Let the old bachelor, who 'longs but fears to marry,' perpend the annexed invitation to matrimony:

'Some of my contemporaries have supposed that the estate of a Benedict forbiddeth the resident therein to disport himself as aforetime, in the flowery fields of fancy, and to ambulate at random through the remembered groves of the academy, or the rich gardens of imaginative delight. Verily this is not so. To the right-minded man, all these enjoyments are increased; the ties that bind him to earth are strengthened and multiplied: he anticipates new affections and pleasures, which your cold individual, careering solus through a vale of tears, with no one to share with him his gouts of optical salt water, wots not of. As a beloved friend once said unto me: 'When a good man weds, as when he dies, angels lead his spirit into a quiet land, full of holiness and peace; full of all pleasant sights, and 'beautiful exceedingly.' One's dreams may not all be realized, for dreams never are; but the reality will differ from, and be a thousand fold sweeter, than any dreams; those shadowy and impalpable though gorgeous entities, that flit over the twilight of the soul, after the sun of judgment has set. I never hear of a friend having accomplished hymenization, without sending after him a world of good wishes and honest prayers. Amid the ambition, the selfishness, the heartless jostlinq with the world, which every son of Adam is obliged more or less to encounter, it is no common blessing to retire therefrom into the calm recesses of domestic existence, and to feel around your temples the airs that are wafted from fragrant wings of the Spirit of Peace, soft as the breath which curled the crystal light

——'of Zion's fountains, When love, and hope, and joy were hers, And beautiful upon her mountains, The feet of angel messengers.'

No common boon is it—we speak in the rich sentence of a German writer—to enjoy 'a look into a pure loving eye; a word without falseness, from a bride without guile; and close beside you in the still watches of the night, a soft-breathing breast, in which there is nothing but paradise, a sermon, and a midnight prayer!'

Here is a specimen of 'the show-man's trick,' which, as old MATTHEWS used to say, 'made a great laugh at the time:'

'It is diverting in the extreme to observe the pompous grandiloquence in the advertisements of the amusement-furnishing public, about Christmas and New-Year. Sublimity glares from the theatrical hand-bill, and the menagerie affiche. Curiosities, then, have a 'most magnanimous value.' I remember, not long ago, that I desired a lovely lady, a French countess, to accompany me to a Zoological Institute, to behold an American Eagle. I was pleased at the expressed wish which led me to make the invitation, and proud of the prospect of showing a living emblem of our country's insignia to one who felt an interest in the subject. The bills of the institute set forth, that 'the grand Columbia's Eagle was the monarch of its tribe, measuring an unprecedented length from the tip of one wing to the other, in full plumage and vigor.' The countess had never seen but one eagle, in the Jardin des Plantes at Paris, and that was a small one, and ungrown; so that her anticipations of novelty were as great as mine. We went, and with interesting expectancy, asked of the president of the institute, who was engaged in the noble pursuit of feeding a sick baboon with little slips of cold pork, to discover to us 'Columbia's eagle.' He marshalled us to the other end of the institute, past the cages of lions, bears, libbards, and other animals—among which was a singular quadruped, with six legs—to the cage of the eagle. 'There,' he exclaimed, with professional monotony, 'there is the proud bird of our country, that was caught in the West, and has been thought to have killed many animals in his life-time. He was five hours and twenty-three minutes in being put into the cage, so strong was his wings. Look at him clus. He'll bear inspection. Jist obsarve the keen irish of his eye.'

'An involuntary and hearty laugh from us both, followed the sight, and the announcement. It was a dismal looking bird, about the size of a goodly owl, with a crest-fallen aspect, the feathers of the tail and wings dwindled to a few ragged quills; and the shivering fowl, standing on one leg, looked with a vacant, spectral eye at his visitors. Nothing could be so perfectly burlesque, and we enjoyed it deeply and long. I shall never be deceived by show-bills again.'

The following must close our quotations. We venture to say that it describes a scene which many a reader has more than once witnessed:

'Talking of a man's making a hero of himself, reminds me of an old friend of mine, who is fond of telling long stories about fights and quarrels that he has had in his day, and who always makes his hearer his opponent for the time, so as to give effect to what he is saying. Not long ago I met him on 'Change, at a business hour, when all the commercing multitudes of the city were together, and you could scarcely turn, for the people. The old fellow fixed his eye on me; there was a fatal fascination in it. Getting off without recognition, would have been unpardonable disrespect. In a moment, his finger was in my button-hole, and his rheumy optics glittering with the satisfaction of your true bore, when he has met with an unresisting subject. I listened to his common-places with the utmost apparent satisfaction. Directly, he began to speak of an altercation which he once had with an officer in the navy. He was relating the particulars. 'Some words,' said he, 'occurred between him and me. Now you know that he is a much younger man than I am; in fact, about your age. Well, he 'made use of an expression' which I did not exactly like. Says I to him, says I, 'What do you mean by that?' 'Why,' says he to me, says he, 'I mean just what I say.' Then I began to burn. There was an impromptu elevation of my personal dandriff, which was unaccountable. I didn't waste words on him; I just took him in this way,' (here the old spooney suited the action to the word, by seizing the collar of my coat, before the assemblage,) 'and says I to him, says I, 'You infernal scoundrel, I will punish you for your insolence on the spot!' and the manner in which I shook him (just in this way) was really a warning to a person similarly situated.'

'I felt myself at this moment in a beautiful predicament; in the midst of a large congregation of business people; an old gray-headed man hanging, with an indignant look, at my coat-collar; and a host of persons looking on. The old fellow's face grew redder every minute; but perceiving that he was observed, he lowered his voice in the detail, while he lifted it in the worst places of his colloquy. 'You infernal scoundrel, and caitiff, and villain,' says I, 'what do you mean, to insult an elderly person like myself, in a public place like this?' and then, said he, lowering his malapropos voice, 'then I shook him, so.'

'Here he pushed me to and fro, with his septuagenarian gripe on my collar, as if instead of a patient much bored friend, I was his deadly enemy. When he let go, I found myself in a ring of spectators. 'Shame, shame! to insult an old man like him!' was the general cry. 'Young puppy!' said an elderly merchant, whose good opinion was my heart's desire, 'what excuse have you for your conduct?'

'Thus was I made a martyr to my good feelings. I have never recovered from the stigma of that interview. I have been pointed at in the street by persons who have said as I passed them, 'That's the young chap that insulted old General ——, at the Exchange!'

We should not omit to state that the publishers have done ample justice to the work. It is beautifully stereotyped and printed upon new type and fine white paper, and the numbers are enclosed in very neat and tasteful covers. The work we are glad to say meets with a liberal and constant sale.

ITALY AND THE ITALIANS. In a Series of Letters. By J. T. HEADLEY. In one volume, pp. 64. New-York: I. S. PLATT.

Mr. PLATT has commenced a series of publications, at a moderate price, which should secure a liberal share of the public favor. These 'Letters,' which form the initial number, are replete with interest. Many of them appeared in the original foreign correspondence of the 'Tribune' daily journal, where they excited the admiration of the press, and 'the people' whom the press represents; but a large portion now see the light for the first time. Mr. HEADLEY has not given us, in tiresome detail, minute descriptions of galleries of art and public edifices; although his description of St. Peter's at Rome, (a 'nice building, with a dome handsomely scooped out,') is the most vivid picture of that world-renowned structure that we ever perused. He has wisely chosen rather to illustrate the people and country by things perhaps trifling in themselves, but which give to the reader a constant succession of 'sketches from Nature,' which are not only very pleasant to read, but which it is quite evident are exceedingly faithful. 'The condition of the people,' in short, 'occupies more space than the condition of art, simply because the latter is well known, while the former is almost wholly neglected.' Briefly, for 'brief must we be,' the book affords what Mrs. RAMSBOTTOM would call 'a supreme cow-dyle' (coup d'oeil) of 'Italy and the Italians,' and is presented in a dress worthy of its internal merits.



EDITOR'S TABLE.

OUR old friend and correspondent 'HARRY FRANCO' cometh late, but he can never arrive too late to be welcome. Let us hope only that he will not object to being placed as it were 'below the salt,' instead of being seated with his peers at the more conspicuous board of the 'regulars.' He has deftly touched a fruitful theme, at which we have more than once hinted in this department of the KNICKERBOCKER.

THE IMPUDENCE OF THE FRENCH.

KEEP your tempers, Messieurs; we shall not quarrel. There is a difference between Impudence and Impertinence. The two words are often used synonymously by the vulgar, but they are no more alike than any other two words that begin with an I. 'When we behold an angel, not to fear is to be IMPUDENT,' says DRYDEN: 'We should avoid the IMPERTINENCE of pedants,' says SWIFT. These two great masters of the English tongue have well defined the difference between the two words. There is always an air of confident greatness about impudence that wins respect, and not infrequently success. ALEXANDER was assuredly the most impudent man of his time; so was CAESAR; so was LUTHER. Even now, when half the human race has grown impudent, we cannot but wonder at the impudence of that obscure monk. GALILEO, too, was a very impudent fellow until the well-bred 'Rev. and dear Sirs' of his time taught him modesty. And CROMWELL! what an Arch-Impudence was he! And NAPOLEON! he put Impudence itself to the blush. And have there been no Impudences among us? It cannot be denied that our Fourth-of-July-men made a very impudent declaration, to say the least of it. But these were all individual instances. The French are impudent as a nation. They have no sense of modesty. They insist that all the world shall eat French, drink French, talk French, dance French, and dress French. Did ever any traveller visit a city or town in any quarter of the globe in which a Frenchman had not set up a restaurant? FANNY ELLSLER was astonished when she landed at the American Hotel, to find that her dinner had been prepared by a Parisian cook; and yet she had come over here to show us her French steps. Simple Fanny! How did she think we could live without French cookery, if we could not live without French dancing? What traveller has ever visited a remote village that a French modiste had not visited before him? Is it possible to dine any where, without having a French bill of fare thrust into your hand, and some dish with an a la under your nose? Is there a living being in any part of the world willing to make oath to having visited a ball-room or a church without encountering a French dress or a French bonnet? The Quakers cannot; they would as soon wear scarlet ribbons as any other than French gloves and French muslins.

Untravelled New-Yorkers as they walk through Broadway, and see the names of Madame Grand-this and Mons. Grand-that 'from Paris,' over every other shop-door, and see the French shoes, the French gloves, the French chocolate, the French clocks, the liqueurs, the bon-bons, the bijouterie, the meringues, the pates-de-foi-gras, in the windows, may think that the Gauls have marked us for their 'own peculiar;' but it is so in St. Petersburgh, 'tis so in Constantinople, 'tis so in Lima, in the Banda Orientale, in Rio, in Mexico, in Montreal, in London, in Vienna, in Boston, in Philadelphia, in Grand Cairo—'tis so all over the earth. The Sorbonne and the Louvre rule the world. Can any body be tired, or weary, or dumpish? No. We must be ennuyeed, or blaze, or fatigue, or something else ending in e. Does any lady ever give an evening party? No. Nothing but a soiree. Are there any more gatherings of friends? No; only reuenions. Is it possible to dance a cotillion in English? Is there any body in New-York with sufficient moral courage to sleep upon any thing short of a French bed-stead? Is there a chamber-maid who will lie upon any thing less than a paliastre? Are there any more fat, or plump, or round, or full people? No. Even Falstaff would be inclined to embonpoint if he were alive, in these days of Gallic supremacy. Well might VICTOR COUSIN and the rest of them declare that the French were not defeated at Waterloo. The allied armies entered Paris it is true, but they made their Exodus in slavery. The English, Germans and Russians went home from France manacled with French fashions, and not a soul of them has dared to assert his independence since.

We are by no means sure that French cookery has not done more to preserve the peace of Europe, during the last twenty years, than all other causes put together. It is impossible to think of a war with France. The mind staggers under the supposititious case of the nations of the earth deprived of French bon-bons. Imagine the commerce with France suspended! Who would perfume us? who feast us? who dress us? Where would our gloves come from? what should we do for slippers? how should we be off for soap? Would there be any more ribbons? any more brandy fruits? any more meringues? any more chocolate? Where should we look for another BLANCARD, another FAUVEL-GOURAUD? Would there be any more dancing? any more fashions? any more any thing? The true Mysteres de Paris nobody knows any thing about but the Parisians themselves, and they are too cunning to pronounce their open sesame loud enough to be heard by the rest of the world. How like gudgeons we all snapped at the bait of EUGENE SUE! But the Mysteries of Paris are written in a kind of Parisian Coptic, which none but the Parisian can read.

The English eat, or at least a portion of them do, and they cook, but who ever heard of an English eating-house, or of an English cook? We have heard of DOLLY'S chop-house, but its reputation was gained by the quality of its guests rather than the merit of its cooks. For aught the world knows to the contrary, there is not an eating-house in any of the European capitals beside Paris. But every body knows the names, the situation, and even the carte du jour of at least a dozen restaurants in the French capital without ever having been there. The 'Rocher' is as well known as the Rock of Gibraltar, and Very and Chatelain have reputations as extended as those of Guizot and Theirs. Vatel is more famous than Vattel, and the cook will doubtless be remembered when the philosopher is forgotten: he will never die, at least, while the memory of Sevigne lives.

Not long since we saw on a sign-board, stuck up at the entrance of a cellar on the corner of Reade-street and Broadway, 'Au Rocher de Cancale,' painted in very soup-maigreish looking letters, with an attempt at the representation of an oyster-shell. Now look at the impudence of the thing; at the Frenchiness of it! Here we are with our Prince's Bays, our York-rivers, our Mill-ponders, our Shrewsburys, and Blue pointers, a shilling's worth of either worth all the shell-fish that ever grew on the French coast; and this Parisian sets up his sign in the midst of these marine riches, with a 'ROCHER DE CANCALE!' No other nation could have been guilty of such arrogance. No Englishman has ever had the temerity to insult us with an allusion to his dirty 'natives.'

What would be thought of an American who should have the presumption to open a House of Refreshment in the Rue St. Jacques or the Palais Royale, and announce to the Parisians that he would serve up for them Prince's Bay oysters, fried, stewed, roasted or in the shell; clam soup, pumpkin-pies, waffles, hoe-cakes and slap-jacks, or mush-and-milk and buck-wheats? Would the most inquisitive or most vulgar man in France venture within the doors of a house where such barbarisms were perpetrated? But why not, Monsieur? Why not, as well as for us to crowd the salons of the Messieurs who tempt us with their equally outlandish carte a manger, or who exclaim to us when we enter:

'MON salon est toujours gami, Et mon buffet bien assorti, Ou vante mon chablis, Mes huitres, mes radis, Ainsi que raes salmis De perdrix:

Mes godiveaux au ris; Mes tourtes, mes hachis; Fameux palis, gros et petits; Boeuf au naturel, au coulis; Papillotes, Gibelotes, Matelotes, Fines compotes,' etc., etc.

Why should not we send over some of our JENNINGSES and STETSONS, our BERGALEWS and DOWNINGS, to repay our French friends for their many favors, and instruct them in the art of making pumpkin-pies and eating canvass-back ducks? The French at present know little more about us than that Doctor FRANKLIN made lightning-rods, and that COOPER writes Indian novels. They eat nothing that we raise, they wear nothing that we make, they adopt none of our fashions, they use none of our phrases. You would look in vain in the carte of any restaurateur in Paris for such delicacies as apple-dumplings or corn-bread, and you might call in a Parisian cafe until you were hoarse, for a 'cobbler' or a julep, without getting either. Yet our uppish people will eat nothing, drink nothing, wear nothing that is not French. We have been told of certain brokers in Wall-street who import even their desserts from Paris; not their deserts, my friend, for the guillotine is the only French thing which we don't imitate or import. No wine is fit for our tables without the prefix of a chateau something; every thing that is composed of wool is something de laine, and all our clothes are made of drap de this or drap de that.

But let us not paint our Gallic friends a shade darker than they deserve. They have taught us the use of napkins and silver forks; they give us the best perfumery in the world, and make the best gravies for our meats. What is the privilege of writing the songs of a nation, compared with the privilege of setting its fashions? The supremacy of the French in all matters of taste is not the effect of accident. Why do they rule the world by their elegancies? There is a philosophy in these things, as well as in every thing else, which is worthy of grave consideration.

The secret of French authority lies in the simple truth that they count every thing worthy of being well done which is worth doing at all. We have grades of usefulness. Not so with them. Whether they make a pate or build a palace, it is a grave matter; and the consequence is, that their pates as well as their palaces excel those of the other kingdoms of Europe. The Louvre is as much superior to Buckingham Palace as a Charlotte-Russe is to a Yorkshire pudding. Cookery and Architecture are the first arts practised by mankind, and the last in which they arrive at perfection. The French excel all other nations in both. The condition of one art might be ascertained with precision by examining the state of the other in any part of the world, or in any age. When cooks served up pastry with peacocks' tails sticking out of the top crust, architects built gothic churches and campanile towers. Penault and Vatel ornamented the same age. One built a palace and the other cooked a dinner, and they are both immortal. It would be no difficult matter to guess at the extravagance and unhealthiness of our kitchens, from a glance at our Exchange and Custom House. The ponderous marble and granite boulders in these senseless structures have their correspondents in many a lump of indigestible food; and the bizarreterie of the new Trinity Church have their correspondents in many a temple composed of macaronis and cocoanut candies.

We have grades of usefulness, but it is no easy matter to discover the principles upon which our scale of respect is graduated: money is not always the test of merit; it matters how you get it. If you earn it yourself, it will not entitle you to half the respect it would if your father or grandfather earned it for you. Any occupation which soils the hands or the clothes, is looked upon with disfavor by the upper classes. A broker who never does any thing that is either useful or ornamental, grows nothing, invents nothing, imagines nothing; who instructs nobody, amuses nobody, enriches nobody; who leaves the world in the same condition that he found it, may be called a gentleman, visit in the first circles, have those mysterious letters, E.S.Q., written after his name, and if he is rich, will be elected a member of more societies than will be agreeable to him. But a wig-maker who has invented a new spring for a toupee, or a new dye for the hair, and thereby really done mankind a service, could no more get into the first circles with us than he could go to heaven, like Mahomet, on the back of an ass. Shoemakers' wives and bakers' daughters are people of whose acquaintance nobody ever speaks boastingly. I once knew the nephew of a barber who always blushed when his uncle was named in his hearing. But an attorney's lady, or a banker's daughter, are often paraded in an ostentatious manner before one by their friends, and I have never known the nephew of a soldier-officer, whose business is to take people's lives, blush at the profession of his relative. It cannot be expected that men will labor in callings that gain them only the contempt of their neighbors; and therefore while it is accounted disgraceful among us to do any thing that is useful, we must be content to remain dependent upon any people who have more sense in regard to this matter than ourselves.

We are very well aware that shoemakers and pastry-cooks are not the kind of people who compose the French court; but there can be no denial of the fact that certain kinds of artisans are treated by the French people with a greater degree of respect than they are with us. Very different from the dogged surliness of an Englishman, or the who-cares-for-you manner of our own countrymen, is the air of conscious self-respect of certain classes of French tradesmen. In the present condition of our society, we hold it to be among the impossible things to make a decent pastry-cook out of an American citizen, or a decent citizen out of a pastry-cook. But is there any good reason why we should not? Do not pastry-cooks contribute as much toward human happiness as sugar-refiners or importers of molasses? Should you not feel as well disposed toward the individual who had made a meringue to your liking, as toward him who had imported the materials of which it was composed? The King of the French seats artists at his dinner-table, bestows the 'legion of honor' upon them; pays them liberally for their works, and settles pensions upon them. Artists with us, as artists, do not often find their way into our upper circles; if they are respectable in their habits and associates, they are rather countenanced for their respectability than noticed for their genius. We know a whiskey-distiller who refused his daughter to a portrait-painter, unless he would abandon his profession; simply because it was a low calling.

It is very common with us to call the French triflers; but it is one of the many bad habits which we have inherited from the English, and the sooner we free ourselves from it, the better will it be for us. We shall never be ambitious to excel a people whom we pretend to despise. If doing small things well be trifling, then the French are triflers. But what must we call them for their great works? There is no art, no science, no department of learning in which the English excel them. They are the best architects in Europe; the best physicians; the best chemists, the best astronomers. They have cut off the head of one king and banished another; what more have the English done? But they can afford to be called any thing: they set the fashions of the whole world. Queen VICTORIA is as much a subject of LOUIS PHILLIPE in her dress as any lady in France. With all her immense territory, her great authority, she cannot change the fashion of a bonnet.

The difference between French and English art is as great as the difference between the Louvre and the National Gallery in Trafalgar Square; and about the same relative difference prevails with regard to us. At the last exhibition of the Louvre there were four thousand paintings offered; at the last exhibition of the National Academy there were about four hundred. This is not a very correct method of judging of the artistic excellence of a nation, but it is not far from correct in this case.

H. F.

A PICTURE BY MURILLO.—The time has yet to arrive when the march of empire westward will bring in its train our portion of those chef d'oeuvres of painting and sculpture which adorn the princely palaces of Europe, and confer distinction upon the possessors of wealth and taste in humbler abodes. To us, who have never visited those miracles of art, the sight of one of them is too gratifying to be passed over without imparting a share of the pleasure to our less fortunate readers. For the first time in our lives, we have enjoyed the delight of seeing at the house of a friend one of the grand pictures of MURILLO, which was obtained by a distinguished connoisseur at Lima, in 1828, from the cloister of an old convent, where it had hung for countless years in ignoble seclusion. It had probably been brought from Spain during the life-time of the painter, as it is not described by any of his biographers, who have carefully enumerated the works of his pencil. This idea is strengthened by the fact of his having inscribed his name upon the picture, which is not to be found upon any of his master-pieces at Madrid and Seville. Although it has not escaped the injuries of time and ignorance, it appears to have had the rare good fortune never to have passed through the hands of a restorer or scourer: the whole effect of its magical colouring remains unobscured, except a few touches of the brush of some dauber, who has tried the experiment of adding freshness to the rose.

The subject of it is the Holy Family, of life-size. Saint Joseph is seen in the background, with the infant SAVIOUR in his arms, presenting him to his mother, who is kneeling with extended hands to receive the precious burden of love. Like most of his great scriptural pictures, the composition is simple and natural, exhibiting a familiar scene in domestic life, elevated by expression, and ennobled by beauty. The Saint's face, which is of the true Andalusian type, is fraught with benignity, as he graciously inclines toward the mother, with the infant resting tenderly in his hands as if supported by a bed of down. Nothing can surpass the graceful figure and attitude of the mother, whose features are literally overflowing with maternal affection, while she caressingly holds out her hands to receive her son. But the charm of the picture is the infant DEITY himself, upon whom the painter has lavished his art, and poured forth the inspiration of his genius. His position forms the centre of the group, and instantly arrests the attention and commands the admiration of the spectator. He looks as if just awakened from a deep slumber; his eye-lids are tinged with red, and the motion of his limbs betokens the sudden consciousness of suspended existence; his playful smiling features are radiant with joy at recognizing his mother, toward whom his hands are invitingly opened. His figure is foreshortened, and to such a degree that his legs are out of the canvass, instinct with life and motion. His flesh has the plumpness and transparency of perfect health, flushed with roseate tints; his appearance denotes a child of nine or ten months old, but without that expression of premature intelligence by which the infant SAVIOUR is distinguished in the pictures of RAPHAEL. He is, in short, just one of those angelic creatures fresh from the hands of the CREATOR, oftener found in the cradles of peasants than of princes. The hands and feet of all the figures are painted with warmth, and with such sun-light transparency, that the ruddy current seems actually coursing beneath the skin. Indeed the whole tone of the picture is so life-like, that for the moment we cease believing it to be an illusion of lights and shadows reflected upon canvass. All the draperies are large and flowing, and broadly touched: that of the infant is a luminous white; the saint's is sombre; the mother's is of that violet tint, said to be peculiar to MURILLO, styled by the French, lie de vin.

In the grand compositions of RAPHAEL, we often see the actors grouped into a pyramidal form. In this of MURILLO, they present a diagonal line; extending from the head of the Saint to that of the mother, and down to a pannier in the corner of the picture, which contains her needle-work attached to a cushion in the Spanish fashion. At her feet a small dog is seated, of the Mexican race, which appears alive. Saint Joseph is painted in shadow, and forms the second plan of the picture. Behind him are suspended some of the implements of his humble trade.

The fame of MURILLO out of his native country, has risen within these last ten or fifteen years to the highest rank, and his historical pictures are now classed with those of the greatest masters of the Italian school: as a colorist he is admitted to stand without a rival. This sudden extension of his merits is in some degree owing to the cheap acquisition of eight of his finest works by Marshal SOULT, when he was NAPOLEON'S governor of Andalusia. These pictures have been seen and admired by all the world in Paris. Two of them, the Return of the Prodigal Son, and Abraham Receiving the Angels, have passed from the gallery of the illustrious Marshal to that of the Duke of Sutherland, for a consideration. The fine collection of pictures of the Spanish schools, purchased by Baron Taylor for LOUIS PHILIPPE, and now exhibited in the LOUVRE, has contributed to the same effect. It contains MURILLO'S Virgin de la Faxa, a perfect master-piece of coloring, which cost one hundred and thirty thousand francs.

None of his great compositions are taken from profane history or mythology. He was in a manner interdicted from using subjects derived from those copious sources, by a decree of the Holy Inquisition of Andalusia, which prohibited painters and sculptors, under the penalties of fine and excommunication, from displaying in their works any lascivious or naked images. His landscapes and flower-girls are painted in the highest style of beauty; and his beggars have never been excelled in all the loathsome attributes of misery and disease. The fact of his never having been out of his native country, disposed critics to believe that his works must be deficient in that highest order of merit which exclusively belongs to the classic schools of Italy: they would not admit that species of excellence which knew how to adapt the highest subjects of art to the unlearned. Yet such was MURILLO'S influence over the human heart, that his genius enabled him to embellish truth, and to present it with all its graces and attractions to the understandings of all those who are endowed with an innate love of the beautiful. His pictures, like Gray's Elegy in a Country Church-yard, may with equal truth be said 'to abound in images which find a mirror in every mind, and with sentiments to which every bosom returns an echo.'

It is true that there is nothing academic to be found in his groups; no mysterious allegory; no theatrical display of the passions; very little of what is more talked of than understood, the beau-ideal. Nevertheless, he is always original, and never vulgar; his drawing is nearly faultless; his compositions are instantly felt and understood by all who have read the Scriptures, because they convey to the mind more of the evangelical character and attributes of Christianity than those of any other painter. On this subject some very characteristic remarks are made by the late Sir David Wilkie, in his letters from Jerusalem.[2]

[2] SEE letter to WILLIAM COLLINS, ESQ., Vol. 3., p. 424: ALLEN CUNNINGHAM'S Life of Sir DAVID WILKIE.

'His Madonnas, his saints, and even his Saviours, have the Spanish cast; all his figures are probably portraits, and all his forms have a national peculiarity of air, habit, and countenance; and although he often adopts a beautiful expression of nature, there is generally a peasant-like simplicity in his ideas. He gives occasional instances of great sublimity of expression, but it is a sublimity which neither forces nor enlarges nature: truth and simplicity are never out of sight. It is what the painter sees, not what he conceives, which is presented to you. Herein he is distinguished from his preceptor VELASQUEZ. That great master, by his courtly habits of intercourse, contracted a more proud and swelling character, to which the simple and chaste pencil of MURILLO never sought to aspire. A plain and pensive cast, sweetly attempered by humility and benevolence, marks his canvass; and on other occasions, where he is necessarily impassioned or inflamed, it is the zeal of devotion, the influx of pious inspiration, and never the guilty passions which he exhibits. In short, from what he sees, he separates from what he feels, and has within himself the counter-types of almost every object he describes.'

If it be true, (says his biographer, BERMUDEZ,) that painters put their own portraits in their works, that is to say, that they exhibit their own genius, their propensities, affections, and the dispositions of their minds in them, the pictures of MURILLO bear a great analogy to his virtues, and the gentleness of his character. He was distinguished above all others of his profession by the mildness with which he instructed his pupils; by the urbanity with which he treated his rivals; by the humility with which he excused himself from becoming the painter of the Camara to CHARLES the Second, which was offered to him by the court; and for the charity with which he distributed the most liberal alms to the poor, who afterward deplored his death. But those who were most affected by it were his beloved scholars, who, overwhelmed with grief and anguish, could find no consolation for the loss of a father who loved them most dearly; of a master who instructed them with the utmost kindness, and of a protector who encouraged them by giving to each such portions of employment as enabled them to maintain themselves. This affectionate tribute to the character of MURILLO, must recall to the minds of our readers that beautiful passage in the letter of BALDASSARE CASTIGLIONE to his brother, which is said to express the feelings of all the artists in Rome upon the death of his friend RAPHAEL: 'Ma non mi pare esser a Roma, perche non vi e piu il mio poveretto RAFFAELLO.'

MURILLO was born at Magdalena, near Seville, on the first day of January, 1618, and died on the third of April, 1682. He was buried in the church of Santa Cruz at Seville. The immediate cause of his death, although he had long been worn out by the anguish of his infirmities, was a fall from a scaffold while he was painting the Marriage of Saint Catharine for the Convent of Capuchins at Cadiz. Notwithstanding the many pictures which he painted, he died possessed of only a few rials, and some property which he had acquired by his wife.

GOSSIP WITH READERS AND CORRESPONDENTS.—We would respectfully ask the reader's attention to the advertisement of the 'Knickerbocker Library,' on the second page of the cover of the present number. 'Our best exertions shall not be wanting' to make the series all that the publishers hope for it. That the materiel is good, our readers, we think, need not be informed. The plan has been cordially welcomed by the press, with a single exception; and in that, the quo animo was so apparent as to neutralize the slur intended by the writer. We shall be enabled to secure the earliest literary rarities on both sides of the water for the 'Knickerbocker Library,' and the style in which they will be presented will be unsurpassed. . . . WE lament in the recent death of WILLIS GAYLORD, the loss of a beloved relative, who was our elder companion in childhood and youth, and our faithful friend and correspondent, to the close of his useful and honored life. Mr. GAYLORD died at his beautiful residence of Limerock Farm, Onondaga county, on the 27th ultimo, after a brief illness. 'Few men,' says the Albany Argus, 'were better known throughout the agricultural community than Mr. GAYLORD. He was for many years one of the editors of 'The Genesee Farmer,' and since the death of Judge Buel, has been the senior editor of 'The Cultivator.' As an agricultural writer, it is not too much to say, that his equal is not left to mourn his loss. He was also favorably known by his contributions to our literary and scientific journals. He was distinguished as a warm-hearted philanthropist, and few men have more largely benefitted the community by their labors. His social virtues endeared him warmly to all by whom he was known. In the pathetic language of one by whom the intelligence of his death is communicated, he was truly 'the friend of the farmer—the friend of humanity.' We have the proceedings of a meeting of the New-York Agricultural Society, held in the State-House at Albany, on receiving the intelligence of the death of Mr. GAYLORD. The President, JOHN P. BEEKMAN, Esq., of Columbia county, passed a high and deserved eulogium upon the character of the deceased. 'The judgment of every intelligent farmer in the State,' he observed, 'will respond to the assertion that to no man whatever, excepting perhaps Judge BUEL, is the agriculture of the State more indebted than to Mr. GAYLORD. For myself, I can declare in all sincerity that there is no man whose writings caused within me a greater desire to be honored with a personal acquaintance. The character of WILLIS GAYLORD was in all respects what might be expected from his writings; benevolent, enlightened, elevated; yet plain, practical, unassuming. Every day of his useful life was marked, not merely by the exercise of his versatile talents on the multifarious subjects embraced by agriculture and the domestic arts, but by the acquisition and promulgation of knowledge in the wide range of science.' He was cordially esteemed by all who knew him; he had not an enemy in the world. Hon. CALVIN HUBBARD, of the Legislature, offered resolutions in testimony of the deep regret which the death of Mr. GAYLORD had created in the public mind, copies of which were ordered to be transmitted to the relatives of the deceased; after which, as a token of respect to his memory, the meeting was adjourned. 'A scholar, a gentleman, a christian, a friend of man, Mr. GAYLORD lived universally beloved, and died universally lamented.' . . . IT has been assumed lately by certain of the political and financial enemies of the late NICHOLAS BIDDLE, Esq.,—an accomplished gentleman and scholar, whose pen has often entertained and instructed the readers of this Magazine—that he had little power of style, and that his intellectual role was a limited one. Nothing could be farther from the truth. That point however we are not now to discuss. We merely wish to ask the reader's attention to the subjoined remarks of Mr. BIDDLE upon the besetting sin of our American style, oral as well as written: 'A crude abundance is the disease of our American style. On the commonest topic of business, a speech swells into a declamation—an official statement grows to a dissertation. A discourse about anything must contain every thing. We will take nothing for granted. We must commence at the very commencement. An ejectment for ten acres reproduces the whole discovery of America; a discussion about a tariff or a turnpike, summons from their remotest caves the adverse blasts of windy rhetoric; and on those great Serbonian bogs, known in political geography as constitutional questions, our ambitious fluency often begins with the general deluge, and ends with its own. It is thus that even the good sense and reason of some become wearisome, while the undisciplined fancy of others wanders into all the extravagances and the gaudy phraseology which distinguish our western orientalism.' A specimen of this 'orientalism' we gave in our last number. Here is another example of a somewhat kindred character. A western orator recently delivered himself of it from the summit of a sugar-maple stump at a political barbacue:

'Whar, I say whar, is the individual who would give up the first foot, the first outside shadow of a foot of the great Oregon! There aint no such individual. Talk about treaty occupations to a country over which the great American eagle has flew! I scorn treaty occupation; d—n treaty occupation! Who wants a parcel of low-flung, 'outside barbarians,' to go in cahoot with us, and share alike a piece of land that always was and always will be ours? Nobody. Some people talk as though they were afeard of England. Who's afeard? Haven't we licked her twice, and can't we lick her again? Lick her! Yes! just as easy as a bear can slip down a fresh-peeled sapling! Some skeery folks talk about the navy of England; but who the h-ll cares for the navy? Others say that she is the mistress of the ocean. Supposin' she is? aint we the masters of it? Can't we cut a canal from the Mississippi to the Mammoth Cave of Kentucky, turn all the water into it, and dry up the d——d ocean in three weeks? Whar then would be the navy? It would be no whar! There never would have been any Atlantic ocean if it hadn't been for the Mississippi, nor never will be, after we've turned the waters of that big drink into the Mammoth Cave! When that's done, you'll see all their steam-ships and their sail-ships they splurge so much about, lying high and dry, floundering like so many turtles left ashore at low tide. That's the way we'll fix 'em. Who's afeard!'

* * * * *

WE have often thought, that if the various similes employed in the Scriptures were thoroughly understood, that their appositeness and beauty would be themes of increased admiration. Observe how the latent meanings of the following passage reveal themselves to the heart:

THE REFINER.

BY MONTGOMERY.

'HE is like a refiner's fire, and like fuller's soap. And he shall sit as a refiner and purifier of silver: and he shall purify the sons of Levi, and purge them as gold and silver, that they may offer unto the Lord an offering in righteousness.'—MALACHI iii. 2, 3.

A FEW ladies in Dublin, who often met together to read the Word of GOD, one day occupied their attention with the passage now before the eye of the reader. One of the ladies expressed her opinion that 'the fuller's soap and the refiner of silver' were only the same image to convey the same view of the sanctifying influence of the grace of CHRIST. 'No,' said another, 'they are not the same image; there is something remarkable in the expression, 'HE shall sit as the refiner and purifier of silver.'' On going into the town, this lady called on a silver-smith, and desired to know the process of refining silver, which he fully explained to her. 'But do you sit, Sir,' she asked, 'while you are refining?' 'Yes, Madam, I must sit with my eye steadily fixed on the furnace; since if the silver remain too long, it is sure to be injured.' She at once saw the beauty and comfort of the expression. CHRIST sees it needful to put his people into the furnace, but HE is seated by the side of it—HIS eye is steadily fixed on the work of purifying—and his wisdom and his love are both engaged to do all in the best manner for them. As the lady was returning to her friends, to tell them what she had heard, as she turned from the shop-door, the silver-smith called her back, and said, he had forgotten one thing, and that was, he only knew the process of refining to be complete by seeing his own image in the silver.

When CHRIST sees his own image in his people, the work of purifying is accomplished.

It may be added, that the metal continues in a state of agitation, until all impurities are thrown off, and then it becomes quite still; a circumstance which heightens the analogy of the case; for how

'Sweet to be passive in His hand, And know no will but HIS!'

* * * * *

DOES 'M.' well to be angry? We 'referred publicly' to his query touching our choice of prose or poetry, at his own request, in a playful, but certainly not in an intentionally 'offensive' manner. And now, a 'good that was intended us' is clean gone forever! Very well—we must submit, with what grace we may.' 'My 'spected bredren,' said a venerable colored clergyman, on a recent occasion, 'blessed am dat man dat 'spects noth'n, 'cause he an't gwine to be disapp'inted!' We solace ourselves with this scrap of Ethiopian philosophy. . . . The experiments alluded to below, in the happiest vein of the amusing 'Charcoal-Sketcher' of Philadelphia, have been frequently tried in this city, we understand, but with very infrequent success. Pulling teeth while the patient is asleep is not 'practised to a very great extent in this community;' for no sooner is the glittering instrument of torture 'placed in communication' with the jaw, than it is found to 'disturb the Mesmeric function' to an extraordinary degree:

'MANY who would be valiant in battle, turn pale at sight of the dentist's chair. To stand up to be shot at in a duel is unpleasant to the nerves, and to storm a breach requires a considerable modicum of determination; but to pull the dentist's bell and not to run away; to walk boldly in and not to request a postponement, though it gains one no laurels and probably would not help to secure a political nomination on the score of heroism, is pure unadulterated valor; intrinsic—deriving no aid from association or example; nothing from the instinct of discipline or the thirst for glory. In encountering other dangers, there is a large hope, too, of impunity. An expectation of survival, a fond trust to be with the unhurt, always exists. But here, in that morocco throne, so grotesque, so mystical, so strange in all its aspects; your mouth wide open and your head thrown back—what hope can there be? To be hurt is an inevitable thing. We are in the clutches of a fate, and must realize our mortal frailty. To march to this with a whistle; neither to kick the smaller dogs on our route, nor to thrust little children aside spitefully; to take our usual interest in the occurrences of the street as we pass along to execution; to laugh, to jest, to talk of the weather with the identical man as he rattles his glittering instruments and smiles upon their brightness; to shake hands with him and to make a tolerable pretence of being glad to see him, is an effort, though we may have never encountered a war, equal to that which wears medals and puts pensions in its pocket. There is some comfort, however, to the afflicted in the fact that there have been of late symptoms of a combination of animal magnetism with dentistry, which affords a gleam of consolation. The exhibitors in New-York frequently have teeth extracted from mesmerised patients, to prove that in many cases they are insensible to pain—a thing which has been done very often in private in this city, and in many instances with complete success. What a cause for rejoicing would it be then, if the proper degree of 'impressibility' were general with those who have failing and recreant teeth, that the dentist and his magnetiser might be one and indivisible? Surgery in all its branches would be benefitted by the same connection; but this strange physical condition is not an invariable concomitant of the mesmeric state; so that valor, such as that to which we have already alluded, cannot go completely out of use, even if all could be subjected to the nervous influence of the magnetiser.'

* * * * *

'PHAZMA,' the cleverest of our western poets, who has written so many beautiful things for the New-Orleans 'Picayune,' presents us lately with the subjoined tender sonnet. He has 'discharged' it as well as if he had previously read the directions of our eastern 'manufacturer of the article,' in our last issue:

MATERNAL TENDERNESS.

A MOTHER bends above her weeping child, Her bosom heaving with convulsive throe, Her large eye lighted with expression wild, That, ah! too plainly speaks maternal wo! The tearful infant, lost in bitter grief, Thrills forth its plaintive call for tender care; While from a mother's trembling hand relief, Alas! can answer no imploring pray'r. Swift-falling tears! and piercing cries of pain! Maternal passion kindling into glow! Peace banished from its sweet domestic reign! Stricken with grief!—ah! sad and cruel blow! Behold the matron in a fury blue, Beating her screaming Bobby with a shoe!

* * * * *

OUR esteemed friend, JOHN SANDERSON, the distinguished 'American in Paris,' whom the readers of this Magazine have known so long, and regarded so highly, is no more! Sad indeed is the task of recording the demise of a scholar so profound, a gentleman so accomplished, and a man so widely admired and beloved. SANDERSON was a delightful companion; and as we record this hasty tribute to his memory, we cannot help recalling the many pleasant passages, personal and epistolary, that we have had together. A correspondent of the Philadelphia Gazette, who knew him well, furnishes the following notice of the deceased, in the justice of which all who knew him will cordially concur:

'JOHN SANDERSON was a man of genius, a man of talent, a man of feeling. He was a Philadelphian, and by his life and writings he added to the good reputation of his country. To natural abilities of a high order, he added a calm, chaste scholarship, an intimate knowledge of mankind, a singularly amiable disposition, and a frank and high-bred courtesy. His departure is lamented not alone by those who enjoyed his society and his friendship; he is mourned by our republic of letters; America as well as our city, has lost one of her most accomplished sons. Mr. SANDERSON has long been known as a writer. His first publication was the collection of Memoirs of the Signers of the Declaration of Independence, in nine octavo volumes; a work embracing a vast amount of original and authentic information; and his last, excepting contributions to the literary journals, was 'The American in Paris.' He was a man of most excellent humor, blending happily the characteristics of RABALAIS and STERNE and LAMB. When with his chosen associates, we doubt whether even COLERIDGE was more entertaining or instructive. Turn to his Parisian letters and see the union of wit and humor, of playful satire and nice observation which pervade them. Examine all the pleasant books of travel of which this age has been so prolific, and answer whether they have been surpassed. 'You know SANDERSON,' we said a few weeks since to a French Deputy who was travelling here. 'Know JOHN SANDERSON? I derived from him my knowledge of Paris.' 'But you are a Parisian?' 'Je ne sache pas qu'il y ait eu un Francais qui ait plus connu Paris et son monde.' In that home of the gay, the brilliant and the profound, of all that in life or art attracts the man of genius, or learning, or taste, Mr. SANDERSON was the favored guest of the most celebrated savans and wits, many of whom since his return to the United States, have waited anxiously for his restoration to their circles. And he himself looked forward with happy anticipations to the renewal of his old friendships. In a few months he was to reoeccupy his apartments in the Rue Rivoli. 'There,' he said to the writer of these recollections but a week ago, 'there with congenial spirits I shall spend the residue of my days.' How much those friends will sorrow when they learn that JOHN SANDERSON is no more!

He was a wit; he had a most delicate perception of the beautiful, and a keen sense of the ludicrous. But those who knew him can tell with what care he directed his powers. He never summoned a shadow to any face, or permitted a weight to lie on any heart. He was as amiable as he was brilliant. He was no man of the world. He knew society, its selfishness and its want of honor, but he looked upon it less in anger than in sadness. He was no cynic, no Heraclitus; he deemed it wisest to laugh at the follies of mankind. Through all his experience he lost none of his natural urbanity, his freshness of feeling, his earnestness and sincerity. The late THEODORE HOOK, the first humorist and most celebrated bon-vivant of our day, was employed by his publisher to edit Mr. SANDERSON'S 'American in Paris.' He read it, adapted it as well as he could to the English market, and returned it with the observation that 'there was never a book which suffered more from slightest change.' Had the author devoted the chief portion of his time to letters, he would have been little less distinguished in the same department than his famous friend. But he lived a quieter and happier life; he died a happier death, suddenly, but in a home, and with his friends about him.'

* * * * *

The following 'Lines to a Bouquet of Flowers,' are from the pen of the lamented Governor DICKINSON, whose melancholy suicide will be fresh in the minds of many of our readers. We learn from the friend through whom we derive them, that they were handed to him by the author, while sojourning for a short time in Albany:

EMBLEM of life and loveliness, Welcome, sweet harbingers of Spring! Clad in thy beauteous summer dress, And wafted on Time's fairy wing.

Would thou wert fadeless as the sky, All redolent of hope and gladness, But soon, alas! thou'lt lonely lie, Emblem of Death, of Grief, of Sadness.

Emblem of Life! thing of an hour, How soon thou'lt hang thy sickly head, And bow beneath the conqueror's power, And lie among the sleeping dead!

Emblem of Life! beyond the tomb, Thy flowers again shall form a wreath; Shall germinate amid the gloom. And triumph o'er the monster Death!

D. S. D.

* * * * *

WE have repeatedly in these pages 'borne testimony' in behalf of a more general cultivation of the fine arts, and especially in the department of architecture. We have had too much reason to concur with JEFFERSON in the opinion that 'the genius of architecture never yet condescended to visit the American Republic.' The Count RENAULT St. JEAN D'A—— was wont to say, while residing among us, that 'more was to be learned by viewing Grace-Church in Broadway, touching the state of mental culture among us in the science of architecture, than by all the methods of reasoning which philosophy could furnish on any abstract point of knowledge;' and yet we believe the plan of this edifice was the result of a confederation of intellectual powers! Moreover, as our old friend, the late Gen. MORTON, was wont to say, we must bear in mind that beside the several recognized orders of architecture, we have also an order by the corporation! We may have more to say on this theme on another occasion. We have been led to these incidental remarks, by the recent death in this city of a man of rare genius, and unwearied effort in the promotion of a kindred branch of art—THOMAS HORNER, of England, the well-known draftsman and painter of the wonderful panorama of London, which constitutes the attraction of the great collosseum in that metropolis. The labor to affect this great work, the result of years of toil and severe exposure to the inclemencies of a noxious atmosphere, doubtless predisposed to that prolonged suffering which wasted his physical strength; while sad disappointments, and the precarious means of existence which he derived from his art in this country, may be justly regarded as concurring causes in hastening his final departure from among us. For a period of about fifteen years, he had devoted himself to the taking of sketches of numerous rural views and edifices in different parts of our northern states, and of the public buildings of our prominent cities. His delineation of the city of New-York is perhaps the most conspicuous of the efforts of his pencil. He died in this city on the morning of the 18th of March, aged about sixty years. It may be gratifying to his relatives and friends abroad to know, that there were not a few of our citizens who were ready at all times to aid him by their benefactions; and that in his illness he found in Dr. FRANCIS, whose name is a synonyme for considerate kindness, a constant friend and faithful medical adviser. His funeral was attended by some of our first citizens, among whom it was gratifying to observe Mr. FOWLER, the President of the St. George's Society, and other well-known countrymen of the deceased. . . . OUR correspondent, Mr. THOS. COPCUTT, has opened the present number with an admirable paper, compiled from Carlyle, on the never-tiring theme of NAPOLEON. We always associate, and at once, with NAPOLEON'S name, the dreadful scenes presented by his deserted battle-fields; such for example as marked the sanguinary contests of his Russian campaign. Here is a sketch of one, from the pen of an eye-witness: 'The battle-field presented a terrible picture of ruin and carnage, especially on the left and centre, where the greatest efforts had been made to take, maintain, and retake the redoubts. Corpses of the slain, broken arms, dead and dying horses, covered every elevation and filled every hollow, and plainly indicated the progress of the action. In the front of the redoubts lay the bodies of the French; behind the works, showing that they had been carried, lay the Russians. On many points the heaps of corpses told where squares of infantry had stood, and plainly pointed out the size of the closely formed masses. From the relative number of the slain, it was easy to perceive that the Russians had suffered more than the French.' And this is but one of hundreds of similar scenes! Yet, 'had these poor fellows any quarrel? Busy as the Devil is, not the smallest! Their Governors had fallen out!' If one could indulge a 'grim smile' at any thing in relation to BONAPARTE, it would be at the potential military standard to which he reduced every thing. Do you remember his order on the appearance of the Mamelukes in Egypt? Form square; artillery to the angles; asses and savans to the centre!' Characteristic; but complimentary that, to the 'learned savans!' . . . WE have bestowed but little of our tediousness upon the reader in this department of the present number, whereat he may felicitate himself, since our excellent correspondence will be found a welcome substitute for much that we had written, and which 'lies over' until our next. The Quod Correspondence will arrest the attention of every reader. No two chapters of the entire series excel the present in power of delineation, or depth of interest. For 'Babyhood,' addressed to 'JULIAN;' 'Excelsior,' a parody upon LONGFELLOW; 'Punchiana, with clippings,' and various Gossip with Correspondents, whose favors were intended for the present number, we must refer all concerned to our next issue. . . . WE have received the following works; and to such as we have found leisure to read, we shall here briefly advert: From the BROTHERS HARPER, the first two numbers of a 'pocket edition' of select (and old?) novels, containing 'The Yemassee,' by Mr. SIMMS, and 'Young Kate, or the Rescue:' of the 'Library of Select Novels,' three issues—'The Heretic,' from the Russian; 'The Jew,' and 'The Grumbler,' by Miss PICKERING: From LEA AND BLANCHARD, HUGO'S 'Hunchback of Notre-Dame:' From J. S. REDFIELD, Clinton Hall, 'NAPIER'S History of the War in the Peninsula and the South of France:' From LEAVITT, TROW AND COMPANY, 'Poems by WILLIAM JAMES COLGAN:' From JOHN ALLEN, 139 Nassau-street, 'The Lady at Home, or Leaves from the Every-day Book of an American Woman:' and from LITTLE AND BROWN, Boston, Lives of PATRICK HENRY and LA SALLE, commencing the second series of SPARKS'S 'American Biography.' Miss PICKERING'S 'Grumbler' is one of the best and most interesting novels we have read for many a day; 'The Hunchback' of HUGO is too well known to our readers to require mention; and the same may be said of NAPIER'S excellent history. 'The Lady at Home' will commend itself to all readers, for its truly admirable lessons to American women. COLGAN'S poems deserve more space than we can devote to them. The writer has the true poetical feeling, and his execution is often very felicitous, and always creditable. . . . THE 'Nile Story' of our Boston correspondent; a notice of the Phreno-Mnemotechny of Professor GOURAUD; of the Re-publication of English Magazines and Reviews; of New Music, and other late publications; are all unavoidably postponed, for reasons already stated, until our next number.

THE END