labour," induced the mingled smiles and tears of his admirers. He wrote wit while propped by pillows; and the chapters of a noveldoomed to remain, like his life, a great fragment -were produced between the intervals and beatings of heart disease. Alas! what those endure who write for bread! But it is all over with him now: the gold has been refined and the crucible is broken; the toilworn body has been bowed in death that the soul might escape into life-the mortal cerements have been burst; the winged child is borne into the true life-the life of eternity! Those who loved him best rejoice at his release from labour-never remunerated in proportion to the pleasure it gave-never in a way at all commensurate with the enormous profit it produced-seldom, perhaps, thought of by those whose hearts it opened. Latterly his dear friends had been agonized by his terrible lament-"I cannot die! I cannot die!" Such friends were thankful to lay him, on the 10th of May, in a calm grave at Kensall-green. It will not, we are sure, be long before a monument is raised to his memory; and there are hearts enough in England to remember that his widow and two children have but the hundred a year to subsist on-bestowed by Sir Robert Peel, whose letter, in words which did him honour, conveyed the request that he might be permitted to make the personal acquaintance of one whose works and whose character he had long admired and appreciated. In this generous wish and hope he was destined to be disappointed,-but Honour and glory to a great statesman with a good heart! Such men are worthy almoners of genius! LITERATURE. SYBIL; OR, THE TWO NATIONS. By B. are sure that to many, who from a habit of listDisraeli, M.P., Author of "Coningsby." (Col-lessness would be deterred from investigating burn 3 Vols.)-Most rare in combination are the subject if presented in a less attractive form, the elements which have produced this work. the reading of "Sybil" will be like the pouring "Political" is a word so vulgarized that to call of a flood of light upon their souls. And it a political novel would not be doing it justice. besides the mass of information it really conPolitics it is true should be founded on true tains, and the high purpose which breathes philosophy, and this is the production of a pro- a spirit through it, in construction it is a most found as well as a brilliant mind-of one who artistic work. The female politicians, from the can be practical as well as a theorist-of one aristocratic Lady St. Julians down to the Misses who can both examine the past and pierce into Caroline and Harriet-ready to dare everything the future-of a scholar, yet one who possesses for the five points of the Charter-are sketched a better knowledge than ever was gained from with the raciness of true humour, reminding us books; one, in short, whose mental vision is that it is strong enough to look at the truth wherever it dwells. The book is of the Coningsby class, yet deeper, truer, and even yet more full of generous sympathies, and more a clear development of a lofty purpose than that powerful story. "The Two Nations" are the RICH and the POOR; and the work opens at the period of our beloved Queen's accession, and passing through the Chartist riots comes down almost to the present hour. What a field is this-and to those who take an intense interest in those passing events which shall form future history (and what thinking beings do not?), how much more heart-stirring is such a picture than the most life-like resuscitation of bygone times--the barbarous yet romantic ages of chivalry—or even fiercer, sterner eras! The cry of the suffering is heard at last; and, though it be yet feeble, it is growing each year, each month, more clear and distinct. The rich bend down their ears to listen to it; and they open their eyes to look upon the scenes so long sealed up, as if by magic, within the factory walls, or in the loathsome thronging mines. The good and wise may-must differ, among themselves as to the manner in which their philanthropic plans should be carried out; but, out of the very agitation this causes, good comes forth. We "A pity when charming women Talk of things which they don't understand." Lord Marney, painted in those subdued colours so necessary for a perfect delineation of the character, is a perfect embodiment of selfishness, throwing altogether into the shade the hero of a recent novel, which takes its name from this attribute. Morley and Gerard are yet more powerful delineations. The dying words of the former-"The world will misjudge me; the man of peace,' they will say, 'was a hypocrite.' The world will be wrong, as it always is!" convey a life's history. "The world will be wrong, as it always is!" best so, after all: what right has it to a knowledge of the secret, sacred springs of action? What a rare portraiture is Sybil !—“A woman, yet a spirit too!"-seeming sometimes, like a saint of her own fallen church, to be set apart and worshipped; and sometimes a creature to be clasped as a loving fellow-mortal. She is a type of what woman may be in this nineteenth century—and even, we believe, without a convent's careful rearing. From the author of "Contarini Fleming," "Henrietta Temple," "Coningsby," &c., nothing but a work of high and varied merits could be expected; but expectation "Three years?' exclaimed Sybil, starting; are affairs riper now?' "The whole of Lancashire is in revolt,' said Gerard. There is not a sufficient force to keep them in check. If the miners and colliers rise-and I have cause to believe that it is more than probable they will move before many days are past-the game is up.' 66 You terrify me,' said Sybil. "On the contrary,' said Gerard, smiling, the news is good enough; I'll not say too good to be true, for I had it from one of the old delegates, who is over here to see what can be done in our north countrie.' "Yes,' said Sybil, inquiringly, and leading on her father. "He came to the works; we had some talk. There are to be no leaders this time, at least no visible ones. The people will do it themselves. All the children of labour are to rise on the same day, and to toil no more till they have their rights. No violence, no bloodshed; but toil halts, and then our oppressors will learn the great economical truth as well as moral lesson, that when toil plays wealth ceases.' "When toil ceases the people suffer,' said Sybil ; 'that is the only truth that we have learnt, and it is a bitter one.' "Can we be free without suffering?' said Gerard. 'Is the greatest of human blessings to be obtained as a matter of course—to be plucked like fruit or seized like a running stream? No, no; we must suffer, but we are wiser than of yore-we will not conspire. Conspiracies are for aristocrats, not for nations." "Alas, alas! I see nothing but woe,' said Sybil. 'I cannot believe that after all that has passed, the people here will move. I cannot believe that after all that has passed, all that you, that we, have endured, that you, my father, will counsel them to move.' louder ring. He waited patiently for several minutes; there was no reply from the interior, and then Tummas knocked and rang again. "It's very awful,' said the comely dame. "It's what I always dreamt would come to pass, said Liza Gray, 'ever since Master Joseph cut m poor baby over the eye with his three-foot rule.' "I think there can be nobody within,' said Mrs. Prance. "Old Diggs would never leave the tommy without a guard,' said Mrs. Page. "Now lads,' said Tummas, looking round and making a sign, and immediately some half-dozen advanced with their crowbars and were about to strike at the door, when a window in the upper story of the house opened and the muzzle of a blunderbuss was presented at the assailants. The women all screamed and run away. "'Twas Master Joseph,' said the comely dame, halting to regain her breath. "Twas Master Joseph,' sighed Mrs. Page. """Twas Master Joseph,' moaned Mrs. Prance. "Sure enough,' said Mrs. Mullins, I saw his ugly face.' More frightful than the great gun,' said old Dame Fiddles. "I hope the children will get out of the way,' said Liza Gray, for he is sure to fire on them.' "In the meantime while Master Joseph himself was content with his position and said not a word, a benignant countenance exhibited itself at the window and requested in a mild voice to know what his good friends wanted there.' 666 We have come to settle Sam Barlow's tommy book,' said their leader. "Our shop is not open to-day, my good, my good friends; the account can stand over: far be it from me to press the poor.' 666 "Master Diggs,' said a Hell-cat, canst thou tell us the price of bacon to-day?' "Well, good bacon,' said the elder Diggs, willing to humour them, may be eight-pence a pound.' "Thou art wrong, Master Diggs,' said the Hellcat; 'tis four-pence and long credit. Let us see half-a-dozen good flitches at four-pence, Master Diggs; and be quick!' "There was evidently some controversy in the interior as to the course at this moment to be "I counsel nothing,' said Gerard; it must be a great national instinct that does it. But if all Eng-pursued. Master Joseph remonstrated against the land, if Wales, if Scotland won't work, is Mowbray to have a monopoly?' "Ah! that's a bitter jest,' said Sybil; England, Wales, Scotland will be forced to work as they were forced before. How can they subsist without labour? And if they could, there is an organised power that will subdue them.'' The next describes an outbreak of the rioters' vengeance against the keeper of a tommy-shopthose instruments of cruelty and injustice who cheat the workpeople, and by an infamous system absolutely rob the toil-wearied of their earnings. By the tommy arrangement they are compelled to take goods instead of money. "The Hell-cats briskly marched up to the elm trees that shaded the canal before the house, and then formed in line opposite to it. They were armed with bludgeons, crow-bars, and hammers. Tummas was at the head, and by his side his Woodgate wife, stepping forth alone, amid the cheering of the crowd of women, the pupil of the Bishop advanced to the door of Diggs' house, gave a loud knock and a policy of concession, called conciliation, which his father would fain follow, and was for instant coercion; but age and experience carried the day, and in a few minutes some flitches were thrown out of the window to the Hell-cats, who received the booty with a cheer. The women returned. 'Tis the ten-pence a pound flitch,' said the comely dame, examining the prize with a sparkling glance. "I have paid as much for very green stuff,' said Mrs. Mullins." Presently they proceed to violence. A child is killed by Master Joseph; and, as if by one will, the tommy-shop is set on fire. "Everything indeed that could stimulate the fire was employed; and every one was occupied in the service. They ran to the other side and plundered the barges, and threw the huge blocks of coal upon the enormous bonfire. Men, women, and children were alike at work with the eagerness and energy of fiends: the roof of the house caught fire; the dwelling burnt rapidly; you could see the flames-like the tongues of wild beasts-licking the bare and vanishing walls. A single being was observed amid the fiery havoc; shrieking and desperate he clung convulsively to a huge account-book. It was Master Joseph. His father had made his escape from the back of the premises, and had counselled his son instantly to follow him; but Master Joseph wished to rescue the ledger as well as their lives, and the delay ruined him. "He has got the tommy-book,' cried Liza Gray. "The glare of the clear flame fell for a moment upon his countenance of agony; the mob gave an infernal cheer; then some part of the building falling in, there rose a vast cloud of smoke and rubbish, and he was seen no more." THE STUDENT AND YOUNG MAN'S ADVOCATE. Nos. IV. and V.-(Aylott and Jones, Paternoster-row.)—The April and May numbers of this magazine are before us, and we feel anxious to make our readers acquainted with the existence of such a periodical. We have always endeavoured, to the best of our humble ability, to advocate the cause of the oppressed, and for this reason we have brought forward more than once the evils of the "late hour system." Thanks almost entirely to the active and judicious exertions of the "Metropolitan Drapers' Association," great amelioration has taken place in many quarters, although the thinking and humane are well aware that there is ample room for further concessions on the part of employers and the public; we say the public, because, while people will purchase in the evening, the spirit of competition almost compels shopkeepers to remain open. "The Student" is a magazine of literature, science, and art, devoted to the interests of trade, and published under the superintendence of the " Metropolitan Draper's Association." This is one of the many proofs daily afforded, that however individuals enervated and corrupted by the system of which they have been victims-may abuse the privilege of rational leisure, the mass know how to use it nobly, and become by it wiser, happier, better, and more useful members of society. 66 66 SACRED VERSES, WITH PICTURES. Edited by the Rev. Isaac Williams, B.D.—(Burns.)— Intended doubtless for the young, this is a publication worthy the portfolio of a Christian, from its subject, and of a lover of art from the exquisite wood engravings which illustrate, or are illustrated by the text. Many of them are after Albert Durer, and it is surely no mean thing thus to familiarize the productions of that great master. "The Guardian Angel," "The Widow of Nain," The Flight into Egypt," and Washing the Disciples' Feet," have pleased us greatly; but of the dozen subjects which comprise this first part there is not one without merit. There is a singularity in the manner of publication, which we think an excellent plan. Instead of being presented as a bound book, each subject is perfect and distinct on a separate sheet, admitting of being bound together if it is desired, but suiting the portfolio in their present condition. The enterprising publisher, however, is distinguished by so much artistic taste, that one always looks for novelty as well as merit in the works he introduces to the public. BOOKS RECEIVED. Tales from the Eastern Land. The London Medical Directory. FINE ARTS. EXHIBITION OF THE ROYAL The first thing which strikes one on looking over the list of exhibitors for 1845, is, that some of the great names before whose works crowds always gather, are either deserters altogether, or give us but a single picture. No gorgeous scene by Maclise, and only one by Eastlake, but then this is as exquisite as-all imitations of his style are detestable. Only one contribution from Edwin Landseer, about which the critics seem to differ for our own part we think it tells its story vaguely, and is below the average of this great artist's works; though, true it is that the dogs and some of the sheep, taken singly, are perfect studies: the fault seems a want of relief in the whole. Etty has some glorious things; but let us come to them in order. No. 7. Portrait of a lady, by Mrs. Carpenter. One of the most finished portraits in the room; the drapery of the shot silk is wonderful. 11. "The Governess;" R. Redgrave. Almos a copy of his last year's "Teacher," and inferior. 12. "Aurora and Zephyr;" W. Etty. Exquisite. 16. "The Parting of Sir Thomas More from his Daughter;" S. A. Hart. A fine picture; the expression of sadness in the face of the dying man comes out as you gaze, yet the countenance of Margaret Roper does not reach our ideal of her character. "Portrait of George V. Drury, Esq.;" by T. C. Thompson. One of the most admirable likenesses we ever saw, conveyed in that life-like and agreeable manner in which this artist so much excels. He also contributes a portrait of Professor Buckland, one of Mrs. Drury—in both of which we trace the same excellenceand a large historical painting of the embarkation of George IV. from Dublin. the last, however, we spoke at length some time ago. Of 65. "The Mole at Ancona, with Trajan's Arch;" C. Stanfield. An effective picture, conveying the idea of absolute reality. 66." Portrait of Mrs. Thwaytes;" A. E. Chalon. An immense picture, in which the first thing which strikes the eye is a gay carpet, and the second the lady's jewelled stomacher; there is a marvellous amount of gorgeous and elaborated auxiliaries-enough to dazzle the eye, and quite withdraw it from the pleasing, goodnatured face which is represented. The portrait of the Marchioness of Ailsbury, by the same artist, is also eccentric; but this is in better taste, and every way successful. Nos. 50, 77, 117, 162. "Eccentricities;" by Turner: to which he has afforded names out of compassion to those purblind ignorami, who, like ourselves, do not comprehend his latter productions. So great a painter is entitled to all respect, and truly our remarks need not of necessity be taken ironically. 91.Portrait of a Lady;" M. Mulready. A bad picture in a good place; why was it not hung in the " condemned cell, and some one of the really good things brought here from that murky den? 97." The Indian Alarmed;" W. Etty. of the gems of the exhibition. 142. Sand Asses;" by J. Ward. one a perfect study. One Either 145. "A Sketch, painted in 1830." W. Mulready. A small picture of a country boy, with a little child on his knee, in a cottage home with the Bible before them. Exquisite in conception, and in all its details; the chubby hands upon the book are full of infantine expression. 176. "Portrait of Master Evelyn Fairlie;" T. Mogford. An interesting portrait, contrasting favourably with the numbers of children, who look like little actors. 194. "Portrait of Count D'Orsay." Of himself admirably painted. 206. "Portrait of Professor Owen;" H. W. Pickersgill. One of this clever artist's most successful and interesting portraits. "Sketch from Southey's Thalaba;" H. Howard. Displaying a Dante-like imagination. 228. "Miss Singleton;" F. Grant. The most graceful, feminine, and every way captivating portrait here. 272. "The Wood-nymph's Hymn to the Rising Sun;" F. Danby. The English should be proud of such a painter as Danby. This is a magnificent production; the rosy light of morning, bathing every object with its life-giving flood, has a poetry beyond the power of feeble words to describe. 514. "God save the King," Righ Shanus gu bra; R. R. M‘Ian. One of M'Ian's most interesting pictures. A Jacobite in Prison, probably on the eve of execution, if we may judge from the anguish of the wife and mother who are visiting him. But the ruling loyalty, strong in death, he is teaching the toast-with goblet raised aloft-to his child, an eager boy of four or five years old. Every figure is full of powerful expression. 292." Scene in Lord Chesterfield's ante room in 1748;" E. M. Ward. As the crowd perpetually round this picture render it a somewhat difficult matter to approach it, we advise all those who have attained a good position to keep it for a sufficient time to take in the many beauties of this work. The picture is founded on the incident alluded to in Dr. Johnson's celebrated letter to Lord Chesterfield, in which he says, "Seven years, my lord, have now past since I waited in your outward rooms, or was repulsed from your door." The scene is the outer room; to the left is a group consisting of a divine, whose weariness is evinced by the infectious yawn, while another figure, one of his country's defenders, is drawing forth his watch with a gesture of despair. A widow and her child are also here beside the stern lexicographer, who seems to rest on the consciousness of his own power. On the right of the picture we find the favoured party, the fine lady an actress probably; the dancing master, &c. &c., who have been honoured with an early audience, while through the open door my lord is just visible in the distance, receiving the obsequious bow of one of the genus. A little dog seems interrogating the more sober party with a sagacious "What do you here?" But pictures can never be described, and such a one as this least of all. It is the astonishing power of expression which constitutes the chief charm of a production on which we congratulate an artist who has executed too many admirable things to need praise from us. It is a most suggestive picture, suggestive of reflections in which we have neither time nor space to indulge; both warn us to draw our hasty remarks to a close; for after all, we pretend only to a gossip about the pictures which have pleased us most. Even as it is, we find our catalogue scored in fifty places, where we cannot pause for comment; yet we must not forget our regret that Mr. Fisk's charming picture should be buried in the Octagon room (why do they not shut it up altogether, to spare any artist the mortification of finding his picture there, or condemn to it all the stupid pieces of still life, as a punishment for the execrable waste of time and ingenuity bestowed on them?). The subject he has chosen is one that has often afforded inspiration to the painter, but has seldom been so successfully treated as now-Sir Roger de Coverley, Will Honeycomb, &c.; the scene is from No. 410 of the Spectator-Sir Roger banding Sukey through the rain, across the Temple cloisters. The story is admirably told in all its detail; the lounging lookers-on are to the life, and the slippery pavement and sundry inconveniences of the shower are auxiliaries rendered with surprising effect. Among the miniatures, those of Thorburn unquestionably carry off the palm. There is a breadth and vigour about this artist's works which distinguish him, in our opinion, from all his rivals. No. 993 is a charming portrait by Miss Johnson. No. 1055, portraits of the children of G. Lovell, Esq., by Miss Richter, is an interesting and well-executed work. Nos. 711, 790, 887, 1035, are portraits by Miss Augusta Cole, all displaying the delicacy and finish of this accomplished artist. The last is a work of a high order; reminding us of the style of Sir Joshua Reynolds. In a different style, we miss a favourite painter: there is nothing this year from the pencil of Valentine Bartholomew. Has he been too idle, or too busy to contribute, or what? though assuredly his two matchless pieces, the Holyhocks and Dahlias, at the Old Water Colour Gallery, evince what last year we should have called impossible-progress in a style which we thought he had brought to perfection. ture (No. 81) of "Ferdinand visiting Rubens, at Antwerp." Here we have all the depth of oil painting, and the peculiar brightness of water colour. This is a remarkable picture, on account of this combination. In the face of the female (the wife of Rubens?) the working is too marked; but for this it would be the finest piece of art in the room. Mr. E. H. Wehnert has several creditable pictures here. His "Bianca and Lucentio" (100) is a charming piece, the lady and her lover studying anything but the ample tome before them; of a higher class is his "Prisoner of Gisors," to which we referred before (61). Mr. Fahey, Secretary to the So Cox, jun., has shown not only industry, but ability; his Welsh scenes are nature herself. Mr. Edward Corbould has been very successful; his "Ascension" (266) belongs to a very high degree of art, and shows not only good colouring, but admirable drawing, and much judgment in treating a subject upon which the pencil has been so repeatedly employed. Mr. George B. Campion's Irish scenes are of high merit, his "Irish Dance" (255), (albeit a little too warm in tone, is a lively and characteristic sketch. Mr. C.H.Weigall, whose improvement has been rapid and marked, has several good pieces in the present exhibition: the best treated of them all is a scene from Peregrine Pickle (250). In the sculpture room, Mr. Lough's statue of the Queen is conspicuous; but to this we re-ciety, has several clever landscapes. Mr. David ferred at length last month, and his other works now exhibiting have been alluded to more than once in our columns. A nymph preparing for the bath, by E. H. Baily, is a statue displaying a high ideal of art. Among the busts we were particularly pleased with those of the Marquis of Anglesea, by C. Moore, that of Mr. Thorburn, by J. Edwards, and that of the Rev. T. J. Judkin, by Baily; the last an admirable likeness, as we can vouch. While speaking even thus hurriedly of sculpture, we may mention that a rare work of art will be for another week or so under the care of Messrs. Graves & Co., Pall Mall, where their friends may see it. It is the statue of a Greek slave, executed, by command of an English patron, by Mr. Hiram Powers, a young American artist, now residing in Florence. This is his first great work, and we learn that a high authority has predicted that it is a creation which will form an era in modern art. For chaste expression and feminine loveliness, it seems to us well nigh unrivalled. The mingled air of dejection and shame renders it almost painfully touching. EXHIBITION OF THE NEW SOCIETY (Second Notice.) The ladies have contributed a fair share to this fine collection. Miss Louisa Corbaux is entitled to the pas, her " Prayer" (179) being of the first quality. Miss Setchell, Mrs. Harrison, Mrs. Margetts, and Miss Laporte also merit favourable notice. There is a beautiful picture by Miss Fanny Corbaux (48), called "A very particular Confidence," which is not only beautifully executed, but has the merit, which pictures do not always possess, of telling its own story. As we noticed this Exhibition last month, we shall not now say any more about it. Our design was to point out a few pictures which, having won our own good opinion, we thought we might particularly point out to our readers. Very many which we have not mentioned are worthy of the highest praise, indeed there is scarcely one downright indifferent painting among the 318 works of art which form the British skill-we might even use the word genius-has elevated water colour paintings far above what the most enthusiastic admirers of the art could have anticipated a few years ago; for example, in this exhibition, M. L. Haghe's pic-present exhibition. |