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    The Mirror of Literature, Amusement, and Instruction Volume 17, No. 494, June 18, 1831
    The Mirror of Literature, Amusement, and Instruction Volume 17, No. 494, June 18, 1831
    The Mirror of Literature, Amusement, and Instruction Volume 17, No. 494, June 18, 1831
    Ebook105 pages56 minutes

    The Mirror of Literature, Amusement, and Instruction Volume 17, No. 494, June 18, 1831

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    LanguageEnglish
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    Release dateNov 27, 2013
    The Mirror of Literature, Amusement, and Instruction Volume 17, No. 494, June 18, 1831

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      Book preview

      The Mirror of Literature, Amusement, and Instruction Volume 17, No. 494, June 18, 1831 - Archive Classics

      The Project Gutenberg EBook of The Mirror of Literature, Amusement, and

      Instruction, No. 494., by Various

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: The Mirror of Literature, Amusement, and Instruction, No. 494.

      Author: Various

      Release Date: August 2, 2004 [EBook #13090]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK MIRROR OF LITERATURE ***

      Produced by Jonathan Ingram, Victoria Woosley and PG Distributed

      Proofreaders

      THE MIRROR

      OF

      LITERATURE, AMUSEMENT, AND INSTRUCTION.

      EXETER HALL, STRAND.

      We rejoice to see the site of Burleigh House partly occupied by the above Building. Its object is to afford accommodation for the meetings of Philanthropic Societies—so that whatever may be the olden celebrity of the spot, it is reasonable to expect that its present appropriation will be associated with the most grateful recollections.

      This building is, perhaps, the most perfect erection of its kind in England. The approach from the Strand is remarkably modest: it is by a very narrow, though very chaste, door-way, situated between two Corinthian columns and pilasters. Within the door is a hall, with two flights of steps, which afterwards unite, and lead up to the entrance of the great hall itself; the hall below leads into a broad passage, which extends to the farther extremity of the building, opening right and left into various offices. On entering the door of the great hall, a vast and splendid room is presented to view, with scarcely a single interruption to the eye throughout its whole extent, capable of containing, with comfort, more than 3,000 persons. The floor is covered with substantial oak seats, equal to the accommodation of 2,500 persons. The greater portion of these are situated on a gentle rise, to permit a perfect view of the platform on which the proceedings take place. The platform is raised about six feet from the floor, and extends the whole breadth of the room, curving inwards, the extremities bending towards the audience: it contains seats for nearly 300 individuals. Behind this gallery again, are very capacious recesses, which will hold from three to four hundred persons. The lower part of the walls of the room is quite plain, the architect, probably, regarding the audience as a sufficient ornament in that quarter, though the rising of the seats would obscure carved-work if it were there. The windows are at a considerable height from the ground, and are of dimmed glass, with a chaste and classical border. The ceiling, which is at a noble height, is beautifully laid out in squares, with borderings and rosettes. An oblong opening occurs in the centre, with massive beams stretching across, presenting to view an erection in the roof, a form of construction, probably, necessary to so immense a mass of roofing, and serving also for the purposes of ventilation, as it contains windows at each end. There are four pillars near the end of the hall, rising to the ceiling, the capitals of which, as also those of some pilasters at the upper extremity of the hall, are exquisitely carved in straw-coloured marble. Behind the platform are numerous and convenient committee-rooms. The word Philadelpheion, which may be rendered loving brothers, is carved in Greek capitals over the entrance in the Strand.¹

      Exeter Hall has been erected by subscription, by a public company established for the purpose.

      WILLS OF SHAKSPEARE, MILTON AND BUONAPARTE.

      (To the Editor.)

      The last wills and testaments of the three greatest men of modern ages are tied up in one sheet of foolscap, and may be seen together at Doctors Commons. In the will of the Bard of Avon is an interlineation in his own handwriting—I give unto my wife my brown best bed, with the furniture. It is proved by William Byrde, 22nd July, 1616.

      The will of the Minstrel of Paradise is a nuncupative one taken by his daughter, the great poet being blind.

      The will of Napoleon, to whom future ages, in spite of legitimacy, will confirm the epithet le grand, is signed in a bold style of handwriting; the codicil, on the contrary, written shortly before his death, exhibits the then weak state of his body.

      T.H.K.

      VERNAL STANZAS.

      (For the Mirror.)

      The earth displayed its robe of gorgeous hues,

      And o'er the tufted violets softly stole

      The downy pinions of the fragrant wind,

      Which tuned the brook with music; there were clouds

      O'er the

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