MACCLESFIELD BRIDGE

      This picturesque structure crosses the Canal towards the Northern verge of the Regent's Park; and nearly opposite to it is a road leading to Primrose Hill, as celebrated in the annals of Cockayne as was the Palatino among the ancient Romans.

      The bridge was built from the designs of Mr. Morgan, and its construction is considered to be "appropriate and architectural." Its piers are formed by cast-iron columns, of the Grecian Doric order, from which spring the arches, covering the towing-path, the canal itself, and the southern bank. The abacus, or top of the columns, the mouldings or ornaments of the capitals, and the frieze, are in exceeding good taste, as are the ample shafts. The supporters of the roadway, likewise, correspond with the order; although, says Mr. Elmes, the architect, "fastidious critics may object to the dignity of the pure ancient Doric being violated by degrading it into supporters of modern arches." The centre arch is appropriated to the canal and the towing-path, and the two external arches to foot-passengers, and as communications to the road above them. Mr. Elmes1 sums up the merits of the bridge as follows:—"It has a beautiful and light appearance, and is an improvement in execution upon a design of Perronet's for an architectural bridge, that is, a bridge of orders. The columns are well proportioned, and suitably robust, carrying solidity, grace, and beauty in every part; from the massy grandeur of the abacus, to the graceful revolving of the beautiful echinus, and to the majestic simplicity of the slightly indented flutings." He then suggests certain improvements in the design, which would have made the bridge "unexceptionably the most novel and the most tasteful in the metropolis. Even as it is, it is scarcely surpassed for lightness, elegance, and originality by any in Europe. It is of the same family with the beautiful little bridge in Hyde Park, between the new entrance and the barracks."

      We are happy to quote the above praise on the construction of Macclesfield Bridge, inasmuch as a critical notice of many of the structures in the Regent's Park would subject them to much severe and merited censure. The forms of bridges admit, perhaps, of more display of taste than any other species of ornamental architecture, and of a greater means of contributing to the picturesque beauty of the surrounding scenery.

      TRIBUTES TO THE DEAD, &c

      "It was the early wish of Pope," says Dr. Knox, "that when he died, not a stone might tell where he lay. It is a wish that will commonly be granted with reluctance. The affection of those whom we leave behind us is at a loss for methods to display its wonted solicitude, and seeks consolation under sorrow, in doing honour to all that remains. It is natural that filial piety, parental tenderness, and conjugal love, should mark, with some fond memorial, the clay-cold spot where the form, still fostered in the bosom, moulders away. And did affection go no farther, who could censure? But, in recording the virtues of the departed, either zeal or vanity leads to an excess perfectly ludicrous. A marble monument, with an inscription palpably false and ridiculously pompous, is far more offensive to true taste, than the wooden memorial of the rustic, sculptured with painted bones, and decked out with death's head in all the colours of the rainbow. There is an elegance and a classical simplicity in the turf-clad heap of mould which covers the poor man's grave, though it has nothing to defend it from the insults of the proud but a bramble. The primrose that grows upon it is a better ornament than the gilded lies on the oppressor's tombstone."

      The Greeks had a custom of bedecking tombs with herbs and flowers, among which parsley was chiefly in use, as appears from Plutarch's story of Timoleon, who, marching up an ascent, from the top of which he might take a view of the army and strength of the Carthaginians, was met by a company of mules laden with parsley, which his soldiers conceived to be a very ill boding and fatal occurrence, that being the very herb wherewith they adorned the sepulchres of the dead. This custom gave birth to that despairing proverb, when we pronounce of one dangerously sick, that he has need of nothing but parsley; which is in effect to say, he's a dead man, and ready for the grave. All sorts of purple and white flowers were acceptable to the dead; as the amaranthus, which was first used by the Thessalians to adorn Achilles's grave. The rose, too, was very grateful; nor was the use of myrtle less common. In short, graves were bedecked with garlands of all sorts of flowers, as appears from Agamemnon's daughter in Sophocles:—

      Several other tributes were frequently laid upon graves, as ribands; whence it is said that Epaminondas's soldiers being disanimated at seeing the riband that hung upon his spear carried by the wind to a certain Lacedæmonian sepulchre, he bid them take courage, for that it portended destruction to the Lacedæmons, it being customary to deck the sepulchres of their dead with ribands. Another thing dedicated to the dead was their hair. Electra, in Sophocles, says, that Agamemnon had commanded her and Chrysosthemis to pay this honour:—

      It was likewise customary to perfume the grave-stones with sweet ointments, &c.

      SONG

      CHARLES BRANDON, AFTERWARDS DUKE OF SUFFOLK

      An event in the life of this nobleman gave Otway the plot for his celebrated tragedy of "The Orphan," though he laid the scene of his play in Bohemia. It is recorded in the "English Adventures," a very scarce pamphlet, published in 1667, only two or three copies of which are extant. The father of Charles Brandon retired, on the death of his lady, to the borders of Hampshire. His family consisted of two sons, and a young lady, the daughter of a friend, lately deceased, whom he adopted as his own child.

      This lady being singularly beautiful, as well as amiable in her manners, attracted the affections of both the brothers. The elder, however, was the favourite, and he privately married her; which the