think on that gentle boy, and weep,
Seem tinted with the nightshade of despair.
To know no earthly power can wake from sleep,
So solemn and profound; while round me spread
But this is sinful-there is One can calm,
I hear low whispers, voices of the dead!-
Can heal the broken spirit, give a balm :
Methinks I hear a voice say Peace-be still!
Thou murmur'r! bow thyself unto his will,
For GoD in wisdom now hath taken away,
But will unite thee at a future day;
A few short years and thou shalt pierce the gloom,
And meet in brighter worlds beyond the tomb.
Westminster.

TO LOUISA. (For the Mirror.)

M. S.

OH! think not Love was born, sweet maid,
Without his eyes, as Poets say—

Altho' he sometimes wears a shade

To guard then from the blaze of day.
But when the sun withdraws his beams,
That shade the little urchin raises,
And hovering o'er her, in her dreams
On beauty he enamoured gazes.

To Jin solitude and night,

When stars shine out and thought is free,
Seize fancy's wings and take my flight
To dwell with happiness and thee!
Then tho' I seem to pass unmoved,

Thy charms, when others own their spell,
How dearly thou art prized and loved,
This throbbing heart alone can tell.

But not 'midst heartless crowds shalt thou,
Where hundreds bend, thy slaves before thee,
Hear me record my ardent vow,

To prove how truly 1 adore thee.'
No-but the moon-thy counterpart,
As pure, as peerless, and as louely,
Can witness for my constant heart,
It beats for Thee and for thee only.

THE VIPER AND THE LEECH. THE viper to the leech observed one day, "Both of us sting-and yet, I know not why, You are a favourite and a friend, they say, While me they strive to kill, or from me fly." "True, we both sting," the little lecch replies: "But mine gives life unto the sick; and yours Death, even to the healthiest mau ensures,"

Manners and Customs.

SKETCHES OF PARIS. Musard's.

THERE exists in Paris a class of men that their compatriots have denominated "flâneurs." They are persons possessing a certain fixed income, which is of that unfortunate medium, that whilst it just enables them to subsist without working in any way for their livelihood, it gives them ideas above trade, and those engaged in it. In fine weather, they turn out for the day, from their lodgings on the sixième, in some street that nobody ever heard the name of, except the man who engraved the map of Paris, and walk about on the boulvards, to look at the shops and the passengers; on wet days, they loiter up and down the covered Galerie d'Orleans in the Palais Royal, (which aforesaid gallery is a species of cross-breed between an inflated Burlington Arcade and the glass lion-house at the Surrey Zoological Gardens); and in the evening they go to Musard's, having dined in the Rue de l'Arbre for sixteen sous, in order to save enough to pay for the billet d'entrée. They prefer Musard's, because they can cut a greater figure there for their frank than at any of the theatres, where the same price would oblige them to associate with the canaille; for your flâneurs are men of high bearing, and delight in long stocks, and dark-coloured gloves.

When we first heard that concerts à la Musard were about to be started in London, we confess we felt a little curiosity to see how they would succeed. We knew the difficulty in England of keeping any place thoroughly respectable, where the price of admission was low enough to meet the pockets of all classes; but we were happy in being agreeably disappointed. To be sure there were a few ready-made pilot coats and gossamer hats, flitting amongst the crowd; but their owners conducted themselves well and quietly, and what more could we desire.

Musard's is the head concert-room in Paristhe Jardin Ture ranks nearly as high, but it is in a locality rather out of favour with the Parisian exquisites, viz. the Boulvart du Temple; and it is likewise exactly opposite the little house of the Marchand de Vin, from whose top window Fieschi fired his twenty-barrel gun. But Musard's boasts a happier situation-it is at the best end of the favoured Rue Vivienne, close to the Passage des Panoramas, and is equally convenient for the frequenters of the Palais Royal, and the Boulvart des Italiens, and especially adapted for the idlers who have read all day on the old sofa that stands on the right of the timepiece in Galignani's reading-room. The salle consists of a noble room, magnificently adorned with pier-glasses, shaded by heavy

damask curtains, and the divisions in it filled up with spirited characteristic paintings of the different styles of music and dancing in various countries. The old French bransle and the whirling navarroise of the middle ages; the Spanish Cachucha, the Russian Krakoviak, the Neapolitan Tarantella, all are depicted; and the ceiling is elaborately adorned with emblematical devices, from the pencils of the first artists in Paris. A covered rotunda projects into the garden from the great room; but the garden itself we think the most beautiful part of the whole affair-it is a realization of Eastern splendour and Fairy-land combined; and reminds us much of the garden-scene in Blue Beard, where the festival takes place, as we recollect seeing it some years back. Large orange-trees ranged along the smoothly.. gravelled walks, cast a subdued and delicious perfume around them; and the multitude of lamps, with their ground-glass shades, have a pleasing and softened effect. At the extremity of the garden is a raised terrace, to which you ascend by three or four steps, backed by a wall of looking-glass, and covered with the choicest plants, while a row of elegant fountains, playing amongst glittering festoons of gas, is reflected in a thousand different directions over the enclosure; and nothing can be more delightful than the drip of the fountain mingling its sound with the orchestra. The salle is generally too crowded; but in the garden you may walk about the whole time, or arrange your own party together where you like, as all the seats are chairs. It is a famous rendezvous for the Parisians, and for the English too, as far as that goes, for you may talk away, half concealed by an orange-tree, as long as you like. Take our word that the overtures are not the only concerted arrangements going on at Musard's. Nearly all are engaged, musically or otherwise; and the same unequalled privacy, which a crowded evening party so paradoxically affords, may be obtained here.

One of the most brilliant cafés in Paris is attached to the concert-room, and we think as much worth seeing, as far as elegance and splendour are concerned. It was the leading one in point of costly decoration until the Café de Genlis opened on the boulvards last autumn, and then the ever-varying French all chose to drink their demi-tasse there. Nevertheless, the Café Musard is most beau tiful, and its fretted ceiling, its stained windows, its elegant company, and the distant sound of the orchestra, form a tout ensemble, which in the way of refined and cheap pleasure Paris alone can offer.

Kind and gentle reader;-the twelfth and last of our Sketches is now before you, but we would not finish them without giving you an English good-bye. As the unknown

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