href="@public@vhost@g@gutenberg@html@files@13359@[email protected]#footnote5" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">⁵ We were on the spot at the time, and saw the stone in question. Vines are still very abundant at Dorking, the soil being very congenial to their growth. "Hence, almost every house in this part has its vine; and some of the plants are very productive. The cottages of the labouring poor are not without this ornament, and the produce is usually sold by them to their wealthier neighbours, for the manufacture of wine. The price per bushel is from 4s. to 16s.; but the variableness of the season frequently disappoints them in the crops, the produce of which is sometimes laid up as a setoff to the rent."⁶

We have heard too of attempts in England to train the vine on the sides of hills, and a few years since an individual lost a considerable sum of money in making the experiment in the Isle of Wight.

At page 257, observes the editor,

A Vineyard

"Associated as it is with all our ideas of beauty and plenty, is, in general, a disappointing object. The hop plantations of our own country are far more picturesque. In France, the vines are trained upon poles, seldom more than three or four feet in height; and 'the pole-clipt vineyard' of poetry is not the most inviting of real objects. In Spain, poles for supporting vines are not used; but cuttings are planted, which are not permitted to grow very high, but gradually form thick and stout stocks. In Switzerland, and in the German provinces, the vineyards are as formal as those of France. But in Italy is found the true vine of poetry, 'surrounding the stone cottage with its girdle, flinging its pliant and luxuriant branches over the rustic veranda, or twining its long garland from tree to tree.'⁷ It was the luxuriance and the beauty of her vines and her olives that tempted the rude people of the north to pour down upon her fertile fields:—

"In Greece, too, as well as Italy, the shoots of the vines are either trained upon trees, or supported, so as to display all their luxuriance, upon a series of props. This was the custom of the ancient vine-growers; and their descendants have preserved it in all its picturesque originality.⁹ The vine-dressers of Persia train their vines to run up a wall, and curl over on the top. But the most luxurious cultivation of the vine in hot countries is where it covers the trellis-work which surrounds a well, inviting the owner and his family to gather beneath its shade. 'The fruitful bough by well' is of the highest antiquity."

Passing over the Mulberry, Currant, Gooseberry, and the Strawberry, the account of the Egg Plant is particularly attractive; and that of the Olive is well-written, but too long for extract.

Among the Tropical Fruits, the Orange and the Date are very delightful; and equal in importance and interest are the Cocoa Nut and Bread Fruit Tree. In short, it is impossible to open the volume without being gratified with the richness and variety of its contents, and the amiable feeling which pervades the inferences and incidental observations of the writer.

A word or two on the embellishments and we have done. These are far behind the literary merits of the volume, and are discreditable productions. Where so much is well done it were better to omit engravings altogether than adopt such as these: "they imitate nature so abominably." The group at page 223 is a fair specimen of the whole, than which nothing can be more lifeless. After the excellent cuts of Mr. London's Gardener's and Natural History Magazines, we turn away from these with pain, and it must be equally vexatious to the editor to see such accompaniments to his pages.

SHAKSPEARE'S BROOCH.

(To the Editor of the Mirror.)

Having frequently observed in your valuable publication the great attention which you have paid to every thing relating to the "Immortal Bard of Avon," I beg leave to transmit to you two drawings (the one back, the other front) of a brooch or buckle, found near the residence of the poet, at New Place, Stratford, among the rubbish brought out from the spot where the house stood. This brooch is considered by the most competent judges and antiquarians in and near Stratford, to have been the personal property of Shakspeare. A. is the back; 1 and 2, faint traces of the letters which were nearly obliterated, by the person who found the relic, in scraping to ascertain whether the metal was precious, the whole of it being covered with gangrene or verdigris. 3 and 4 are the remains of the hinge to the pin. Fortunately the W. at the corner was preserved. B. represents the front of the brooch; 1, 3, and 5, are red stones in the top part (similar in shape to a coronet) 2 and 4 are blue stones in the same; the other stones in the bottom or heart are white, though varying rather in hue, and all are set in silver.

HJTHWC.

N.B. The above is shown to the curious by the individual who found it—a poor man named Smith, living in Sheep Street, Stratford.

SPIRIT OF THE PUBLIC JOURNALS

The greater portion of the following Notes will, we are persuaded, be new to all but the bibliomaniacs in theatrical lore. They occur in a paper of 45 pages in the last Edinburgh Review, in which the writer attributes the Decline of the Drama to a variety of causes—as late hours, costly representations, high salaries, and excessive taxation—some of which we have selected for extract. In our affection for the Stage, we have paid some attention to its history, as well as to its recent state, and readily do we subscribe to a few of the Reviewer's opinions of the cause of its neglect. But to attribute this falling off to "taxes innumerable" is rather too broad: perhaps the highly-taxed wax lights around the box circles suggested this new light. We need not go so far to detect the rottenness of the dramatic state; still, as the question involves controversy at every point, we had rather keep out of the fight, and leave our Reviewer without further note or comment.

NOTES ON THE DRAMA.

(From the Edinburgh Review, No. 98.)

Origin of Admission Money.

There were at Athens various funds, applicable to public purposes; one of which, and among the most considerable, was appropriated for the expensed of sacrifices, processions, festivals, spectacles, and of the theatres. The citizens were admitted to the theatres for some time gratis; but in