Summary

Portrait of John Ayrton Paris John Ayrton Paris A Guide to the Mount's Bay and the Land's End

No sooner does the tardy sun sink into the western ocean than the young and old of both sexes, animated by the genius of the night, assemble in the town, and different villages of the bay, with lighted torches. Tar barrels having been erected on tall poles in the market place, on the pier, and in other conspicuous spots, are soon urged into a state of vivid combustion, shedding an appalling glare on every surrounding object, and which when multiplied by numerous reflections in the waves, produce at a distant view a spectacle so singular and novel as to defy the powers of description
Source: Gutenberg

Portrait of John Ayrton Paris John Ayrton Paris A Guide to the Mount's Bay and the Land's End

The western shores are sprinkled with picturesque villages, churches, cottages, and villas; and near the eastern margin of the bay, a pile of rocks, supporting a venerable chapel on its summit, starts abruptly from the waves, and presents an appearance of a most singular and beautiful description—this is Saint Michael's Mount, an eminence equally celebrated in the works of the poet, the naturalist, the antiquary, and the historian.
Source: Gutenberg

Portrait of John Ayrton Paris John Ayrton Paris A Guide to the Mount's Bay and the Land's End

A person unacquainted with the details of mining, on being informed of many hundreds of men being employed in a single mine, might naturally imagine that a visit to their deep recesses would afford a picturesque and imposing spectacle of gregarious labour and bustle, tremendous noise, and much artificial brilliancy to cheer the gloom. Nothing, however, is further from the truth, as far as regards the mines of Cornwall; for, like their fellow labourers the moles, the miners are solitary in their operations.
Source: Gutenberg

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