FRENCH BATTLE-PICTURES
In an American work—Glances at Europe, by Mr H. Greeley—the following sound observations occur on the battle-pictures in the palace of Versailles: 'These battle-pieces have scarcely more historic than artistic value, since the names of at least half of them might be transposed, and the change be undetected by ninety-nine out of every hundred who see them. If all the French battles were thus displayed, it might be urged with plausibility that these galleries were historical in their character; but a full half of the story—that which tells of French disaster and discomfiture—is utterly suppressed. The battles of Ptolemais, of Ivry, of Fontenoy, of Rivoli, of Austerlitz, &c. are here as imposing as paint can make them; but never a whisper of Agincourt, Cressy, Poitiers, Blenheim, or Ramillies; nor yet of Salamanca, of Vittoria, of Leipsic, or Waterloo. Even the wretched succession of forays which the French have for the last twenty years been prosecuting in Algerine Africa, here shine resplendent; for Vernet has painted, by Louis-Philippe's order, and at France's cost, a succession of battle-pieces, wherein French numbers and science are seen prevailing over Arab barbarism and irregular valour, in combats whereof the very names have been wisely forgotten by mankind, though they occurred but yesterday. One of these is much the largest painting I ever saw, and is probably the largest in the world, and it seems to have been got up merely to exhibit one of Louis-Philippe's sons in the thickest of the fray. Last of all, we have the Capture of Abd-el-Kader, as imposing as Vernet could make it, but no whisper of the persistent perfidy wherewith he has been retained for several years in bondage, in violation of the express agreement of his captors. The whole collection is, in its general effect, delusive and mischievous—the purpose being to exhibit war as always glorious, and France as uniformly triumphant. It is by means like these that the business of shattering knee-joints and multiplying orphans is kept in countenance.'
NEW APPLICATIONS OF MANGEL-WURZEL
A patent has been taken out for the following applications of mangel-wurzel:—1st, To prepare a substance which may be combined with, or employed in place of coffee, the mangel-wurzel roots are well washed, cut into pieces; about the size of peas or beans, and then dried and roasted in the same manner as coffee-berries. The product is ground after being roasted, and it is then ready for use. 2d, A substitute for tea is produced by cutting the leaves of mangel-wurzel into small strips or shreds, drying the same, and then placing them upon a hot plate, which is kept at a temperature sufficiently high to slightly char the leaves. The charred mangel-wurzel leaves are to be used in precisely the same way as tea. 3d, To manufacture a fermented liquor, the mangel-wurzel roots are well washed, cut into small pieces, and put into a vat, wherein they are permitted to ferment for two or three days, at a temperature of about 70 degrees, and water is added thereto. A fermented liquor is thus obtained similar to perry or cider. 4th, When the mangel-wurzel roots are to be employed in the preparation of wort, they are washed, and cut into small pieces, which are dried, or slightly charred, by the action of kilns or ovens, of the kind used for drying malt; and wort is prepared from this produce in the same manner as from malt.
THE MARTYRDOM OF FAITHFUL IN VANITY FAIR. 6
I
The great human whirlpool!—'tis seething and seething:
On! No time for shrieking out, no time for breathing;
All toiling and moiling—some feebler, some bolder,
But each sees a fiend-face grin over his shoulder:
Thus merrily live they in Vanity Fair!
The great human caldron—it boils ever higher;
Some drowning, some sinking; while some, creeping nigher,
Come thirsting to lean o'er its outermost verges,
Or touch—as a child's feet touch trembling the surges:
One plunge—Ho! more souls swamped in Vanity Fair!
'Let's live while we live, for to-morrow all's over.
Drink deep, drunkard bold! and kiss close, thou mad lover!
Smile, hypocrite, smile! it is no such hard labour,
While each with red hand tears the heart of his neighbour
All slyly.—We're strange folk in Vanity Fair!
'Hist!—each for himself, or herself, which sounds smoother,
Though man's no upholder, and woman no soother,
Both struggle alike here.—What, weeping?—what, raving?
Pah!—fight out the battle all! No time for saving!
Ha! ha! 'tis a wondrous place, Vanity Fair!'
The mad crowd divides, and then closes swift after;
Afar, towers the pyre, lit with shouting and laughter;
'What new sport is this?' lisps a reveller, half turning;—
'One Faithful, poor wretch! who is led to the burning:
He cumbered us sorely in Vanity Fair!
'A dreamer—who held every man for a brother;
A coward—who, emit on one cheek, gave the other:
A fool—whose blind truth aye believed all knaves' lying;
Too simple to live, so most fitted for dying.
Ha! such are best swept out of Vanity Fair.'
II
Silence! though the flame-drifts wave and flutter;
Silence! though the crowd their curses mutter;
Silence! through this fiery purgatory
God is leading up a soul to glory.
See, the white lips with no moans are trembling,
Hate of foes, or plaint of friends' dissembling;
If sighs come—most patient prayers outlive them:
'Lord, these know not what they do. Forgive them!'
Thirstier still the roaring flames are glowing,
Fainter in his ear the laughters growing;
Brief endures the fierce and fiery trial—
Angel-welcomes drown the earth-denial.
Now the amorous death-fires, gleaming ruddy,
Clasp him close. Down sinks the quivering body,
While through harmless flames immortal flying
Shoots the beauteous soul. This—this is dying!
Lo! the opening heavens with splendours rifted;
Lo! the palms that wait those hands uplifted;
And the fiery chariot cloud-descending,
And the legioned angels close attending!
Let his poor dust mingle with the embers,
While the crowd sweeps on, and none remembers;
Saints and angels through the Infinite glory,
Praising God, recount the martyr's story.
Thou, who through the trial-fires bewildering
Of this cruel world, dost lead Thy children,
With the purifying give the balm;
Grant to martyr-pangs the martyr's palm!
VARIETY OF AMBER
There is a variety of amber, of the opacity of white wax, with a very slight yellowish tinge. It is found intermixed with yellow amber, in thin bands of some breadth. When the magnificent pile of buildings called Fonthill Abbey was exhibited to the public, before the sale of its curious and costly furniture, it contained an amber cabinet, as beautiful in workmanship as material. It was quadrangular, and about fifteen inches by twelve at the base, standing on four legs, that raised it about half an inch from its pedestal. It was pyramidal in form, about fourteen inches high, and divided into eleven stages. These were separated by a ledge of yellow amber, about one-eighth of an inch in thickness, projecting a little over the under stage, like a cornice. The front of each stage was ornamented with recumbent figures in white amber, in relief. Some parts were at least one-eighth of an inch in thickness. The effect was much like that of the white figures on the purple ground of the well-known Portland Vase. Each stage had the appearance of opening as a drawer. The top was flat, and the whole of the yellow amber beautifully transparent.
HAVE SERPENTS TASTE?
Some naturalists have surmised that serpents have no sense of taste, because the boa-constrictor in the Zoological Gardens swallowed his blanket. Chemistry may, however, assist us in solving the mystery, and induce us to draw quite an opposite conclusion from the curious circumstance alluded to. May not the mistake of the serpent be attributed to the marvellous acuteness of his taste? Take this reason: All vegetable substances contain starch, all animal substances contain ammonia; now it is most probable that the snake detected the animal quality—the ammonia—in the wool of the blanket, and he therefore naturally enough inferred that his bed was something suitable to his digestive organs. It is certain that he committed an error of judgment, but that error may be traceable to the subtilty of his taste rather than to its obtuseness. We throw out this suggestion as a specimen, if nothing better, of what contradictory inferences may be drawn from a single fact, and as a hint of how much caution is necessary in arriving at absolute opinions, even when the evidence is apparently most unmistakable.
AN AMERICAN EDITOR
He is a dangerous man to be trifled with. The grand hickory-stick he twirls in his hand would be enough, with his dare-devil look, to frighten most persons; but when we state that in the depth of the pocket of the remarkable check-coat that he wears he conceals one of the most beautiful 'persuaders' ever manufactured by Colt, we are satisfied he will be a terror to all evil-doers. We should also state that generally he is occupied doing out-door business, but that on every Saturday until one o'clock P.M. he is always at the office, perfectly ready and willing to give any and every satisfaction for the articles he publishes.—Boston Rouge Gazette.
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