All this was strictly after the pattern of the real original, and so are the whole of our Vestry's proceedings. In all their debates, they are laudably imitative of the windy and wordy slang of the real original, and of nothing that is better in it. They have head-strong party animosities, without any reference to the merits of questions; they tack a surprising amount of debate to a very little business; they set more store by forms than they do by substances: - all very like the real original! It has been doubted in our borough, whether our Vestry is of any utility; but our own conclusion is, that it is of the use to the Borough that a diminishing mirror is to a painter, as enabling it to perceive in a small focus of absurdity all the surface defects of the real original.

OUR BORE

IT is unnecessary to say that we keep a bore. Everybody does. But, the bore whom we have the pleasure and honour of enumerating among our particular friends, is such a generic bore, and has so many traits (as it appears to us) in common with the great bore family, that we are tempted to make him the subject of the present notes. May he be generally accepted!

Our bore is admitted on all hands to be a good-hearted man. He may put fifty people out of temper, but he keeps his own. He preserves a sickly solid smile upon his face, when other faces are ruffled by the perfection he has attained in his art, and has an equable voice which never travels out of one key or rises above one pitch. His manner is a manner of tranquil interest. None of his opinions are startling. Among his deepest-rooted convictions, it may be mentioned that he considers the air of England damp, and holds that our lively neighbours - he always calls the French our lively neighbours - have the advantage of us in that particular. Nevertheless he is unable to forget that John Bull is John Bull all the world over, and that England with all her faults is England still.

Our bore has travelled. He could not possibly be a complete bore without having travelled. He rarely speaks of his travels without introducing, sometimes on his own plan of construction, morsels of the language of the country - which he always translates. You cannot name to him any little remote town in France, Italy, Germany, or Switzerland but he knows it well; stayed there a fortnight under peculiar circumstances. And talking of that little place, perhaps you know a statue over an old fountain, up a little court, which is the second - no, the third - stay - yes, the third turning on the right, after you come out of the Post-house, going up the hill towards the market? You DON'T know that statue? Nor that fountain? You surprise him! They are not usually seen by travellers (most extraordinary, he has never yet met with a single traveller who knew them, except one German, the most intelligent man he ever met in his life!) but he thought that YOU would have been the man to find them out. And then he describes them, in a circumstantial lecture half an hour long, generally delivered behind a door which is constantly being opened from the other side; and implores you, if you ever revisit that place, now do go and look at that statue and fountain!

Our bore, in a similar manner, being in Italy, made a discovery of a dreadful picture, which has been the terror of a large portion of the civilized world ever since. We have seen the liveliest men paralysed by it, across a broad dining-table. He was lounging among the mountains, sir, basking in the mellow influences of the climate, when he came to UNA PICCOLA CHIESA - a little church - or perhaps it would be more correct to say UNA PICCOLISSIMA CAPPELLA - the smallest chapel you can possibly imagine - and walked in. There was nobody inside but a CIECO - a blind man - saying his prayers, and a VECCHIO PADRE - old friar-rattling a money-box. But, above the head of that friar, and immediately to the right of the altar as you enter - to the right of the altar? No. To the left of the altar as you enter - or say near the centre - there hung a painting (subject, Virgin and Child) so divine in its expression, so pure and yet so warm and rich in its tone, so fresh in its touch, at once so glowing in its colour and so statuesque in its repose, that our bore cried out in ecstasy, 'That's the finest picture in Italy!' And so it is, sir.