n with a pen.

The scene is laid at Oxford, and the person reading, universally
admitted to be a Mr. Fisher, of Jesus College, _registrat_ of the
university, with whose consent this portrait was taken, and who lived
until the 18th of March, 1761. That he should wish to have such a face
handed down to posterity, in such company, is rather extraordinary, for
all the band, except one man, have been steeped in the stream of
stupidity. This gentleman has the profile of penetration; a projecting
forehead, a Roman nose, thin lips, and a long pointed chin. His eye is
bent on vacancy: it is evidently directed to the moon-faced idiot that
crowns the pyramid, at whose round head, contrasted by a cornered cap,
he with difficulty suppresses a laugh. Three fellows on the right hand
of this fat, contented "first-born transmitter of a foolish face," have
most degraded characters, and are much fitter for the stable than the
college. If they ever read, it must be in Bracken's Farriery, or the
Country Gentleman's Recreation. Two square-capped students a little
beneath the top, one of whom is holding converse with an adjoining
profile, and the other lifting up his eyebrows, and staring without
sight, have the same misfortune that attended our first James--their
tongues are rather too large. A figure in the left-hand corner has shut
his eyes to think; and having, in his attempt to separate a syllogism,
placed the forefinger of his right hand upon his forehead, has fallen
asleep. The professor, a little above the book, endeavours by a
projection of his under lip to assume importance; such characters are
not uncommon: they are more solicitous to look wise, than to be so. Of
Mr. Fisher it is not necessary to say much: he sat for his portrait, for
the express purpose of having it inserted in the Lecture!--We want no
other testimony of his talents.

[Illustration: THE LECTURE.]

THE CHORUS.

REHEARSAL OF THE ORATORIO OF JUDITH.

"O _cara, cara!_ silence all that train,
Joy to great _chaos!_ let division reign."

The Oratorio of Judith, Mr. Ireland observes, was written by Esquire
William Huggins, honoured by the music of William de Fesch, aided by new
painted scenery and _magnifique_ decoration, and in the year 1733
brought upon the stage. As De Fesch[2] was a German and a genius, we may
fairly presume it was well set; and there was at that time, as at this,
a sort of musical mania, that paid much greater attention to soun