Born: Robert Harley,
Earl of Oxford, minister of Queen Anne, 1661.
Dead: Francis II of
France, husband of Mary, Queen of Scots, 1560; Sir
Henry Wotton, poet and
miscellaneous writer, 1639, Eton;
Johann Wolfgang Theophilus Mozart, celebrated
composer, 1792, Vienna; John Bewick, wood-engraver,
1795, Ovingham; Carlo Giovanni Maria Denina,
historical writer, 1813, Paris; Leopold Frederick,
Count Stolberg, poet and miscellaneous writer, 1819,
Sonderműhlen, near Osnabrűck; Captain S. A. Warner,
inventor of projectiles, 1853, Pimlico.
Feast Day: St. Crispina,
martyr, 304. St. Sabas, abbot, 532. St. Nicetius,
bishop of Triers, confessor, about 566.
MOZART
Mozart appears as a being
eccentrically formed to be a medium for the expression
of music and no grosser purpose. In this he was
strong: in everything else of body and mind, he
remained a child during the thirty-six years to which
his life was limited.
When three years old, his
great amusement was finding concords on the piano; and
nothing could equal his delight when he had discovered
a harmonious interval. At the age of four, his father
began to teach him little pieces of music, which he
always learned to play in a very short time; and,
before he was six, he had invented several small
pieces himself, and even attempted compositions of
some extent and intricacy.
'The sensibility of his organs
appears to have been excessive. The slightest false
note or harsh tone was quite a torture to him; and, in
the early part of his childhood, he could not hear the
sound of a trumpet without growing pale, and almost
falling into convulsions. His father, for many years,
carried him and his sister about to different cities
for the purpose of exhibiting their talents. In 1764,
they came to London, and played before the late king.
Mozart also played the organ at the Chapel Royal; and
with this the king was more pleased than with his
performance on the harpsicord. During this visit he
composed six sonatas, which he dedicated to the queen.
He was then only eight years old. A few years after
this he went to Milan; and at that place was
performed, in 1770, the opera of Mithridates, composed
by Mozart at the age of fourteen, and performed twenty
nights in succession. From that time till he was
nineteen, he continued to be the musical wonder of
Europe, as much from the astonishing extent of his
abilities, as from the extreme youth of their
possessor.
'Entirely absorbed in music,
this great man was a child in every other respect. His
hands were so wedded to the piano, that he could use
them for nothing else: at table, his wife carved for
him; and, in everything relating to money, or the
management of his domestic affairs, or even the choice
and arrangement of his amusements, he was entirely
under her guidance. His health was very delicate; and,
during the latter part of his too short life, it
declined rapidly. Like all weak-minded people, he was
extremely apprehensive of death; and it was only by
incessant application to his favourite study, that he
prevented his spirits sinking totally under the fears
of approaching dissolution. At all other times, he
laboured under a profound melancholy, which
unquestionably tended to accelerate the period of his
existence. In this melancholy state of spirits, he
composed the Zauberfl�te, the Clemenza di Tito, and
the celebrated mass in D minor, commonly known by the
name of his Requiem. The circumstances which attended
the composition of the last of these works are so
remarkable, from the effect they produced upon his
mind, that we shall detail them; and, with the
account, close the life of Mozart.
One day, when his spirits were
unusually oppressed, a stranger, of a tall, dignified
appearance, was introduced. His manners were grave and
impressive. He told Mozart that he came from a person
who did not wish to be known, to request he would
compose a solemn mass, as a requiem for the soul of a
friend whom he had recently lost, and whose memory he
was desirous of commemorating by this solemn service.
Mozart undertook the task, and engaged to have it
completed in a month. The stranger begged to know what
price he set upon his work, and immediately paid him
one hundred ducats, and departed. The mystery of this
visit seemed to have a very strong effect upon the
mind of the musician. He brooded over it for some
time; and then suddenly calling for writing materials,
began to compose with extraordinary ardour. This
application, however, was more than his strength could
support; it brought on fainting fits; and his
increasing illness obliged him to suspend his work. "I
am writing this Requiem for myself! " said he abruptly
to his wife one day; "it will serve for my own
funeral-service; " and this impression never
afterwards left him. At the expiration of the month,
the mysterious stranger appeared, and demanded the
Requiem. " I have found it impossible," said Mozart,
"to keep my word; the work has interested me more than
I expected, and I have extended it beyond my first
design. I shall require another month to finish it."
The stranger made no objection; but observing, that
for this additional trouble it was but just to
increase the premium, laid down fifty ducats more, and
promised to return at the time appointed. Astonished
at his whole proceedings, Mozart ordered a servant to
follow this singular personage, and, if possible, to
find out who he was: the man, however lost sight of
him, and was obliged to return as he went. Mozart, now
more than ever persuaded that he was a messenger from
the other world, sent to warn him that his end was
approaching, applied with fresh zeal to the Requiem;
and, in spite of the exhausted state both of his mind
and body, completed it before the end of the month. At
the appointed day the stranger returned; but Mozart
was no more.
NOTES ON AN
ANCIENT GOTHIC CROWN
Towards the close of 1858, or
early in 1859, in the course of excavations at La
Fuente de Guarraz, near Toledo, on the property of
some private individual, a hoard of treasure of great
value and interest was brought to light. No
particulars of the discovery are recorded. It seems,
however, that there were not found any remains of a
case or casket in which the relics had been enclosed;
in several parts the ornamentation had been filled
with the soil in which they were found; it has,
therefore, been supposed that those relics of royalty
had been buried in some time of confusion without any
enclosure. The spot where the crowns were found was
uncultivated land, which the peasants were breaking up
when the discovery was made. The treasure consisted of
eight crowns: four are of gold richly jewelled; from
the front of the crowns jewelled crosses are suspended
by "old chains; there are also chains of the same
metal for the purpose of hanging the crowns in some
convenient situation.
These ancient and precious
objects were brought to Paris in the month of January
1859, by the proprietor of the land where they were
found, and the crowns were immediately purchased by
the Minister of Public Instruction, for the national
collection at the Hotel de Cluny, a museum which is
already possessed of many valuable examples of
medieval art, besides specimens of more ancient date.
The largest of the crowns bears the following
inscription, in letters jewelled and appended by
little chains to its lower margin, 'RECCESVINTHVS REX
OFFERET;' the letters are about two inches in length
each�they are separately hung, and to each is attached
a pendant pearl and sapphire. The gold letters are
beautifully incrusted with precious stones, and
engraved in the same manner as some of the gold work
of the Anglo-Saxon period. By means of the
inscription, we are able to arrive at a knowledge of
the date of this crown, for King Reccesvinthus
governed Spain from 653 to 675; the inscription also
shews that it has been an offering (probably to some
religious shrine) by this ruler; and the seven other
crowns, of smaller dimensions and value, may have been
those of the queen and the princes and princesses of
the family; some of them, judging by their size, are
intended for children of early age�the whole being a
solemn offering on some important occasion.
In ancient times it was
customary to enrich the saintly shrines with choice
and valuable gifts; amongst these, however, there were
often imitation crowns and other objects given as
votive-offerings, to be placed over the altars, or in
some other conspicuous position. There are, however,
instances of the crowns which were actually worn by
kings and queens having been devoted to this
purpose�amongst these may be mentioned the
Iron Crown
of Lombardy. It is to be observed that the gold chains
by which those relics were suspended, have been added
to the simple circlets which were no doubt actually
worn by royal personages about twelve hundred years
ago, since they are formed with hinges and fastenings
to facilitate the fastening of them to the heads of
the wearers.
The crown of the king measures
about nine inches in diameter, and twenty-seven in
circumference; it is a hoop about four inches in
breadth, and upwards of half an inch in thickness; it
is, however, not solid, but formed of massive gold
plates soldered together. The margins of this hoop
consist of two bands of cloisonn� work, with
incrustations of carnelian; and it is still further
enriched with thirty oriental sapphires of large size,
set in collets, giving to the gems a very prominent
relief. Thirty very large pearls are arranged
alternately with the sapphires. The intervening spaces
are pierced in open work and engraved, so as to
represent foliage and flowers, and to the lower margin
is appended the fringe of letters already mentioned.
The golden chains are united above with foliated
ornaments, which are enriched with numerous pendant
pearls and sapphires, and surmounted by a capital, in
the form of a knot of crystal, elaborately carved and
polished, and terminating in a globe of the same
material. The Latin shaped cross, suspended from the
crown by a slender chain, is set with six fine
sapphires and eight pearls of remarkable dimensions,
mounted in very high relief; jewelled pendants are
also attached to the limbs and foot of the cross. This
has been worn as a fibula or brooch, the acus by which
it has been fastened to the royal robes being still
visible. The entire length of this combination of
ornament, from the gold hook to which it is fastened
to the lowest pendant sapphire attached to the cross,
is about three feet. The crown is composed of the
purest gold, the colour of which, with the violet
sapphires alternating with the pearls, &c., presents a
most gorgeous appearance.
The
crown, of which we give an engraving, was probably
worn by the queen of Reccesvinthus. The broad circlet
is set with fifty-four rubies, sapphires, emeralds,
and opals, whilst pendant sapphires fringe its lower
margin. Above and below, near both edges of this
circlet, there are little loops which seem to have
been used for fastening a lining or cap of some costly
tissue within the golden hoop, to protect the forehead
of the wearer. The pendant cross is not so much
decorated as that above mentioned, being, however,
richly set on both sides with sapphires. The same
jewels are also suspended from the cross. The eight
other crowns are of several fashions. Three are
essentially different from the others, for instead of
a broad band, the circlet consists of open frame-work
of gold, formed of three horizontal hoops and numerous
traverses, with gems set at the points of
intersection; all the crowns are enriched with not
less than fifty-four precious stones and pearls, and
have also hanging fringes of sapphires.
On the pendant crosses of one
of the crowns is engraved the following dedication:
'IN DEI NOMINE OFFERET SONNICA SANCTAE MARIE IN
SORBACES.' After the word NOMINE, a leaf is introduced
as a stop; M. Du Sommerards considers that Sonnica is
a male appellation. The three smallest crowns had no
pendant crosses. As an example of ancient
art-workmanship, this may be regarded as one of the
most remarkable discoveries which have been made in
recent times. The articles are in excellent
preservation, and the French have reason to
congratulate themselves that they have gained
possession of such a prize.
DR.
JOHN SHEBBEARE
A person happening to pass by
Charing Cross, on the 5th of December 1758, would have
witnessed an extraordinary spectacle�a vast crowd
surrounding a scaffold, on which stood two men and a
pillory. A man in the pillory
was no unusual sight in
those days, but, in this particular case, the
culprit's head and hands were not enclosed in the
holes provided for the purpose; unconfined, he stood
at his ease, and, to prevent even the rains of heaven
from visiting him too roughly, a servant, dressed in a
rich livery, carefully held an umbrella over his
revered head. The man whose legally inflicted
punishment was thus turned into a triumph, was Dr.
John Shebbeare.
The son of a country attorney in
Devonshire, Shebbeare was educated as a surgeon, but,
being unsuccessful in his profession, turned his
attention to literature. Having resolved, as he
admitted, to write himself into a pension or the
pillory, his political tracts were of an exceedingly
virulent character, most galling to the king and
ministry of the day. His best-known work is a series
of Letters to the People of England, which had a wide
circulation, and was eagerly read by all classes. The
leading idea in the Letters, was the then not
unpopular one, that the grandeur of France and the
misfortunes of England, were wholly attributable to
the undue influence of Hanover in the British
council-chamber. In allusion to the White Horse being
the armorial ensign of Hanover, Shebbeare's motto
prefixed to his Letters, was the well-known verse from
the Apocalypse�
'And I looked and beheld a
pale horse; and his name that sat upon him was Death,
and Hell followed.'
In consequence of these
Letters, the Attorney-general Pratt, afterwards Lord
Camden, filed an information against Shebbeare in the
Court of King's Bench, at the Easter term, 1758. At
the trial, the officers of the crown admitted a point,
then and afterwards much disputed, but now
incontrovertibly established, that the jury have the
right to determine both the law and the fact in cases
of libel.
Shebbeare was found guilty, and sentenced to
be fined five pounds, to stand in the pillory one
hour, to be imprisoned in the Marshalsea for three
years, and to give security for his good-behaviour for
seven years, himself in �500, and two others in �250
each. The under-sheriff at that time was a Mr.
Beardmore, a person of exactly the same political
principles as Shebbeare; so he brought the culprit to
the pillory in one of the city state-coaches, handing
him out and in with the greatest demonstrations of
respect. This gave Churchill occasion to write
in the
Author:
'Where is Shebbeare? 0 let
not foul reproach,
Travelling thither in a city-coach,
The pillory dare to name; the whole intent
Of that parade was fame, not punishment,
And that old stanch Whig, Beardmore, standing by
Can in full court give that reproach the lie.'
The last line refers to a
trial that arose out of this affair. Beardmore was
arraigned in the Court of King's Bench for not doing
his duty on the occasion. He contended that he had
fulfilled the letter of the law by pillorying
Shebbeare, and brought forward a number of witnesses
to prove it. The judge, however, ruled that Shebbeare
had not been put in the pillory, and the too-indulgent
sub-sheriff was sentenced to pay a fine of �50, and
suffer two months' imprisonment. Beardmore afterwards
had his revenge, when solicitor to Wilkes; by an
over-stretch of legal power, he and his clerk were
taken into custody, and recovered heavy damages from
the secretary of state, for false imprisonment.
The footman who held the
umbrella over Shebbeare, was an Irish chairman, hired
and dressed in livery for the occasion. The following
day, he called on the doctor, representing that the
guinea he received for his trouble was scarcely
sufficient; for, as he put it, 'only think of the
disgrace, your honour.' Shebbeare gave him five
shillings more, and the man went away satisfied.
Shebbeare remained three
years, the full term of his sentence, in prison. On
the expiration of that time, a new reign had
commenced: George III, young and inexperienced, had
ascended the throne; and his minister, Lord Bute, was
the most unpopular of men. So it was thought best to
make a friend of such a virulent and unscrupulous
writer as the doctor, and a pension was granted to him
accordingly. Thus his words were made good�he wrote
himself into the pillory, and into a pension. Dr.
Johnson was pensioned shortly after, causing the wits
to say that the king had first pensioned a she bear,
and afterwards a he bear. In a satirical poem,
entitled the Masquerade, Johnson and Shebbeare are
thus alluded to:
'Much beared and much
flattered by people of note, With cash in his
pockets for turning his coat, Surly Johnson as
Crispin the Second comes pat in, Talking Latin in
English, and English in Latin, Successor of
Shebbeare, but missing the wood, Where, pampered by
Bute, his prototype stood.'
Shebbeare's plays, novels,
political, satirical, and medical works, are
thirty-four in number, but now all utterly forgotten.
He died at a good old age in 1788, greatly lamented by
his friends; for this Ishmael of politics and public
life is represented as a very amiable and worthy man
in all his private relations, as husband, son, father,
brother, and friend. So little do we know of each
other, so little do we probably know of our ownselves
and characters.
