rage, and at the same time terror-struck and dismayed their adversaries. "The intrepid tyrant, sensible of his desperate situation, cast his eye around the field, and descrying his rival at no great distance, he drove against him with fury, in hopes that either Henry's death or his own would decide the victory between them. He killed, with his own hands, Sir William Brandon, standard-bearer to the Earl; he dismounted Sir John Cheyney: he was now within reach of Richmond himself, who declined not the combat; when Sir William Stanley, breaking in with his troops, surrounded Richard, who, fighting bravely to the last moment, was overwhelmed by numbers, and perished by a fate too mild and honorable for his multiplied and detestable enormities. His men every where sought for safety by flight. There fell in this battle about four thousand of the vanquished, and among them the Duke of Norfolk, Lord Ferrars of Chartley, Sir Richard Radcliffe, Sir Robert Piercy, and Sir Robert Brackenbury. The loss was inconsiderable on the the side of the victors. Sir William Catesby, a great instrument of Richard's crimes, was taken, and soon after beheaded with some others at Leicester. The body of Richard was found in the field, covered with dead enemies, and all besmeared with blood: it was thrown carelessly across a horse; was carried to Leicester, amidst the shouts of the insulting spectators, and was interred in the Gray-friars church of that place *." While we survey this awful field," says Hutton, "the first in consequence in the whole island, that of the battle of Hastings, in Sussex alone excepted, we may consider it as English classic ground. Here contemplation brings in review important deeds, and their more important effects." 66 How transcendantly beautiful and energetic are those passages of Shakespeare, which describe and display the varied characters, sentiments, and emotions, of the principal personages who performed in this national tragedy. That scene, where Richard is represented in his tent, and inly ruminating on the morning's danger, is one of those master-pieces of dramatic and philosophic writing, *Hume's History of England, Vol. IV. writing, which no author has ever excelled, and which, therefore, finds its way to every head and heart. In the night previous to the fatal battle, our immortal bard describes Richard in his tent, when harassed by a guilty conscience, and incapable of sleeping, he thus expresses his thoughts:-- "How awful is this gloom!—and hark, from camp to camp, The hum of either army stilly sounds; That the fixt centinels almost receive The secret whispers of each other's watch. Steed threatens steed, in high and boastful neighings, With clink of hammers closing rivets up, Give dreadful note of preparation: while some, About four miles to the west of Hinckley, is LINDLEY-HALL, the seat of the Rev. Samuel Bracebridge Heming This place is rendered memorable from having been the residence of John Hardwick, who led the Earl of Richmond to the field of battle. It was afterwards possessed by WILLIAM BURTON, who published the History of Leicestershire, and who was born here on August 4th, 1575. He obtained the first rudiments of education at the grammar-school of Sutton Coldfield; was admitted a commoner at Brazen-nose College, Oxford, in 1591; entered the Inner Temple in 1593; and was next a barrister and reporter in the Court of Common Pleas. According to Wood, "his natural genius leading him to the studies of heraldry, genealogies, and antiquities, he became excellent in those obscure and intricate matters; and look upon him as a gentleman, was accounted by all that knew him to be the best of his time for those studies, as may appear by his description of Leicester Leicestershire*." This work was first published in one volume folio, 1622. At the time he was preparing it, he cultivated an acquaintance with Sir Robert Cotton, Sir William Dugdale, and Michael Drayton, all of whom had studied the topography and antiquities of the kingdom; and all, by their collections and works, have perpetuated and preserved many useful and curious documents and facts. "The reputation of Burton's work,” as Mr. Gough justly observes, "arises from its being written early, and preceded only by Lambarde's Kent, 1576; Carew's Cornwall, 1602; and Norden's Surveys; and it is in comparison only of these, and not of Dugdale's more copious work, that we are to understand the praises so freely bestowed on it, and because nobody has treated the subject more remotely and accurately; for Dugdale, says Burton, as well as Lambard and Carew, performed briefly. The typographical errors in his volume, especially in the Latin, are so numerous, and the style, according to the manner of that time, so loose, that the meaning is often doubtful. The description is in alphabetical order, and consists chiefly of pedigrees and moot-cases." ROBERT BURTON, younger brother of the above, was born at Lindley, in 1576; and falling in with the prevalent whim of the times, called himself Democritus Junior. Under this signa ture he published a work, with the quaint title of "The Anatomy of Melancholy," which, by the injudicious praises of Dr. Johnson and Dr. Ferriar, has obtained considerable celebrity. Granger calls it an agreeable "cento;" but acknowledges, that had the author employed more of his talents in original composition than in merely copying the unconnected sentiments, &c. of other writers, he would probably have made his book much more valuable than it is. His work appears to have been a local satire on the pedantry of the times; for it was then customary for all writers and speakers to embellish, or rather diversify, their lan guage by quotations from various authors. Sir Edward Coke, in a speech concerning the gunpowder plot, contrives to introduce * Athenæ Oxonienses, Vol. II. p. 75. some some passages from the Psalmist, Ovid, &c. One of Burton's biographers describes him in the following terms, by stating, that he was 66 an exact mathematician, a curious calculator of nativities, a thorough-paced philologist, and an intelligent surveyor of lands; a devourer of authors, a melancholy, yet humorous man, merry, facete, and, although advanced in years, a juvenile companion; readily and dexterously interlarding his discourses with verses and sentences from classical authors." Such is the account of the man, by one who appears to be rather partial: the following critique on his book is more discriminating, and, in my own estimation, is perfectly just. "I have attempted several times to read it, but was perpetually disgusted with crude fancies, verbose pedantry, dull common place, and eternal quotation, spun out in unceasing repetition; it has seldom happened that I was more fatigued, and so anxious to close a book; and I impute the sentence of approbation pronounced on it by Dr. Johnson, to Burton's chiming in with some favorite opinion, or to his perusing the work at a moment unfavorable to critical sagacity, similar to that in which he condemned Dr. Watts, and exalted the muse of Blackmore." The work of Dr. Ferriar, that tended to excite some enquiry after the Anatomy of Melancholy, and gave it a temporary notoriety, was entitled, "Illustrations of Sterne." In this work the Doctor endeavours to prove, that our witty and highly satirical Divine was indebted to Burton for much of his eccentric style, &c. and therefore accuses him of plagiarism. On comparing the writings of the two, there will be found but very few similitudes; for whilst Sterne is constantly displaying wit, satire, novelty, and fine writing, Burton's work is merely a heterogeneous common-place-book, more distinguished for its dulness than its vivacity or brilliancy. Besides, the writings of Sterne will be long read and admired, after those of Burton and Ferriar are forgotten, or disregarded. And such will ever be the happy pre-eminence of that writer who draws his literary pictures * Lounger's Common-place-book, Vol. I. p. 189. Edit. 1805. pictures from the fascinating and immutable face of Nature; while the copyist, and dull critic, will become more and more obscured by shadow, as Time proceeds in his gradual career. GOPSAL-HALL, or Goppeshull, the seat of the Baroness Howe, is about three miles north-west of Bosworth. This elegant mansion, according to Marshall, was built, and the grounds laid out, at the expense of 100,000l. " by the late Mr. Jennens, famous for his friendship to Handel and the Pretender." Charles Jennens, Esq. was descended from an opulent family of Birmingham, who had acquired a large fortune in business. Having purchased this estate, he built a spacious mansion, and adapted the whole for the reception of a great establishment. He died without issue in 1773, and left Gopsal to his nephew, Penn Asheton Curzon, Esq. who married a niece of Mr. Jennens. This gen-. tleman made a considerable collection of pictures *, and adorned the grounds with ornamented temples, &c. In one of these is a statue, by Roubiliac, of Religion, holding in one hand the book of life, and in the other a cross. The temple is consecrated to the memory of Edward Holdsworth, who died at Coleshill, in: Warwickshire, in 1746. He was author of " Muscipula," and “Remarks and Dissertations on Virgil." On a cenotaph in the temple is a figure of Genius, represented in a pensive attitude; Virgil's tomb, and his bust, with various antique fragments; and a Latin inscription, complimentary to the talents of Holdsworth. Among numerous pictures in the house are the following:A Landscape, by Teniers; Two Landscapes, with figures, by Poelemburg: a whole length Portrait of HANDEL, by Hudson; two * These were first displayed in his house in Great Ormond Street, London; and a list of them was published in "The English Connoisseur,” 2 vols. 12mo. 1766. By this list the collection appears to have been not only very numerous, but to have consisted of many pictures by the most eminent artists; though there were many of very inferior note. |