This is but an imperfect outline of the ingenious works which are now just finishing at the Colosseum. The undertaking, as the name imports, is one of the most gigantic enterprises for public gratification which it has ever been our lot to witness; but great as may be the capital already expended here, and indefatigable as have been the exertions of the proprietor during the last seven years, it is almost impossible that such genius should not be amply remunerated. As a concentration of every refined amusement and luxurious comfort which the taste of the times can dictate, the Colosseum will doubtless be without a rival in Europe. The charms of useful and elegant literature will here alternate with the exquisite masterpieces of modern art—and to aid these attractions, the pure pleasures of the garden and green-house, and studies from the wild and wonderful of sublime nature—will be superadded. The extent occupied by the requisite buildings, &c. is, as we were informed, little short of five acres.

To conclude, the Colosseum will very shortly be opened to the public. In the meantime, such persons as wish, may be gratified with a private view of the works in their present state, on terms which have already been announced by the proprietor.

TO –

(For the Mirror.)

Yes! tis to thee love I waken the string: Yes! 'tis to thee love I only would sing; And in thine eyes love, I ask but to shine; With softest affection, As thou dost in mine. Dearest and kindest, I ask but to be Cherished by thee love, As thou art by me; Then shall our moments Glide sunnily o'er. And blest with each other, We sigh for no more. Wife of thy bosom, By thee loved alone, No dearer blessing This proud world can own: All its attractions Delighted I'll fly, For thee love, to live, And with thee love to die!

H

HIEROGLYPHICAL CHARACTERS

(For the Mirror.)

Hieroglyphics consist in certain symbols which are made to stand for invisible objects, on account of some analogy which such symbols were supposed to bear to the objects. Egypt was the country where this sort of writing was most studied, and brought into a regular science. In hieroglyphics was conveyed all the boasted knowledge of their priests. According to the properties which they ascribed to animals, they chose them to be the emblems of moral objects. Thus ingratitude was expressed by a viper; imprudence, by a fly; wisdom, by an ant; knowledge, by an eye; eternity, by a circle which has neither beginning nor end; a man universally shunned, by an eel, which they supposed to be found with no other fish. Sometimes they joined two or more of these characters together, as a serpent with a hawk's head, denoted nature, with God presiding over it.

INA

MANNERS & CUSTOMS OF ALL NATIONS

BULL-FIGHTS AT LIMA

From General Miller's Memoirs. Second edition

The taste for bull-fights, introduced by the early Spaniards, is retained by their American descendants with undiminished ardour. The announcement of an exhibition of this kind produces a state of universal excitement. The streets are thronged, and the population of the surrounding country, dressed in their gayest attire, add to the multitudes of the city. The sport is conducted with an éclat that exceeds the bull-fights in every other part of South America, and perhaps even surpasses those of Madrid. The death of the bull, when properly managed, creates as much interest in the ladies of Lima, as the death of the hare to the English huntress, or the winning horse to the titled dames at Newmarket or Doncaster. Nor can the pugilistic fancy of England take a deeper interest in the event of a prize-fight, than the gentlemen of Lima in the scientific worrying of a bull. It is curious to observe how various are ideas of cruelty in different countries. The English, for instance, exclaim against the barbarity of the bull-fight, as compared with the noble sport of cock-fighting, badger-baiting, &c. But their enlightened horror could not exceed the disgust shown by a young South American, who witnessed a casual boxing-match between two boys in Hyde Park, surrounded and encouraged, as he expressed himself, by well-dressed barbarians. It is amusing to witness the complacency with which one nation accuses another of cruelty, without taking a glance at customs at home. The bulls destined for the ring are obtained principally from the woods in the valleys of Chincha, where they are bred in a wild state. To catch and drive them to Lima, a distance of sixty leagues, is a matter of no inconsiderable expense. A bull is given by each gremio, or incorporated trading company of the city. The gremios vie in decorating their donation, which is bedizened with ribbons and flowers; across its shoulders are suspended mantles richly embroidered with the arms of the gremio to which it belongs, all of which become the perquisite of the Toreador or Matador who slays the bull. The price of admission is four reals, or two shillings; but an additional charge is made for seats in the boxes; and the managers pay a considerable tax to government on every performance. Early in the afternoon of the day fixed upon for a bull-fight, every street leading to the amphitheatre is crowded with carriages, horsemen, and pedestrians. All are in the highest state of excitement, the highest glee, and in full dress. The business of the ring commences, about 2 p.m. by a curious sort of prelude. A company of soldiers perform a despejo, or a military pantomime. The men having been previously drilled for that purpose, go through a variety of fanciful evolutions, forming the Roman and Greek crosses, stars, and figures, so describing a sentence, such as viva la patria, viva San Martin, or the name of any other person who happens to be at the head of the government. As a finale, the soldiers form a circle, face outwards, then advance towards the boxes, preserving their circular order, which they extend, until they approach close enough to climb up to the benches. Every movement is made to the sound of the drum; the effect is exceedingly good. A band of music is likewise in attendance, and plays at intervals. The prelude being over, six or seven toreador enter the arena on foot, dressed in silk jackets of different colours, richly spangled or bordered with gold or silver lace. One or two of these men, and who are called matadores, are pardoned criminals, and they receive a considerable sum for every bull they kill. About the same time various amateurs, well mounted on steeds gaily caparisoned, fancifully and tastefully attired, present themselves. When all is prepared, a door is opened under the box occupied by the municipality, and a bull rushes from a pen. At first he gazes about as if in surprise, but is soon put upon his mettle, by the waving of flags and the throwing of darts, crackers, and other annoyances. The amateur cavaliers display their horsemanship and skill in provoking and in eluding his vengeance, in order to catch the eye of some favourite fair one, and to gain the applause of their friends and the audience. They infuriate the animal by waving a mantle over his head, and when pursued they do not allow their horses to advance more than a few inches from the horns of the angry bull. When at full speed, they make their horse revolve upon his hind legs, and remain in readiness to make a second turn upon the animal. This operation is several times repeated with equal agility and boldness, and is called capear. The amateurs then promenade around to acknowledge the plaudits bestowed. This species of sparring on horseback with the bull, is practised only in South America. Indeed in no other part of the world is the training of the horses, or the dexterity of the horseman, equal to the performance of such exploits. Effigies made of skin and filled with wind, and others made of straw, in which are live birds, are placed in the arena. The bull tosses them in the air, but being made heavy at the base, they come to the ground always retaining an upright posture. The straw figures are furnished with fire-works, which are made to take fire when the birds escape from within, and it sometimes happens that the bull has the flaming and cracking figure upon his horns. Sometimes the bull is maddened by fire-works being fastened on him, which go off in succession. The crackers being expended, the animal usually stands gazing around with rolling tongue, panting sides, and eyes sparkling with rage. He is then faced by the principal matador, who holds a straight sword in one hand and a flag in the other; as the bull runs at him with full speed, the matador coolly, but with great celerity, takes one step to the left, holding the flag just over the spot he occupied when the bull took aim. Being foiled, the bull wheels round, and charges his tormentor a second time, who again skilfully eludes being caught on the horns: this is repeated about three times, to the great delight of the audience. At length the matador assumes a sort of fencing attitude, and at the critical moment, plunges his sword into the bull's neck, near to its shoulders, when it falls dead at his feet. Handkerchiefs are waved, and applauding shouts resound from every side. Four horses richly harnessed then appear. The dead bull is quickly fixed to traces, and dragged out at a gallop, cheered by continued acclamations.

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The Mirror of Literature, Amusement, and Instruction. Volume 13, No. 352, January 17, 1829

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TO –

(For the Mirror.)

H

HIEROGLYPHICAL CHARACTERS

(For the Mirror.)

INA

MANNERS & CUSTOMS OF ALL NATIONS

BULL-FIGHTS AT LIMA

From General Miller's Memoirs. Second edition

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