ORIGINAL DEPARTMENT. ILLUSTRATIONS OF HUMANITY. No. XVI.—THE BLACKS AND THE WHITES. To deny that there are distinctions between races of human beings, would be as foolish as to deny the existence of men short and tall, fair and swarthy, or with different coloured eyes or hair. And to deny that there are some races decidedly inferior to others in mental endowment and capacity, would be as absurd as to deny the existence of great mental inequalities among the inhabitants of the same town, or even of the same family. But this admission does not imply that the human race is composed of different kinds, distinct in nature, and descended from different stocks. To admit such a thing, is not only to fly in the face of Scripture, but even of science apart from revelation. Seeing that man, in all his varieties, has certain qualities in common,-that white, black, red, and brown human beings are capable of existing in almost any portion of the globe, and are capable of being acclimatized under almost any sky,-that they are capable of freely intermarrying, and that the offspring of a black and a white, or of a brown and a yellow, are generally of a medium tint,-that the child of a civilized European, by being brought up from infancy amongst savages, would become a savage, and that the child of a savage, by being brought up from infancy among enlightened people, would become an enlightened and educated person,-these are strong reasons for presuming that man is essentially a homogeneous creature, and that all the differences in the races do not warrant us in considering the whole of mankind as belonging to more than one race. The question may indeed be asked, If the whole human race are descended from one pair, what were the physical characteristics of that pair, and when and how did the differences arise, which now mark out mankind into races of white, black, brown, yellow, red, &c.? The answer is simple, but it is not satisfactory. We do not know. Far back in history, we find these distinctions existing; and we can only confess our ignorance, and place this matter among other matters connected with the early history of our race, which, perhaps, may yet be discovered. It is enough for us to know that there are strong, very strong natural reasons for believing in the unity of the human species; and we may believe that all the varieties of our race were intended, like the variations in human speech or language, to work out some great moral purpose or end in the history of our race. Certainly, looking at man, there appears strong ground for believing, at first sight, in the idea, that the human race is divided into distinct branches descended from different parents. We know that climate does not produce colour; a fair man may become brown, or almost black, by exposure to the sun, but his children are white; and if a colony of blacks were introduced into England, and to marry amongst themselves, their children would be black to their latest posterity. Looking also at the history of man, we may ask, Why have the Blacks of Africa remained apparently stationary for centuries, while have the Hindoos remained for ages a civilized yet white men have emerged from barbarism? Why apparently a passive, immobile, immutable race? What has kept China in its present condition for such a lengthened period? How is Australia peopled by a race standing at the very foot of the ladder of humanity, when in New Zealand, a few hundred miles from its shores, there is to be found a fierce, active, manly people, quite distinct in character? Arguments, founded on such considerations as these, have led sceptical writers to regard man as being decidedly composed of different species or races. But let us take the dog, that faithful creature which has linked itself to the human race, and followed man all round the globe. What relation has the bull-dog or the mastiff to the greyhound; or the terrier to the lap-dog? What an immense variety, too, in the various races or breeds of the dog! They exhibit all forms, colours, dispositions, and sizes. Yet the dog is clearly of one race; and though we cannot tell what was the original or parent stock, yet we have good grounds for believing in the fact of a common descent. The horse and the ox present similar examples of great variations in races, produced by the long course of years, in their domestic treatment and circumstances. Why may not man exhibit a similar example of many varieties coming down from one stock? There is a vast distinction between a very fair white man and a decided black or negro; but how many shades are there amongst the whites-how many amongst the browns-how many even amongst the blacks! The difference between a Briton and a Spaniard is considerable, and the difference between a Scotchman and an Englishman, though not so great, is still considerable. In truth, the human race presents far more varieties than the dog, whose varieties might almost puzzle an enumerator. There are difficulties attending the belief that the whole human race is descended from one pair of human beings. But the difficulties attending the idea that man is descended from several distinct stocks, are more numerous and harder to be got over; while the belief in the unity of man reconciles us with revelation and ourselves. There is common ground over all the world for the labours of the missionary and the philanthropist; and as we gaze on our fellow-creatures, white, red, black, or brown, let us say, "Sirs, ye are brethren,-why do ye wrong one to another?" In this spirit, we present our engraving, representing negroes in a South American plantation. Gaze on them, reader, before you dare to think that they are not your brethren, descended from the same parents. ENGLISH SEATS AND SCENERY. No. I.-BLENHEIM. PART SECOND. THE entrance hall at Blenheim is unspeakably grand, rising the whole height of the palace, about 67 feet. It enters from the large Corinthian portico at the north front, which extends from wing to wing, upwards of 114 yards. The ceiling of the hall is painted by Sir James Thornhill, with an allegorical representation of Victory crowning the duke; and the sides and galleries of this noble apartment are ornamented with pictures and statues of great merit, particularly of the duke and duchess, whose likenesses are repeated certainly too often. The duchess is represented as a splendid beauty, but rather of a bold and haughty aspect. From the hall, visitors are conducted successively to the drawing rooms, dining room, gallery, library, and other apartments in the house, to which we may here briefly refer, before alluding to the works of art with which they are crowded. The bay room window, which we first enter, is hung with tapestry of great beauty, which, with the numerous pictures and mirrors, gives an air of great comfort to the apartment. The next room is the duke's study, full of pictures, and containing some fine bronzes. The east drawing room, the little drawing room, and the state drawing room, are successively shown, all of which are hung with crimson cloth or tapestry, and crowded with pictures, many of them by the old masters. The state drawing room, in particular, is the finest of all the apartments for the richness of its furniture, the splendour of its decorations, its noble proportions, and the taste displayed in its arrangement. It contains some fine tapestry representing the march to Bouchain and its siege. The dining room is next to be visited; a lofty and commodious apartment, containing among other pictures, several by Sir Joshua Reynolds, of the Marlborough family, to which we shall allude presently. From this room we enter a magnificent apartment called "the Saloon," the lower part of which is lined with marble, of which the large door cases are likewise entirely composed. The ceiling and compartments of the hall are painted by La Guerrè, the former being an allegorical painting complimentary to the duke, the latter of the principal nations of the world. The state bed chamber, hung with blue damask, is also very elegant. The bed-posts, which are richly carved and gilded, are decorated with military trophies, and the top rising into a dome, is surmounted by a ducal coronet. It is now necessary to refer to a few of the paintings, many of which are masterpieces, varied as they are beautiful; and in gazing upon which, and recalling the historical recollections with which they are connected, hours may be passed with equal pleasure and advantage. The first painting to which attention is directed, is a portrait of queen Anne by Sir Peter Lely, which, though generally admired, and said to be a good likeness, does strike one as rather an inanimate portrait, not at all expressive. Her features have that cold and calculating look, which we can suppose to have belonged to one who could so easily abandon her father in his adversity, and which drew from him the pathetic exclamation" God help me, my own children have forsaken me!" Next is a portrait of the well known duke of Buckingham, by Sir Godfrey Kneller, remarkable for the delicate turn of his features, his chivalrous dignity, and tasteful dress. Farther on, is a beautiful Madonna by Carlo Dolce. Among countless Madonnas at Blenheim, this is the most pre-eminently beautiful. She is in a blue dress, wearing a tiara of brilliants on her forehead; there is a soft dropping of the eye, while a tear rests on her lovely cheek. In this noble picture, the hand is symmetry itself, and the expression of the countenance unspeakably beautiful. Two other Madonnas by Vandyke and Da Vinci are pointed out, but the traveller after seeing Dolce's, cannot stop to admire them, returning again and again to gaze upon this sweet and lovely face, breathing an expression of almost heavenly beauty. Many of Vandyke's finest works are at Blenheim, among which are worthy of particular notice, Henrietta Maria, (a very beautiful picture,) Mary duchess of Richmond, and the duchess of Buckingham. There are also by Vandyke, portraits of Lady Arabella Churchill, Elizabeth countess of Chesterfield, and of the duchess of Tyrconnel, three of the beauties of the Court of Charles II., and of whose interesting lives we may add a few particulars. Lady Arabella Churchill was the eldest sister of the great duke of Marlborough, and mother by the duke of York, of the celebrated Field Marshal duke of Berwick, and of Lady Charlotte afterwards first countess of Waldegrave. Lady Arabella subsequently married Colonel Godfrey of the Jewel Office. She died in 1730, at the great age of eighty-two. The beautiful Lady Elizabeth Butler, countess of Chesterfield, was the eldest daughter of the duke of Ormond. She is said on some authorities, to have been poisoned by her husband in a sudden fit of jealousy. It is proper to remark, however, that this accusation rests on no proof, and is now generally disbelieved. She died at the Earl's romantic seat of Bretby Hall, in 1665, before she had completed her twenty-fifth year. Lady Frances Jennings, duchess of Tyrconnel, was a daughter of Richard Jennings, Esq., and elder sister of the duchess of Marlborough. On the death of her first husband, Sir George Hamilton, she had married in 1679, Richard Talbot, afterwards duke of Tyrconnel. He was a firm adherent of the Stuarts, and in consequence, his wife was subsequently reduced to great poverty. At the battle of the Boyne, where Tyrconnel held an important command, fifteen Talbots of his family, are said to have fallen on the side of the royalists. Their eldest daughter, Lady Charlotte Talbot, was espoused by the Italian prince of Ventimiglia; and of their two grand-daughters, one married the Comte de Verac, and the other, the Neapolitan Prince de Belmonte. In her early years, when a maid of honour to the duchess of York, an amusing story is told of Lady Frances having gone in company with Miss Price, another lady of the Court, under the appearance of orange girls, to consult a German astrologer recently arrived in London, but who turned out to be no other than the Earl of Rochester in disguise. This curious adventure is very gravely related by Bishop Burnet in his "Life and Death of John Wilmot, Earl of Rochester." But the triumph of Vandyke's pencil is the King Charles* at Blenheim, and a more majestic or spirited portrait cannot be conceived. The king is on a dun and prancing charger, and his expression of countenance wears a degree of cheerful urbanity, different from his usual mournful look, which seemed to say that his fate was written on his features. Another painting by Vandyke at Blenheim, is a fine portrait of Dorothea countess of Sunderland, (Waller's Sacharissa.) It must have been painted soon after her marriage to lord Sunderland. She wears rather a mournful expression, but the portrait is finely executed. Lady Dorothea Sydney was a daughter of the earl of Leicester, and was consequently of the same family as Another fine portrait of Charles by Vandyke, is at Warwick Castle. Sir Philip Sydney. She married in 1639, Henry Spencer, earl of Sunderland, who was, however, soon obliged to leave his young bride, and beautiful scat of Penshurst, and joining king Charles, was killed while heading a charge of cavalry, in the battle of Newbury, at the early age of twenty-three. "After her husband's unfortunate death, she retired from the world, and centering all her affection on her two children, seemed to live only for them. She resided after her widowhood at Althorpe, where she occupied herself in improving the house and gardens. The fine hall and staircase of that noble seat, which are deservedly admired for their architectural beauty, were planned and erected by her. After the lapse of thirteen years, at the earnest entreaty of her father, she married secondly, Sir Robert Smythe of Sutton, who was her cousin, and had been long attached to her." The beauty, accomplishments, and amiable disposition of the countess of Sunderland were such, that her name has been immortalised by the poet Waller, by whom she has been celebrated in many beautiful verses, under the name of "Sacharissa." The present duke of Marlborough and earl Spencer, are both lineal descendants of Waller's "Sacharissa." Three With regard to the theatre and Titian room, we may quote a late authority. "We can now visit the theatre and Titian room adjoining. The former is very elegant, and contains some beautiful scenic paintings. The latter enclosed the celebrated series of pictures of "The loves of the gods," well known by the many engravings which have been made after them. There is, however, little more than colour to recommend them, for this artist, so pre-eminent in all that related to the proper management of his palette, appears to have had little feeling for beauty of expression or form." "The china gallery is a small building containing a fine collection of porcelain and Japan manufactures, formed by Mr. Spalding, and presented by him as an appendant to Blenheim, on condition that it should be annexed as an heir-loom to the Marlborough family. The effect of the glittering contents of this building, in which all colours and forms are exhibited, is surpassingly splendid." Among other curiosities shown here, is a vase said to have been presented by Richelieu to Louis XIV, and a tea-pot which belonged to Oliver Cromwell. SUCCESSFUL BOOKSELLER. still finer pictures of this celebrated woman, are at Althorpe, MR. LACKINGTON, THE EXTENSIVE AND the seat of earl Spencer. One of these, painted about the time of her first marriage, is exceedingly sweet and ladylike. The features are delicate, with a profusion of light brown hair-eyes and eyebrows of a darker hue; the bust and hands very exquisite. At Blenheim is the portrait of another countess of Sunderland, second daughter of the first duke of Marlborough. It is a lovely and interesting picture, and displays a softness of expression very different from that of her high-spirited mother. Near her, is a beautiful representation of her niece, Lady Harriet Godolphin. In the great drawing room is a very interesting picture by Sir Joshua Reynolds of the late duke and duchess with their six children, all handsome and apparently promising. The portrait of the late duchess, in particular, (originally, we believe, Lady Caroline Russell, daughter of John, fourth duke of Bedford,) is extremely pleasing. Her beauty and sweet child-like look, worthy of a Madonna, and the little boy is a perfect Cupid, full of archness and grace. The eldest daughter afterwards became celebrated for her beauty and caprice, having disappointed many suitors for her hand, till she was at length espoused by lord Clifden. Another interesting group by Sir Joshua is hung in this room, representing Lady Charlotte Spencer disguised as a gipsey, and telling her brother Lord Francis his fortune. "If she could have peeped into futurity on her own account," says a late writer, "aud foreseen the mesalliance she was destined to form, in eloping with Mr. N-, it would at that time have greatly surprised her." It is in vain to attempt a detailed description of the whole of this vast collection of paintings. The library, which we may now visit, is a magnificent room, in length 185 feet, and containing upwards of 20,000 volumes. It is supported and adorned with solid marble columns, and is further decorated with statues, busts, and paintings, among which may be mentioned, a white marble statue of Queen Anne at the upper extremity, and a colossal antique bust of Alexander the Great. This last is a model of youthful beauty, after the Apollo Belvidere. It is more human, yet the godlike nature appears conspicuous, in the attitude and modelling of the statue. From the library we proceed along a piazza to the chapel, situated in the western wing of the building, the most striking ornament of which is a monument to the memory of John duke of Marlborough and his duchess, by Rysbrach. | MOST of our readers will have read, in the public prints, a few weeks ago, an account of the terrible conflagration which destroyed the valuable premises and property of the Messrs. Painter, the extensive upholsterers, at the corner of Finsbury Place. The same fire involved in ruins the adjoining premises, so well known as the Temple of the Muses, and which were for so many years the scene of the bibliopolic exploits of the celebrated Mr. Lackington. The following particulars, therefore, respecting this singular individual and his "Temple of the Muses," will be read with peculiar interest at the present moment. transfer them into the pages of our Journal, from a little volume, published a few years ago, under the title of "Anecdotes of Books and Authors." We This celebrated character, who, in his own account of his life, modestly informed the public that he began business with only five pounds, was born at Wellington, in Somersetshire, in 1746. His father, being in indigent circumstances, when his son was ten years of age, put him to a baker to cry and sell apple-pies, with whom he remained only fifteen months; when returning home to his father, who could not afford to keep him in idleness, he was made a cobbling shoemaker, working when his father worked, but making holiday whenever the former went to drink he was afterwards regularly apprenticed to one of the gentle craft, and worked at different places as a journeyman, till he married and came to London. About the year 1774, having hired a kind of stall for selling old books, the refuse of his own reading, as well as for the purpose of mending soles, his first stock of books was not worth five shillings. With these, however, when sold, he bought others, and at one time a large bag full for a guinea. Afterwards, belonging to Mr. Wesley's chapel, he availed himself of the temporary relief allowed as loans to deserving members, and, borrowing five pounds, soon removed to a respectable shop and parlour in Chiswellstreet, where, at first, as he would not be deemed a vender of improper books, he kept only what he termed a "Divinity Library." Here, however, going into partnership with Mr. John Dennis, of Cannon-street, their success was far beyond expectation. In 1780, though Mr. Dennis withdrew from the firm, a Mr. Scales, a carcase butcher of Whitechapel market, assisted Mr. Lackington with a large sum, and he assumed a gold button and loop in his cocked hat; and his hands, so recently begrimed with shoemaker's wax, were ornamented with ruffles. But, as Mr. Lackington did not think his growing importance was sufficiently noticed by the world when he had some time kept his carriage, he hit upon an expedient that succeeded wonderfully: he published an advertisement in the public papers, stating that his coach-house and stables in Old-street had been robbed of ten thousand volumes, chiefly Dr. Watts's "Psalms and Hymns." This answered the double purpose of letting the world know that he kept a coach, and that his stock was so extensive that a large quantity of books could not soon be missed. His readymoney plan succeeded so well, that, in 1784, his catalogue was very much increased in numbers and value; but the most effectual way of making his shop known was by the publication of his own Life, which, in the course of a few years, run through thirteen or fourteen editions. Like Ned," when he first began business, he opened and shut shop himself; and, for thirteen years, did without an assistant; but, after that, twenty handsome and obliging shopmen succeeded, and this the face of his catalogues declared. His country lodgings at Dulwich were now left for a house at Upper Holloway, which he called his Elysium. A chariot had succeeded a single horse, and the occasional hiring of a coach or stage; and, at last, Upper Merton, in Surrey, was selected as the seat of his occasional retirement. In 1794, Mr. Lackington, anticipating the surprising run he might have by issuing tokens, as other tradesmen did about that time, ordered a coinage of them from Birmingham, which, with another, were quickly dispersed. There were three sorts of impressions on the reverse, but the front always bore Mr. Lackington's resemblance. After he had recalled his copper coin, he intended publishing a five-guinea note, but this he was advised to decline. For some disaster marred his undertaking, And statue, coin and notes, were all forsaken. POETICAL CONTRIBUTIONS.-No. I. OUR correspondents are so prodigal of their poetical pieces, that the corner of the SATURDAY JOURNAL usually appropriated to original poetry, would not contain a tithe of them. We have, therefore, resolved to make an occasional selection from the mass of these contributions, and to present them from time to time to our readers. In the following lines, composed in a lunatic asylum in the neighbourhood of London, and given to a visitor, a few months ago, by one of the most insane of the patients, there is a great deal of beautiful poetry, as well as of tender and refined feeling. THE DIAL OF TIME. SMILE, maiden, smile, while life's taper is young, The following nobler flight of a mind similarly distempered, was more than half a century ago given by the author to a friend of the lady who furnishes it to the SATURDAY JOURNAL. THE GREATNESS OF DIVINE LOVE. Nor would the scroll contain the whole, THE HAUNTED STREAM. A melancholy music ever flings A spell of softened silence o'er the place; In 1794 Mr. Lackington made over his business, at the Temple of the Muses, in Finsbury-square, to Messrs. George Lackington, Allen, and Co. These large premises were originally built as a letter-foundry for Mr. Caslon, and, at the sale of his effects, were purchased by Mr. L. for £4,100. Even the opening of this place as a shop The annexed is from a contributor in Glasgow, for the new possessor was calculated to add to his cele- which, though chiefly celebrated as a great manufacbrity; for, on a wager being laid by him that a coach-and-turing city, is one of the most liberal patrons of four would drive in and out, going clear round the shop, periodical literature in the empire. The poetry is the without any hinderance from height or width, it was actu- production of a young man. ally performed by the Yarmouth mail-coachman, and from this circumstance the world was informed of the capaciousness of his shop. He also caused his own coachman to perform the same ceremony soon after with himself, Mr. Hughes, of Sadler's Wells, and Robert Allen, Esq., in the chariot. Mr. L. soon after understanding that a statue was to be erected in the centre of Finsbury-square, then newly built, immediately caused it to be known that he would pay all the expenses of one, and have it worthy of the place, if the commissioners would allow it to be an exact resemblance of himself. However, at all events, being resolved to overlook his neighbours, he raised Mr. Caslon's late house higher than the rest by means of a lantern over the upper story, on the top of which he placed a flag-pole, and a large flag was constantly hoisted on his arrival from Merton, which was daily struck on his departure. Since his interest ceased in the house, a weathercock* has supplied the place of this symbol of vanity. The book from which this extract is taken, appeared a few years ago. A sound caught from the plaintive murmurings Though I believe it not, but rather deem The lines which follow are also of Glasgow manufacture. They are exceedingly appropriate to the *He demurred a little about the propriety of this expression, but said the meaning was obvious enough. The "Dial of Time," &c. had allusion to the device on a cameo, or seal. Beautiful! oh, beautiful! it dips into the lake, Whose dream of bright tranquillity its touch can scarcely wake. Beautiful! oh, beautiful! the far off mountains glow, In the pale and silent moonlight, when their peaks are crowned with snow. How beautiful unto the eye, how cold unto the touch! In the course of two or three weeks we shall present our readers with some further specimens of our poetical contributions. THY WILL BE DONE. WE conclude our notice of the little work under this title which we last week introduced to our readers. We then brought the subject of the tiny book before them, in his more submissive moments. At times, however, the wretchedness of his condition and his seclusion from society deeply preyed upon his mind. The following passage refers to the state of his feelings in his more melancholy moments : "Such was the state of my mind, when, on the evening of this memorable day, as the sun disappeared in golden clouds behind yon mountain, I sat down on that stone upon which you are now sitting, and indulged, sinfully indulged, in the contemplation of my forlorn, sad state; when casting my restless eyes towards that grove of birch trees beneath the hill, there I saw, slowly approaching, two beings whose vows of love had been that day ratified in the house of God. From his holy altar they had received the blessing of the priest; at his porch their fellow-villagers had greeted them with kind and pious wishes. They advanced towards me, along the path across the meadows, unconscious of my presence: they approached nearer-nearer. That sweet and holy calm which the certainty of bliss imparts, was depicted on their youthful countenances; his beaming with manly boldness, hers bending with a graceful modesty, which formed a lovely contrast. Slowly they approached arm-in-arm, when suddenly they stopped-he placed his arm round the waist of his bride, and drawing her towards him, her head sank upon his shoulder, and he impressed upon her fair cheek the kiss of love. Shall I own to you my sin? bitter envy took possession of my heart, for the first time in my life, and I humbly hope for the last. I had never before seen, though I had read of such happiness. My tearful eyes eagerly followed them to the end of the meadow, where they were just about to vanish from my sight amongst the trees, when the voice of joy and gladness struck upon my ear: a party had come out to meet and conduct them to their new home; men, women, and young children surrounded them, forming a procession of loving friends and merry companions. Through the rich foliage of the trees I could discern the gay colours of their holiday dresses; and the innocent group seemed surrounded by a bright cloud of happiness. May God forgive me, I could not bear the sight! the torments of despair got hold upon me; I turned from the spot, and buried my sinful feelings in the depth of my cell." The above passage is thus illustrated by the artist. 6 "The The leper and the stranger eventually part. poor leper," says the well-written volume," buried his face in his hands, and sobbed aloud; while the stranger looked on in silent pity. In a few moments the leper arose: Stranger,' said he, when pain or grief shall come nigh thy dwelling, think of the recluse of Aosta; the recollection may inspire thee with courage to bear thy trial, and it will afford him comfort to think that thy visit to his lonely tower has not been without benefit to thy soul.' "Together they walked towards the garden gate, and at the moment when the stranger was about to depart for ever, he placed a glove upon his right hand, and presenting it to the leper, said, 'You tell me you have never touched the hand of a fellow man; do me the favour to take mine: it is the right hand of fellowship, offered by one whose heart is overflowing with pity and respect.' The leper drew back a step; but as the stranger still held out his hand, the poor afflicted one accepted, and clasped it between his own in a long warm pressure; then as it fell from his grasp, he raised his eyes to heaven, and exclaimed, God of mercy, may thy blessing, and the blessing of a poor leper, rest on this benevolent stranger.' And so saying they parted for ever." ، |