The Mirror of Literature, Amusement, and Instruction. Volume 10, No. 276, October 6, 1827

How memory, pensive, 'reft of hope, attends
The exile's path, and bids him fear new friends.
Long may the garland blend its varying hue
With thy bright tresses, and bud ever new
With all spring's odours; with spring's light be drest,
Inhale pure fragrance from thy virgin breast!
And when thou find'st that youth and beauty fly,
As heavenly meteors from our dazzled eye,
Still may the garland shed perfume, and shine,
While Laura's mind and Sappho's heart are thine.

    Literary Chronicle.

ENGLISH FRUITS

The Strawberry.—Many varieties have been imported from other countries, and a far greater number have been obtained in this, chiefly from seeds properly prepared by cross impregnation; by which means, the strawberry has been wonderfully improved; instance the hautboys, scarlet, chilli, but particularly the splendid varieties, called "Wilmot's superb," and "Keen's seedlings."

The Raspberry, is also found wild in the British isles, on its native site, (with its companions, the bramble, and dewberry)—its shoots and fruits are diminutive, though the flavour of the berry is rich. No plant requires the skilful hand of the pruner more than this; of all others, it is, perhaps, the most viviparous, throwing up, annually, a vast redundancy of shoots, which, if not displaced at the proper season, would impoverish not only the fruit of the present, but also the bearing wood of the next year. The Dutch fruiterers have been successful in obtaining two or three fine varieties from seeds; and as this field of improvement is open, no doubt further exertions will bring forth new and valuable sorts.

The Gooseberry.—No domesticated fruit sports into greater variety than this: the endless lists of new sorts is a proof of this, and many large and excellent sorts there are, particularly the old Warrington red.

The Cherry.—Cultivation has accomplished wonders in the improvement of this beautiful native fruit. Instead of a lofty forest-tree bearing small bitter fruit, it has been long introduced to our orchards, is changed in appearance and habit, and even in its manner of bearing; has sported into many varieties, as numerous as they are excellent—nor is such improvement at an end: several new varieties have lately started into existence.

The Plum.—The lowest grade of this class of fruits is the almost useless sloe in the hedge; and none but those in some degree acquainted with the matter could, on beholding the acidous, puny sloe, and the ample, luscious magnum bonum plum, together, readily believe that they were kindred, or that the former was the primitive representative of the latter. The intermediate links of this connexion are the bullace, muscle, damacene, &c., of all which there are many varieties. In nurserymen's lists, there are many improved sorts, not only excellent plums, but excellent fruit,—the green gage and imperatrice are admirable.

The Pear, was originally an inhabitant of European forests: there it grew to be a middle-sized tree, with small leaves, and hard, crude-tasted, petty fruit: since its introduction and naturalization in the orchard, it has well repaid the planter's care. The French gardeners have been long celebrated for their success and indefatigable perseverance in the cultivation of the pear; almost all our superior sorts are from that country. The monastic institutions all over Europe, but particularly in France, were the sources from whence flowed many excellent horticultural rules, as well as objects.

(To be concluded in our next.)

THE MONTHS

On the woods are hung
With many tints, the fading livery
Of life, in which it mourns the coming storms
Of winter.

    PERCIVAL.

Change is the characteristic of the month of October; in short, it includes the birth and death—the Alpha and Omega—of Nature. Hence, it is the most inviting to the contemplatist, and during a day in October, the genius of melancholy may walk out and take her fill, in meditating on its successive scenes of regeneration and decay.

Dissemination, or the sowing of seed, is the principal business of this month in the economy of nature; which alone is an invaluable lesson, a "precept upon precept" to a cultivated mind. This is variously effected, besides by the agency of man; and it is a satire on his self-sufficiency which should teach him that Nature worketh out her way by means that he knoweth not.

Planting, that agreeable and patriotic art, is another of the October labours. Here, however, the pride of man is again baffled, when he considers how many thousand trees are annually planted by birds, to whom he evinces his gratitude by destroying them, or cruelly imprisoning them for the idle gratification of listening to their warbling, which he may enjoy in all its native melody amidst the delightful retreats of woods and groves. This leads us to the October economy of birds. "Swallows are generally seen for the last time this month, the house-martin the latest. The rooks return to the roost trees, and the tortoise begins to bury himself for the winter. Woodcocks begin to arrive, and keep dropping in from the Baltic singly or in pairs till December. The snipe also comes now;" and with the month, by a kind of savage charter, commences the destruction of the pheasant, to swell the catalogue of the created wants and luxuries of the table. "One of the most curious natural appearances," says Mr. L. Hunt, "is the gossamer, which is an infinite multitude of little threads shot out by minute spiders, who are thus wafted by the wind from place to place." In this manner spiders are known to cross extents of many miles.

The weather becomes misty, though the middle of the day is often very fine. Hence it is the proper season for the enjoyment of forest scenery. The leaves, which, towards the close of September, began to assume their golden tints and gorgeous hues, now lecture us with their scenes of falling grandeur; and nothing is more delightful than in an autumnal walk to emerge from the pensive gloom of a thick forest, and just catch the last glimpse of an October sun, shedding his broad glare over the varied tints of its leaves and branches, for the sombre and silvery barks of the latter add not a little to the picture. "The hedges," says the author already quoted, "are now sparkling with their abundant berries,—the wild rose with the hip, the hawthorn with the haw, the blackthorn with the sloe, the bramble with the blackberry; and the briony, privet, honey-suckle, elder, holly, and woody nightshade, with their other winter feasts for the birds."

October is the great month for brewing—that luxurious and substantial branch of rural economy; and many and merry are the songs and stories of nut-brown October to "gladden the heart of man," with the soul-stirring influence of its regalings. Hops, too, are generally picked this month.

October in Italy is thus vividly described: "It was now the beginning of the month of October; already the gales which attend upon the equinox swept through the woods and trees; the delicate chestnut woods, which last dare encounter the blasts of spring, and whose tender leaves do not expand until they may become a shelter to the swallow, had already changed their hues, and shone yellow and red, amidst the sea-green foliage of the olives, the darker but light boughs of the cork-trees, and the deep and heavy masses of ilexes and pines."

Astronomical Occurences

FOR OCTOBER, 1827

(For the Mirror.)

Mercury is in conjunction with Jupiter on the 7th at noon: he is too near the sun to be observed this month.

Venus passes her superior conjunction on the 7th, at 10 h. morning, thenceforward she sets after the sun, and becomes an evening star. This interesting planet makes a very near appulse to Jupiter on the 16th at 1 h. morning.

Jupiter is in conjunction with the sun on the 18th at 10-3/4 h. evening. He is afterwards a morning star, preceding the sun in his rising.

The Georgian planet, or Herschel, ceases from his retrograde movement on the 4th, and appears stationary till the 11th, when he resumes a direct motion. He is still in a favourable situation for evening observation. Its great distance from the earth, and the long period of its revolution round the sun prevent any rapid change in its situation among the fixed stars; the place therefore which the Greorgium Sidus occupied in Capricornus in July, (see MIRROR for that month) is so contiguous to that planet's present position, that the observations then made may be a sufficient guide for the present month. Its slow motion among the fixed stars makes it participate in that daily change which is common to them, hence the planet may be observed in the same place a few minutes earlier every night. It comes to the south on the 1st at 7 h. 16 min., and on the 31st at 5 h. 26 min. evening.

The moon is in opposition on the 5th; in apogee on the 11th; in conjunction on the 20th; and in perigee on the 23rd. She is in conjunction with Saturn on the 13th at 3-1/4 h. after with Mars on the 18th at 2 h. morning; and Jupiter and Venus on the 20th, with the former at 1-1/2 h. and the latter at 11 h. afternoon, also with Mercury on the 21st at 10-1/2 h. afternoon.

The Solar luminary is eclipsed on the 20th at 3 h. 47 min. afternoon. He is above the horizon during the whole time the central shade is passing over the disc of the earth, but the moon having nearly 2 deg. southern latitude at the time of true conjunction, in middle of the eclipse, it will be invisible not only to us but to the whole boreal hemisphere of the globe. He enters Scorpio on the 24th at 4 h. 36 min. morning.

From the observations made upon the annual eclipses, it appears that the period of the moon is now shorter, and consequently that her distance from the earth is now less than in former ages, and this has been considered as an argument against those who assert that the world may have existed from eternity; for it was hence inferred that the moon moves in a resisting medium, and therefore that her motion must by degrees be all destroyed, in which case she must at last come to the earth. But M. de la Place has shewn that this acceleration of the moon's period is a necessary consequence of universal gravitation, and that it arises from the action of the planets upon the moon. He has also shewn that this acceleration will go on till it arrives at a certain limit, when it will be changed into a retardation, or in other words, there are two limits between which the lunar period fluctuates, but neither of which it can pass.

    PASCHE.

Fine Arts

HANS HOLBEIN

Holbein is the man who has been hitherto considered as the most brilliant genius Switzerland has produced in the art of painting. He is here universally believed to have been a native of Switzerland. His earliest biographers, Mander and Patin, asserted that he was born at Basel, and they have been copied by all our biographical dictionaries. Another biographer, however, appears, himself a Swiss, and known as the author of some other clever works, and proves, on the most satisfactory evidence, that Holbein was born 1498, at Augsburg, in Germany; but that his father, a painter too, came to Basel between 1504-8, probably at the invitation of the magistrates of Basel, as they required a painter to decorate their newly-built council-hall.

Holbein gave early proofs of his aspiring talent. When fifteen years old, he exhibited an oil-painting, which, though defective in colouring, raised high expectations by its clearness and softness of execution. This painting is still to be seen in the public library at Basel, and bears the date of 1513. Of the same year, a sketch, with the monogram HH, is extant, representing three watchmen with halberds. His two brothers were also painters; only a few paintings are left of the elder, Ambrose, and none of the younger brother Bruno; both died prematurely. In the year 1520, Holbein was presented with the freedom of the town of Basel.

Switzerland held constant communications with Germany and the Netherlands, but less with Italy. A number of painters lived at that time in Germany, whose names have not been recorded by any German Vasari, and their master works have been long neglected. In Holbein's time Albrecht Durer enjoyed the primary reputation. Martin Schoen had preceded him at Colmar, in Alsace; Manuel painted at Bern, Hans Asper at Zurich, and at Basel itself there were other painters besides Holbein. Half a century before him the Dance of Death had been painted, after the disaster of a plague, on the walls of a church-yard at Basel.

The council-hall at Basel gave occupation to architects from 1508 till 1520. It is believed that Holbein painted three of the walls, only one of which (hid behind old tapestry, and discovered again in 1817) has escaped the ravages of time. It represents M. Curius Dentatus cooking his dinner, whilst the Samnites offer silver plates with money. "The last Judgment," where a pope, with priests and monks, sink into the flames of hell, is not the work of Holbein, but was done in 1610, during good Protestant times.

A good number of stories are told of Holbein. Unable to pay his debts in a tavern, he discharged the bill by decorating the walls with paintings of flowers. Another time, for a similar purpose, he covered the walls all over with "the merry dance of peasants;" and in order to deceive one of his employers, he painted his own legs beneath the high scaffolding, that the watchful citizen should not suspect his having abandoned his work to carouse in wine-cellars. Here our biographer gravely says, "a man of spirit could not be expected to sit quietly painting the whole day long in the heat of the sun, or in the rain; if he saw a good friend go to the tavern, he felt disposed to follow him." Holbein did not keep the best company; but in this he resembled Rembrandt, who said, that when he wished to amuse himself, he avoided the company of the great, which put a restraint upon him; "for pleasure," he adds, "consists in perfect liberty only." Holbein no doubt felt a contempt for the great people of his time, as they did not understand much about his art, which he valued above all things.

Holbein's wife, and he married early, was a perfect Xantippe, too shrewd to be despised, and not handsome enough to be admired. In the library at Basel is a family picture of Holbein, in which she is introduced, almost unconscious of the two children about her; but Holbein very shrewdly forgot to paint himself there. But he took care of the interests of his family, and obtained them a pension from the magistrates of Basel, during his stay in England. This pension was paid for past services, and in order to induce him finally to fix his residence in Switzerland.

The absence of matrimonial felicity was probably an additional motive for Holbein to seek employment as an itinerant painter. He visited several Swiss towns, but certainly never saw Luther and Melancthon, so that the portraits of Luther and Melancthon exhibited in Italy, Germany, and England, as works of Holbein, cannot be genuine; and it is very improbable that he should have copied the works of Lucas Cranach, who several times painted the portraits of those lights of the reformation. Erasmus was frequently painted by Holbein; and as those portraits were sent as presents to the friends of Erasmus, Holbein's name became known all over Europe.

Holbein came to England in the year 1526, and Sir Thomas More wrote to Erasmus that he would take care of him. Sir Thomas received him into his own house at Chelsea, and there Henry VIII. saw him one day, when paying a visit to the former. He took him instantly into his service, gave him apartments in the royal palace, and a salary of 30l. a-year.

Holbein's long residence in the house of Sir Thomas More had a good effect upon him; for although Erasmus describes the women of England as "nymphae divinis vultibus, blandae, faciles," yet Holbein seems to have resisted those temptations in London, which rendered his conduct at Basel so reprehensible. Holbein twice revisited Switzerland, once in 1526, the second and last time in 1538: the zealots had just destroyed all the images; and even some painters, infected with the spirit of the age, had declared they would rather starve, than break the second commandment. In England the same work of devastation took place; but Henry VIII., notwithstanding, gave Holbein abundance of work, as he had to paint all his royal consorts in succession, besides a number of portraits for English noblemen.

His sketches of heads, now existing at Kensington, of various people who lived at the court of Henry VIII., and among them one of that monarch, are exquisite productions. Imitations of the original drawings have been published by J. Chamberlaine, fol. Lond. 1792. One picture of Holbein is supposed to be in Surgeons' Hall. Some wood-cuts to Cranmer's Catechism (1548) were made by Holbein. Our biographer, who had never seen the work himself, was led by Walpole [Anecdotes of Painting] to believe, that all the wood-cuts were from Holbein.

With respect to the famous "Dance of Death," the biographer tells us, what we have already stated, that the painting on the wall of the church-yard at Basel is not the work of Holbein; the costumes are of a time anterior to Holbein. There was also a "Dance of Death" painted on the wall of a convent at Bern by Manuel, who lived a little before Holbein. Only on the supposition that the "Dance of Death" at Basel was Holbein's work, could that of Bern be said to be the first of its kind. But, on comparing the costumes, it appears again, that the "Dance of Death" at Bern must have been painted subsequently to that at Basel. No "Dance of Death" of an earlier date was known, until another was discovered on the wall of a convent of nuns at Klingenthal, on the right bank of the Rhine, at Basel. This bears the date of 1312, and is therefore a whole century prior to the other, which cannot have been painted before the year 1439. It has been supposed, that the idea of the "Dance of Death" was taken from certain processions very much in vogue during the middle ages; and it is singular enough, that up to this day, in funeral processions in Italy, long white robes are used, which wholly cover the head, with only two holes for the eyes. But the coincidence of another plague at Basel, which, about the year 1312, destroyed above 11,000 people, renders it more than probable that the artist availed himself of the impression which such a dreadful mortality must have made on the minds of all the surviving, to represent how inexorable death drags to the grave, in terrible sport, rich and poor, high and low, clergymen and laity.

On the authority of Nieuhoff, a Dutchman, who came over to England with William III., Mr. Douce asserts, that Holbein had painted the "Dance of Death" on the walls of Whitehall. Borbonius might then have had in mind this painting, when he mentioned the "Mors picta" of Holbein; but three biographers of Holbein, Mander, Sandrart, and Patin, were in England before Whitehall was destroyed by fire, and make no mention of this painting, although Mander speaks of other paintings of Holbein, particularly the portrait of Henry VIII., that were preserved at Whitehall. Mander states, that he also saw at Whitehall the portraits of Edward, Maria, and Elizabeth, by Holbein, "die oock ter selver plaetse te sien zyn."