Summary

Portrait of Elihu Burritt Elihu Burritt Walks in the Black Country and its Green Border-Land (1868)

This may serve to convey some idea of the establishment when cold and silent. But when all aglow with its fiery industries, it presents a scene which Virgil and Dante would have described in terms and figures unsuited to modern conceptions or facts. As every man who pretends to have once been a boy was a bubble-blower in his childhood, whether he has seen the real process or not, he can understand how glass is made into such infinite shapes and uses. And boys, fresh from the sport of making and floating in the air their tinted globes, ought to have the clearest idea of the whole matter.
Source: Wikisource

Portrait of Elihu Burritt Elihu Burritt Walks in the Black Country and its Green Border-Land (1868)

The imagination does it involuntarily. Who cannot see it? The rising sun throws it into vivid perspective. In the encircling arms of the oak, on its gnarled shoulders, are nestled the two men. Remember the garb of Charles—the coarse noggen shirt of Martin the servant, and Richard Penderel's leather doublet, his face still begrimed with soot, and his hands stained with walnut leaves by goodwife Woolf at Madeley. Not two consecutive hours of sleep had closed his eyes since the morning of that disastrous battle at Worcester.
Source: Wikisource

Portrait of Elihu Burritt Elihu Burritt Walks in the Black Country and its Green Border-Land (1868)

Instead of those grotesque anachronisms which have covered the cathedral and church windows for so many ages—instead of apostles, saints, martyrs, and mitred bishops standing on the tips of perpendicular soles, apparently with the rim of a copper basin around their heads, and in robes which would have astonished Peter or Paul, the Chances are giving us forms and scenes that belong to actual human life and history; making men show their manhood to the fulness of truth, being, and act.
Source: Wikisource

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