Ah! why did flattery come at school
To tinge him with a shade of fool!
Alas! what clever plans were crost!
Alas! how wise a judge was lost!
Without a friend to check or guide,
He hurried into fashion's tide,
He aped each folly of the throng,
Was all by turns, and nothing long;—
Skilful in fencing, and in fist,
Blood-critic-jockey-methodist ;
Causeless alike in joy or sorrow,
Tory to-day, and Whig to-morrow,
All habits and all shapes he wore,

And lov'd, and laugh'd, and pray'd, and swore.
And now some instantaneous freak,
Some peevish whim, or jealous pique
Has made the battle's iron show'r
The hobby of the present hour,

And bade him seek, in steel and lead,

An opiate for a rambling head.'—

Our extracts have already been too profuse; yet we cannot close without quoting a few stanzas from

a Sketch' called 'Changing

Quarters, which possesses a considerable vein of poetry, humour and good feeling.

'Fair laughs the morn, and out they come,

At the solemn beat of the rolling drum,

Apparell'd for the march;

Many an old and honour'd name,
Young warriors, with their eyes of flame,

And aged veterans in the wars,

With little pay, and many scars,
And titled lord, and tottering beau,
Right closely wrapt from top to toe
In vanity and starch.

The rising sun is gleaming bright,
And Britain's flag is waving light,
And widely, where the gales invite,
The charger's mane is flowing;
Around is many a staring face
Of envious boor and wondering grace,
And Echo shouts through all the place,
"The soldiers be a-going!"

Beauty and bills are buzzing now
In many a martial ear,

And midst the tumult and the row,
Is seen the tailor's anxious bow,

And woman's anxious tear.

Alas!

Alas! the thousand cares that float
To-day around a scarlet coat!

There's Serjeant Cross, in fume and fret,
With little Mopsa, the coquette,

Close clinging to his side;

Who, if fierce Mars and thundering Jove
Had had the least respect for love,
To-day had been his bride.

And, midst the trumpet's wild acclaim,
She calls upon her lover's name,
In beautiful alarm;
Still looking up expectantly
To see the tear drop in his eye,
Still hanging to his arm.

And he the while-his fallen chop
Most eloquently tells,

That much he wishes little Mop
Were waiting for-another drop,

Or hanging-somewhere else.'-pp. 132, 133.

After a somewhat ludicrous description of the wistful anxiety of the major, captains and subaltern officers to escape from the 'bills' and other importunate claims of the surrounding crowd, the poet suddenly recollects himself, and falls into the following sweet strain, with which our decreasing limits reluctantly compel us to conclude our remarks.

'Is there an eye, which nothing sees,
In what it views to-day,

To whisper deeper thoughts than these,
And wake a graver lay?

Oh think not thus! when Lovers part,
When weeping eye and trembling heart
Speak more than words can say;
It ill becomes my jesting song
To run so trippingly along,
And on these trifling themes bestow
What ought to be a note of woe.

I see young Edward's courser stand,
The bridle rests upon his hand;
But beauteous Helen lingers yet,
With throbbing heart and eyelid wet;
And as she speaks in that sweet tone,
Which makes the listener's soul its own;
And as she heaves that smother'd sigh
Which Lovers cannot hear and fly,
In Edward's face looks up the while,
And longs to weep, yet seems to smile.

"Fair forms may fleet around, my love!
And lighter steps than mine,

And sweeter tones may sound, my love!
And brighter eyes may shine;
But wheresoever thou dost rove,
Thou wilt not find a heart, my love!
So truly, wholly, thine,

As that which at thy feet is aching,
As if its every string were breaking!
"I would not see thee glad, my love!
As erst, in happier years;

Yet do not seem so sad, my love!
Because of Helen's fears;
Swiftly the flying minutes move:
And though we weep to-day, my love!
Heavy and bitter tears,

There'll be, for every tear that strays,

A thousand smiles in other days.'-vol. ii. p. 135.

ART. VI.-1. Account of a Tour in Normandy, undertaken chiefly for the purpose of investigating the Architectural Antiquities of the Duchy; with Observations on its History, on the Country, and on its Inhabitants; illustrated with numerous Engravings. By Dawson Turner, Esq. F. R.S. &c. 2 vols. Svo. London. 1820. 2. The Architectural Antiquities of Normandy, in a Series of one Hundred Etchings, with Historical and Descriptive Notices. By J. S. Cotman. Parts I. and II. royal folio. London. 1820. 3. Letters written during a Tour in Normandy, Brittany, and other Parts of France, in 1818. By Mrs. Charles Stothard. With numerous Engravings after Drawings by Charles Stothard, F. S. A. 4to. London. 1820.

4. Essai Historique sur la Ville de Caen, et ses Arrondissemens. Par M. l'Abbé de la Rue, Chanoine Honoraire de l'Eglise Cathédrale de Bayeux, &c. 2 vols. 8vo. Caen et Rouen. 1820. 5. An Inquiry into the Origin and Influence of Gothic Architecture. By William Gunn, B. D. Rector of Irstead, Norfolk. 8vo. London. 1819.

6. An Attempt to discriminate the Styles of English Architecture, from the Conquest to the Reformation, preceded by a Sketch of the Grecian and Roman Orders; with Notices of nearly Five Hundred English Buildings. By Thomas Rickman. 1819. 7. Chronological and Historical Illustrations of the Ancient Architecture of Great Britain. By John Britton, F. S. A. Six Parts. 4to. London. 1821.

8. Specimens

8. Specimens of Gothic Architecture, selected from various ancient Edifices in England; consisting of Parts, Elevations, Sections, and Parts at large, calculated to exemplify the various Styles of this Class of Architecture. The Drawings by A. Pugin, Architect, and the Engravings by E. Thuill. Parts I. and II. London. 1821.

EVERY nook in our island has now been completely ransacked,

and described by our tourists and topographers. If we call over the Counties one by one, their historians will be seen marshalling their ranks in quarto and in folio. The humbler antiquary of the Ancient Borough ekes out his octavo with chronicles of Shreeves and Mayors, and transcripts of the wills of the founders of the Green-coat school and the Almshouse: and every hamlet, raised by the opulence of the state into the rank of a wateringplace, possesses some diligent ، Guide;' in whose slender duodecimo, the card of the Master of the Ceremonies, and the description of the assembly-rooms, are introduced by an historical dissertation upon the Silures or the Trinobantes. Nor has the pencil been employed with less diligence than the pen. It would be difficult to name any structure of the olden time' which has not been transmitted into the portfolio and the library. The cathedral, whose intricate beauty would almost seem to mock the skill of the designer, yet affords him a fitting trial for his art; while the village church furnishes the material for an accurate S. E. view,' in which the artist carefully eclipses the building itself by the brilliancy and finish of the skulls and cross-bones on the tombstones, and the weathercock on the stumped tower. Such are the productions received with due gratitude by our old and much respected friend Silvanus Urban; who, since he began his career, in the year one thousand seven hundred and thirty, has done infinite service, by storing his Magazine with information which all the world would wish to preserve, though it is morally certain that no mortal but himself would ever have had the firmness to rescue it from oblivion.

Our home subjects having been thus so thoroughly investigated; it was full time, that some attempt should be made to illustrate the antiquities of Normandy, the most important of our transmarine provinces. The French King must not be offended, or, as Mr. Madison expresses it, put himself in an attitude, in consequence of the claim of property which we thus assert. My Lord Coke has given an opinion, in his fourth Institute, that the King of England has not lost his legal right of entry on the Duchy of Normandy, and of bringing an ejectment against his Most Christian Majesty, and recovering possession in due form of law; the islands

of

of Jersey, Guernsey, Alderney, and Sark, with the appurtenances, being, as he says, 'good seizin for the rest of the territory.' This, perhaps, is a state-affair, and ought to be considered by ministers, so we do not choose to meddle with it; but it is quite certain, that in Normandy an Englishman feels himself as much within the pale of English history as if he were in Yorkshire. The theme is so congenial to us, that, for want of a better work, even the meagre compilation of Ducarrel has long since become as valuable as scarcity and high prices could possibly make it. Let it not be supposed that we intend to disparage the memory of the Doctor; he led the way, and we will give him all the meed of praise which is due to a valiant leader. But his travels in the province were confined to a few of its districts; and his architectural plates, which, in books of this class, must always constitute the most important portion, are below contempt. Executed by the most unskilful artists, they bear no intelligible resemblance whatever to the buildings which they caricature and deform.

At the period when Ducarrel wrote, these defects were not easily avoided; the architecture of the Middle Ages had not been studied. Unless an artist feels and estimates all the peculiarities and characteristics of the subject which is placed before him, be that object what it may, he never can delineate it with satisfactory accuracy. A man who attempts to copy inscriptions cut in an alphabet which he cannot read, will make an unintelligible facsimile, though he pore over the original never so carefully. Where a stroke is half obliterated, he will make a break; where another is accidentally lengthened, he will run it into the next letter; and the aggregate of these unavoidable mistakes renders the transcript of no value. A drawing made by a draftsman who does not fully understand the parts of the subject will exhibit similar faults. To be able to delineate accurately, he must know what the outline ought to be: if he does not possess this antecedent knowledge, he will never discover what it is. The slightest irregularity in the curve will induce him to twist the depressed arch into an ogee. He converts the foliaged pinnacle into a jagged pyramid. Destitute of any distinct conception of the meaning of the several parts, he has no distinct perception of their united forms and bearing: he may look and gaze attentively, yet the lines which he traces upon his paper will never arrange themselves significantly, unless the mind's eye also sees that which is seen by the corporeal eye, unless the intellect guides the hand.*

* Hollar, whose talents are unquestionable, affords an illustration of the errors incident to the drawings of an artist who has no critical sense of the character of architec

ture.

The