p>The Mirror of Literature, Amusement, and Instruction / Volume 13, No. 354, January 31, 1829
THE COLOSSEUM, IN THE REGENT'S PARK
In a recent Number of the MIRROR we offered ourselves as the reader's cicerone throughout the interior of this stupendous building, the exterior of which is represented in the annexed engraving; and the architectural pretensions of which will, we trust, be found of equal interest to the interior.
The Colosseum is what is termed a polygon of sixteen sides, 130 feet in diameter. Each angle is strengthened by a double square pilaster of the Doric order, which supports an entablature, continued round the whole edifice. Above the cornice is a blocking course, surmounted by an attic, with an appropriate cornice and sub-blocking, to add to the height of the building. The whole is crowned with a majestic cupola, supported by three receding scamilli, or steps, and finished with an immense open circle. The upper part of the cupola is glazed, and protected with fine wire-work, and the lower part is covered with sheet copper; which distinctions are shown in the engraving.
When the spectator's surprise and admiration at the vastness of the building have somewhat subsided, his attention will be drawn to the fine and harmonious proportions of the portico, considered by architects as one of the best specimens of Graeco-Doric in the metropolis. This portion of the building is copied from the portico of the Pantheon at Rome, "which, in the harmony of its proportions, and the exquisite beauty of its columns, surpasses every temple on the earth." Altogether, the grandeur and effect of this vast structure should be seen to be duly appreciated.
The adjoining lodges are in exceedingly good taste; and the plantations laid out by Mr. Hornor, are equally pleasing, whilst their verdure relieves the massiveness of the building; and in the engraving, the artist has caught a glimpse of the lattice-work which encloses the gardens and conservatories attached to the splendid suite of rooms. The front is enclosed by handsome iron rails, tastefully painted in imitation of bronze. We ought also to mention, that the means by which the portico is made to resemble immense blocks of stone, is peculiarly successful.
The architect of this extraordinary building is Mr. Decimus Burton, aided by his ingenious employer, Mr. Hornor, of whose taste and talents we have already spoken in terms of high commendation. Its original name, or, we should say, its popular name, was the Coliseum, evidently a misnomer, from its distant resemblance to that gigantic work of antiquity. The present and more appropriate name is the COLOSSEUM, in allusion to its colossal dimensions; for it would not show much discernment to erect a building like the Pantheon, and call it the Coliseum. The term Diorama has, likewise, been strangely corrupted since its successful adoption in the Regent's Park—it being now almost indefinitely applied to any number or description of paintings.
SNEEZING AMONG THE ANCIENTS
Among the Greeks, sneezing was reckoned a good omen. The practice of saluting the person who sneezed, existed in Africa, among nations unknown to the Greeks and Romans. Brown, in his "Vulgar Errors," says, "We read in Godignus, that, upon a sneeze of the emperor of Monumotata, there passed acclamations successively through the city." The author of the "Conquest of Peru" assures us, that the cacique of Guachoia having sneezed in the presence of the Spaniards, the Indians of his train fell prostrate before him, stretched forth their hands, and displayed to him the accustomed marks of respect, while they invoked the sun to enlighten him, to defend him, and to be his constant guard. The Romans saluted each other on sneezing. Plutarch tells us, the genius of Socrates informed him by sneezing, when it was necessary to perform any action. The young Parthenis, hurried on by her passions, resolved to write to Sarpedon an avowal of her love: she sneezes in the most tender and impassioned part of her letter. This is sufficient for her; this incident supplies the place of an answer, and persuades her that Sarpedon is her lover. In the Odyssey, we are informed that Penelope, harassed by the vexatious courtship of her suitors, begins to curse them all, and to pour forth vows for the return of Ulysses. Her son Telemachus interrupts her by a loud sneeze. She instantly exults with joy, and regards this sign as an assurance of the approaching return of her husband. Xenophon was haranguing his troops; when a soldier sneezed in the moment he was exhorting them to embrace a dangerous but necessary resolution. The whole army, moved by this presage, determined to pursue the project of their general; and Xenophon orders sacrifices to Jupiter, the preserver. This religious reverence for sneezing, so ancient and so universal even in the time of Homer, always excited the curiosity of the Greek philosophers and the rabbins. These last spread a tradition, that, after the creation of the world, God made a law to this purport, that every man should sneeze but once in his life, and that at the same instant he should render up his soul into the hands of his Creator, without any preceding indisposition. Jacob obtained an exemption from the common law, and the favour of being informed of his last hour. He sneezed, and did not die; and this sign of death was changed into a sign of life. Notice of this was sent to all the princes of the earth; and they ordained, that in future sneezing should be accompanied with forms of blessings, and vows for the persons who sneezed. Thus the custom of blessing persons who sneeze is of higher antiquity than some authors suppose, for several writers affirm that it commenced in the year 750, under Pope Gregory the Great, when a pestilence occurred in which those who sneezed died; whence the pontiff appointed a form of prayer, and a wish to be said to persons sneezing, for averting this fatality from them. Some say Prometheus was the first that wished well to sneezers. For further information on this ticklish subject, I refer the reader to Brand's "Observations on Popular Antiquities."
P. T. W.
STANZAS
From gayer scenes, where pleasure's mad career
Infects the milder avenues of thought,
Where secret Envy swells the note of Fear,
And Hope is in its own illusion caught.
Where, in Ambition's thorny path of power,
Contending votaries bow to toils of state,
I turn, regardless of the passing hour,
To trace the havoc of avenging fate.
Ne'er may the wanton love of active life
Control the sage's precepts of repose,
Ne'er may the murmurs of tumultuous strife
Wreck the tranquillity of private woes.
Here, on the crumbling relics of a stone,
O'er which the pride of masonry has smiled,
Here am I wont to ruminate alone.
And pause, in Fancy's airy robe beguil'd.
Disparting time the towers of ages bends,
Forms and indignant sinks the proudest plan,
O'er the neglected path the weed extends,
Nor heeds the wandering steps of thoughtful man.
Here expiation, murder has appeased,
Treason and homicide have been forgiven,
Pious credulity her votaries eased,
Nor blamed th' indulgent majesty of heaven.
Some erring matron has her crimes disclosed,
Some father conscious of awak'ning fate,
Safe from revenge, hath innocence reposed,
Unseen and undisturbed at others' hate.
Some sorrowing virgin her complainings poured
With pious hope has many a pang relieved;
Here
