The Mirror of Literature, Amusement, and Instruction. Volume 14, No. 404, December 12, 1829. Various

charmer, since its death occurr'd,

      So many tears has shed,

      That her dear eyes, through pain and grief,

      And woe, admitting no relief,

      Alas, are swoln and red.

      T.C.

      FINE ARTS

      GOTHIC ARCHITECTURE

      (For the Mirror.)

      The following explanation of a few of the terms employed to designate parts of Gothic architecture, may, perhaps, prove acceptable to some of your readers. Having felt the need of such assistance in the course of my own reading, &c. &c.—I extracted them from an expensive work on the subject, and have only to lament that my vocabulary should be so defective.

      Buttresses.—Projections between the windows and at the corners.

      Corbel.—An ornamental projection from the wall to support an arch, niche, beam, or other apparent weight. It is often a head or part of a figure.

      Bands.—Either small strings around shafts, or horizontal lines of square, round, and other formed panels, used to ornament spires, towers, and similar works.

      Cornice.—The tablet at the top of a wall, running under the battlement. It becomes a

      Basement when at the bottom of it, and beneath this the wall is generally thicker.

      Battlement.—It may be indented or plain; sunk, panelled, or pierced.

      Crockets.—Small bunches of foliage, ornamenting canopies and pinnacles.

      Canopies.—Adorned drip-stones.—Vide Dripstone.

      Crypts.—Vaulted chapels under some large churches, and a few small ones.

      Crisps.—Small arches; sometimes double-feathered, and according to the number of them in immediate connexion; they are termed tre-foils, quatre-foils, cinque-foils, &c.

      Dripstone.—The tablet running round doors and windows.

      Featherings or Foliations.—Parts of tracery ornamented with small arches and points, are termed Feathered, or Foliated.

      Finials.—Large crockets surmounting canopies and pinnacles. This term is frequently applied to the whole pinnacle.

      Machicolations.—Projecting battlements, with intervals for discharging missiles on the heads of assailants.

      Mullions.—By these, windows are divided into lights.

      Parapet.—When walls are crowned with a parapet, it is straight at the top.

      Pinnacle.—A small spire, generally four-sided, and placed on the top of buttresses, &c., both exterior and interior.

      Piers.—Spaces in the interior of a building between the arches.

      Rood Loft.—In ancient churches, not collegiate, a screen between the nave and chancel was so called, which had on the top of it a large projection, whereon were placed certain images, especially those which composed the rood.

      Set-offs.—The mouldings and slopes dividing buttresses into stages.

      Spandrells.—Spaces, either plain or ornamented, between an arch and the square formed round it.

      Stoups.—The basins in niches, which held holy water. Near the altar in old churches, or where the altar has been, is sometimes found another niche, distinguished from the stoup, by having in it at the bottom, a small aperture for carrying off the water; it is often double with a place for bread.

      Tabernacle-work.—Ornamented open work over stalls; and generally any minute ornamental open-work.

      Tablets.—Small projecting mouldings or strings, mostly horizontal.

      Tracery.—Ornaments of the division at the heads of windows. Flowing, when the lines branch out into flowers, leaves, arches, &c. Perpendicular, when the mullions are continued through the straight lines.

      Transoms.—The horizontal divisions of windows and panelling.

      Turrets.—Towers of great height in proportion to their diameter are so called. Large towers have often turrets at their corners; often one larger than the other, containing a staircase; and sometimes they have only that one.

      BRITISH STYLES OF ARCHITECTURE, AND THEIR DURATION

      The Norman—Commenced before the conquest, and continued until the reign of Henry II. A.D., 1189. It is characterized by semicircular, and sometimes pointed, arches, rudely ornamented.

      Early English.—This style lasted until the reign of Edward I., A.D. 1307. Its characteristics are, pointed arches, long narrow windows, and the jagged or toothed ornament.

      Decorated English—Lasted to the end of Edward III., A.D. 1377. It is characterized by large windows with pointed arches divided into many lights by mullions. The tracery of this style is in flowing lines, forming figures. It has many ornaments, light and delicately wrought.

      Perpendicular English.—This last style employed latterly only in additions, was in use, though much debased, even as late as 1630-40. The latest whole building in it, is not later than Henry VIII. Its characteristics are the mullions of the windows, and ornamental panelings, run in perpendicular lines; and many buildings in this style are so crowded with ornament, that the beauty of the style is destroyed. The carvings of it are delicately executed.

      M.L.B.

      THE NOVELIST

      ABAD AND ADA

A lost leaf from the Arabian Nights

      (For the Mirror.)

      In the days of Caliph Haroun Alraschid, the neighbourhood of Bagdad was infested by a clan of banditti, known by the name of the "Ranger Band." Their rendezvous was known to be the forests and mountains; but their immediate retreat was a mystery time had not divulged.

      That they were valiant, the intrepidity with which they attacked in the glare of noonday would demonstrate; that they were numerous, the many robberies carried on in the different parts of the Caliph's dominions would indicate; and that they were bloody, their invariable practice of killing their victim before they plundered him would argue. They had sworn by their Prophet never to betray one another, and by the Angel of Death to shed their blood in each other's defence. No wonder, then, that they were so difficult to be captured; and when taken, no tortures or promises of reward could extract from them any information as to the retreat of their comrades.

      One day, as Giafar, the Vizier, and favourite of the Caliph, was walking alone in a public garden of the city, a stranger appeared, who, after prostrating himself before the second man in the empire, addressed him in these words: "High and mighty Vizier of Alraschid, Lord of the realms of Alla upon earth, whose delegate and vicegerent he is, hear the humblest of the sons of men—Vizier, hear me!"

      "Speak, son," said the Vizier, "I am patient."

      "And," continued the stranger, "what I have to communicate, be pleased to transmit to our gracious and well-beloved Caliph."

      "Let me hear thy suit—it may be in my power to assist you," replied the Vizier.

      "The beauteous Ada is in the clutches of ruffians," responded the stranger; "and"—

      "Well," said the Vizier, "proceed."

      "To be brief, the forest bandit snatched her from my arms—we were betrothed. I have applied to a mighty enchanter, the Genius of the Dale, who tells me she is still living, and in the cavern of the bandit—that her beauty and innocence melted the hearts of robbers, and that were they not afraid of their haunt being discovered, they would have restored her to liberty; but where that cavern is was beyond his power to tell. However, he has informed me how I may demand and obtain the assistance