spot. The king having informed him of his state and the object of his visit, was answered by the tortoise, that he well remembered the splendour of the ancient temple, but that age having impaired his memory, he could not distinctly point out the spot where it had stood; that Vishnu had long dwelt there, and that other gods often visited the spot for recreation and amusement; but that, owing to the neglect of the wonted sacrifices and offerings, he had returned to his own paradise. The tortoise, however, informed the anxious monarch, that on the borders of another lake he would find an immortal raven, with feathers white by age, and that from him he would attain complete satisfaction on the subject of his inquiry. The king lost no time in proceeding on his journey; and having found the immortal bird, he inquired of him every particular regarding the holy shrine, and its founders. The raven, deeply versed in ancient history, related to the delighted sovereign the deeds of his great ancestors, and especially the piety of him who obtained the favour of Vishnu's residence in the temple, which he had constructed for him of gold lined with precious stones: he added, "that time, which destroyed all things, had respected this magnificent edifice, which was only buried about ten miles below the surface of the earth: that after the disappearance of the temple, Vishnu, unwilling to quit the mountain, his favourite abode, had changed himself into a margosa tree (Malia Azadirachta, Lin.); but the holy hermit, Markandia, perceiving that the tree gave no shade, breathed upon it, and reduced part of it to ashes; but as the tree was necessarily immortal, part of it still remained." Having communicated these important facts, the raven set out with the king to the spot where the temple was buried, and, removing the sand with his beak, exhibited to his royal com panion the golden shrine, and then re-covered it as before.

The king now returned to Brahma to consult on his future proceedings, in order to awaken in the minds of the people the devotion which he thought this place ought ever to inspire. The god advised him to build a new temple on the same spot; but as the present age was so bad, it would not be safe that the material employed should be gold, as it would be stolen piecemeal by the visiters; he might therefore construct it of brick. The name by which the god to be worshipped was to be known, was that of Sri Jeo, or the Sacred Spirit; he was also to build a town near the temple: and Brahma further informed his worshipper, that when these works should be accomplished, Vishnu himself, in the form of the trunk of the partially-blasted tree, would appear on the seashore. "This trunk," said the god, "thou wilt convey with pomp to the new temple. The carpenter of the gods, Vishvakarma, shall himself come and fashion it into the image of Vishnu. And thou wilt place by his side his sister Subaddra, and his brother Balarama; and thou wilt cause daily sacrifices to be offered to him, and thus ensure to thyself, and to all who shall follow thy example, entrance into the paradise, Vaikoonta. Since Vishnu will not be able to consume all the food which will be prepared for him, the remnants may be eaten by men for their purification, and the remission of their sins. Happy they who may attain the smallest particle! To give thee an idea of the value of these remnants, if by accident any fragments should fall on the earth, the gods would scramble for them, even though dogs had already devoured a part; or should an outcast draw from the mouth of a dog rice then devoted to Vishnu, and put it in the mouth of a Bramin, so great is the efficacy of that rice, that it would instantly purify him from sin. The very sight

of the temple will procure to those who visit it benefits incalculable. To receive stripes from the Bramins appointed to distribute the rice, is a work singularly meritorious. Indra, and all the gods, will visit the city; and Vishnu, who will reside there: the sand which the sea shall deposit on the side facing the temple, shall be called gold dust; whoever shall die on that sand, shall assuredly go to the paradise of Vishnu." The monarch without delay set about the work; he built the city, and erected the temple; and, in due time, he saw the promised tree arrive on the shore. Having paid due adoration to the divine block, the king, with a hundred thousand men, bore the future idol in triumph to the city. The heavenly carpenter delayed not to arrive, and undertook the task of sculpture, promising to complete the work in one night, on condition that he was not interrupted, and that no one should inspect him; a single glance of the eye, it was announced, would cause him immediately to disappear never to return.

The sculptor of wood working in perfect silence, the king suspected that he had broken his engagement; and, to assure himself on the point, softly peeped through a crevice in the door, and saw with delight that the workman was diligently performing his task, and quickly withdrew. But Vishvakaram had perceived him, and instantly vanished, leaving the block with scarcely the rudest approach to the intended form. The king, nevertheless, considering the imperfect image to be divine, paid homage, and gave to it his daughter in marriage. This absurd story is still believed, and this monstrous image continues in the same form to this day, receiving adoration under the title of Jagganátha, or lord of the world. [To be continued.]

THE ROCK SAMPHIRE. BOTANICAL topography, which treats of the stations as well as of the habitations of vegetables, is a subject not wholly without interest and value. It is well known that very different plants abound in different soils; that some grow on land, and some in water; that some like one, and some another situation. For example, to take plants which are very closely allied, the lichens are dry plants, and never grow under water; the fuci are watery plants, and never grow out of water: and the same may be said of many other plants, some of which are, as it were, the living boundaries of land

[The Rock Samphire.

and sea: thus, the Samphire (Crithmum Maritimum,) never grows but on the sea-shore, and yet it never

grows within reach of the waves,- that is to say, it is never so near as to be wholly covered by the waters. It happened not long since, that a knowledge of this fact was useful in a way and at a time when botanic knowledge might, beforehand, have been expected to be of little practical importance.

During a violent storm in November, 1821, a vessel, passing through the English Channel, was driven on shore near Beachy Head; and the whole of the crew being washed overboard, four escaped from the wreck, only to be delivered as they thought to a more lingering and fearful, from its being a more gradual and equally inevitable death; for, having in the darkness of the night been cast upon the breakers, they found, when they had climbed up the highest of these low rocks, that the waves were rapidly encroaching on their asylum; and they doubted not, that when the tide should be at its height, the whole range would be entirely covered with water. The darkness of the night prevented any thing being seen beyond the spot upon which they stood, and this was continually decreasing by the successive encroachments of each advancing wave. The violence of the storm left no hope that their feeble voices, even if raised to the uttermost, could be heard on shore; and they knew that amidst the howling of the blast their cries could reach no other ear than that of God. What human arm could give assistance in such a situation? even if their distresses were known, how vain were the help of man! The circle of their existence here seemed gradually lessening before their eyes; their little span of earth gradually contracting to their destruction: already they had climbed to the highest points, and already the furious waters followed them, flinging over their devoted heads the foremost waves, as heralds of their speedily approaching dissolution. At this moment one of these wretched men, while they were debating whether they should not, in this extremity of ill, throw themselves upon the mercy of the waves, hoping to be cast upon some higher ground, as, even if they failed to reach it, a sudden would be better than a lingering death-in this dire extremity, one of these despairing creatures, to hold himself more firmly to the rock, grasped a weed, which, even wet as it was, he well knew, as the lightning's sudden flash afforded a momentary glare, was not a fucus, but a root of Samphire; and he recollected that this plant never grows under water. This then became more than an olive branch of peace, a messenger of mercy; by it they knew that He who alone can calm the raging of the seas, at whose voice alone the winds and the waves are still, had placed his landmark, had

Year.

planted his standard here, and by this sign they were assured that He had said to the wild waste of waters, "Hitherto shalt thou come, and no further." Trusting, then, to the promise of this Angel of the Earth, they remained stationary during the remainder of that dreadful, but then comparatively happy night; and in the morning they were seen from the cliffs above, and conveyed in safety to the shore.-BURNETT's Introductory Lecture.

English name, as etymologists contend, from the French Samphire, or St. Peter's Wort, very probably derives its name Herbe de St. Pierre,' and hence, if such be the case, it would be more correctly written, according to Smith, Sampire, or, as degenerated from St. Pierre, san-pire.

The botanical name Crithmum has been given to this plant from the resemblance its seeds bear to grains of barley, the crithe of the Greeks.

SINGULAR PROPERTIES OF THE FIGURE

9.

MULTIPLY 9 by itself, or by any other single figure, and the two figures forming the product will, in each case, if added together, amount to 9: for example, 9 multiplied by 9 is 81, and 8 and 1 added together make 9; so on with the other figures.

The figures forming the amount of 1 2 3 4 5 6 7 8 9, added together, (viz. 45,) will also, if added together make 9.

The amount of the several products or multiples of 9, (9, 18, 27, 36, 45, 54, 63, 72, 81,) namely 405, when divided by 9, gives a quotient of 45, and the figures forming either the dividend or the quotient, added together, make 9. the products of 9 multiplied by a single figure, as by 18, 27, Multiply any row of figures either by 9, or by any one of 36, 45, 54, 63, 72, or 81, and the sum of the figures of the product added together will be divisible by 9.

Multiply the 9 digits in the following order, 1 2 3 4 5 6 7 8 9, by 9, or by any one of the products of 9 mentioned in the last paragraph, and the product will come out all in one figure, except the place of tens, which will be a 0, and that figure will be the one which, multiplied into 9, supplies the multiplier; that is, if you select 9 as the multiplier, the product will be (except the place of tens) all ones; if you select 18, all twos; if 27, all threes, and so on. Omit the 8 in the multiplicand, and the 0 will also vanish from the product, leaving it all ones, twos, threes, &c. as the case may be.

THERE is not any benefit so glorious in itself, but it may yet be exceedingly sweetened and improved by the manner of conferring it. The virtue, I know, rests in the intent; the profit, in the judicious application of the matter; but the beauty and ornament of an obligation lies in the manner of it.-SENECA.

1700..5,475,000

10..5,240,000

20..5,565,000

30..5,796,000

METHOD is the very hinge of business; and there is no method without punctuality. Punctuality promotes the peace and good temper of a family. The calmness of mind which it produces is another advantage of punctuality. A man without punctuality is always in a hurry; he has no time to speak to you, because he is going elsewhere; and when he gets there, he is too late for his business; or he must hurry away to another before he can finish it. Punctuality gives weight to character. "Such a man has made an appointment: then I know he will keep it." And this begets punctuality in those with whom he lives; for, like other virtues, it propagates itself. Servants and children must be punctual, where the master of the family is so. Appointments become debts. If I have made an appointment with you, I owe you punctuality, and I have no right to throw away your time, even though I might my own. To be punctual is to do as we would be done by; for who likes to be kept waiting? Punctuality is the best of economy; for what have we that is so precious as time? Punctuality is part of piety towards God; for of what gift shall we be called to give so strict account as of those hours without which no other gift can be exercised at all.

WISDOM doth balance in her scales those true and false pleasures which do equally invite the senses; and rejecting all such as have no solid value or lasting refreshment, doth select and take to her bosom those delights that, proving immortal, do seem to smell and taste of that paradise from which they spring. Like the wise husbandman, who taking the rough grain which carries in its heart the bread to sustain life, doth trample under foot the gay and idle flowers which many times destroy it.-A. M.

FAMILIAR REMARKS ON ARCHITECTURE,

I.

ALMOST every body occasionally travels from one part of the country to another, and amongst the many picturesque objects which attract the attention, none are more conspicuous than the churches and cathedrals in the villages or cities through which the traveller passes in his route. Even those who are prevented by circumstances from making these excursions, whose lot is cast in London, or in a country town, or in a remote village, have generally in the neighbour hood of their residence one or more of those venerable structures, which, whether considered in a religious or scientific point of view, call upon us for attention and admiration. When looking at any particular building, it naturally occurs to us to inquire how long it has been standing on the spot where we now see it. If any one be at hand we ask the question, and perhaps receive a satisfactory answer, though it is more probable that the answer will be one expressing a total ignorance of the subject. Most persons would, no doubt, be glad to possess a few rules, by the knowledge of which they might themselves be able to guess, within a few years, the age of the building they were surveying; and to supply these is the intention of the following remarks.

The doors and windows of old English churches, generally, have pointed arches; and from the shape of these arches, principally, though there are other lesser distinctions, the age of the building may be most accurately learned, as they have varied in height and width from age to age. Buildings constructed with arches of this description are usually called Gothic, a name given to them originally as a term of reproach, because they were supposed formerly to be the remains of the architectural taste of the Goths, and

considered to be very inferior to the productions of Greece and Rome. A more correct name for them, however, though one not so frequently employed, is the English style, because buildings of this kind were first introduced in England, and no other country can boast finer specimens than are still remaining here. Before the introduction of the English or pointed arch, the circular or rounded arch was in use; and a few very beautiful examples of this kind of building still remain in different parts of the country. It is called Saxon or Norman, from its having prevailed during the reign of the Saxon and Norman kings in England. It commenced at the establishment of Christianity among the Saxons, in the 6th century, and continued to about the year 1135, in the reign of king Stephen. The entrance to the Temple Church, London; the Abbey Gate, Bristol; and the Church of Romsey, in Hampshire, are in this style of architecture. The doors in this style are sometimes quite plain, and sometimes very richly carved.

[Entrance to the Temple Church.]

Between the reign of Stephen and that of Henry III., the circular arch began to disappear; and before the death of the latter monarch, gave way to the pointed arch. At first the two arches were intermixed; and the style was then called, semi-or half-Norman. Some suppose that the pointed arch was introduced from the Saracens, by the Crusaders to the Holy Land, and from this circumstance, they call it the Saracenic arch; but the greater number of persons imagine it to have arisen from the accidental crossing of several rounded arches with each other. That this will produce pointed arches of different widths and heights, according to the points where they cross each other, may easily be shown by placing two hoops or rings across each other, allowing one point of the hoops or rings to rest upon a floor or table. The crossings of the boughs of trees in an avenue, also afford a familiar illustration of the same fact. In the Temple Church, the two arches may be found united, and other specimens may be seen in the church of St. Cross, near Winchester; the ruins of Buildwas Abbey, Shropshire; Fountains Abbey, Rievaulx Abbey, and Roche Abbey, in Yorkshire.

When the circular arch totally disappeared, in 1220, the Early English Style commenced. The windows of this style were at first very narrow in comparison with their height: they were called lancet-shaped, and were considered very elegant: two or three were frequently seen together, connected by dripstones. In a short time, however, the windows became wider, and divisions and ornaments were introduced. Sometimes the same window was divided into several lights, and frequently finished at the top by a light in the form of a lozenge, circle, trefoil, or other ornament. A specimen of this style may be seen in the beautiful church of St, Saviour's, Southwark, which has lately been thrown