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of paragraphs for the Public Advertiser, and by officiating occasionally as an amanuensis.

Poor Egelsham 1 Is there nothing else about Egelsham? No. But the mention of him recalls a personage with a name something like Egelsham s—


Speed, the chronicler, in his account of Henry V., tells us, that when that king was Prince of Wales," He came into his father's presence in a strange disguise, being in a garment of blue satin, wrought full of eyletholes, and, at every eylet, the needle left hanging by the silk it was wrought with." This curious costume puzzled many a head besides Speed's, until Mr. G. S. Green, residing in Oxford, found the meaning of it in the following custom, observed annually at Queen's College, on the Feast of theCircumcision :—The bursar gives to every member a needle and thread, in remembrance of the founder, whose name being Eggtesfield was thus falsely deduced from two French words, Aguille Fit, a needle and thread, according to the custom of former times, and the doctrine of rebusses. Egglesfield, however, is pure Saxon, and not French. The founder of Queen's College was an Englishman, born in Cumberland, and confessor to a queen of Dutch extraction, daughter to the earl of Hainault and Holland. Mr. Green reasonably conjectures, that prince Henry having been a student in that college, his wearing of this strange garment was probably designed by him to express his academical character, the properest habit he could appear in before his father, who was greatly apprehensive of some trouble from his son's active and ambitious temper, and much afraid of his taking the crown from him, as he did at last. The habit of a scholar was so very different from that of a soldier, in those days, that nothing could better allay the king's suspicions than this silent declaration of attachment to literature, and renunciation of the sword..


Beware that you do not conceive

that the body is made one whit the more strong, or healthy, by the glory, greatness, and treasures of monarchy;

* Genu. Mag.

especially where you may daily observe, that a fever doth as violently and long hold him who lies upon a bed of tissue, under a covering of Tynan scarlet, as him that lies upon a mattress, and hath no covering but raggs; and that we have no reason to complain of the want of scarlet robes, of golden embroideries, jewels, and ropes of pearl, while we have a coarse and easie garment to keep away the cold. And what if you, lying cheerfully and serenely upon a truss of clean straw, covered with raggs, should gravely instruct men, how vain those are, who, with astonisht and turbulent minds, gape and thirst after the trifles of magnificence, not understanding how few and small those things are which are requisite to an happy life? What, though your house do not shine with silver and gold hatchments; nor your arched roofs resound with the multiplied echoes of loud music; nor your walls be not thickly beset with golden figures of beautiful youths, holding great lamps in their extended arms, to give lighWo your nightly revels and sumptuous banquets? why yet, truly, it is not a whit less (if not much more) pleasant to repose your wearied limbs upon the green grasse, to sit by some clear and purling stream, under the refreshing shade of some well branched tree; especially in the spring time, when the head of every plant is crowned with beautiful and fragrant flowers, the merry birds entertaining you with the music of their wild notes, the fresh western winds continually fanning your cheeks, and all nature smiling upon you.—Epicurus, by Dr. Charltton, 1655.


Though I have nothing here that may give me true content, yet I will learne to be truely contented here with what I have— What care I, though I have not much, I have as much as I desire, if I have as much as I want; I have as much as the most, it I have as much as I desire.—A. Warwick.

h. m.

June 6. Sun rises .... 3 49

sets .... 8 11

roxglove begins to flower. Sophora flowers.

Moss rose, musk rose, and cabbage rose flower.

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The cards of inn and hotel keepers on the continent are frequently ornamented with views of their hostelries; and some, especially of houses in the low countries, are curious as memorials of the towns, and the style of the edifices. One of these engraved cards imports, by its inscription, that "F. D. Godthart keeps the Hotel of the Golden Lion, at Haarlem, Zylstraai, W.5. No. 752." It bears the representation inserted above, and it is preserved in this manner to convey an idea of the old gable-style of building which prevails in that celebrated town, as it did formerly, to a certain degree, in England. Some of this architecture is extremely picturesque, and very w ell shown in Rademaker's Views in Holland, which were drawn and etched on the spot. In the preceding sketch, the cloud on the house to the right is a tree, cut with Dutch formality. Remains of such tasteless specimens of foliage exist about some of the few old public tea-gardens still near London. But this is not exclusively a Dutch fashion; it lingers in Holland, because its inhabitants are the last to adopt novelties. It must be remembered, though, that a set of etchings by a Dutchman, Waterloo,

affords exquisite forest scenery, executed by him from trees in the wood of the palace at the Hague, which are still living, and are so well preserved in their natural forms as to be yet distinguished as the originals of that artist, who died more than a century ago.

Of Haarlem there are manifold accounts, and descriptions, of ready access. Its tulips are known in every part of Europe, and although the rage for flowers, which once proved so destructive among the respectable families of Haarlem, and which furnished the inimitable La Bruvere with one of his characters, has almost subsided, yet fifty, or even one hundred florins, are no uncommon price for a single bulb of some rare variety. In former times one root was sold for more than 10,000 florins; and the aggregate sum produced by the sale of 120 tulips was 90,000 florins, or £6,750.*

At this time Haarlem is never visited by musical travellers.without paying their respects to its noble instrument—

• Bovce'» Belgian Traveller.

The Haarlem Organ.
[For the Year Book.]

Haarlem is celebrated for possessing the largest church in Holland, and the finest organ in Europe. At Amsterdam, and other places, there are also stupendous organs, and the inhabitants of Rotterdam have been engaged for upwards of thirty years in building one to rival that of Haarlem; for, although the Rotterdam organ has been already long in use, it was not altogether finished when I was there in 1828. It is certainly a fine instrument, and they boast that its reed-stops are sweeter than the other's; but, without even admitting this to be the case, it is no more to be compared to the Haarlem organ, in power, " than I to Hercules."

The following translation of a printed statement respecting the " Haarlem orig in, received from the organist, may afford some idea of its capabilities:—the measurements are, I believe, in French feet; and many of the terms I must leave as in the original:—

Disposition of the Registers, or Voices, in the Great Organ at Haarlem.

In the Great Manuel.

1. Prcatant 16 feet

2. Bourdon 16 feet

3. Octave 8 feet

4. Viol do Gamta 8 feet

5. Roer-Fluit 8 feet

6. Octave 4 feet

7. Gems-Hoora 4 feet

8. Roer-Quint 6 feet

9. Quint 3 feet

10. Tertian 2 fort

11. Mixture . . . . 6 . 8 . to 10/ort

12. Wout-Fluit 2 feet

13. Trumpet ....... 16 feet

14. Trumpet . 8 feet

15. Trumpet 14 feet

16. Haut-Boi 8 feet

In the Upper Ma ntel.

1. Prettant 8 feet

2. Quintadena 16 feet

3. Quintadena 8 feet

4. Baar-Pyp 8 feet

5. Octave 4 feet

6. Flag-Fluit 4 feet

7. Naliat 3 feet

8. Nacht-Hoom 2 feet

9. Flageolet 1J feet

10. Sexquialter Ifort

11. Echo Cornet ifort

12. Mixture 4 . to . . 6/orl

13. Schalmey 8 feet

14. Dulcian 8 feet

15. Vox Humana 8 feet

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1. Principal • .

2. Prestant . .

3. Subbase , , .

4. Roer-Quint .

5. Hol-Fluit . .

6. Octave . . .

7. Quint-Prestant.

8. Octave . . .

9. Ruisch-Quint .

10. Hol-Fluit . .

11. Bassoon • . .

12. Bassoon . . .

13. Trumpet • .

14. Trumpet. . .

15. Cincq . . .

.... 32ft.

.... 16 feet

.... 16 feet

.... 12 feet .... 8 feet ... 8 feet .... 6 feet .... 4 feet .... 3 feet .... 2 feet

.... 32 feet

.... 16feet .... 8 feet . . . . 4 feet . • . 2 feet

Sixty voices in all, four separations, two tremblans, two accouplemens, twelve bellows, and nearly 5000 pipes.

The principal has thirty-two feet of depth or measurement. The exact length of the greatest pipe, or of the deepest tone, is thirtyeight feet, and fifteen inches diameter.

The bellows are each nine feet long by five broad.

The height of the interior of the church is 111, its breadth 173, and its depth 391 feet; the organ itself has 103 feet of height, commencing from the ground, and fifty breadth, and had for maker Christian Muller, in 1738. J. P. SCHUMANN, Organist, Jacobijnatraat, W. 5, No. 83.

The established form of religion in Holland being simple, like the Presbyterian in Scotland, the organs only accompany the singing of psalms during the regular service; travellers, therefore, usually engage the organist to play on purpose. The charge made for this at Haarlem is equivalent to twenty shillings sterling; out of which 'he organist pays all the attendants, including the bellowsblowers, of whom, it is said, three are required


We announced our intention to hear a special performance, and the arrangements were extremely well managed for giving effect to our entrance. Just at the instant that the mind was rivetted by the first glance of the lofty columns, and the vast expanse of the church, rendered more lofty and vast in appearance by the obscurity of the dusk, and the glimmer of a few tapers, a strong, but a most harmonious chord from the magnificent instrument rolled upon our ears, and, as we gradually stepped forward, the air was filled with the sublime strains of Handel's Hallelujah Chorus. The sensations of the moment are not to be described; for the full grandeur of the sound—the otherwise breathless stillness of the scene— the mellowed tints of the declining twilight —and, perhaps, the more ready disposition to nervous excitement, from the agitation and fatigues of previous travelling, almost overpowered me; and one of my companions afterwards described himself to have been so peculiarly affected, that, to use a common expression, he did not know whether he was "standing on his head or his heels." A storm and a battle-piece seem always to be given in these exhibitions; the former was the composition of the organist himself, and may be supposed, therefore, well suited for displaying the peculiarities of the instrument. I have already mentioned its superiority in power over the Rotterdam organ, which, noble as it is, might be denominated in comparison, by the phrase of the Scotch covenanter, a mere "kest fu' o' whistles." We had been surprised at Rotterdam by the fine imitation of distant thunder. At Haarlem the imitation of thunder at a distance was equally natural; but we felt the storm gradually coming nearer and nearer, until the rattling peals literally shook the place around us, and were truly awful. Even this, we understood, did rot acquaint us with the full power of the instrument, which is said to be never exerted to the utmost, for fear of shattering the roof or walls of the church. The battle also presented opportunities for splendid varieties of sound,—depicting to the ear all the " pride, pomp, and circumstance, of glorious war, from the "shrill sound of the ear-pieicing fife," to the din of those "mortal engines, whose rude throats the immortal Jove s dread thunders counterfeit." Neither are softer strains wanting; for the immense combination of pipes and stops admits of the

pathetic and gentle, as expressively as the grand and lofty. The vox humanti is peculiarly fine, at times suggesting the idea of a heavenly choir of angels hymning their anthems in unison with terrestrial music. "Luther's hymn," and various other pieces, were likewise performed, and it was considerably above an hour before there seemed any intention of giving over; nor could I have wished it a moment shorter. During our stay we sat, ji or walked about, to try the effect in different parts; sometimes going into the pews, which extend through about one half of the church, raised a few steps from the floor, and at others penetrating into remote corners, or pacing about the roomy aisles, "in meditation rapt."

Afterwards, we were invited to examine the mechanism of the instrument, and found the organist wiping the drops from his brow after his exertions; for it required great bodily strength, both of the hands and feet, to make such a powerful organ "discourse most eloquent music, from its | lowest note to the top of its compass."— I observed a motto painted above the keys, Non nisi viotu cano, " I do not sing without a motive," allusive, no doubt, to the preparation necessary for the performance; . but I thought this might have been translated, with reference to our twenty shillings, " I do not sing for nothing!" i

W. G»

Musical Wager.
[For the Year Book.]

We never were a musical nation, yet in days gone by, when the late king, George Ill., was wont to be present at the ancient concerts, and in the time of I Harrison, Bartleman, and the Knyvetts, a real lover of music was gratified by the I dulcet strains from Handel, Mozart, | Hayon, &c, performed with a soulstirring eloquence. But now, alas, all idea of pathos, or harmony, seems absolved in one grand leading desire— which appears to have taken possession of, every performer, from Mori and his violin, down to the boarding school miss who has just commenced her first " Piano Divertimento," the alpha and omega upon their respective instruments—a de

* The card of the Golden Lion at Haarlem was likewise obligingly communicated by W. G. for the engraving.

sire to astound by the rapidity of their execution. This disease has not confined itself to instrumental, for, unfortunately, our vocal performers are bitten with the self same mania.

Some two or three seasons back, when "Figaro " was adapted to the English stage, it created a sort of rivalry between the different bands, especially in the performance of the overture. I heard the palm adjudged to the band of the Opera House, not from the superior skill or expression with which they executed it, but that they could get through it in several seconds less than either of the other bands. Shade of Mozart 1 to appreciate the performance of thy divine compositions—as they would appreciate the value of a race horse—by speed 1

It is to be hoped that a new musical era will shortly commence in this country, and that the " votaries of Apollo" will in future study music for the sake of the "heavenly maid." As rapidity of execution may be considered to have reached its climax, assuredly no new candidate for fame will think of attempting to outvie the feat that was performed just three years ago.

Mr. Scarborough, the organist of Spalding, betted that he would strike One Million of notes on the piano in the space of twelve hours. This singular wager was decided on the 4th of June 1828.

Mr. S. took a compass of three octaves, ascending and descending the different scales, and struck—

109,296 notes in the 1st hour. 125,928 2nd 121,176 3rd 121,176 4th 125,136 5th 125,136 6th 127,512 7th 127,512 8th 47,520 20 minutes.

Making 1,030,392 notes in eight hours and twenty minutes, which, with the periods of rest, amounted to eleven hours and forty-five minutes.

Henry Brandon.

Suite 7.

On the 7th of June, 1741, died William Aikman, an artist of eminence. He was the only son of William Aikman, of

Cairnes, Esq, by Margaret, daughter of Sir John Clerk, of Pennycuick,hart. He was born October 24, 1681, and placed under Sir John Medina. From London he travelled to Rome, Constantinople, and Smyrna, whence he returned to London, and afterwards to Scotland, under the patronage of General John Duke of Argyle, and other noblemen of that kingdom. Having remained there two or three years, he again visited London, where he was greatly esteemed. His father was an advocate, who intended him for the profession of the law; but he quitted it for his favorite art, to which he united the sister arts of poetry and music; and became, with ardour, the muses' friend. Aikman brought Allan Ramsay into notice in Edinburgh, and James Thomson in London; introducing the latter not only to the first wits in England, but to Sir Robert Walpole. There was also a

Particular friendship between Aikman and omerville. His health declining, he was advised to return to Scotland; but died in Leicester Fields, when only forty-nine. His only son, John, died on the 14th of January preceding. Their remains were taken to the Grey Friars' cemetery in Edinburgh, and buried in the same grave; Mallet wrote upon them this


Dear to the good and wise, disprais'd by none.
Here sleep in peace, the father and the son;
By virtue, as by nature, close allied.
The painter's genius, but without the pride:
Worth unambitious, wit afraid to sbiue;
Honor's clear light, and friendship's warmth

The son, fair rising, knew too short a date;
But Oh! how more severe the parent's fate!
He saw him torn untimely from his side,
Felt all a father's anguish—wept and died.

Allan Ramsay testified his grateful recol lection of his friend Aikman by affectionate verses to his memory."

Vandyck's Method Of Painting.

Jabac, an eminent French connoisseur, was so intimate with Vandyck that he painted Jabac's portrait three times con amore, and confidentially communicated to him his method of painting. Jabac was observing to him how little time he bestowed on his portraits; Vandyck answered that, at first, he worked hard, and


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