hence, he says, "some moderns have imagined that they only lay asleep till they were found." He designates them in his title, however, as having been "commonly called the seven sleepers;" and we shall see presently who his "moderns" are. He adds, that "the cave wherein their bodies were found, became famous for devout pilgrimages, and is still shown to travellers, as James Spon testifies." The miraculous story of the seven sleepers relates, that they remained in the cave till the heresy that "denyed the resurreccyon of deed bodyes" under Theodotian, when a 'burges" of Ephesus causing a stable to be made in the mountain, the masons opened the cave, "and then these holy sayntes that were within awoke and were reysed," and they saluted each other, and they "supposed veryley that they had slepte but one nyght onely," instead of two hundred and twenty-nine years. Being hungry, Malchus, one of themselves, was deputed to go to Ephesus and buy bread for the rest; "and then Malchus toke V shillynges, and yssued out of the cave." He marvelled when he saw the mason's work outside, and when he came to one of the gates of Ephesus he was "all doubtous," for he saw the sign of the cross on the gate; then he went to another gate, and found another cross; and he found crosses on all the gates; and he supposed himself in a dream; but he comforted himself, and at last he entered the city, and found the city also was "garnysshed" with the cross. Then he went to the "sellers of breed," and when he showed his money, they were surprised, and said one to another, that "this yonge man" had found some old treasure; and when Malchus saw them talk together, he was afraid lest they should take him before the emperor, and prayed them to let him go, and keep both the money and the bread; but they asked who he was, for they were sure he had found a treasure of the "olde emperours," and they told him if he would inform them they would divide it, "and kepe it secret.' But Malchus was so terrified he could not speak; then they tied a cord round his neck, and drove him through the middle of the city; and it was told that he had found an ancient treasure, and "all the cite assembled aboute hym;" and he denied the charge, and when he beheld the people he knew no man there; and he supposed they were carrying him before the emperor Decius, but they carried him to the church before St. Martin and Antipater, the consul; and the bishop looked at the money, and marvelled at it, and demanded where he had found the hidden treasure; and he answered, that he had not found it, that it was his own, and that he had it of his kinsmen. Then the judge said his kinsmen must come and answer for him; and he named them, but none knew them; and they deemed that he had told them untruly, and the judge said, how can we believe that thou hadst this money of thy friends, when we read "that it is more than CCC.lxxii. yere syth it was made," in the time of Decius, the emperor, how can it have come to thee, who art so young, from kinsmen so long ago; thou wouldst deceive the wise men of Ephesus: I demand, therefore, that thou confess whence thou hadst this money. Then Malchus kneeled down, and demanded where was Decius, the emperor; and they told him there was no such emperor then in the world; whereat Malchus said he was greatly confused that no man believed he spoke the truth, yet true it was that he and his fellows saw him yesterday in that city of Ephesus. Then the bishop told the judge that this young man was in a heavenly vision, and commanded Malchus to follow him, and to show him his companions. And they went forth, and a great multitude of the city with them towards the cave; and Malchus entered first into the cave, and the bishop next, "and there founde they amonge the stones the lettres sealed with two seales of syluer," and then the bishop read them before all the people; and they all marvelled, "and they sawe the sayntes syttynge in the caue, and theyr visages lyke unto roses flouryng." And the bishop sent for the emperor to come an see the marvels. And the emperor came from Constantinople to Ephesus, and ascended the mountain; and as soon as the saints saw the emperor come, "their vysages shone like to the sonne," and the emperor embraced them. And they demanded of the emperor that he would believe the resurrection of the body, for to that end had they been raised; and then they gave up the ghost, and the emperor arose and fell on them weeping, "and embraced them, and kyssed them debonayrly." And he commanded precious sepulchres of gold and silver to bury their bodies therein. But the same night they appeared to the emperor, and demanded of him to let their bodies lie on the earth, as they had lain before, till the general resurrection; and the emperor obeyed, and caused the place to be adorned with precious stones. And all the bishops that believed in the resurrec tion were absolved.* In the breviary of the church of Salis bury, there is a prayer for the 27th of July, beseeching the benefit of the resurrection through the prayers of the seven sleepers, who proclaimed the eternal resurrection. Bishop Patrick, who gives us the prayer, says, "To show the reader in what great care the heads of the Romish church had in those days of men's souls, how well they instructed them, and by what fine stories their devotions were then conducted, I cannot but translate the history of these seven sleepers, as I find it in the Salisbury breviary; which, if it had been designed to entertain youth as the history of the Seven Champions, might have deserved a less severe censure; but this was read in the church to the people, as chapters are out of the bible, and divided into so many lessons." He then gives the story of the seven sleepers as it stands in the breviary, and adds, that there was no heresy about the resurrection in the days of Theodotian, and that if any had a mind to see the ground of their prayer in the breviary, and the "stuff" of the legend of the seven sleepers, they might consult "Baronius's notes upon the Roman Martyrology, July 27." It appears then, that the ecclesiastics of the church of Salisbury were among the "moderns" of Alban Butler, "who imagined" of the seven sleepers as related in the legend, and so imagining, taught the "stuff," as bishop Patrick calls it, to their flocks. Yet Alban Butler weeps over the Reformation, which swept the "imaginations" of his "moderns" away, and he would fain bring us back to the religion of the imaginers. FLORAL DIRECTORY. Victor, Pope, a. v. 201. St. Innocent I. Musical Prodigies. When There is at present in Berlin, a boy, between four and five years old, who has manifested an extraordinary precocity of musical talent. Carl Anton Florian Eckert, the son of a sergeant in the second regiment of Fencible Guards, was born on the 7th of December, 1820. While in the cradle, the predilection of this remarkable child for music was striking, and passages in a minor key affected him so much as to make tears come in his eyes. about a year and a quarter old, he listened to his father playing the air “Schone Minka" with one hand, on an old harpsichord: he immediately played it with both hands, employing the knuckles in aid of his short and feeble fingers. He continued afterwards to play every thing by the ear. He retains whatever he hears in the memory, and can tell at once whether an instrument is too high or too low for concert pitch. It was soon observed that his ear was sufficiently delicate to enable him to name any note or chord which might be struck without his seeing it. He also transposes with the greatest facility into any key he pleases, and executes pieces of fancy extempore. A subscription has been opened to buy him a pianoforte, as he has got tired of the old harpsichord, and two able musicians have undertaken to instruct him.* Eckert was pre-rivalled in England by the late Mr. Charles Wesley, the son of the rev. Charles Wesley, and nephew to the late rev. John Wesley, the founder of the religious body denominated methodists. The musical genius of Charles Wesley was observed when he was not quite three years old; he then surprised his father by playing a tune on the harpsichord readily, and in just time. Soon afterwards he played several others. Whatever his mother sang, or whatever he heard in the streets, he could, without difficulty, make out upon this instrument. Almost from his birth his mother used to quiet and amuse him with the harpsichord. On these occasions, he would not suffer her to play only with one hand, but, even before he could St. speak, would seize hold of the other, and Purple Loosestrife. Lythrum Salicaria. In his "Reflections on the Devotions of the Romish Church." The Parthenon, a new musical work typolithographied, notices this precocious musician on the authority of the German papers. put it upon the keys. When he played by himself, she used to tie him by his back-string to the chair, in order to prevent his falling. Even at this age, he always put a true bass to every tune he played. From the beginning he played without study or hesitation. Whenever, as was frequently the case, he was asked to play before a stranger, he would invariably inquire in a phrase of his own, "Is he a musiker ?" and if he was answered in the affirmative, he always did with the greatest readiness. His style on all occasions was con spirito; and there was something in his manner so much beyond what could be expected from a child, that his hearers, learned or unlearned, were invariably astonished and delighted. When he was four years old, Mr. Wesley took him to London; and Beard, who was the first musical man who heard him there, was so much pleased with his abilities, that he kindly offered his interest with Dr. Boyce to get him admitted among the king's boys. This, however, his father declined, as he then had no thoughts of bringing him up to the profession of music. He was also introduced among others to Stanley and Worgan. The latter in particular, was extremely kind to him, and would frequently entertain him by playing on the harpsichord. The child was greatly struck by his bold and full manner of playing, and seemed ven then to catch a spark of his fire. Mr. Wesley soon afterwards returned with him to Bristol; and when he was about six years old, he was put under the tuition of Rooke, a very good-natured man, but of no great eminence, who allowed nim to run on ad libitum, whilst he sat by apparently more to observe than to control him. Rogers, at that time the oldest organist in Bristol, was one of his first friends. He would often sit him on of that master, as a first attempt, was a wonderful production; it contained fugues which would have done credit to a professor of the greatest experience and the first eminence. His performance on the organ, and particularly his extempore playing on that sublime instrument, was the admiration and delight of all his auditors The present Mr. Samuel Wesley, brother of the preceding, and born in 1766, also gave a very early indication of musical could play on the organ; and, when eight genius. When only three years of age, he years old, attempted to compose an oratorio. Some of the airs which he wrote for the organ were shown to Dr. Boyce, and occasioned the doctor to say, "This boy unites, by nature, as true a bass as I can do by rule and study." Mr. Wesley's compositions are in the highest degree masterly and grand; and his extempore performance of fugues on the organ astoinstrument all the grand and serious graces nishing. He produces from that solemn of which it is capable. though struck out on the instant, are sweet His melodies, and varied, and never common-place; his harmony is appropriate, and follows them with all the exactness and discrimination of the most studious master; his execution, which is very great, is always sacrificed to the superior charms of expression.* To this be it added, that the intellectual endowments of Mr. Samuel Wesley equal his musical talents, and that the amiable and benevolent qualities of his nature add lustre to his acquirements. He is a man of genius without pretension, and a good man without guile. FLORAL DIRECTORY. his knee, and make the boy play to him, Mountain Groundsel. Senecio montanus. declaring, that he was more delighted in hearing him then himself. For some years his study and practice were almost entirely confined to the works of Corelli, Scarlatti, and Handel; and so rapid was his progress, that, at the age of twelve or thirteen, it was thought that no person was able to excel him in performing the compositions of these masters. instructed on the harpsichord by Kelway, and in the rules of composition by Dr. Boyce. His first work, "A Set of Six Concertos for the Organ or Harpsichord," published under the immediate inspection He was Dedicated to St. Innocent July 29. St. Martha V. Sts. Simplicius and Faustinus, brothers, and Beutrice, their sister, A. D. 303. St. William, Bp. A. D. 1234. St. Olaus, or Olave, king of Norway, A. D. 1030. St. Olaus, king of Sweden. These anecdotes of the resent Mr. Samuel Wesley and his deceased brother, Charles, are from the " Biographical Dictionary of Musicians," a work before quoted, and praised as a most pleasant book. WATER IN WARM WEATHER. Fountains and Pumps. By the process of boring, springs may De reached more expeditiously and economically than by the old method of well digging. The expense of boring from one to two hundred feet deep is little more than one-fourth of digging, seventy feet is less than a fourth, thirty feet is less than a fifth, and from ten to twenty feet it is not so much as a sixth. In 1821, the water for the fountain at Tottenham High Cross, represented in the engraving, was obtained by boring to a depth of one hundred and five feet, at the expense of the parish, for public accommodation. The water rises six feet above the surface, and flowing over a vase at the top of the column into a basin, as represented in the engraving, it pours from beneath. The boring for this spring and the fountain were suggested by Mr. Mathew, who first obtained water in Tottenham, by that method, and introduced the practice there. The pillar was designed by Messrs. Mathew and Chaplin, and executed by Mr. Turner of Dorset-street, Fleet-street, the well known manufacturer of the cast iron pumps; and not to withhold from him any of "his blushing honours," be it noted that he was till lately a common-councilman of the ward of Farringdon Without, where he still maintains his reputation as a "cunning workman in iron," and his good name as a good pump-maker, and as a worthy and respectable man. Public spirit should rise to the height of giving him, and others of the worshipful company of pump-makers, more orders. Many places are sadly deficient of pumps for raising spring-water where it is most wanted. Every body cries out for it in hot weather, but in cool weather they all forget their former want; and hot weather comes again and they call out for it again in vain, and again forget to put up a public pump. At Pentonville, a place abounding in springs, and formerly abounding in conduits, all the conduits are destroyed, and the pumps there, in the midst of that healthy and largely growing suburb, during the hot days of July, 1825, were not equal to supply a tenth of the demand for water; they were mostly dry and chained up during the half of each day without notice, and persons who came perhaps a mile, went back with empty vessels. So it was in other neighbourhoods. Well may we account for ill. Mischievous liquors sold, in large quantities, at some places, for soda water and ginger beer were drank to the great comfort of the unprincipled manufacturers, the great discomfort of the consumers' bowels, and the great gain of the apothecary. Were the doings in the New River during summer, or one half of the wholesale nuisances permitted in the Thames described, the inhabitants of London would give up their tea-kettles. Health requires that these practices should be abated, and, above all, a good supply of spring-water. The water from pumps and fountains would not only adorn our public streets and squares, but cool the heated atmosphere, by the surplus water being diverted into the gutters and open channels. Besides, if we are to have dogs, and a beast-market in the heart of the metropolis, the poor overheated animals might by such means slake their thirst from pure and refreshing streams. The condition wherein sheep and cattle are driven for many miles before they reach the metropolis, is a disgrace to the appellation assumed by men who see the cruelty, and have power to remedy it; a merci ful man is merciful to his beast," and he is not a really merciful man who is not merciful to his neighbours' beasts. May these wants be quickly supplied. Give us spring water in summer; and no more let : Maids with bottles cry aloud for pumps." London has but one fountain; it is in the Temple you pass it on the way from Essex-street, or "the Grecian" to Gardencourt. It is in the space at the bottom of the first flight of stone steps, within the railings enclosing a small, and sometimes "smooth shaven green, the middle whereof it adorns, surrounded, not too thickly, by goodly trees and pleasant shrubs. The jet proceeds from a copper pipe in the middle of a stone-edged basin, and rises to its full height of at least nine feet, if water from the cock by the hall with which it communicates is not drawing; when that process is going on the jet droops, and seems dying away till the drawing ceases, and then the "Temple Fountain" goes up again "famously." There was a fountain in the great square of Lincolns Inn, but it had ceased to play "in my time." I only remember the column itself standing there "For ornament, not use," with its four boys blowing through shells. In the Kent-road, on the left hand from the Elephant and Castle towards the Bricklayers Arms, there is a fountain in a piece of water opposite a recently built terrace. A kneeling figure, the size of life, blows water through a shell; it is well conceived, and would be a good ornament were it kept clean and relieved by trees. A "professional" gentleman who to the "delightful task" of improving country residences by laying out grounds in beautiful forms, has added the less "cheerful labour" of embodying others' theories and practice in an "Encyclopædia of Gardening," views a fountain as an essential decoration where the "ancient" style of landscape is introduced in any degree of perfection. As the first requisite, he directs attention to the obtaining a sufficiently Mr. Loudon's "Encyclopædia of Gardening," a book of practical and curious facts, with hundreds of interesting engravings, is a most useful volume to any one who has a garden, or wishes to form one. elevated source or reservoir of supply for the jets, or projected spouts, or threads of water. Some are contrived to throw the water in the form of sheaves, fans, and showers, or to support balls; others to throw it horizontally or in curved lines, but the most usual form is a simple opening to throw the jet or spout upright. Mr. L. judiciously rejects a jet from a naked tube falling from the middle of a basin or canal on a smooth surface as unnatural, without being artificially grand. Grandeur was the aim of the "ancient" gardener, and hence he made a garden" after nature," look as a garden of nature never did look. Mr. L. suggests that "the grandest jet of any is a perpendicular column, issuing from a rocky base on which the water falling produces a double effect both of sound and visual display. In the "Century of Inventions of the Marquis of Worcester," explained and illustrated by Mr. Partington, there is mention by the marquis of " an artificial fountain, to be turned like an hour glass by a child, in the twinkling of an eye, it yet holding great quantities of water, and of force sufficient to make snow, ice, and thunder, with the chirping and singing of birds, and showing of several shapes and effects usual to fountains of pleasure." Mr. Partington observes on this, that "how a fountain of water can produce snow, ice, thunder, and the singing of birds, is not easy to comprehend." Sir Henry Wotton discoursing on architecture remarks thus :-" Fountains are figured, or only plain watered works; of either of which I will describe a matchless pattern. The first, done by the famous hand of Michael Angelo da Buonaroti, is the figure of a sturdy woman, washing and winding linen clothes; in which act she wrings out the water that made the fountain; which was a graceful and natural conceit in the artificer, implying this rule, that all designs of this kind should be proper. The other doth merit some larger expression: there went a long, straight, mossie walk of competent breadth, green and soft under foot, listed on both sides with an aqueduct of white stone, breast-high, which had a hollow channel on the top, where ran a pretty trickling stream; on the edge whereof were couched very thick, all along, certain small pipes of lead, Any one possessing a figure of this fountain designed by Michael Angelo, and probably seen by Wotton during his travels in Italy, will much oblige the editor by lending it to him for the purpose of being copied and inserted in the Every-Day Book |
