[We thank our ingenious Correspondent for the previous description of his recent aerial voyage, as we are fully aware of the difficulty of describing such a magnificent scene as he must have witnessed in his ascent. During the whole voyage, he experienced nothing but sensations of delight; the atmosphere being only disturbed by very light wind, just sufficient to waft the aeronauts without any laborious management, and the time—evening—being beautifully serene. We thought ourselves richly rewarded by the view of the Colosseum Panorama, but what must have been their sensations at a distance of 6,600 feet high, when with the huge machine they appeared little more than a speck. The varnish, or glare, which our Correspondent describes, was that charming effect which we are wont to admire here, on earth, in evening scenes, especially when they are lit up by the splendour of the setting sun; but which must be doubly enchanting when viewed from so great an altitude. He likewise tells us that the landscape appeared to recede like a moving panorama, whilst the balloon seemed to be stationary; so that the scenic attempt at Covent Garden Theatre, a few years since, to illustrate a balloon ascent, by moving scenery, was in accordance with the real effect, though, we think, the theatrical attempt was not so appreciated at the time it was made. In conclusion, we congratulate our friend upon his splendid recreation, for such his ascent must have been.]

PITY.—A FRAGMENT

(For the Mirror.)

What is pity? 'Tis virtue's essence,—'tis benevolence Itself;—'tis mercy, justice, charity; It is the rarest boon that man doth give to man; It is the first perfection of our nature; It is the brightest attribute of heav'n: Without it man should rank beneath the brute; And with it—he is little lower than angel. The generous mite of penury is pity; Nay, ev'n a look.— Not so the heartless pittance of the affluent, That is hypocrisy. If you pity, Your heart is liberal to forgive, Your memory to forget— Your purse is open, and your hands are free To help the penniless.

CYMBELINE

THE PENDRILS

(To the Editor of the Mirror.)

Sir,—From a note which I have just seen at the foot of the interesting account of the escape of Charles the Second, in vol. v. of the MIRROR, the reader is led to conclude, that the pension granted to Richard Pendril, expired at his death. No such thing. Old Dr. Pendril lived, practised, and died at Alfriston, a little town in the east of Sussex, some forty or fifty years since. His son, John Pendril, died at Eastbourn, four or five years ago. His son, Mr. John Pendril, kept a public house at Lewes, a few years since, to which he added the appropriate sign of the "Royal Oak." All these in succession enjoyed the pension of – marks, granted by Charles the Second, together with something of a sporting character called "free warren." The last Mr. John Pendril was lately living at or near Brighton.

W.W

EATING "MUTTON COLD."

(For the Mirror.)

Be good enough to insert the solution of Hen. B.'s difficulty in your last MIRROR, which I send at foot, and thereby oblige a constant

SUBSCRIBER AND FRIEND

The solution, or attempt at solution, of Hen. B.'s difficulty as to what Goldsmith means in his poem "Retaliation" when he concludes his ironical eulogium on Edmund Burke, thus:—

"In short 'twas his fate, unemployed, or in place, sir, To eat mutton cold, and cut blocks with a razor."

By being "unemployed" it is presumed that he was not engaged in the ordinary avocations of life, or in other words was not engaged in those legitimate avocations which have for their object the procuring the means of subsistence for the masticator; but if it is meant to have a name of extensive meaning, the solution is unanswerable.

Assuming the former to be Goldsmith's meaning, the answer to be given to the solution might be that eating mutton cold, is eating cold mutton in its cold state, cooked or uncooked; but if the more general meaning is insisted upon, I cannot see how the masticator is unemployed, as his jaws which form a most material part of himself—are set in full motion by the operation of eating—hence full employment is given them—and as much to the "he" who is the owner of such jaws.

FINE ARTS

EXHIBITION OF THE ROYAL ACADEMY

(Continued from page 338.)

91. Portrait of the late Earl of Kellie, Lord Lieutenant of the County of Fife.—D. Wilkie.—A noble portrait, painted for the County Hall, Cupar.

92. Night.—H. Howard—An exquisite scene from Milton:—

"–now glowed the firmament With living sapphires: Hesperus that led The starry host, rode brightest, till the moon, Rising in clouded majesty, at length Apparent queen unveiled her peerless light, And o'er the dark her silver mantle threw."

102. Portrait of the Duchess of Richmond.—Sir T. Lawrence.

110. Cardinals, Priests, and Roman Citizens washing the Pilgrims' Feet.—D. Wilkie.—This ceremony takes place during the holy week, in the Convent of Santa Trinita dei Pelligrini; and Mr. Wilkie has infused a devotional character into this picture which is highly characteristic of Catholic solemnity.

127. Portrait of Jeremy Bentham—H.W. Pickersgill.—An admirable likeness of the veteran-patriot and political economist.

128. The Defence of Saragossa.—D. Wilkie.—The subject is so well explained in the Catalogue, that we quote it:—

"The heroine Augustina is here represented on the battery, in front of the convent of Santa Engratia, where her husband being slain, she found her way to the station he had occupied, stept over his body, took his place at the gun, and declared she would herself avenge his death.

"The principal person engaged in placing the gun is Don Joseph Palafox, who commanded the garrison during the memorable siege, but who is here represented in the habit of a volunteer. In front of him is the Reverend Father Consolaçion, an Augustin Friar, who served with great ability as an engineer, and who, with the crucifix in his hand, is directing at what object the cannon is to be pointed. On the left side of the picture is seen Basilico Boggiero, a priest, who was tutor to Palafox, celebrated for his share in the defence, and for his cruel fate when he fell into the hands of the enemy. He is writing a despatch to be sent by a carrier pigeon, to inform their distant friends of the unsubdued energies of the place."

In this part of the room are half a dozen excellent portraits, all by different artists.

149. The Soldier's Wife—W.F. Witherington.—This picture is from an anecdote of the late Duke of York. His Royal Highness, as he returned one day from a walk, observed a poor woman in tears, sent away from his house. On asking the servant who she was, he answered, "A beggar, some soldier's wife." "A soldier's wife!" returned his Royal Highness; "give her immediate relief: what is your mistress but a soldier's wife?"—An interesting picture, although we do not think the likeness of the benevolent Duke is very striking. However, the incident must have occurred a few years previous to his decease.

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The Mirror of Literature, Amusement, and Instruction. Volume 13, No. 376, June 20, 1829

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P.T.W

PITY.—A FRAGMENT

CYMBELINE

THE PENDRILS

W.W

EATING "MUTTON COLD."

SUBSCRIBER AND FRIEND

FINE ARTS

EXHIBITION OF THE ROYAL ACADEMY

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