two instances, in the valuable treatise which I have before quoted; in addition to which, the students, or the admirers of pointed architecture, will do well to consult the "Essays on Gothic Architecture," published by Taylor, and selected from the writings of Warton, Bentham, Grose, and Milner, a publication which has the singular merit of combining more information upon the subject, than can be found in any work of similar

extent.

The subject, however, which I had more immediately proposed to investigate in this essay, was the sources of the pleasure derived from the contemplation of pointed architecture; because I have always been of opinion, not only that this pleasure is peculiar to ecclesiastical structures in the pointed style, but that the pleasure derived from specimens in this style is superior to that derived from any other style, which has been adopted in ecclesiastical architecture.

It cannot be doubted that most of our pleasures, as well as pains, are produced by association, and therefore to overlook such an important agent, in an enquiry into the sources of the pleasure derived from the contemplation of ecclesiastical structures in the pointed style, would be an unpardonable omission. The view of a cathedral

almost immediately suggests the solemn purposes, to which it is appropriated; and the several generations which have worshipped within its walls, seem to pass in review before the mind of the spectator. These are associated with indistinct impressions of the mysterious services, superstition imposed upon her votaries, and unite with imperfect recollections of the events of ages "long gone by," to produce feelings, tinged indeed with melancholy, but highly pleasurable.

But independently of association, the pointed architecture of cathedrals is in itself capable of exciting emotions of pleasure, by impressing the mind with admiration of the elevated roof, and "long-drawn aisle," which the skill of the architect has so disposed, as to produce an appearance of extent bordering upon boundless. The pro. duction of this artificial height is peculiar to the aspiring or pointed arch, while the several proportions of that syle are best calculated to produce an impression of extent almost unlimited; and it is well known that Mr. Burke has long since proved, that impressions of height and extent, are among the primitive sources of the sublime.

These pleasurable emotions are considerably assisted by the skilful construction of cathedral

windows, to produce" that dim religious light," which disposes to contemplation, and prepares for devotional feelings; to which I shall add, that the sepulchres of the illustrious dead, many of them consecrated by the ashes of genius, and the surrounding monuments of the great or wealthy, decked with the last petty distinctions which power can procure, or riches purchase, combine in the production of those sensations of awe and veneration, which give heightened effect to the sublime, or the beautiful.

In stating these sources of the pleasure derived from the contemplation of pointed architecture, I have confined myself to such as appear to me universally applicable. I am perfectly aware that the antiquary views a cathedral with sensations not only more exquisite than those of an ordinary spectator, but also derived from sources peculiar to himself. But this may, with some degree of certainty, be affirmed respecting him, that his satisfaction will be increased in proportion to the degree of attention he has bestowed upon these studies. He, however, who has felt. his attachment to the world diminished, and his devotion elevated to the sublimest exercises of piety, by worshipping the Deity amidst the scenes of those solemn impressions, which have been

enumerated in this essay, has obtained access to a source of pleasure in a higher degree exquisite, because more refined, and rendered sacred by virtuous recollections.

THE PONDERER. No. 32.

L.

Merenti dabitur.

"Fame shall invariably be given to distinguished merit."

IN the course of my ponderings, I have some

times evinced my fondness for biography, by presenting my readers with occasional sketches of such eminent characters, as seem to possess a more than ordinary claim to the attention of my fellow-citizens, from being connected either with the literature, or the history of our native city. For me it will be supposed that such sketches have peculiar interest, when I avow that the leisure of a few years of my life has been devoted to the collecting of materials for a projected work, which will, probably, be entitled, " Memoirs of

Eminent Persons connected with the History of Bristol;" and to this circumstance the following sketch of Dr. Caleb Evans owes its origin, the facts contained in which were communicated by his relative, the Rev. John Evans, of Islington.

Caleb Evans, D.D. the eldest son of the Rev. Hugh Evans, was born in Bristol, in 1737. He acquired a knowledge of the classics, and was instructed in the various branches of a general and liberal education, under the superintendence and direction of his father; and as he had early resolved to devote himself to the christian ministry, it was determined that he should complete his studies in the dissenting academy at Mile-End, and for this purpose he was removed to London about the year 1754. The academy was at that time conducted with distinguished reputation by Drs. Walker and Jennings, of whom the last is well known in the republic of letters, as the author of "Lectures on the Jewish Antiquities," a work which combines extensive erudition, with profound research. After an application, during the usual period, to the several studies which ought invariably to form a preparation for the exercise of the important office of a public instructor, Dr. Evans continued during a short time in the metropolis, and preached to a congregation of