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she drank of the water which flowed into the sanctuary, and which was said to possess the virtue of disclosing futurity. When she first sat down upon the tripod, she shook the laurel tree that grew near it, and sometimes ate the leaves. Both she and the tripod were covered with chaplets and branches of laurel, which was called the prophetic plant. As soon as the priestess became inspired or excited by the effluvia of the vapour from beneath, she became distorted, foamed at the mouth, tore her hair, mangled her flesh, and appeared like one distracted. Sometimes the paroxysm was such as to deprive her of life. It is said, that under the tripod sometimes appeared a serpent or dragon, which returned answers, and which once killed the priestess. Whatever was uttered by the priestess during the continuance of this fit, was taken for an answer, in each particular case of inquiry,—an answer divinely rendered.

Cakes made with honey, which he was obliged to hold, prevented him from touching the springs used to hasten his descent or return; but to remove suspicions of trickery, the priests told him that the cave was full of dreadful serpents, from the bites of which he could secure himself only by throwing them cakes of honey. For purposes of their own, the priests permitted an applicant to enter the cavern only in the night, and after long preparations and a strict examination. The applicant who was determined to descend into the cave of Trophonius, had to pass a certain number of days in a chapel dedicated to Good Fortune and Good Genius. During his stay here, he went through various purifications, and offered numberless sacrifices, which being auspiciously performed, he prepared for his descent. He was conducted to the banks of the river Hercyne, where two youths called Mercuries rubbed him with oil, and made ablutions over him. He was then led to drink of the fountain of Oblivion, and of that of Remem

The oracles were at first usually given in verse; but, when it had been sarcastically observed that Apollo, the reputed god and patron of poetry, was the most imper-brance; oblivion of the past, and remembrance of what fect poet in the world, the answers were given in prose. The temple of Delphi was built and destroyed several times. This sacred repository of opulence was often the subject of plunder; the people of Phocis once seized ten thousand talents from it, and the Emperor Nero carried away five hundred statues of brass, of the gods and illustrious men. In a subsequent age, Constantine the Great removed its most splendid ornaments to his new capital.

III. THE CAVE OF TROPHONIUS, at Lebadea, a city of Boeotia. This subterranean abode was the haunt of a person named Trophonius, who, retiring to the cave, which was not far from Delphi, pretended to be inspired with an extraordinary knowledge of future events; but at length, probably from a design of making men suppose that he was translated to the gods, he perished in the cave.

Some writers say that Trophonius and his brother Agamedes, being architects, and having built the temple of Delphi, contrived a secret passage, in order to steal during the night the treasures deposited in the temple; and that Agamedes being caught in a trap, Trophonius, to prevent suspicion, cut off his head, and was himself swallowed up by the earth for his impiety. Others say, that the two brothers having finished building the temple, entreated Apollo that, for a recompense of their labour, he would bestow on them the best thing that could happen to man. The god promised that they should receive it on the third day after; and on the third day they were together recompensed with death, in a peaceful slumber.

The oracle came first into repute, we are told, when there had been no rain in Boeotia for two years, and ambassadors were sent to Apollo at Delphi, to request his advice and assistance. The god commended their piety, and told them to return home and consult Trophonius at Lebadea. By observing a swarm of bees they were directed to the cave, where they received an auspicious answer, and were informed in what manner, and with what rites and ceremonies, he wished to be approached in future by those who should seek his advice.

The place of the oracle was under the surface of the earth. The cave first presented a vestibule surrounded with a balustrade of white marble, on which stood obelisks of brass. Then appeared a grotto hewn out with a chisel, eight cubits high, and four wide. In this was the entrance of the cavern, which was descended by a ladder. When the person who descended, had arrived at a certain depth, he found a narrow aperture through which he passed his feet; and when with much difficulty he had introduced the rest of his body, he felt himself hurried along with the rapidity of a torrent to the bottom of the cave. When he returned, he was thrown back, with his head downwards, with the same velocity.

he should see and hear in the cave. He was next introduced alone into the chapel of Trophonius, which contained an ancient statue of the prophet, never shown except to those who consulted the oracle. Here he prayed to the statue, and advanced towards the cavern, clad in a linen habit adorned with ribands, and carrying in his hands the cakes of honey.

Having descended into the cave in the manner before described, some applicants saw nothing, but heard an oracular response; others heard nothing, but saw appearances, which served as an answer. Some remained in the cavern a longer, some a shorter time; but one person, whom the priests suspected of being a spy, never returned alive; his body was thrown out of the cave by an outlet different from that by which he entered.

After the return of the person who had consulted the oracle, he was compelled to sit down on the seat of Remembrance, where he related what he had seen and heard in the cave. He was then re-conducted to the chapel of Good Fortune and Good Genius, in order to recover his spirits from the dreadful impression of the terrors, which was visible upon him after his return from the cave. The pensive countenance and melancholy air with which people always returned from the cave, gave rise to a proverbial expression with reference to a person looking gloomy and dejected: "He has been consulting the oracle of Trophonius."

There were some other oracles of a minor character among the ancients; but the general course of their system and pretensions was similar to the three principal oracles in the heathen world, of which we have thus given a detailed account. The modern reader will remember that they were all associated with, and formed part of the established religion or superstition of the country where they flourished, before the Gospel of Christ came to deliver both us and them from "the devices of the crafty," and to lead us to a "hope" "which we have as an anchor of the soul, both sure and steadfast, and which entereth into that within the veil " of futurity, not by the permission or ability of man, but of God. Hebrews vi. 19.

GOETHE, when young, having heard that he was considered as very inexperienced, applied to an old officer who had exactly the opposite reputation for his experience: "all that I could gather, (says Goethe,) was nearly this, that we learn by experience that it is a folly to hope for the accomplishment of our wishes, our dearest projects, our best ideas; and that whoever suffers himself to be caught by such baits, and warmly expresses his hopes, is considered as singularly inexperienced,"

JOHN W. PARKER, PUBLISHER, WEST STRAND, LONDON.

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RICHARD WILSON

THE LANDSCAPE PAINTER.
II.

Wilson's art

given to his verdure; and though being sometimes employed to paint particular views which were less picturesque than he would have selected, and consequently partook of the formality of portraiture, they were always treated with taste and ingenuity."

Some anecdotes collected by Mr. Field exhibit characteristic points in Wilson's character. On our artist's return from Italy, he was naturally impressed with a sense of those powers which had won for him the good opinion of eminent men in Rome, and he might also have been somewhat disposed to under-rate the powers of his contemporaries. His return excited some interest, and much criticism in the coteries of art, at that time; and those artists, &c., who then constituted themselves what they called a "Committee of Taste," and

Will hold its empire o'er my heart, By Britain left in poverty to pine.But, honest Wilson, never mind: Iminortal praises thou shalt find; And for a dinner have no cause to fear. Thou start'st at my prophetic rhymes! Don't be impatient for those times: Wait till thou hast been dead a hundred year! Odes to the Academicians, by Peter Pindar. WHAT a pity, (says the severe satirist who penned the above lines,) what a pity that the world should be so fascinated by high finishing, fan-painting, the smooth Birmingham-waiter glare, the pigmy efforts of the art,-as to be totally unaf-led the understanding of the public in art, sat in judgfected by the powers of the giant WILSON,-as to proscribe the broad and vivid effects of his pencil, and forbid his works an entrance into its palaces! What a triumph for the shades of the Medicis, the patrons and idolators of Michael Angelo, and Raphael! What a pity that the patronage which might have fostered the breed of eagles, should have perverted the blessing to the support of hedge-sparrows and

tom-tits!

Wilson's processes in painting are described, on apparently good authority, to have been as follows:-The colours he employed were white, Naples yellow, vermilion, light ochre, brown ochre, dark or Roman ochre, lake, yellow lake, lamp black, Prussian blue, ultramarine, and burnt terra di Sienna.

His dead colouring was very broad and simple, giving a faint idea of the effect and colour intended, but without any very bright light or strong dark; quite flat, and no handling whatever; the shadows on the fore-ground thin and clear air-tint prevailing. When perfectly dry, he went over it a second time, heightening every part with colour, and deepening the shadows, but still brown, free, flat, and loose, and left in a state for finishing; the half-tints laid in, without high lights. The third time, he altered what was necessary in the masses of light, adding all the necessary sharpness and handling to the different objects, and then gave the finish to his picture.

His great care was to bring up all the parts of his picture together, and not to finish one part before another, so that his picture should not, as the painters term it, run away with him; and that while working in one part, he should introduce that colour into other parts where it suited, or to lower the tone, fit to make it suit, that the different parts might keep company with

each other.

His air-tint was blue, burnt ochre, and light red, sometimes a little vermilion, and in other cases, he made his air-tints of the lakes and blue; with the lakes, he made his glazing tints on the fore-ground very rich and warm, and of their full force; but all this was moderated by the tints he laid on the glazings. If any part was hard, he restored it by scumbling the air-tint, suited to the distance of the part, over it, and then added the finishing touches and sharpness, to prevent its being smoky or mealy. A magylph of linseed-oil and mastic varnish, in which the latter predominated,-was his usual vehicle, and an oyster-shell served him to contain it. He dead-coloured with Prussian blue, but always finished the sky and distance with ultramarine, being of opinion that no other blue could give the beautiful effect of the air.

The features of Wilson's Italian landscapes are grand, imposing, and true to nature. It has been justly observed of them, that the waving line of mountains which bound the distance in every point of view; the dreary and inhospitable plains, rendered solemnly interesting by the mouldering fragments of temples, tombs, and aqueducts; are all indicated in a masterly manner, which cannot but be considered peculiarly grand and classical. "In his English pictures," says Byron, "he is particularly successful in the fresh and dewy brightness he has

ment several times upon him, and came to a resolution purporting-That the manner of Mr. Wilson was not suited to the English taste, and that if he hoped for patronage, he must change it for the lighter style of

Zucarelli.

Mr. Penny, (the academician who painted a fac simile of the Death of Wolfe, &c.) was deputed to communicate the resolution to Wilson, which was done accordingly. Wilson, who was painting at the time, heard it in silence, went on with his work, but soon turned round, and very coolly, and in the most contemptuous manner, gave an answer expressive of his thorough indifference as to the opinion of this self-constituted Committee of Taste. Nevertheless, he is said to have taken the hint in improving his style, thus showing that he did not consider himself above the reach of advice. But he was too great to grovel, and he felt that the distinctions of fortune sunk into contempt before the riches of the mind. "He wanted that yielding spirit which is due from the individual to the order of society and his own happiness, and disregarded the sober conformity of his own judgment to the ways of the world."

The contemptuous answer of the artist, to the message of the committee, seems to have been the origin of much of his subsequent ill success. The members opposed him in various ways, and injured him in the estimation of his patrons, which, added to his spurning, rather than conciliating the esteem of Sir Joshua Reynolds, was highly prejudicial to his interests. Thus his talents did not secure him from the pressure of necessity, much less advance him to the distinction he deserved. "He was doomed to encounter the galling indifference of a tasteless public, which was probably aggravated by the jealousy and intrigues of some of the most distinguished of his contemporaries, with whom he did not live on very amicable terms. This also has been said to have resulted partly from his own conduct, which was by no means distinguished by a conciliatory disposition, or great suavity of manners.' An instance of the proud feeling, and freedom of retort on the part of Wilson towards Sir Joshua Reynolds, is a proof of the unconciliatory nature of our artist. The President one day proposed as a toast at a dinner of the academicians, "Gainsborough, our best landscape painter." Wilson, in his turn, retorted by giving, "Gainsborough, our best portrait painter."

The contempt of the higher classes, combined with the pressure of poverty, compelled Wilson to seek for society in taverns, and places of public resort, where, with his humble pot of porter, and with the witty conversation of a few old acquaintances, he forgot for awhile the mortifications to which he was subjected. In a satirical picture of the Royal Academy, Zoffani introduced portraits of all the academicians, and represented Wilson with a pot of porter by his side. This roused the indignation of our artist so much, that he took a stick, and threatened Zoffani with a sound thrashing, which he would certainly have inflicted, had not Zoffani prudently painted it out. Shut out, partly by his own

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want of tact, from circles which his genius would have adorned, and by which his character might have been softened, poor Wilson grew coarse in person and manners; a painful eruption on his face sometimes attracted notice as he passed along the streets, to avoid which he walked with a handkerchief to his face. His appearance was therefore sufficient to account for the prevalent idea, not confined to his own day, that he was a mere porter-drinker," "a coarse man who might be taken for the landlord of a public-house," &c. Thus was a man, really well-descended, with the advantages of education and travel, united to great diligence in the pursuit of that excellence to which he afterwards attained ;thus was he degraded by the accumulated pressure of poverty, insult, and neglect, into a morose and austere being, seeking his few pleasures in the lower ranks of life, and acquiring a repulsive grossness of behaviour and of appearance. "And how," asks the compiler of Wilson's memoirs, "can it be possible for any human being to maintain a temper at all times serene and unruffled when preyed upon by the irritating feelings which a long and painful series of unmerited disappointments and cruel neglect could not fail to produce? Instead, therefore, of passing an opinion too hasty or inconsiderate, respecting a character so much deserving of our commiseration, it will be far more becoming in us, while we look upon his failings in a less unfavourable and rather in a compassionate point of view, to ascribe, as we most justly may, that harshness of demeanour which has been so much complained of, to its only true and very obvious cause, i. e., to the galling indifference and ungrateful neglect which it was his sad lot to experience from the undiscriminating public of his day.'

The sunnier portions of Wilson's life were those in which, having been lucky enough to sell a picture, he would go and enjoy a cheerful meal with some old acquaintance. A lively picture is given of some of these meetings in an entertaining publication called Wine and Walnuts, whence we select the following.

Thomson, an organist who kept a music shop in Exeter 'Change, was a favourite companion of Wilson's, and exactly suited to his taste, being humorous, goodtempered, and recherché in his own profession. Sometimes, when a propitious star disposed a connoisseur to look in upon Wilson, and purchase one or two of his easel pictures, he would dress himself in his best suit, and proceed to the Black Horse, near Somerset House barracks, where he would order some well-cooked dish (Scotch collops was one of his favourites) to be sent to Thomson's. Then proceeding to the 'Change, he would busy himself with warming the bright pewter plates on the top of Thomson's German stove, while the organist, to use his own phrase, "composed the salad." Wilson liberally provided every necessary on these occasions, and Thomson would facetiously say, "there is the thema," placing the endive and celery on a plate; "there's for the majors," pouring the vinegar into the bowl; "and there the minors," as he opened the Florence flask; then stirring the egg, he would talk of tone and semitone; and holding the mustard and looking at his patron, beg to know if he liked "a bold diapason." When mixing the ingredients, he would conclude with a bow to Wilson, singing the old madrigal, "Sweet Harmony." These were high treats to the parties, and they sat together enjoying their pipes and their cold punch until the nine o'clock bell rung them out of 'Change.

Another, and a very pretty anecdote, is told of a party at Garrick's, at which Wilson was included. Dr. Johnson, Sterne, and Goldsmith, were also present, and the gentlemen kept the ladies waiting some time for supper. "We have been lively at your expense, gentlemen," said Mrs. Garrick, when they at last made their appearance. "To punish you for not obeying our summons, the ladies likened you all to plants, and fruits, and flowers." "Pray let us hear," said Wilson, "doubtless I come in for a sprig of laurel." "No sir," said a lively young lady, "you are wrong." "For rue, per

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chance," said he. "No, sir, guess again." "Why, I am dubbed bitter enough; perhaps a crab," said he, "for that man (pointing to Garrick) has dubbed me Sour Dick." "No," said the laughing lady, "will you give it up?" "Yea, madam." "Why then, sir, you are likened to olives; will you dare to inquire farther?" "Let me see," said Wilson, all eyes upon him; "well then, my dear, out with it, I dare." "Then," said she, rising and curtseying most gravely, "know, sir, that Mister Wilson is rough to the taste at first, tolerable by a little longer acquaintance, and delightful at last.' "Art thou content, friend Wilson?" said Johnson; "that is very handsome, sir." Wilson never looked so becomingly before; he made the damsel his best bow. "Faith," said he, "I shall henceforth have a better opinion of myself; I drink to you, my dear, and should be proud to give your hand to one deserving of your superior merits." The same lady likened Sterne to the sensitive plant, that shrank into itself with more than earthly feeling. "And now for Dr. Johnson's, miss, if you will favour us," said Goldsmith. liberty, sir," said she, looking at the wise man. "May I take the Why not, dear?" said Johnson, " certainly, by all means.' "We likened you, sir, then, to an aloe;" and with a faltering voice added, "as a lofty plant, whose glorious head raised towards heaven, adorns creation but once in a hundred years!" Johnson was silent for awhile; then bowing to the ladies, gallantly said: "Ah! shall we be forgiven for thus banishing the gentle sex from our lordly presence? Ladies, we must henceforth learn to sacrifice at the altar of the Graces, and become men again, by emulating the noble knights of old."

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In the year 1814, a collection of Wilson's pictures amounting to seventy in number, were publicly exhibited in the British Gallery, Pall-Mall; and of the public estimation in which they were then held, the following extract from one of the journals of the day is a proof:

The style of this artist is in a peculiar degree chaste, classical, grand, and interesting; and his genius of the most indubitable originality. It is impossible to contemplate his landscapes, especially when the subject lies in Italy, without experiencing emotions of that sublime description, which it is the boast of superior talents to have the power of exciting. The graceful and easy undulations of line in his distances, which carry the delighted eye to the horizon, where it rests on tints truly celestial; the awful grandeur of his scenery, partaking of the sublimity, without the wildness and horror of Salvator Rosa, and the appropriate character which universally pervades it; the affecting and beautiful introduction of the ruined arch, or fallen column, and all the mouldering glories of architecture; the nobleness of his conceptions, and the corresponding vigour of his execution, tend, together, to fill the breast of the spectator with wonder and admiration.

In many of these pictures, Italy is realized, and at one glance we are enabled to enter into all the great and powerful feelings which are awakened by the recollection of what that seat of stupendous empire, which virtue raised and our earlier studies taught us respecting that land of heroes, luxury withdrew, till it presented those melancholy scenes, in the representation of which Wilson so pre-eminently excels. They are fine compositions, mingling the loveliest appearances of nature where nature is most beautiful, with dreary and dark desolation, and every touching image which decaying grandeur, in the noblest works of art, From these could suggest to a classical imagination. sources an emotion is engendered by the magic power of the painter, to which we can apply no other epithet than that of "sacred."

With such a mastery over the passions we are yet not blinded to some defects of this artist. Many of his landscapes of English views, are not congenial to the soil and climate of England. They partake too much of southern skies, and lose the character which ought to belong to them, to acquire that of another quarter of the globe. There is frequently too much evidence of carelessness in the finish of even those subjects which are the highest in point of conception; and generally speaking, we may observe that the foregrounds are too much neglected. Yet, with these petty blemishes, Wilson must still take his

place among the foremost artists who have adorned the last century.

It must be recollected that the pictures which are liable to the above censure are chiefly those which were painted to meet pressing necessities, and when depression and poverty had rendered him careless of his own fame. Some of the finest examples of Wilson's paintings, are, we believe, at Ince Castle, near Liverpool, and were executed for Mr. Blundell, the owner of the castle. Lady Ford, also, is mentioned as the possessor of thirty or forty paintings by this artist. The greater part of these were formerly heaped together without frames, and covered with dust, against the wall of a miserable garret in the Adelphi. A view of Kew Gardens, painted expressly for George the Third, was from some unexplained cause returned upon the artist's hands, which caused extreme mortification and disappointment to Wilson.

The names of a few of Wilson's finest compositions are as follows: The Death of Niobe, Phaeton, Evening, (the picture after which our illustration is executed,) View of Rome, Villa of Mecanas at Tivoli, Celadon and Amelia, View on the River Po, Apollo and the Seasons, Meleager and Atalanta, Cicero at his Villa, Lake of Narni, View on the Coast of Baia, The Tiber near Rome, Temple of Bacchus, Adrian's Villa, &c.

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The English sanctuary was considered as having regard to penance, and those who availed themselves of it, were required to take oath, not only to keep the wholesome regulations of the place, but to observe the Sabbath, attending both morning and evening service in their respective churches. There were certain restric

THE ASYLUM, OR RIGHT OF SANCTUARY. tions to the admission of fugitives,-for instance, Jews,

II.

NOTICES of the formalities anciently employed on entering a place of sanctuary are given by the writer quoted in our last article on this subject, and some of these we proceed to lay before the reader. By the laws of Edward the Confessor, a fugitive, on entering the house or courtyard of a priest, was to be as safe as if he had reached the church, provided the premises stood upon the demesnes of the church. Certain characters, to whom regard and reverence were due, had also the privilege of shielding the criminal, and of affording him, at least, á temporary security. Thus, if a person guilty of a capital offence fled to the king, archbishop, or nobleman, he was to be safe for nine days, but no longer, unless the king was pleased to indulge him with more. If he had recourse to the bishop of his province, or to the alderman, he was to be safe only for seven days, unless his protector was pleased to extend the time of sanctuary. That the design of this was to give the party time to make satisfaction for the injury he had committed, is evident from the tenour of the law. "If he be a thief or a robber, let him restore what he hath unjustly taken, if he hath it in possession; or if he hath wasted and embezzled it, let him make it good from his own property, if he be able."

No hindrance was to be put in the way of criminals fleeing to the church for sanctuary; but, on their arrival at the precincts, they were to confess before a coroner the crimes for which they sought refuge, and to have their names duly recorded. When a fugitive fled to the sanctuary at Durham, he knocked at the door of the Galilee, where men lay ready to let him in at any hour of the day or night. Then was tolled the Galilee bell, to inform the neighbourhood that some one had taken sanctuary. By order of the prior, the fugitive was then clothed in a gown of black cloth, having a yellow cross, called St. Cuthbert's cross, on the left shoulder. He was lodged on a grate within the fabric, on the south side adjoining the door, and near the altar. He was also to be disarmed of all weapons, defensive as well as offensive, and only permitted the use of a pointless knife to carve with. This was the more necessary, because when many criminals met together in the same sanctuary, it was no uncommon thing for them to unite in committing some act of violence.

infidels, and heretics, could not claim the privilege of sanctuary, neither could traitors, nor criminals whose offence had been committed in the church. In the reign of Richard the Second, the temporal lords contended that the privilege of sanctuary did not extend beyond the preservation of life and limb, and could not therefore protect debtors, or interfere with actions of account. In this they were undoubtedly right, but they had not sufficient influence to carry their point. The laws relative to debtors, and their goods and chattels, were very unjust, and had become an evident perversion of the original design of the admission of this class of offenders. Knavish and dishonest men would often run into sanctuary, in order to defraud their creditors, and to avoid paying their just debts; and would even bring stolen goods or merchandize into this fastness with the intent to live upon them. Subsequently, the debtor was obliged to swear that he did not claim privilege and protection for the sake of cheating his creditors, but only for the safety of his person; and in the reign of Queen Elizabeth, the sanctuary-man was no longer secured from making pecuniary satisfaction, but was required to deliver in upon oath a schedule of his debts, and of his effects wherewith he might make present payment, and to swear that he would labour and do his utmost to satisfy his creditors.

On making peace with his adversary, or on obtaining pardon, a fugitive felon might leave his asylum in safety, It appears, however, that in Wales, a fugitive, after a certain number of years, was obliged to leave his sanctuary, even though unpardoned; and was required to abjure his country for ever. After the expiration of the appointed time, in which such a fugitive might enjoy the privilege of sanctuary, he was furnished with a relic, or crucifix, to show that he was under protection, and was then bound to take the direct road to the nearest port, and to embark on the first opportunity. Whoever seized him on his journey, took him from the highway, or slew him when taken thence, was liable to inflictions as for sacrilege. The banished man was to endeavour forty days to get his passage abroad, and if, "by going every day into the water up to his knees, or above," he did not succeed, he was to return to his sanctuary, and be marked by the coroner on his thumb, and thus reserved to take his passage at some more favourable time appointed by the coroner.

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