Thus faying, he feizes the Boy by the arm, His limbs fink beneath him; distracted with fears, Unmov'd by his forrow, unmov'd by his prayer, But e'er the steel blushes with blood, ftrange to tell! And while with amazement his hair briftles high, Straight curfes and fhrieks through the chambers refound,' With Hellish mirth mingled; the walls fhake around; The groaning roof threatens to fall; Loud bellows the thunder; blue lightnings ftill flafh The cafements, they clatter; chains rattle; doors clash, And flames spread their waves through the hall.! The clamour increafes; the portals expand; O'er the pavement's black marble now rushes a band Of Dainons all dropping with gore, In vifage fo grim, and fo monftrous in height,in Not fo his fell Uncle: he fees that the throng, The dæmons with curfes her fteps onwards urge, fcourge, And faft from her wounds the blood flows. "Oh! welcome," fhe cried, and her voice fpóke defpair; Oh! welcome, Sir Ofric, the torments to fhare, My quin completed, thy love became hate, Nor thought I death lurked in the bowl; Unfitted for dying, in guilt, and in pride, Unbleft, unabfolved, unrepenting, I died, .. And Demons ftraight feiz'd on my foul! "Thou com'ft, and with tranfports I feel my breaft fwelt! i Full long have I fuffer'd the torments of hell, See, fee, how the fiends are athirst for thy blood! Twelve years has my panting heart furnish'd their food, Come, wretch, let them feaft upon thine!" She faid, and the dæmons their prey flock'd around; His eyes from their fockets with fury they tore; But now the grey cock told the coming of day; Since, then, all with horror the ruins behold; No No mother, though loft be her child, The fugitive dares in thefe chambers to feek, បុ Oh! fhun them, ye Pilgrim! though late be the hour, Though loud howl the tempeft, and fast fall the shower, From Falkenftein Castle be gane! There ftill their fad banquet Hell's denizens fhare, There Ofric-the lion, ftill raves in defpair; Breathe a prayer for his foul, and pass on! EXHIBITION EXTRAORDINARY. CATALOGUE PICTURES, STATUES, BUSTS, BRONZES, &c. TO WHICH ARE ANNEXED SOME CRITICAL OBSERVATIONS. SECOND DAY'S SALE. (Continued from Page 238.) Mr. BISHOP, Rochester. 35. A High Priest. The arrogance of the countenance well conceived, but vulgarly expreffed. 36. The Maffacre on Bartholomew's Day at Paris. Painted con amore, the carnage delightfully finished. 37. A Battle Piece. Shews a true fpirit of he roifm, as though the artist really enjoyed the scene of rapine and destruction. 38. Piety. Caricature-ridiculously diverting 39. A Tyrant. A bold sketch, but coarfe, harsh, and difgufting. 40. Dives with Lazarus at his Gate. The former is encouraging the dogs to tear the latter to pieces: the defired effect has been wonderfully well produced. Mu 2 41. A 41. Aftrong Gale, with a fairer Sea in perspective, difcovers great judgment; the perspective has been well confidered. Mr. LUFFBORE, Bedford-fquare. 42. The Capture of Dunkirk. The very worst piece in the exhibition; a most difaftrous Morceau truly; it has neither plan, nor outline, nor execution; the maffes are too confufed, and the fhadows much too heavy. 43. Portrait of a great Law Character in his Robes and Wig. A hard, but rich compofition. The Wig wonderful. 44. The Miracle of the Loaves and Fishes. This is a luxuriant performance; the extreme avidity of the crowd is very naturally given: the principal figures, however, evidently require fore foartening. 45. A Privy Counsellor examining a State Prifoner. A Study, in black chalk, the visage ferocious. 46. Janus. A caft in bronze, equal to any thing. Mr. AIRCASTLE, Berkshire. 47. Portrait of Judge Jefferys, supposed to be a ftriking likeness. 48. Clemency. A feeble exertion. 49. Getting into a Scrape. A burlesque drawing, the expreffion vulgar. 50. The Wolf in Sheep's Cloathing. Naturally done, but the fubject is hackneyed. 51. Humanity. A deception, moft curiously con.trived. Mr. MADFORD, Lincoln's Inn. 52. The Afs in the Lion's Skin. In this picture, the brutal ftupidity of the Afs is happily blended with the favage ferocity of the Lion, but at the fame time the whole is totally deftitute of effect. 53. Portrait of Jack Ketch. Painted from memory. A good picture. Mr. SCOTBY, New Cavendish-square. 54. A Cannibal. There is a nature in this production which is very captivating. 55. The 55. The Affembly of Surgeons, who, in the time of Louis XV. held a meeting to invent torments for the wretched Maniac Damiens. The general concep+ tion of this piece is perfect, the figures are mostly portraits of great living characters. 56. A Black. A correct representation. Mr. STANDUP, Mansfield-ftreet. 57. The Good Samaritan. An interesting picture; the fubject well treated, and the lights beautifully difpofed. 58. A Patriot. Finely characterised; this master has uncommon merit; there is a charming fingularity in his ftile. 59. Scenes in France. Faithfully delineated. 60. An honeft Man the nobleft Work of God. This painting poffeffes a dignified originality which is rarely to be found in the best modern productions. THIRD DAY'S SALE. Mr. CUNNING, Inner Temple. 61. Plan for a Royal Palace, to be erected at Paris. A fpirited defign, but impoffible to be executed. 62. A Magpie. A copy from nature. 63. Rofineraus, from Hamlet. A feeble compo fition. Mr. JENKINS, Conduit-ftreet. 64. Guildenfiern. An unmeaning picture. 65. The Moufe Orator propofing to tie a Bell on the Cat's Neck. Here may be difcovered fome originality of conception, but the want of method muft ftrike the commonest observer. 66. Folly with a Cap and Bells. An excellent sketch. 67. A Puppy barking at the Moon. Done with precision, M m 3 Mr. |