STRATFORD-UPON-AVON CHURCH.

IT has been truly said that "England, if not the country of cathedrals, is at least the land of churches:" and amongst the beautiful and venerable religious edifices with which our island is adorned, we may safely add, that, as far as respects the universal interest it excites, the subject of the accompanying engraving is unequalled. Besides the charm of its association with the magic name of Shakspeare, its situation, its antiquity, and its architectural beauty, are all conducive to this conclusion. From its former connexion with a body of priests inhabiting an adjoining structure, the church is still called Collegiate. It is situated at the south-eastern extremity of the town, on the banks of the "soft-flowing Avon;" its spacious_cemetery is embosomed in lofty elms and yews, and the building itself is approached, from the street, through an avenue of limetrees; whose boughs are curiously interlaced, so as to form, in summer, an arched-way of foliage.... The graves are overgrown with grass, the grey tombstones-some of them nearly sunk into the earth-are half covered with moss; which has likewise tinted the reverend old building."

66

The church is a cruciform structure; consisting of a nave and aisles (in which divine service is now performed), a transept, surmounted by a tower and spire; and a chancel, or choir, forming the eastern extremity. The oldest parts are the tower and parts of the transept. Dugdale considers the whole church" of very ancient structure; little less than the Conqueror's time, as I guess by the fabric of the steeple:" but Mr. Britton infers, from the character of the windows and mould

ings, that these oldest existing portions were built towards the latter end of the twelfth century (temp. Richard I. John); when the Norman or semicircular style began to fall into disuse.

or

The nave is entered by a porch opening into the north aisle; which latter, as well as the nave itself, appears to have been built about the year 1280 (temp. Edw. I.) In 1337, John of Stratford, archbishop of Canterbury, bought the church from the see of Worcester, to which it had belonged from the Saxon era;* and appropriated it to the endowment of a chantry he had founded five years before, in the south aisle. Soon afterwards, the south aisle was entirely rebuilt by this prelate. The

* The right of presentation has been transferred from the see of Canterbury into other hands. The present vicar, Dr. Davenport, is in his eighty-eighth year, and has held the appointment the greater part of his life. He is beloved and respected by every inhabitant of Stratford.

The transept, as already mentioned, is of the time of the twelfth century; but was repaired about three centuries later by the executors of Sir Hugh Clopton, a native of Stratford, and Lord Mayor of London. Dugdale incorrectly ascribes to the executors the entire rebuilding of the transept. The tower is supported on four pointed arches, remarkable, not only for boldness of design and skilful construction; but (as well as the decorations of both tower and transept) for affording very early instances of the use of forms and ornaments, subsequently of frequent

Occurrence.

The tower is twenty-eight feet square, and eighty feet high, and contains six bells; it was formerly surmounted by a spire of timber forty-two feet high, the present stone spire, eightythree feet in height, having been erected in 1763.

We now approach the most interesting and sacred portion of this venerated edifice -the chancel, or, as it is designated by Dugdale, the queere. This was built by Thomas Balsall, Dean of the College, between 1465 and 1491 (temp. Edw. IV.); and its original condition, and even the appearance it presented to the eye of Shakspeare, must have been truly splendid. But, alas! the " Bard of Avon's

shrine

was doomed to desecration and neglect; and, until within the last few years, seemed hastening rapidly into decay and ruin. We will quote the words of Mr. Britton, in describing, even so lately as May, 1836, its lamentably disfigured state:

"The windows, originally filled with richly-stained glass, have now plain glass of the commonest kind; and the whole interior surface of the walls and ceiling is covered with lime-wash-glaring to the eye, and offensive to true taste. The ceiling is flat, and badly plastered; the side walls are stained and disfigured; the pavement is uneven and broken; and part of the area is occupied with pews. A common German stove, with iron shaft piercing one of the windows, and other similar improprieties, are allowed to disfigure this once beautiful and always interesting apartment." Yet, notwithstanding these and other drawbacks, Mr. Britton adds, that "it exhibits an unity, harmony, and symmetry, which cannot

fail to please the eye, and satisfy the judgment." Fortunately, the mausoleum of Shakspeare was not allowed to remain in this degraded state. In the year 1834, a committee of the nobility and gentry of the county was formed, under the auspices of the Royal Shakspeare Club, at Stratford, and a public subscription set on foot, with a view to remove the stoves, pews, and whitewash from the chancel; and so to drain and secure the foundation, as effectually to check the progress of that decay which otherwise appeared inevitable. A London committee was formed by Mr. Britton, in the autumn of 1835, and by the month of April following, nearly £800 had been subscribed, the sum from each individual being limited to £1. At the celebration of the poet's birth-day in the latter month, a design for the erection of a new timber-framed roof, in place of the dilapidated plaster ceiling, was exhibited, and unanimously adopted. This was the production of Harvey Eginton, Esq., architect, of Worcester, to whose superintendence the execution of it was confided; Mr. Hamilton being the builder employed for the occasion.* By the succeeding anniversary, considerable progress was made in the work of restoration; and the collection of funds in various ways, in order still more fully to carry out the intentions of the committee, is still proceeding.†

But it is time to refer briefly to the present condition and appearance of the chancel. This part of the structure is sixty-six feet in length by twenty-eight in breadth, and about forty feet high. It has five large and fine windows on each side, with mullions and tracery, as shewn in the engraving; and a larger window at the east end, on each side of which is a canopied niche. The whole of the roof, from the grouped stone corbels between the windows, is enentirely new: it is strictly in harmony with the style prevalent when the chancel was built, and accords also with the remains of the roof of the nave. The ribs are of good sound Memel timber, cased with oak; except those which spring from the stone corbels to the angel brackets, which are of solid oak; and the curves, or featherings, rising from the angels, which are of cast iron. These exceptions serve to relieve the walls from a great deal of lateral pressure; the thrust of the roof

* Mr. Eginton's services have been afforded throughout voluntarily and gratuitously. It is to be hoped that the committee will not neglect to mark the gratitude which is due to his liberality and attention, no less than to his skill and enthusiasm.

On the 29th ult., and three following days, a bazaar, or "fancy fair," was held in the Town Hall, the profits of which were carried to the Restoration Fund. On the first day £750 were collected; and the net profits of the four days are estimated at upwards of £800.

being conveyed downwards to that part of the walls, which, strengthened externally by the original buttresses, is well able to sustain it. The shields on the respective summits of each window, as well as those held by the angels, and the smaller ones in the spandrels of the principals, are emblazoned with the armorial bearings of the principal contributors to the restoration. Great care has been taken to secure the foundations, and the perpendicularity of the walls has been restored. The floor has been entirely repaved with squares of black and white marble, laid diagonally ;* and the altar-railings and stalls are new.

During all the operations which have been carried on, the grave-stone and the monument of Shakspeare, as well as the memorials of the other members of his family, have been carefully preserved from injury. The monument is shewn in the engraving, closely adjoining the doorway on the left (or northern) side of the chancel. It comprises a bust of "the Poet for all time," writing, before a cushion, and enclosed within two Corinthian columns and a semicircular arch; the entablature bearing his coat of arms, and two figures of mourning children. The bust, as our readers may be aware, was originally coloured to represent the dress and personal appearance of the great original, but was "whitewashed" at the suggestion of Malone, in 1793. Much discussion took place soon after the erection of Shakspeare's monument in Westminster Abbey, as to the resemblance or non-resemblance of this bust to the original: but numerous circumstances conspire to favour the belief in its authenticity. Mr. Wheler, the historian of Stratford, supposes, on almost unquestionable grounds, that the monument was erected, at the cost of Dr. Hall, Shakspeare's son-in-law, within seven years after the poet's death; and that it was executed by Mr. T. Stanton, a native artist, who was also the sculptor of other monuments in the church, and was, probably, an acquaintance and associate of Shakspeare. Mr. Boaden observes of this bust: first remark that occurs on viewing it, is, that it represents our bard in the act of composition, and in his gayest mood. The vis comica so brightens his countenance, that it is hardly a stretch of fancy to suppose him in the actual creation of Falstaff himself. * * The performance is not too good for a native sculptor; but, with all abatement to the artist's skill, who was neither a Nollekens nor a Chantrey, he must, probably, have had so many means of right information, worked so near the bard's time, and was so conscious of the importance of his task, that this must

The

*Surely, this is in questionable taste.-Ed. L. W.

always be regarded as a pleasing and faithful, if not a flattering, resemblance of the great poet." Washington Irving like wise says: "The aspect is pleasant and serene, with a finely arched forehead; and I thought I could read in it clear indications of that cheerful, social disposition, by which he was as much characterised among his contemporaries as by the vastness of his genius." We cannot better close our remarks than with a further quotation from the same delightful writer: "There are other monuments around, but the mind refuses to dwell on anything that is not connected with Shakspeare. His idea pervades the place: the whole pile seems but as his mausoleum. The feelings, no longer checked and thwarted by doubt, here indulge in perfect confidence: other traces of him may be false or dubious; but here is palpable evidence and absolute certainty. As I trod the sounding pavement, there was something intense and thrilling in the idea, that, in very truth, the remains of Shakspeare were mouldering beneath my feet. It was a long time before I could prevail upon myself to leave the place; and, as I passed through the churchyard, I plucked a branch from one of the yew-trees, the only relic that I have brought from Stratford."

Our illustration is copied from a beautiful engraving by Turnbull and Havell, after a drawing by Thompson; which has been jointly published by Mr. Britton, the Secretary of the London Committee, and Mr. Eginton, the architect.

Spirit of Discovery.

THE ANTARCTIC EXPEDITION.

T. J.

THE Erebus and Terror have, at length, left the British shores upon their very interesting Expedition to the South. Of the vessels, their "extensive philosophical equipments," and proceedings, the Literary Gazette, of the 14th inst., contains an original and ably drawn up account. Of the Erebus and Terror, some description will be found in the Literary World, page 400.

"The provision of scientific instruments (says the Gazette), under the superintendence of the Royal Society, is very complete; and double sets, to supply the loss of any which may be broken, or rendered useless, seem almost to furnish the commander's cabin. The phenomena of terrestrial magnetism will be independently observed throughout the voyage; and also in connexion with the new observatories about to be established at St. Helena, the Cape, Van Diemen's Land, &c. The declination, inclination, and

structed under the direction of Professor Lloyd, of Dublin; and there are, besides, dip circles, transits with azimuth circles, and chronometers of the most approved construction. There are also pendulums for ascertaining the true figure of the earth, thermometers for determining the temperature of the sea at given depths; other blackened thermometers to measure the atmospheric temperature at different latitudes; photometric sensitive paper for experiments on light; barometers to be observed during storms, white squalls, &c.; glasses for sideral observations (particularly on the variable stars, Hydræ and Argus); drawing utensils; repositories for geological, botanical, and natural history specimens; actinometers for finding the forces of solar and terrestrial radiation; hygrometers, Osler's anemometers, rain gauges, electrometers, skeleton registers of every needful kind. The earlier proceedings of the voyage will lead the Expedition to St. Helena, where Lieutenant Eardly Wilmot, of the Royal Engineers, who goes out in the Erebus, will be left in charge of the new observatory. Next, at the Cape, will be landed, for the like purpose, another officer. The vessels then make their way across the ocean, touching at and examining Kerguelen's Land, Amsterdam, and other islands, either known or imperfectly reported. Arrived at Van Diemen's Land, the instruments, &c. for the observatory will be sent ashore; and, whilst it is erecting, they will cruise to various points. On their return they will start de novo in a direct southern course, between 120 degrees and 160 degrees east longitude towards the Antarctic Pole; and it is a singular and fortunate thing, that, in this direction, during the present season, a ship of Mr. Enderby's has discovered land on both sides of the longitudes we have indicated, in about sixty-five and sixty-eight degrees of south latitude.

These shores have been named Sabrina Land, seen March, 1839, and Balleny Isle, seen February, 1839;† and between them, as well as upon them, the efforts of the Erebus and Terror will, in the first instance, be employed. How far they may penetrate is in the hands of Providence.

hemisphere, Mr. Bate, of the Poultry, has just pub

* Of these recent discoveries in the southern

lished an excellent chart, under the superintendence of Captain Beaufort. They appear like the pillars of a gateway, between which the Expedition should pass.-ED. L. G.

+ See a notice of this discovery, Literary World,

p. 312.

They will afterwards circumnavigate the Pole, and try in every quarter to reach the highest point, whether near Enderby's Land, discovered in 1832, or by Captain Weddell's furthest reach, about seventythree degrees, in 1823. It is between Sabrina Land and Balleny Isle, to the northward, in about latitude fifty degrees, and east longitude 140 degrees, that it is expected the south magnetic pole will be found. Strange, if he who discovered either that of the north, or so near an approach to it as Capt. James Ross did, should also ascertain this long-sought phenomenon.'

New Books.

DAGUERRE ON PHOTOGENIC DRAWING.

[THIS important yet brief work, (for it extends but to seventy-six pages,) is a translation of M. Daguerre's own account of his recent Discovery, published in Paris about a fortnight since. Its title-page runs thus:

History and Practice of PHOTOGENIC DRAWING on the true Principles of the DAGUERREOTYPE,

with the New Method of DIORAMIC PAINTING; published by order of the French Government. By the Inventor, L. J. M. DAGUERRE, Officer of the Legion of Honour, and Member of various Academies. Translated from the Original by J. S. MEMES, LL.D." &c.

In his Preface, the translator, with honest enthusiasm, characterizes Daguerre's work as "the first manual of a new science," "exhibiting a faithful record of the progress, the hopes, disappointments, and success of two men, who, in the term of their successive efforts for twenty-five years, laboured incessantly in search of the invention."

The contents are classified in four chapters. The first comprises the Bill for rewarding the inventors, granting to M. Daguerre, an annual pension for life of 6,000 francs, (£250 sterling); to M. Niepce, jun., a similar pension of 4,000 francs, (£166 13s. 4d.); these pensions being one-half in reversion to the widows of the inventors. Next is the Bill presented by the Minister of the Interior, M. Duchâtel, to the Chamber of Deputies in June last, proposing the above grants, explaining the partnership of M. Daguerre and Niepce, and bearing M. Arago's guarantee for accuracy. The Commission appointed to examine the discovery were the following members of the Chamber, MM. Arago, Etienne, Carl, Vatout, de Beaumont, Tournouër, Delessert (François), Combarel de Leyval, and Vitet, all names distinguished in science. The Special Commission of Peers was composed of Barons Athalin, Besson, Gay Lussac, the Marquis De

Laplace, Vicomte Siméon, Baron Thénard, and the Comte de Noé. The next documents are Arago's very minute and interesting Report to the Deputies, and a similar Report from the Special Commission to the Peers. In these papers we notice a discrepancy: the translator stating, in a note to the Deputies' Report, that the apparatus costs, at present, in Paris, about £20; whereas, in the Peers' Report, the expense is stated at about 400 francs, (£12 sterling.)

Chapter II. includes the practical and historical details of the invention; and relates the partnership of Niepce and Daguerre; with experiments and improvements. A proof of Daguerre's priority to Niepce, is the application of iodine, which constitutes the great distinction between the processes of the two experimenters; " in a word," says the translator, "between the approximation and the real principle."

Chapter III. is, however, still more practical in its details, as a quotation will shew:]

The designs are executed upon thin plates of silver, plated on copper. Although the copper serves principally to support the silver foil, the combination of the two metals tends to the perfection of the effect. The silver must be the purest that can be procured. As to the copper, its thickness ought to be sufficient to maintain the perfect smoothness and flatness of the plate, so that the images may not be distorted by the warping of the tablet; but unnecessary thickness beyond this is to be avoided, on account of the weight. The thickness of the two metals united, ought not to exceed that of a stout card.

The process is divided into five operations.

1. The first consists in polishing and cleaning the plate, in order to prepare it for receiving the sensitive coating, upon which the light traces the design.

2. The second is to apply this coating. 3. The third is the placing the prepared plate properly in the camera obscura to the action of light, for the purpose of receiving the image of Nature.

4. The fourth brings out this image, which at first is not visible on the plate being withdrawn from the camera obscura.

5. The fifth and last operation has for its object, to remove the sensitive coating on which the design is first impressed, because this coating would continue to be affected by the rays of light, a property which would necessarily and quickly destroy the picture.

[The operations are then minutely described; under the third of which is the

following passage on the time necessary for producing a design, which depends entirely on the intensity of light on the objects, the imagery of which is to be reproduced. At Paris, for example, this varies from three to thirty minutes.]

It is likewise to be remarked, that the seasons, as well as the hour of the day, exert considerable influence on the celerity of the operation. The most favourable time is from seven to three o'clock; and a drawing which, in the months of June and July, at Paris, may be taken in three or four minutes, will require five or six in May or August, seven or eight in April and September, and so on in proportion to the progress of the season. These are only general data for very bright or strongly illuminated objects, for it often happens that twenty minutes are necessary in the most favourable months, when the objects are entirely in shadow.

The latitude is, of course, a fixed element in this calculation. In the south of France, for example, and generally in all those countries in which light has great intensity, as Spain, Italy, &c., we can easily understand that these designs must be obtained with greater promptitude than in more northern regions. It is, however, very important not to exceed the time necessary, in different circumstances, for producing a design, because, in that case, the lights in the drawing will not be clear, but will be blackened by a too-prolonged solarization. If, on the contrary, the time has been too short, the sketch will be very vague, and without the proper details.

[To preserve the sketches, place them in squares of strong pasteboard, with a glass over them, and frame the whole in wood: they will thenceforth be unalterable, even by the sun's light. It has, how ever, been proposed to preserve these exquisite works by means of a coat of varnish; upon which M. Daguerre notes:] The author made attempts to preserve his sketches by means of different varnishes obtained from succinum, copal, Indian rubber, wax, and various resins; but he has observed, that, by the application of any varnish whatsoever, the lights in these sketches were considerably weakened, and, at the same time, the deeper tones were hidden. To this disadvantage was added the still greater injury from the decomposition of the mercury by all the varnishes tried; this effect, which did not become apparent till after the lapse of two or three months, terminated in a total destruction of the forms of the objects represented. Even had this not been the case, the author would have deemed it a sufficient reason for rejecting all varnishes, that they injured the vigour and clearness

of the lights.

The quality most to be desired in the new art, is this intensity of tone in the contrast of the lights and shadows.

[As the several illustrative details of the Photogenic Art have, from time to time, appeared in the Literary World, we shall scarcely be expected to quote the instructions from the work before us; the utility of which is best denoted by the translator's statement, that, by its aid, the apparatus may be constructed cheaply, and by any one. "The thickness of the coating,' observes a French philosopher, "will be estimated when we shall be able to weigh light, or find a third proportional between time and eternity.”

The several instructions are illustrated by six pages of outline diagrams of the requisite apparatus, so that inexperienced operators may soon become adroit manipulators. Thus, Plate I. shews the wire frame for supporting the plate while heating; the "plate of plated silver" on which the design is made; the board upon which the plate is laid; the spirit-lamp, and the muslin bag, with pumice powder for polishing. Plate II. shews the box for iodine, used in the second operation; and a grooved case for preserving the plates from injury. Plate III." represents four different positions of the frame into which the plate with its wooden tablet is put, on removal from the iodine process; "the objects being, to adapt the plate to the camera obscura, and to protect the iodine coating from the action of light till the moment in which it receives the focal image. Plate IV. shews the camera obscura, as adapted to Photogenic Delineation. Plate V. represents three views of the apparatus for submitting the plate to the vapour of mercury; a kind of case, provided with a spirit lamp, and a thermometer on one side to denote the rate of the process. apparatus for the last operation of washing the plate; as three troughs, with the plate placed therein; the funnel for filtering (not "purifying," which is a very untechnical phrase,) the saline wash; a little hook for shaking the plate while in the wash; and a wide-mouthed bottle for warming the distilled water-such a vessel as we have seen brought to table, filled with hot water for the less philosophical process of mixing “ grog.' Altogether, these illustrations are very minute, yet not more so than was requisite for " operators;" for the process is one of extreme nicety. The fourth and last chapter elucidates another new art, invented by Daguerre-the principle and practical details of Dioramic Painting; and, at the outset, we learn that, however the Diorama may

Plate VI. shews various