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No. 9, sono SQUARE.

British Galleries of Painting and Sculpture, comprising a

General Historical and Critical Catalogue, with separate After the most prosperous season that has yet at

Notices of every Work of Fine Art in the principal Collectended the public display of drawings at this place, the present exhibition closes this day. We have not been

tions. By C. M. WESTMACOTT. London: Sherwood, sparing of our notices of the collection, nor indifferent

Jones and Co. to the success of the undertaking. The circumstances | This volume comprises an account of the Pictures, that brought so fine a selection of works of the English | Statues, &c. in the METROPOLITAN GALLERIES. school together, were too much to our taste, not to |

The King's, (Carlton House) Buckingham House, Naclaim our approval and respect, we consequently afforded || tional Gallery, (late Angerstein's) Marquess of Stafford's, this exhibition our best support.

(Cleveland House) Kensington Palace, St. James's Nothing we may safely aver, can be more gratifying | Palace, British Museum, Mr. T. Hope's, Duchess-street, to the distinguished artists whose ingenious labours

Presentation Works of the Academicians, at the Royal have enriched these walls during the late season, than

Academy of Arts, Somerset House, and an essay on to witness that generous zeal which prompts the patrons ll the marbles of the Parthenon. of art, to promote their interest, by yielding to every | From this useful and very extensive catalogue, we proposed measure that can tend to aid their improve- l shall select the description of the pictures in the two ment, increase their employment, and enlarge the sphere l galleries at Mr. Thomas Hope's, as the collections therein of their well-earned fame.

are less generally known to the public, than most of the When it is considered that this collection of the ll others mentioned in the work. choicest works in water colours, purchased only for such liberal sums, was entirely formed by the joint

PICTURE GALLERY. contributions of their possessors, who thus consented 66 - Painting felt the fire to strip the walls of their private apartments, for the

Burn inward. Then ecstatic she diffus'd further advantage of living talent, we cannot express

The canvass, seized the pallet with quick hand,

The colours view'd, and on the void expanse our acknowledgments but in terms of profound re

Her gay creation forged the mimic world.”—Thomson. spect. * In confirmation of this noble spirit which will mark

" In this apartment, the centre of the ceiling is supported

| by small columns, which divide the light, and are imitated the present as a memorable epoch for the arts, we have

from those seen at Athens, in the upper division of the heard with inexpressible joy, that the Directors of the

octagon building, vulgarly called the Temple of the Winds. British Institution propose, in the ensuing Spring, to These columns rest on massy beams, similar to those in lloper with an avbibition of the finest ll marble, which lie across the peristyle of the Temple of

Theseus ; the larger columns, which support the entablaworks of our living artists, and that the noblemen and

ture, are profiles of those of the Propylaea. The organ gentlemen who compose the direction of this National

assumes the appearance of a sanctuary. The Ionic coInstitution, have communicated their intention to the lumns, entablature, and pediment, are copied from the President and Council of the Royal Academy. The exquisitely beautiful specimen in the Temple of Erech

thens, in the Acropolis of Athens; over the centre of the selections, which will form the collection, to be made

pediment, is the car of Apollo; the tripods, sacred to the by the Academicians.

god of Music, surmount the angles; the drapery, which We hold it a duty to withhold our pen for the present, descends over the pipes in the form of an ancient pepluus from a disclosure of the conditions which are thus gra- | or veil, is e

or veil, is embroidered with laurel wreaths, and other ciously and very judiciously yielded to the professors, ll tables, with recesses for books and port-folios, and the

emblems appropriate to the son of Latona. The massive assuming only the privilege of observing, that they | antique pedestals and implements, which adorn the sides are such, excepting in one point, as cannot fail of of the chamber, have all the classic uniformity of the approval by all who feel an interest in the prosperity | general decoration. of the British School.

“ Bacchus and Ariadne," by Guido. A fine free speThe Royal Academy has recently held a general | cimen of the master, delicately coloured, and full of exmeeting on the subject, and we feel assured, that a dis- || pression.,

" Magdalen,” by Corregio. A true but early picture of play of such works, as may pass its ordeal, will be

the master

the viewed with an universal sentiment of national pride. " The Inspiration of St. Giustinian,” by Albano. From

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the Orleans gallery. A noble emblematical picture, finely | Sayers,' in the Marquese of Stafford's collection; the perdrawn, and coloured with great breadth of effect; the head spective is grand, and the scene rich in natural effect. of the Saint is particularly expressive. Adoration of the Shepherds" by Jordaens. A magni- ll little God of Love, last bound, and the figure of Hymen,

“ Hymen destroying Cupid's Darts," by Guido. The ficent specimen of the master, full of choice expression and || stooping to burn the day

stooping to burn the darts, admirably drawn. The story character; it is coloured with a richness that approaches || closely to Rubens.

is' poetical, and the artist has caught the inspiration of the

sister art. " Madonna and Child," by Vandyke. A brilliant, clear, || and captivating performance, rich in colour, and chaste in

I“ Supper at Emmaus," by Geminiani. A small cabinet picture, richly coloured, producing a magical effect of

niet drawing and expression, altogether in the most felicitous

chiar-oscuro. style of art. * Our Saviour and St. Thomas,” by Guercino. A bold, ll the first class of art, particularly fine in pencilling, and

" Holy Family," by Agostino Caracci. A little gem, in masterly work, painted with a very decisive pencil, and Il full of expression. great effect of chiar-oscuro.

II“ Angelica and Medora,” by Guercino. A noble gallery " Lucretia,” by Guido. Very delicate in colour, and

Il picture, of the size of life, exhibiting great mastery of art,

pictu sweet in expression.

and richness of colour. “St. Michael,” by Raphael. Painted for Cardinal Oneis,

“ Holy Family,” by Tintoretto. A large fine picture, after the first had been sent to France-registered in the drawn with the usual chara Roman archives of 1517-three years before Rapbael's || arawn with the usual characteristic grace and feeling of the death.

|| artist, and distinguished by the most captivating sweetness ** Roman Charity,” by Guido. A masterly, fine picture,

of expression.

" Supper at Emmans," by Jordaens. A magnificent painted with great breadth, and producing a fine contrast

gallery picture of five heads, the size of life, full of expresof expression.

sion, finely drawn and coloured. " Paul Veronese between Virtue and Vice," by Paul

· St. Sebastian,'' by Domenichino. Shering the great Veronese. The figures the size of life, and the portrait of

ll skill of the artist in anatomical knowledge; a very fine the Artist admirable; the drapery of the female figures is

study. very fine, and the subject altogether very graceful and

"Our Saviour,” by Domenichino. A large upright picfree. “ Charity," by Vandyke. In the first class of art, rich

|| ture, the companion to the above, equal in drawing, and

superior in colour and expression. in all the excellencies of his fascinating pencil, poetical and beautiful in expression.

| “Holy Family, St. Mark, and Doge Ranieri, by Tinto6" Venus bewailing the Death of Adonis," by Rubens. A

| retto." An extraordinary tine picture, bold, and free in

pencilling, and richly coloured; the figures are of the size magnificent gallery picture, exhibiting the mighty powers

of life, highly characteristic and expressive. of the artist in the highest perlection; the figures are of

“ Christ betrayed,” by Guercino. The companion to the size of life, and the dead body of Adonis, perhaps, the

Our Saviour and St. Thomas,' in the same gallery, and most wonderful work of art in the world, it is fairly rounded from the canvass, and foreshortened with most surprising

quite equal in merit.

" Judith," by Giorgione. A very fine specimen of the skill; indeed, the whole anatomy of the figure affords a

master, rich in colour, and breadth of effect. fine model for the study and admiration of succeeding

“Ecce Homo !! by Spagnolet. A very fine head, pecugenius. The colouring is not less beautiful, and the ar- liar

1 liarly delicate in colour, and sweet in expression. rangement of the composition truly poetical, but there is the usual vulgarity of expression in the female heads, ll cheerful picture, in the most felicitous style of the artist,

" Landscape with Figures,'' by Claude. A magnificent which invariably detracts from the otherwise superlative | rich in all the magical sweetness of pencilling and colour, performance of the artist.

l/ which distinguishes his best productions; the figures are - Portraits of Dante, Petrarch, and other Italian Poets," ||

| happily disposed, and the whole subject true to nature. by Vasari. A singularly rich and clever work, the por- ||

"Madonna and Child," by Romanelli. A very rich spetraits admirable, and very characteristic.

cimen of the master, finely drawn, and full of expression. “ Virtue leading Hercules,” by P. Veronese. An emble.

“Holy Family," by Schidone. Masterly and free in matical subject; the Hercules is not sufficiently muscular.

drawing and colour, the infant Christ very soft and ex" Dying Masdalen," by Ludovico Caracci. ' A very in

pressive. teresting picture, finely expressive of resignation, and

“ Marc Antonio, the Engraver,' by Raffaelle. An astoserenity of mind, the life-parting gasp is quivering on the

nishing fine head, choice in expression, and rich in colour. lip, and the eye fixed in the stillness of death.

“ Praying Saint,” by F. Bartolomeo. A clever figure, *** St. Cecilia,” by Domenichino. A very choice work of

| very expressive of devotional fervour. art, rich in colour, and fine eflect. " Venus chiding Cupid," by Palma Vecchio. A capti- ||

"Assumption of the Virgin,'' by Vandyke. A fine rich

Il sketch for an altar-piece, emblematical, and freely drawn. vating specimen, freely drawn, and chastely coloured, with

" Petrarch composing his Odes,” by N. l'oussin. An very characteristic expression.

emblematical picture. "Cæsar Borgia,” by Corregio. From the Orleans gal

" Landscape," by Rubens. Bold and masterly in effect, lery. A glorious, fine head, rich in all the brightest mate

| with great richness of colour, and crispness of pencil. rials of art, elaborately finished, and full of character. “ A Holy Family,” by Titian.

“ The Martyrdom of a Saint,” by Salvator Rosa. A 66 Temptation of our Saviour,” by Titian. From the |figure suspended to a tree by his hands, on a wild rocky Orleans gallery. These are two figures of the size of life. Il scene; a very bold fine specimen of the master. The head of our Saviour may safely be pronounced as one • Holy Family," by Tintoretto. An upright picture, of the finest works of art in the world, it is full of heavenly rich in colour, displaying a fine contrasted effect in the expression, rich in colour, and masterly in effect.

figures. * St. Sebastian,” by Andrea del Sarto. A very chaste, |||

... Head of Christ,” by Raphael. A magnificent work fine specimen of the master.

of art, celestial in expression, rich in colour, and general “ View of Castellamare,” by Salvator Rosa. An extra

eflect." ordinary fine picture, highly finished, and very similar to the oval picture by the same master, called the Sooth

(To be continued.)


The subjects of these last numbers are.
No. V. The great Oak at Shelton, Shropshire. The
Bounds Park Oak, the property of Lord Caledon. The
Moccas Park Oak, Herefordshire. The Wotton Oak, the

property of the Duke of Buckingham.

No. VI. The Yew Trees at Fountainy Abbey (more

ancient than that structure.) The great Ash in Woburn In different parts of the Kingdom, remarkable for their

the property of the Duke o! Bedford. The Black Size, Beauty, or Antiquity. Drawn from Nature, and Poplar, at Bury St. Edmunds. The Abbots Willow, in etched by Jacob George Strutt.

| the Abbey Grounds there, the property of J, Benjafield, The four first numbers of this folio publication were No. VII. The Cowthorpe Oak, Queen Elizabeth's Oak, noticed in a former Number of the Somerset House Gazette. in Haveningham Park, the property of Lord Huntingfield. Mr. Strutt has since completed Nos. V. and VI., and No. Sir Philip Sydney's Oak at Penshurst. The King's Oak, VII. is nearly ready for delivery.

in Savernake Forest, the property of the Marquess of Few objects in nature excite a more general interest in | Aylesbury. the contemplative mind, than woods and groves. Trees We are gratisied to see so extensive a list of the first have ever been the theme of the descriptive poet, and one I personages in the kindom, subscribers to, and patrons of | of the most charming features of the picturesque, a study || this publication, and happy to add, that there is reason for exhaustless of beauty and rational delight.

believing that in the ingenious author, the English school It has not been the custom with many painters, however, of landscape will have to enrol another very original pain- ! to whom the forest tree seems most congenial, to study ter. Mr. Strutt has lately finished a landscape composia that individuality of portraiture, which is the professed tion, in which one of the trees aforementioned forms the object of this work. The landscape painter takes a general main feature, which is painted with a freshness and iruth, view of the wood, and in his composition rather gives all that savors of the feeling exhibited in the works of the pictorial, than a particular tree. The great Italian masters' || old masters. It is a wood-scene on a half length canvas, compositions may be adduced in proot of this, as displaying and is a picture of acknowledged merit. a simplicity and greatness of form in their trees, and a corresponding touch, which constitutes what has aptly been designated the painters' tree. We look on these representations of the Forest Tree by

GEMS OF ART. Mr. Strutt, without reference to composition, and receive them on his own terms, namely, as pictorial records of The Messrs. Cooke, of Soho-square, have added two new particular oaks, beeches, elms, cedars, and other trees subjects to their collection of cabinet prints, engraved in remarkable for the qualities proposed; and have watched mezzotinto on steel, by Lupton. One is from a picture in the work thus far with an interest corresponding to our

his Majesty's Gallery at Carlton Palace, painted by Maes. love of the same species of research.

The other, from the celebrated Arthur and Hubert, The art of etching on copper as is well known to connois painted by James Northcote, R.A., for the late Alderman seurs, is never more congenially applied than in the imi. Boydell, and acknowledged to be one of the finest pictures tating of trees. We have many examples of the fitness of of the British school. Mr. Lupton's exquisite touch, is the point, for these studies, in the works of Claude, | displayed with felicity in these two small plates. The Swannereldt, Berghem, Both, Waterloo, and others of the discovery of engraving on steel may be hailed as a new old Italian, Flemish, and Dutch landscape painters. epoch in art. We have no hesitation in saying, that two Certain of the modern school too have excelled in this de more painter like engravings in small, never were sublichtunursuit. A small book of Etchings of Wood Scenery ll mitted to the judgment of the collector of taste. nor had by Mr. Delamotte, is a recent publication worthy the superior claims upon the approval of the learned connoislibrary of the amateur, although we are sorry to learn that seur. Such works as these are creating amateurs at home, it has not met the encouragement it deserved.

honors for our native school abroad, and daily augmenting The etchings of the publication before us, as works of art. the exportation trade of our empire. are the more acceptable, as they are simple transcripts We have been favoured with a sight of a proof impression from nature, and like the Wood Scenery, by Waterloo, of a large plate in progress, in the line manner, by Mr. Pye, seem to be copied almost literally from their prototypes from one of the classic landscape compositions, by J. W. upon the spot. As examples to the young student in land- || M. Turner, R.A., which promises to be one of the finest scape then, we should recommend them for this particular, engravings of modern times. This will be published by as the ramifications and foliage are drawn with unusual Messrs. Hurst and Robinson. truth, a quality which may be vainly looked for in many There is also in preparation an engraving on steel by books of trees, published of late, which are addressed to Lupton, for Messrs. Cooke, from a chef d'ouvre of Gainsthe untutored eyc, through the specious appearance of borough's, a Cottage-girl with a Dish of Milk, a picture looseness, freedom, and eflect; although without any real of pure originality, and of incomparable truth. This was merit, or having any other tendency than to amuse the purchased by its present proprietor for the sum of £700. idle, and to mislead, rather than direct the taste.

Three engravings have recently been published by the The historical descriptions which accompany this display same concern, from drawings by Mr.J. F. Lewis, son of the of inanimate nature are curious and interesting, and help engraver of that name, which are very original and masterly to preserve the memory of facts established by ancient specimens of style. They represent the lion and lioness. records, or handed down by the more enchanting annals of "Mr. Lewis, we believe, though but recently of age, has oral tradition,

evinced talents for animal study, which promise to increase We learn that Mr. Strutt is indefatigable in his research, the reputation universally accorded to the English school and arduous in the pursuit in which he is herein engaged. || for this department of painting. We can now point to a He has recently made a journey into Gloucestershire to list of British artists, who have excelled in representing make a study of the Tortworth Chesnut, mentioned in animal nature, whose works would occupy a distinguished ancient deeds, as a well known boundary, in the reign of space on the walls of a national gallery. Stubbs, Gilpin, King Stephen : This, we believe, is considered to be not || Ward, Cooper, and Landseer. Woodward is deservedly only the oldest, but the largest chesnut in the kingdom. rising in public estimation, and the few works which we

have seen by the hand of Lewis, justify the fond anticipa

REVIEWS. tions which his progress has excited among his fainily and friends. Another painter of animals claims the notice of our page,

|| Redwood; a Tale. By the Author of "A New England whose commencement in his art, gave presage of talents, which steadily cultivated, must have raised his fame to a Tale.” New York, 1824. 3 vols. London, reprinted : level with the ablest of his predecessors, and the first of his || J. Miller. compeers. Mr. Garrard, early in life, produced his Brewer's Yard, a composition so truly original, and so ex

Tul within a very few years, the greater part of cellent in its class, that Sir Joshua Reynolds commissioned the British public has known nothing of America, him to paint a similar subject, ad libitum, for his own pri

except what was to be gathered from the half-invate gallery. This he accomplished, and it was received with general acclamation. The ingenious painter attained formed pages of bruinmagem, and the sus. the first step to academic honours-and with an “ associate picious criticisms of professional reviewers. The puerile ship," like some who doze upon a fellowship, it would ap ignorance and blind prejudices of the one, were, pear that he was content.

however, not half so hurtful as the profligate malevoNot so, however, we must say, in justice to the industry of this worthy artist. The versatility of his talent, the

lence of the other. The two combined, served to impulses of a fertile imaxination, and the claims of an scatter all sorts of hostile and contemptuous notions increasing family, urged him to other pursuits in art, l of America amongst the “great vulgar and the small” which diverting him from his palette and pencils, raised

of our country, which have only been weakened by him a name for sculpture in a branch, which being neither addressed to human vanity, nor to human aflection, lest

the progress of the Americans in arms and letters. It him little other reward, than the fame of achieving that in is now no longer a question whether they have the or. art, with greater skill, than had ever been done before. dinary courage of men, or whether they are able to Mr. Garrard shaped his abilities to the modelling of those

conceive any thing in literature beyond a bill of exsubjects, which, alas! for his experience, met with patrons in the comparison of painting to sculpture against himself,

change or a letter of advice. They have been pouring as fiity to one.

forth books of various kinds in great abundance, and have GAINSBOROUGH.-Two pictures by the hand of this

exhibited powers of invention, and combination, favourite painter, accidentally came under our observation

equal to any possessed by those who were so ready to within the last week. One a landscape, of a circular shape, about twenty inches diameter, painted before he came to

decry them with their sneers. The fair author-we unsettle in London: it is executed in his early manner, when derstand, that she is a lady-of the novel before us he copied trees, banks, weeds, &c. with a minuteness, even need not shrink from any severity of criticism. In surpassing what is discoverable in the works of his admired

most of the requisites of imaginative composition, she prototype Wynants. The scene is obviously painted from nature, on the spot, probably near Ipswich, whence he is singularly endowed. Her creative powers are origiculled his studies, and drew and coloured in the open air. nal, her management of incident ingenious, her In this composition, is a young oak, bending over a brawl painting of character and passion, delicate and just, ing brook, which is painted leaf for leas, with that careful identity which would have delighted the eyes of old Nehe

and her sensibility to moral and natural beauty, very miah Grew, the hoary historian of the Royal Society, or acute. One virtue she displays, which is by no means the late worthy president of that learned body. Even the common to the writers—even the highest-of novels, varieties of grass run to seed, that spring between the Her style and language are pure, correct, and eloquent; fissures of the rock, are depicted with microscopic min

we have been so used to slovenly composition in ness. We might fancy this picture painted for a prize against your Denners and your Gerrard Douws, and that

works of fiction, so long, and by such “ eminent naturalists of yore, had been the umpires.

hands," that all improvement had long since been The other piece is a composition in his subsequent days, || despaired of. “ Redwood " is quite a prodigy in this when he gave to the world his cottage groups, and ranked with the first painters of his age. This picture represents

way. It is neither careless in the employment of portraits of his two daughters, in the garb of peasant girls,

words, nor in the construction of sentences. Were on the confines of a corn-field, dividing their gleanings. || there neither interest in the story, nor nature in the They appear to be of the age of about eight and nine, and passion, it might be read for its style alone. are the size of life. The painting is pure, and the characters are nature, clothed with the utmost simplicity of

The story is domestic, and relates to the fortunes of art: unfortunately both the pictures are left in part un

a Mr. Redwood, the younger son of a Virginia planter, finished.

whose youth had been marked with a good deal of Whilst dwelling on this group, we could not forbear the dissoluteness, the result of lax principles and bad comobtrusion of a melancholy association with one of these portraits, the painted image of Gainsborough's infant

panions. He marries, without the knowledge of his daughter, yet living, and very far advanced in years; who father, a beautiful girl in humble life, and quits her to has long survived her mental faculties, and is now doomed, || make the tour of Europe. At Paris he learns the to all human speculation, to waste the remainder of life,

tidings of her death. Returning to America, he afterin the vain pomp and self-complacency of fancied royalty. This is the wreck of that favourite daughter, then a

wards espouses his cousin, a rich widow, vain, childish, woman of mind, whom the fond father bestowed in matri flattered, and spoilt. In a few years she dies, and mony on Fischer, the celebrated performer on the oboe, | leaves a daughter, Caroline, as beautiful and nearly as who separating from his amiable wife, aster treating her

spoilt as herself. She grows up to womanhood, an obwith unresisted injury, liberated her from the matrimonial chain, by that premature death, which was induced by his |

ject of admiration to the world, of alarm to her father. hasty career of dissipation and folly.

They set out, as the Virginians annually do, to visit the falls of Niagara, and the novel opens with their to the appropriate duties of her station. Her husband and homeward passage down the lake of Champlain. He ll song wore th

song wore the finest cloth that was manufactured in the lands, and seeking for an inn, a dialogue ensues, which

county of Mrs. Lenox's table was covered with the

handsomest and the whitest diaper. Her butter and cheese is worth transcribing as a picture of American manners. commanded the highest price in the market. Besides

these home-bred virtues, she possessed the almost uni" Turning abruptly from him to a good-natured looking versal passion of her country for intellectual pleasures. man, who, at that moment riding past them on horseback, She read with avidity hersell, and eagerly seized every had checked the career of his horse to gaze at the travellers, opportunity for the improvement of her children. She had he inquired the distance of the next village. “That,' re married very young, and was still in the prime of life. The plied the man, 'is according to which road you take.' elder members of her family were already educated and " • Is there any choice between the roads?

established in the world, and she had the prospect of en6 It's rather my belief there is; anyhow, there is many || joying what Franklin reckons among the benefits of our opinions held about them. Squire Upton said, it was early marriages, an afternoon and evening of cheerful shortest by his house, if you cut off the bend by Deacon || leisure.' Her eldest son, with very little aid from his Garson's; and General Martin maintained, it was shortest parents, had, by his own virtuous exertions, obtained a colround the long quarter, so they got out the surveyor and legiate and theological education, and was established a chained it.' 'And which road,' interrupted Mr. Redwood, popular clergyman in one of the southern cities. Her * proved the shortest?'

second son had emigrated to Ohio, and had already trans"Oh there was no proof about it; the road is a bone of || | mitted to his parents a drawing and description of a proncontention yet. The surveyor was called off to hold a perous little town, where, five years before, his axe had Justice's court, before he had finished the squire's road, first announced man's right to doininion over the forest. and'

Two song remained at home to labour on the paternal " Which do you believe the shortest?' exclaimed Mr. || farm; and tour girls, from ten to eighteen, diligent, goodRedwood, impatiently cutting sbort the history of the im humoured, and intelligent, completed the circle of the portant controversy.

domestic felicities of this happy family. Both Mr. and " • Oh, I,' replied the man, laughing, and every body || Mrs. Lenox had the wise and dutisul habit, which, in else but the squire, calculate it to be the shortest way I almost any condition, might generate contentment, of lookround the long quarter, and the prospects are altogether | ing at their own possessions, to awaken their gratitude, preferable that way, and that is something of an object, as rather than by comparing the superior advantages of others you seem to be strangers in these parts.'

with their meaner possessions, to dash their own cup with "• Oh Lord,' exclaimed Caroline, it will soon be too || the venom of discontent and envy, a few drops of which dark for any prospect but that of breaking all our necks !' || will poison the sweetest draught ever prepared by a pater

"• Do you think,' pursued Mr. Redwood, ' that we shall nal Providence." be able to arrive before dark? 66. That's according as your horses are.'

Whilst confined in the house of the Lenox family, 66. The borses are good and fleet.'

Mr. Redwood is witness to an affecting scene of a 66. Well then, Sir, it will depend something on the || driver: but if you will take my advice, you will stop by the lovely girl Ellen, lamenting over the corpse of a young way. It is not far from night'; there is a pretty pokerish | man, and a pathetic interview between her and the cloud rising; it is a stretchy road to Eaton, and it will be || deceased's sisters, The account is rendered more intersomething risky for you to try to get there by daylight. llo

esting by a mixture of descriptions of the Shakers, by But, Sir, if you find yourself crowded for time, and will stop at my house, we will do our best to make you comfort- l whom one of the sisters had been converted. Ellen

able for the night. If you will put up with things being in Bruce's appearance makes a deep impression upon | a plain farmer-like way, you shall be kindly welcome."" Redwood, and calls up painful recollictions of the · An accident happens to the carriage, Mr. Redwood's

past. She is young, beautiful, accomplished, and an arm is broken, and the party are obliged to take refuge

orphan. We scarcely recollect a more delightful perin the house of the farmer. The description of the

son than this creation of the novelist. From the nofamily, may pass for a general portrait of the farm-houses

ment of her first appearance on the scene, she becomes and families of most of the New England farmers.

“ part and parcel" of the story. Her history is involved

in obscurity, and the secret of her birth is concealed “Mr. Lenox, as master of the family, was entitled to || in a locked casket, left by her dying mother, with an precedence in our description; but in this instance, as in || injunction that it should not be opened until a certain many others, a prominent character has controlled the ar- ||

- Il period. Miss Redwood's curiosity is excited, and she rangement of accidental circumstances. He belonged to || the mass of New-England farmers, was industrious and || proceeds to its gratification at all hazards. frugal, sober and temperate, and enjoyed the reward of those staple virtues, good health and a competency. Hell “A most convenient opportunity now offered to gratify was rather distinguished for the passive than the active her curiosity, perhaps to confirm her malicious conjecvirtues, patient and contented; he either enjoyed with || tures. It was possible that the key to one of her trinket tranquility, or resigned without repining. His wife (we be- || cases might open Ellen's box; there could be no harm in lieve not a singular case in matrimonial history.) was his trying just to see if one would suit. She drew out the superior: intelligent, well-informed, enterprising, and drawer in which she had seen Ellen replace her casket, and efficient, she was accounted by all her neighbours an am- || then paused for a moment--but, c'est le premier pas qui bitious woman. The lofty may smile with contempt, that coute;' the first wrong step taken, or resolved on, the the equivocal virtue, which is appropriated to the Cæsars || next is easy and almost certain. She carried the box to the and the Napoleons, should be so much as mentioned in the light, found a key that exactly fitted, and then the gratitilow vales of humble life. But the reasonable will not dis- || cation could not be resisted. pute that Mrs. Lennox made ambition virtue, when they ll. “She opened the box-a miniature laid on the top of it. learn that all her aspirations after distinction were limited Caroline started at the first glance as if she had seen a

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