But I've always been told, With respect to the gold, That the old Harridan, Who, no doubt, knew her man, But its purport was this, That the things done amiss Provided—Imprimis, The cash from this time is And act as trustee In the meantime, that She, Moreover-The whole Of the said cash, or “cole," And shall quiet remain In the grave, her domain, To have, and enjoy, and uphold, and maintain, Without molestation, or trouble, or pain, Hindrance, let, or impediment, (over again) From Old Nick, or from any one else of his train, Whether Pow'r,-Domination,-or Princedom,-or Throne, * Or by what name soever the same may be known, Howsoe'er called by Poets, or styled by Divines,Himself,—his executors, heirs, and assigns. *Provided that, nevertheless, notwithstanding All herein contained,-if whoever's a hand in Dispensing said cash, or said “cole,” shall dare venture To misapply money, note, bill, or debenture, To uses not named in this present Indenture, Then that such sum or sums shall revert, and come home again Back to said Ghost, who thenceforward shall roam again, Until such time or times as the said Ghost produces Some good man and true, who no longer refuses To put sum or sums aforesaid to said uses; Which duly performed, the said Ghost shall have rest, The full term of her natural death, of the best, * Thrones! Dominations ! Princedoms! Virtues ! Powers ! MILTON. Basil now, In consideration of this, her bequest, Basil. I am told, A runlet of fine Rich Malvoisie wine Through all the next year, Indeed, 'twould appear His complexion grew clear, While in front and in rear The girl, as they say, Ran screaming away, Sprightly and gay As the bird on the spray, One Sir Rufus Mountfardington, Lord of Foot's-cray, Whose estate, not unlike those of most of our 'Swellbeaux, Was what's, by a metaphor, term'd out at elbows;' And the fact was, said Knight was now merely delay'd The unquiet Shade Thought Sir Rufus, 'tis said, But alas! I'm afraid Most unwisely she laid And to bore you with names Of the Squires and the Dames The list is too long To be giv'n in my song, And show'd herself very se -vere against heresy, While many a wretch scorned to flinch, or to scream, as he Burnt for denying the Papal supremacy, Bishop Bonner the bag got, And all thought the hag got But somehow—though how you, I vow- The last time, I'm told, That the Old Woman's gold So 'tis said at Maynooth, But I can't think it's truth; Which some learned chap, In a square College cap, Now should it so chance That you're going to France Do pull up, and stay, Pray, If but for a day, First Dine !-you can do That on joint or ragoût- , but I can't recollect Then go down with a light To the cellar at night, But ask the old Hag At once, for the bag! find that she's shy, or your senses would dazzle, If she gives it you, seize It, and do as you please- Thos. INGOLDSBY. THE LONJA OF SEVILLE. BY THE HON. R. DUNDAS MURRAY (ELIBANK.) The Lonja, or Exchange of Seville, though boasting of no high antiquity, ranks not the least among the many relics of art to be met with in every quarter of that time-honoured city. Its site is but a few paces distant from the cathedral; so close, indeed, that the lofty outlines of the latter overshadow its own severer proportions, and render them less striking than they really are. Still, in spite of this disadvantage, it tells, , with an air of noble simplicity, of the far-reaching hopes of its founders. It was here that the discoveries of Columbus were to be turned to account; here the wealth of the Indies' was to be stored up, and to be parted among the merchants from strange lands who were to resort hither, and be witnesses to the fame and greatness of the Spanish Empire. Happily for such views, it was the fortune of Spain to possess an architect every way capable of doing justice to them. The Lonja is the work of Juan de Herrera, one of the most accomplished men of his times, and no mean proficient in his art, as the Escurial, and many other edifices, may testify. His favourite style, the Italian, which indeed he was the first to introduce into his native country, is that in which he has chosen to rear this building, unquestionably one of the best specimens of his genius. Its shape is that of a massive square, the design of which approaches almost to plainness, there being neither columns, nor other architectural details, to clothe or otherwise ornament the exterior. On each of its four sides a lower and upper tier of windows stretch away in long lines; and, as if the light they admitted was alone worthy of the distinction; around these its channels are some ornaments gathered, though with a sparing hand. Scanty as they are, however, they serve to relieve the general air which everywhere else is that of quiet and solid strength. Passing into the interior, we find ourselves in a spacious court, the solitary fountain in the centre of which yet murmurs as it used to do in the days of Philip the Second. Round the court runs an arcade, supported by square pillars, and especially devised as a shelter against inclement weather. Not that inclement weather includes only the severities of winter; on the contrary, the dog-days in Seville are far more inclement, certainly far less tolerable than the heavy winter rains; and it seems, therefore, that to both of these evils the architect addressed himself when he constructed so choice a retreat as this, where hundreds might assemble without incommoding each other, and at the same time be secured from the extremes of either season. From the basement story a wide staircase leads to a suite of apartments above. As we ascend we find ourselves in the midst of a wealth and luxury seen in no other part of the edifice. The broad steps underfoot, the heavy balustrades—which from the easiness of the ascent seldom feel the weight of a hand, are all of beautiful red marble, brought from the Sierra de Moron. Even the walls, to the height of some feet from the 39 VOL. VII. |