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of Ameriky—the oudacious, nasty, stinking old scamp!” She paused a moment, and then resumed, “And now, mister, jist put down what I tell you on that paper, and don't be telling no lies to send to Wasbington city. Jist put down · Judy Tompkins, ageable woman, and four children.'
We objected to making any such entry, but the old bag vowed it should be done, to prevent any misrepresentation of her case. We, how- . ever, were pretty resolute, until she appealed to the couchant whelps, Bull and Pomp. At the first glimpse of their teeth, our courage gave way, and we made the entry in a bold hand across a blank schedule“Judy Tompkins, ageable woman, and four children."
We now begged the old lady to dismiss her canine friends, that we might go out and depart: and forthwith mounting our old black, we determined to give the old soul a parting fire. Turning half round, in order to face her, we shouted
“Who told you to call me old 'oman, you long-legged, hatchet-faced whelp, you? I'll make the dogs take you off that horse if you give me any more sarse. . What do
" “Do you want to get married ?” “Not to you, if I do!”
Placing our right thumb on the nasal extremity of our countenance, we said, “You needn't be uneasy, old ’un, on that score—thought you might suit sore-legged Dick - up our way, and should like to know what to tell him he might count on, if he comes down next Sunday!”
Here, Bull!” shouted the widow, “sick him, Pomp!” but we can. tered off, unwounded, fortunately, by the fangs of Bull and Pomp, who kept up the chase as long as they could hear the cheering voice of their mistress—“Si-c-k, Pomp-sick, sick, si-c-k him, Bull-suboy ! suboy! suboy !”
Andrew Jackson Downing.
Born in Newburgh, N. Y., 1815. DROWNED in the Hudson, near Yonkers, N. Y., 1852.
DISTINCTIVE FEATURES OF THE BEAUTIFUL AND THE PICTURESQUE.
(Landscape Gardening and Rural Architecture. Revised Edition. 1849. ]
curves are flowing and gradual, surfaces of softness, and growth of richness and luxuriance. In the shape of the ground, it is evinced by
easy undulations melting gradually into each other. In the form of trees, by smooth stems, full, round, or symmetrical heads of foliage, and luxuriant branches often drooping to the ground, —which is chiefly attained by planting and grouping, to allow free development of form; and by selecting trees of suitable character, as the elm, the ash, and the like. In walks and roads, by easy-flowing curves, following natural shapes of the surface, with no sharp angles or abrupt turns.
In water, by the smooth lake with curved margin, embellished with flowing outlines of trees, and full masses of flowering shrubs or in the easy-winding curves of a brook. The keeping of such a scene should be of the most polished kind,-grass mown into a softness like velvet, gravel walks scrupulously firm, dry, and clean ; and the most perfect order and neatness should reign throughout. Among the trees and shrubs should be conspicuous the finest foreign sorts, distinguished by beauty of form, foliage, and blossom; and rich groups of shrubs and flowering plants should be arranged in the more dressed portions near the house. And finally, considering the house itself as a feature in the scene, it should properly belong to one of the classical modes; and the Italian, Tuscan, or Venetian forms are preferable, because these have both a polished and a domestic air, and readily admit of the graceful accompaniments of vases, urns, and other harmonious accessories. Or, if we are to bave a plainer dwelling, it should be simple and symmetrical in its character, and its veranda festooned with masses of the finest climbers.
The Picturesque in Landscape Gardening aims at the production of outlines of a certain spirited irregularity, surfaces comparatively abrupt and broken, and growth of a somewhat wild and bold character. The shape of the ground sought after bas its occasional smoothness varied by sudden variations, and in parts runs into dingles, rocky groups, and broken banks. The trees should in many places be old and irregular, with rough stems and bark; and pines, larches, and other trees of striking, irregular growth, must appear in numbers sufficient to give character to the woody outlines. As, to produce the Beautiful, the trees are planted singly in open groups to allow full expansion, so for the Picturesque, the grouping takes every variety of form ; almost every object should group with another; trees and shrubs are often planted closely together; and intricacy and variety-thickets, glades, and underwood
-as in wild nature, are indispensable. Walks and roads are more abrupt in their windings, turning off frequently at sudden angles where the form of the ground or some inviting object directs. In water, all the wildness of romantic spots in nature is to be imitated or preserved ; and the lake or stream with bold shore and rocky, wood-fringed margin, or the cascade in the secluded dell, are the characteristic forms. The keeping of such a landscape will of course be less careful than in the
graceful school. Firm gravel walks near the bouse, and a general air of neatness in that quarter, are indispensable to the fitness of the scene in all modes, and indeed properly evince the recognition of art in all Landscape Gardening. But the lawn may be less frequently mown, the edges of the walks less carefully trimmed, where the Picturesque prevails; while in portions more removed from the house the walks may sometimes sink into a mere footpath without gravel, and the lawn change into the forest glade or meadow. The architecture which belongs to the picturesque landscape is the Gothic mansion, the old English or the Swiss cottage, or some other striking forms, with bold projections, deep shadows, and irregular outlines. Rustic baskets, and similar ornaments, may abound near the house, and in the more frequented parts of the place.
If we declare that the Beautiful is the more perfect expression in landscape, we shall be called upon to explain why the Picturesque is so much more attractive to many minds. This, we conceive, is owing partly to the imperfection of our natures by which most of us sympathize more with that in which the struggle between spirit and matter is most apparent than with that in which the union is harmonious and complete; and partly because from the comparative rarity of highly picturesque landscape, it affects us more forcibly when brought into contrast with our daily life. Artists, we imagine, find somewhat of the same pleasure in studying wild landscape, where the very rocks and trees seem to struggle with the elements for foothold, that they do in contem. plating the phases of the passions and instincts of human and animal life. The manifestation of power is to many minds far more captivating than that of beauty.
Philip Pendleton Cooke.
Born in Martinsburg, Va., 1816. Died near Boyce, Va., 1850.
LOVED thee long and dearly,
Hath come again;
My heart's dear pain,
The ruin lone and boary,
The ruin old,
At even told, -
Of sky and plain-
Thou wast lovelier than the roses
In their prime;
Of sweetest rhyme;
Without a main.
But, fairest, coldest wonder!
Thy glorious clay
Alas the day!
The lilies of the valley
By young graves weep,
Where maidens sleep;
Born in Philadelphia, Penn., 1815.
A LIGHT OF METHODISM.
(History of the Methodist Episcopal Church in the United States of America. 1864-67 )
in delineation of him must comprehend the whole man, for it was not his distinction to be marked by a few extraordinary traits, but by gen. eral excellence. In person he was tall, slight, and perfectly erect. His countenance was expressive of energy, shrewdness, self-command, and benignity; and in advanced life his silvered locks, combed precisely behind his ears, gave him a strikingly venerable appearance. The exactitude of his mind extended to all his physical habits. In pastoral labors, exercise, diet, sleep, and dress, he followed a fixed course, which scarcely admitted of deviation. In the last respect he was peculiarly neat, holding, with an old divine, that "cleanliness comes next to holiness." He continued to the last to wear the plain Quaker-like dress of the first Methodist ministry, and none could be more congruous with the bearing of his person and his venerable aspect. His voice was clear and powerful, and his step firm to the end.
His intellectual traits were not of the highest, but of the most useful order. Method was perhaps his strongest mental habit, and it comprehended nearly every detail of his daily life. His sermons were thoroughly " skeletonized.” His personal habits had the mechanical regularity of clock-work. During his itinerant life he devoted to his family, residing permanently at one place, a definite portion of his time; but even these domestic visits were subjected to the most stringent regularity. During fifty years of married life he spent, upon an average, but about one fifth of his time at home, an aggregate of ten years out of fifty. This rigor may indeed have been too severe. It reminds us of the noble but defective virtue of the old Roman character. If busi. ness called him to the town of his family residence at other times than those appropriated to his domestic visits, he returned to bis post of labor without crossing the threshold of his home. In that terrible calamity which spread gloom over the land--the burning of the steamer "Lexing. ton" by night on Long Island Sound-he lost a beloved daughter. The intensity of the affliction was not capable of enhancement, yet he stood firmly on his ministerial watch-tower, though with a bleeding heart, while his family, but a few miles distant, were frantic with anguish. Not till the due time did he return to them. When it arrived he entered the house with a sorrow-smitten spirit, pressed in silence the hand of his wife, and, without uttering a word, retired to an adjacent room, where he spent some hours in solitude and unutterable grief. Such a man reminds us of Brutus, and, in the heroic times, would have been commemorated as superhuman.
He pretended to no subtlety, and was seldom, if ever, known to preach a metaphysical discourse. The literal import of the Scriptures, and its obvious applications to experimental and practical religion, formed the substance of his sermons. Perspicuity of style resulted from this per: spicacity of thought. The most unlettered listener could have no diffi. culty in comprehending his meaning, and the children of his audience