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 may ba biblio«r«Phicallv uniqiia. which may altar any 
 of tha imagn in tfia raproniuetion. or which may 
 ligniflcantly ehaiHia'tha ysual mtthod of filming, ara \ 
 chackad balow. 
 
 1 Colourad eoVars/ 
 Couvartiira da coulauv 
 
 □ Covars damagMl/ 
 Couvartura andpmmagAa 
 
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 Covart rastorad and/or l^iitatad/ 
 CoU«artura rattaurta at/tfu paUicuMa 
 
 □ Covar titia mifsing/ 
 La titra da cbuvartura manqua 
 
 D 
 
 Colourad mapi/ 
 
 Cartai gtegraphiqiias an coulaur 
 
 Coloured ink (i.a. othar thin blua or black»/ 
 Encra da coulcur (i.«. aotri cjiia blaua ou norra) 
 
 □ 
 
 Colourad platas and/or illustrations/ 
 Planchas at/bu illustrations an coulaur 
 
 Bound with othar matarial/ - 
 Rall^ avac d'autras documants 
 
 □ Tight binding may causa shadtiWs or distortioii 
 along intarior margin/ 
 La raliura sarr^ paut causar da I'ombra ou de la 
 
 ' distorsionia long da la marga intariaura 
 
 Blank laavas addad during rastoration may appar 
 within tha^taxt. Whana»ar polsibla. thasa hava 
 b|anon^ttad frdm filming/ « 
 
 II sa nam qua cartainas pagas blanchas aioutias • 
 lors d'una rastauratron tpparaissant dans la taxta, 
 i «. mais, lorsqua cala^tait possible, ces pagas n'ont--... 
 pas (ttii f ilmias. 
 
 L'Institut a mierofiifi4 la mailiaur aMamplaira qu'il 
 N a *t* possibi* da sa procurar. Las details da cat 
 axamplaira qui sont paut-|tra uniqwas du point da «ua 
 Mbliographiqua, qui pauvant modif iar una imaga 
 raproduita. ou qui pauvant axigar una modification 
 dans la mithoda normala da'filmagt tont indiquis 
 ei-dassous." 
 
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 r~l Quality of print varies/ 
 
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 Qualite inigala da Timpression 
 
 Continuous pagination/ . 
 Pagination continue 
 
 Includes index(es)/ 
 Comprend.un (des) index 
 
 ,■''''■.'■■'¥ 
 
 .Title on header taken from:/ 
 Letitrede I'eri-tAte provient: 
 
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 Wrinkled pages may film slightly out of focus. 
 There are some creases in the middle of pages. 
 Pagination is unnumbered. 
 
 This item is filmed atjhe reduction ratio checked below/ 
 
 Ce document est filmyau taux de rMucfion iiidiqui^ci-dessous. 
 
 Additional comments:/ 
 Commentaires supl^menuires: 
 
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 Th« copy fllmtd htrt hat bMn r^prdductd thanks 
 to th« gtntrotity pf: 
 
 M«tropol I Un Toronto Ref«finc« Library 
 ^Baldwin Reom 
 
 Tha imagai appaarlng hara ara tha bast quality 
 poaaibla aonsidaring tha condition and laeiblllty 
 of tha original eopy and In kaaping with tha 
 lilmJng eontraot apaoifioatlona. 
 
 Original oopiaa In printad papar oovart ara ftlmad 
 baglnnlng with tha front oovar and anding on 
 tha last paga with a printad- or iliuafratad impraa- 
 slOh. or tha back oovar whan approprlata. All 
 othar original oopiaa ara filmad baglnnlng on tha 
 firat paga with a printad or lliustratad imprat-^ 
 •Ion, and anding' on tha laat paga with a printad 
 or iliuatratad impraaalon. ' 
 
 Tholaat raoordad framain aach mfcroficha 
 •hall contain tha aymbol *i«» (maaning "CON- 
 TIIMUEO"), or tha aymbol V (maap(ng "END"). 
 whiohavar appiiaa. 
 
 Mapa, plataa. charta. ate, may ba filmad at 
 diffarant raductlon ratioa. Thoaa too larga to ba 
 antlraly inoiudad in oha axpoaura ara filmad 
 baglnnlng in tha uppar iaft hand eornar, laft to' 
 right and top to bottom, as many frsmas aS, 
 raquirad. Tha following diagrams illustrata tha 
 fhathod: ■ 
 
 I 
 
 t'axamplalra f ilm4 f ut raprodult grica A la 
 g4n«roalt4 da: 
 
 . -Ma tropo II t^Ok Toronto Ra fa ranca Library 
 Baldwin Room / V 
 
 Laa Imagas auivantaa ont «t« raproduitaa avao la 
 plus grand soin, oompta tanu da la condition at 
 da la nanat* da laNamplalra film*, at an 
 conformity avao laa conditions du control da 
 fllmaga. • 
 
 Las axamplairas orlginaux dont la couvartura an 
 paplar ast imprlmaa sont fllhias On commandant 
 par la pramlAr plat at w tarminant soit plr la 
 darnlAra paga qui comporta una amprainta 
 d'imprasslon ou d'illustration, soit par la sacond , 
 plat, salon la caa. Tous laa autras axamplairas 
 orlginaux sont fiimis ^n commancant par la 
 prami*ra paga qui comporta una amprainta 
 d'imprasslon ou d'illusfratloh at an tarminant par 
 
 la darnlAra paga qui comporta una taila 
 amprainta. 
 
 Un das symbolaa auivanta apparaftra sur la 
 darnlAra imaga da ehaqua mlcrOficha. salon la 
 oas: la symbota — ^ sighlfia ^A SUIVRE". la 
 symbols V signlfia "PIN". 
 
 Las cartaa, planchas, tablaaux. ato., pauvant B^ . 
 fiimas a das taux da riduotion dlff«rants. ^* 
 
 Lorsqua la documant ast trOp grand pour Btra 
 raproduit 9n un saul clioha. 11 ast filmB B partir 
 da I'angia suparlaur gaucha, da gaucha B droita. 
 at da haut 9n has, 9n pranant la nOmbrO '- 
 
 d'imagas nBcassaira, Laa diagrammaa. suLvanta 
 iliustrant la mBthoda^ 
 
 
 
 
 
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 PHOTOGRAPHie 
 
 SELECTIONS 
 
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 WILLrAM NOTMAN, 
 
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 THOMAS I). KING. 
 
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 VOL. I. 
 
 MONTREAL: 
 WILLI AM NOT MA N, B L E UR Y ST RE E T . 
 
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 JOHN LOVELL, PRINTER. 
 
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 (•jovtmor (Ocnmil of ^?rilbh rlliirnv ;Amrvifn, aS^^ 
 
 It is llio |)rivUof,'o oF IJiosd in Your ExrclU'itt-y's exalted ixt.sitioii (o |iiitr()ni/emi(l loster 
 •^>t— a ]»i'ivil('}j;t' t)f wliich the late hiiiieiited Piinco nearest the tliiune <»r (he SoyeivigH iivaiUHj 
 liimseir Willi so mueh zeai and ell'ect, 
 
 Your Excellency, following so illustrious aji example, and esteendng it a duty to pioniote 
 in this great colony, the culture,— hitherto ho nniqh neglected,— wliich the line Arts bestow, 1ms 
 been giaciously pleased !(► peruiit the dedication ()!■ this work (o yon, l)y 
 
 Your Excellency's Oltedient Scrvant.s, 
 
 THE IMIBLlsnEHS. 
 
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 ^*<fT» "^'^ '^ *"^'" *" •'•'•^'''' tiro iiH'O'iiNingly 
 
 pKwiiiK <»'<«<' for woikn of art in Ciiiiinlii, 
 
 ^ : "'"' '•• ■• •- 'I •''^'>'»'>'' wliUh niiiiK.t ofWnviw). U) gijm-mlly >*tij»|.lu'<l, .•onso.|ii<'iil 
 
 'U* IMk" "'"'" ^'"' '^'■"'''''y i" ""'«' IVoviiiccH ..r clM.ico' <.HKimil wciikH or lilt rvcii of 
 
 '^^d^f^ '"""**' ■'"^'"^ '"**"* '''^ •'•" '•'•• <"• in'Kl.'iii iimsttMH, Uio "IMiolopTiiipliu- S..|.TlionH" mv 
 
 .;.-^*l|[^»*^V ■f'"^.'**'^- '" '•'•"«lu<'i>f? t«» tlit^ |»til»lif Hiis work, wo uic fully m'liHil.lo ol' tim 
 
 '"\—'C^- ''tS^' "'"'''""'^''"' '^''•►«'»{: tl»' JfiviU, <Iininilly ill HckvtiiiK' siiLJi-cts lor Hiow. wJioho 
 
 ^ ' ^^ NyntiiiuMitH mii) .hhmwIUs tmd niiom! eiiiolioiw imi diin-iriit hh tlicy viow tlio i-v.-r 
 
 I'lmnjriiifi; hcoiicm. iimnii.MM, mid ciistoiiiH inridciK 1»» fiavcl, or as llu«y Ixdiold the' 
 
 cxqiiihito i)ft4iitiiij?H in tin; ct-kdaatotl Karopcan (lallciioH. 
 
 Some, ir^raidiiiK Art as tin; hand maid ' of lldiginn isidcr thow) K'dit iimHlt'ii.ioCeN 
 
 which a.h.rn ^ho/viinivhos of ,lh.. old contiiioirt .as pownliil aids to rcvntauW and dovolion; 
 others, ax lhr>nvjraid lil.' Iioiu its (■,.nii(-. ^.r scriotlH point, of .view, syaipathi/o with tJio .joys 
 or sorrows of fja-ir fcllow-incn when fiiithfidly (Udiia-atcd l.y the skilful paintur, and doiivo 
 pl.'asar,., miy ii.oiv, f,M.| their hearts onlarfrcdi when (•.mlcniplalinp th.- wondrous pnjiliu-tionH of 
 Mi.'hcl An-elo. HiitlaHk', iind Leonardo da Vinei; tho Leautics of Titian, Corieirf^io, and Murillo; 
 (h(> frreat battle pieces of Horace Vemcl. Vauderineideii. and Wouvverinan : tho sea IlKdils of 
 Loulherhoui}.-, Slanlield, and XaiahMvelde ; the humours of rio^^nirth, Teniers, and Wilkie; tlie 
 phiyful eiiildicn of CoHins, Malreiidy, and Wi;l)sler; tlu^ animal life r.f €,H)per, Laiidseer, tiiul 
 Potter; the landscapes of Claude, Turner, ami Wilson; the Jij|torieal p.ictuivs of Coi.e, M)run, 
 and Muelise; the dramatic compositions of hith, Leslie, an.l .Stol hard : hi . line, each master 
 liUH his particular inllucnee. ami each school of sculpture and paintinj,' luis its votaries, who 
 wiliin-ly (my a tril.ute of -ratitude to Art for all Hk- pure pleasures .)f which it is to thcni 
 ii source. Il has (».eii triily said, that, •'every painter carries us into a world of his own, 
 where, if we -iVe (airselves up to Ids },'uidanee,. we shall lind iiuieh enjoyment." 
 
 Apprceiutin^' each individual sentiment, our endeavours wilM>e to seen re copies of tho 
 l.e»t works of the diirerelit masters, and to obtain orl-inal views of the; most popular places 
 ill Cnnadu, in order to make the "Selections," if possible, accq^table to every bubscribcr. 
 
 MONTRKAL, PrccmlHi; 180,1. 
 
 
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 COKTEN-TS. 
 
 TIIR IIRART 6r Till! A»DE«, 
 
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 TIIK TKS VIUCIS'S 
 
 Tiii: ri.(»i(iii r,iKLD. ■ ' 
 
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 KILL IX A FOU. , ._ 
 
 MI-MORIAM. 
 IKMICY(Li: Itr I'ALAIS r>i;s IIMAI'X AUTS,. 
 
 'tiUji:k I'-lati:.<. with ki;y to Dirni. 
 U(»Ai> ff.T.xi;, Laki: <»F rwn moixtaixs, 
 
 MKIICLUV AXD AROIH, 
 
 ALFHED TKXXYSON. 
 
 FALLS <IF ^HAWAXEGAX. 
 
 F.\IIM VAIID WITH IIOIISKS. 
 
 <TTY AXI» IIAIlllOni OF QlKUKC 
 
 I'OKTIIAIT OF IMvMllllAXDT. 
 CoXVKItSATION CALAXTi;. 
 
 KETK Di; LA MAITIIFSSK DRCOLE, 
 
 DRIAXIUA, 
 
 Tin; LAXD OF TIJE LOTOS EATERS. 
 
 THE CARD I'LAYEnS. 
 
 UIENFAISAXCE. 
 
 noLGELLY X. WALES. 
 
 LA MADONNA DEL BAN FRANCESCO 
 
 .SUNDAV in THE IIACKWOOD.S,. 
 
 DAWN TO SUNSET, 
 
 AURORA. 
 
 A PASSING STORM, 
 
 TITIAN'S SCHOOL MASTER, '- 
 
 THE STAG AT ItA*. 
 
 WEDDING PROCESfelON AT ALSACE, 
 ^^sUKSIIIXE AND SIIOWER, 
 
 THE^STTprElt Trt EMMAUS, 
 
 r. K. Ciieteii. 
 
 A. Caumi. 
 
 .1. Moil, rArn», H,«.A. 
 
 W. P. I'lilTil. II.A. 
 
 V. Cfn.1t. 
 W. II. Ilixt. 
 
 A. Calan*. 
 A. CiHiucri. 
 Kroh Xatorr. 
 
 R. DlN''«M. 
 
 fUni." Doi.i'i. 
 L. Knmi*. 
 GKnAtib Dorw. 
 J. v.. Laium. R.H.A. 
 
 IlllHt ItuKIIClR. 
 l|n||l|UI[>;M. 
 
 C. IL Ai LmcuiiL 
 .1. Xmx l*AT').y, U.S.A. 
 Di: i,\ It'K Hi{. 
 
 FtloM Natibk. 
 
 .1. W. M. TuiNKR, R.A. 
 
 WAtT». 
 
 C. .1, Way. 
 
 ■(I. MoBLARb. . . 
 
 .Mamox. 
 Lancjip. 
 
 VKnilEVDEM. 
 Gl'lDO. , 
 
 Dl'kcaniiq.n. 
 
 D. TicNteRR, Jr. 
 
 Dl'DOFK. 
 SipNEY PERCy. 
 
 CoRREoaio. 
 T. Faed, R.A. 
 Do. 
 
 OOIDO. 
 .11. J. BOODIlfOTOiC. 
 
 Xfb^o.Ni. 
 La^tdsker, R.A. 
 GdsTavb nRinv. 
 J. Fraser. 
 Rembrandt. . ' 
 
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 HAIIIIV AHIIOTT, 
 
 CHAHLKM ALKXANIIKH, •• 
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 HKXKY ATKIXWX, «^».4w 
 
 "JcWKI'll AliniKU, Ji.., !• 
 
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 (iALK W noSTOS, •■ ' 
 
 .1. II IIKAI'OHV, 
 
 ALIIIKIJ IIHOWN.- •• 
 
 ALKX. Ill NTIN, " . 
 
 WILLIAM IIAVLKY, - " 
 
 UKSliV IIAILKV, 
 
 WM. IIKNJAMIN. 
 
 .FAS. K. 1). lILAt'K. " ' 
 
 ruMlAll BH')WNK, "... - 
 
 JOHN JAMKS llltOWNK, •' 
 
 I-. A. W)VKH, " . 
 
 Kfl"HAIll» A HHdOKK, " / > — ^ 
 
 H. W. llllKTIKUm, llrunllnj-ii: 
 
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 AD;l(3frUU()WN, Ilaiuilluii • 
 
 H. nKltXAKI», . iIxuAhv. 
 
 J. H. IIIKDKX, " 
 
 JOHN IIUUSTALL, " / 
 
 M. \V. IIAHY, 
 
 A. H. lIKTIIi'XK, (Vbnjirn, C. W. • 
 
 .,^. BUHK, Uuwiuuinillu, e. \V. 
 
 enVH. UAILLAROhi, Oituwu. ■ 
 
 IIKNUV CHAl'MAX, 
 
 .I.VH. 1), UKAWKOIll), 
 
 THOrt. C'llAMr, 
 
 TJI08. UUOSS, 
 
 ,1. 1". CLAUKK, 
 
 J. J. CLAXTON, (L'c.n.if«) 
 
 josEi'ii T. cLAyrov, 
 
 MLHS UUVILLIKIL 
 FKANCIS CUNUILL, 
 WM. C'LKNDlNNINd. 
 OKO. CdllNISH, M.A.. 
 
 Moiilrvul. 
 
 MAJOK II TAMI'IIKLL, (<»Im«iii, I', W 
 
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 AllTHirit KVANM, T..r..iii.i ' i 
 
 KULCATIONAL HKI'AllTMKNT, T.mw«... 
 .lAMKM KKKKIKK, .)•., MmirKjil. 
 
 <IKOU(iK N. KUOTIIIXOHAN, " 
 .r V^IKX I'OLKV, i- 
 
 Hi;nil KR.VUKIL *•• . 
 
 .1, (I. I'AlKiNKIl 
 IIKNUV Klir, •/itiUw. ' 
 
 .ioHn H. i-ootk. 
 
 ALntKI) FALKENIIHIKJ. •• 
 THOMA^S I'I'LLKII, Oiiikwu; 
 WM. I'Klllil SON, Kt;iK«t..ii. 
 COL. l''KU<:i SON, (irviindior Uuania. 
 liKNAIAH (illili. Moiilreai. 
 
 J. .1. (illlll, ' " 
 
 JAMK.S It. tilim, /'v 
 
 .rAMiiL»Hl.V>|J'. »' % V 
 
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 t'HAifn':^ 0. rtEUiJk,s, 
 
 11. r. «!ODFUKV<;^M.I», 
 
 JAMR8 UUltUON 
 
 4» 
 
 v» 
 
 f 
 
 P.W. OATKrt, Huttiilijjij. 
 W. n. (iRIFFIN, Qttcboo. 
 JAMKM (illlB, " '"" ■ 
 
 THOMAS (illlMSHAW, Oobourif. - n, 
 . ALLAN (ilLMOUll, Otiuwu. " !^ 
 
 ALKX. (JAUTHHOUK, HunJcf, C. Wr ©, 
 0. J. 0ILDKU8LKKVK, KinKHton. ' 
 
 AC. DkLOTIIINIKRK H AUWOOI), M.I'.I*. 
 
 F«i|5l)KKlCK HENSIIAW, 
 T STEUttV HINT, F.lt.S. 
 .lOSEl'H HIUJCSOX. 
 
 PHILIP Holland, 
 
 HKNUY HOOAN, 
 J. W. HOPKINS, 
 ANliUS C. HOOPKU. 
 
 JAS. Ht'TTOXr^ 
 
 — ^ V 
 
 .Monlivat. 
 
 a- 
 
LIST OF SUBSCRIBERS, (eontmued), 
 
 7 
 
 *v 
 
 WH. If. tllNOSTbir, M.n., MoalrNl. 
 CAI'T. B. nOCKLY, (Cunwd*). 
 KOBT. HAMILTON, Quebec. 
 T. 0. IIARRINOTON, 
 HEV. CIIA8. HAMILTON, " 
 GEO. B. Hall, MoDtmoronok 
 EPWAHD HAYCROKT, UtUw(, 
 WILLIAM S. HIINTEK, St.nKKBd, . 
 TIIOS. HODOKINS, Toroiiid. 
 J. HELLMIITII, London, C. W. 
 ALEX. JOHNSON, LLD, Noptreal. 
 ^,, II. ISAACSON, j" 
 
 ' JPI'J. JONES, 
 K, JASON, HimUtoD. 
 INSTITUT CANADIEN, Monlreil 
 V. KAA; Montnd. 
 S. K. KEEFEK, OucIkhi. 
 JOHN KIN«, Bri«lol, Knjiliiud: 
 J. KItfTH, Beaukarnoia. 
 .HAMILTON H. KILLALY, Toronto. 
 A. KNIGHT, Sunit«ad. 
 LIBRARY OF PARLIAMENT. 
 HENftY LYMAN, .Monlw«l." 
 THEODORE LYMAN, 
 S.JONES LYMAN, 
 ANDREW LAW, 
 • M. LAFRAMBOISE, M.P.I'. ,' 
 JOHN LEEMING, Montreal. 
 
 CHARLES LgVEY, " 
 JOHN L0VE4L, ■' 
 
 ROBERT LOMAS, Quebec. 
 
 MICHAEL LAURIE, " 
 
 C. W. MONTIZAMBERT, " 
 
 '■\ F. B. MA!|TH£WS, Montreal. 
 WM. MURRAY, " 
 
 JAMJBg MIIR, " 
 
 ROITERT MITCHELL, 
 
 james^aVor, 
 
 J. L. JTATHEWSON, " ^ 
 
 SAMUEL E. MOLSON, " 
 
 H. MARKS, » 
 
 JAMES E. MAJOR, " 
 
 ALEXANDER MITCHELL, " 
 ALEXANDER MILLOY, " 
 J. McLENNAX, 
 
 D. LORN MacDOUGALL, " 
 R. L. MACDONNELL, M.D.,' " 
 
 E. LYMAN MILLS, ' .. 
 GORDON McKENZIE, ■■ 
 ALEX. McGIBBON, 
 
 A. 8. MACBEA:N, Point Levi. 
 HENRY MAY, Quebec. 
 .1. MAITLAND, Toronto. 
 H. B. MORPilY, " 
 THOM-VSMcGREEVY, Ottawa. 
 WM. P. McLAREX, Hainilfon;. 
 . D. McCONXELL, St. Mnijs 
 GEORGE MACBETH, Loridon, C. W. 
 JAMES MACXEE. Kingston, C. W. 
 MRS; 0, MORRILL, Stanstcad. « 
 
 W.\I. XIVIX, Montreal. 
 W, S. XOAD,. Melbourne, C. E. 
 JOHN OGILVY, Montreal. 
 C. R. O'CONNOR, Quebec. .■ 
 EDWARD GOFK PENNY, .Monir^al, . 
 A. R. PRATT, .. ^ 
 
 CHARLES O. PEURAULi; • ' 
 W. E. PHILLUy, 
 CHAKLE.S T. PALSGRAVE, 
 
 A. J. PKLL, MontTMl. 
 
 J, P0RTE0U8, 
 
 THOMAS PATON, » 
 
 W. J. PETRY, QutbM. 
 
 J. H. PATTI80N, 0tuw». 
 
 THOMAS REYNOLDS, NoatrM). ^ 
 
 L. B. ROSE, 
 
 THOMAS RIMMER, " * 
 
 ALFRED RIMMER, . " 
 
 LOUIS RENAUD, Jb,, 
 
 JOMN raNkin, 
 
 ALEK. RAMSAY, " 
 
 PETER REDPATH, " 
 
 J. J. REDPATH, « 
 
 A.ROBERTSON, « 
 
 WM. RODDEN, " 
 
 DONALD ROSS, •• 
 
 WILLIAM RAE, Quebec. 
 JOHN ROSS, ■' , 
 
 TH0.MA8 ROSS, " 
 GEORGE LOWB REID, Hamilton. 
 C. P. REID, Toronto. 
 WALTER SHASLY.MI'.f'. 
 HENRY STARNES, Montreal. 
 O. F. C. SMITH, .. 
 
 W. C. STEPHENS, . " 
 
 THOMAS S. SOOTTf '■ 
 
 GEORGE STEPHEN, '• 
 
 WM, SCOTT, ' -' "' 
 
 S. G. SIDEY, ■ .. 
 
 HENRlT 8HACKELL, 
 W. J. SPICE R, .. 
 
 F. C. STRATJON; 
 GILBERT SCOTT, m 
 
 W. G. STETHEM, •' 
 
 JOHN SWANSTON, " 
 
 E. E. STEWART, " 
 
 ROBERT H. SMITH, Quebec. 
 C. SMEATON, " 
 
 C, J. STARLING, Belleville. 
 n;k. SHELDOX, Kingston, C. W. 
 W. B. SIMPSOX, " 
 
 H. T. T. 8ALWIX, London, C. W 
 DR. SAUXDERS, ICth Regiment. 
 E. SllORT, Shcrbroolte." 
 HERBERT IL SWIFT, Montital. 
 ALEX. SCLAXDERS, Glasgow. 
 
 EDWARD T. TAYLOR. Montreal. 
 HEXRY THOMAS, 
 GEORGE THORBURX, 
 J. TAYLOR, •' 
 
 K. CARTWRIGHT THOMAS, Hamilton. 
 .W. H. TILSTOXE, Quebec. 
 WM. TUAMLEY, Prcstott. 
 K. A, TAYLOR; London. 
 D. THOMAS, Shcrbrooke. 
 MRS. J. L. TERRILL, SUMtead. 
 WM. L. THOMPSON', 
 ALEXANDER WALKER, Montreal. 
 JOgEP^I WALKER. 
 WM. WAIXWRIGHT, 
 ANDREW WILSOX, .. 
 
 M. WINTER, « ' 
 
 THOMAS WORKMAN, " " 
 
 T. W. WOOD, CT.R., London, England. ) 
 
 RICHARD WOODWARK, Stroud, England; 
 
 D. D. YOUNG, Quebec, 
 
 J. R. YOUNG, " 
 
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 TlliyilKAKTOFTIIE ANDES. 
 
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 V , y-EW iiioctorn lamlscaiMJs liave ever attmctcd so mit^li attention as tluH. The 
 
 ; «ji4dca of rcprcijcnting such nn inuuensc area o^ canvas icemcd beyond the itjacU 
 
 ,'of art; the very vastness of the subject excited interest/ Wliocver Haw the. 
 
 %^^rSmm a w( 
 
 i:iacture, with its foreground profusely rich with the varied forms and colours of 
 
 tropical vegetation, and birds of the briglitest phunage ilying amongst the trcc- 
 
 fcrns and tangled creepers, from wliich, the eye, I'oUowing the course of the fiver 
 
 ath cascades, is carried to the .vilhigc witli its cliapicl lying embowered 
 
 rtood-iaml; thence to a plain sti'ctching inwards covered with vast forests 
 
 extending to the lower slope of. the distant hills, and parsing that mighty mountain cha,in, 
 
 , ilwarfmg even Olympus as they lift their Titan heads' to Heaven, until it rests on that dorac- 
 
 like mountain in the extreme distance, rising with its snn-llushed and snowy brow into the 
 
 dcqi clear blue sky; — perhai»s in their ecstasy felt what Coleridge did so exquisitely, when 
 
 under the shadow of the Alps, he thus expresses his emotion : 
 
 "llast tbou'a cliariii to stay tlio moniing Star 
 
 • III Ills stcop course '! So lon^ lie seems to pause ; ' c 
 
 ■.■.■■. .'■.."■. "i ■ . ' - ■ • 
 
 Ou tliy bald awful head, O Sovran Blauc I 
 
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 " * * * * * MetliinkH thou picrccat it 
 Ah witli a wedge I But when I Iwjk again , 
 
 , ■ ■ . ' It is thine (nin calm lionic, thy crystal Bhrnic, . 
 
 'i"hy lialiitation from Eternity I" ' • 
 
 Those who have a rfmumbrancc of .the itictwe will acknowledge that the engraving of 
 Mr. Forrest is a truly wonderful production, and that it has not suffered by the photogi'aph, 
 beyond the mere reduction. What says the painter liimself of the engraving? "I am more than 
 satisfied, 1 ani delighted, and am liai>py to have been instrumental iii the production of s:o noble 
 an illUstratipn of the engraver's subtle and^beautiful art, there is on the American conlifaent an 
 unanimous verdict of untpialified praist; among those Avhosse judgment, knowledge, and feeling 
 entitle their opinion to qonsideration." 
 
 F. E. Church is an artist that America may well be proud of; and Scotia may congratulate 
 
 herself upon haying such an eugra\x'r as Wm. Forrest. 
 
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this. The 
 the rcacU 
 
 saw the ■ 
 colours of 
 
 the tree- 
 ' the fiver 
 snvbowcrctl 
 ast forests 
 liii cha,in, 
 liat (lomc- 
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 tdy, when 
 
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 ADOItATION OF THE SIIKPIIERDS. 
 
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 LL'C^.V CUOUDANO. 
 
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 , ^ ^ -MNT Luke's namitivf is frrapliic, an<l scuiwly iWiuiivs to an iiuiwiiiiativu 
 
 jil^^Y "*■' '"'"'' ""•'* pi<'t<)iial aid. 
 
 -0\^^T^ III this |ii<liir(! till' artist lias <lt<iwrt<'<l from tlio usual oonvontionalitios. Tlie 
 
 . »^^£^ Sliopliords aiv not liabitcd in prit'stly vestments, but appear as thoU<:li th,cy liiMl 
 fonio witli liasle. The treatiniMit of the pieture is gocrd. The principal lij^'lit' emanu-^. 
 ting from the celestial (-lioir Who ai'e sinfriufr their hos»nnas, iss^meeiit rated on the"^ 
 Holy Mother and the infant Jebijs, and ra<liatcs its lieains from them around uiid 
 upon the a(h)rinj!; Shepherds. 
 Luea (liordiino was u nulster of .some eminenej durin;; the latter part [of the Utli 
 century. He lia<l a lertih- ima;_'ination and a rai»idity of execution, tlurt the numlier of great works 
 executed by him is astonishing. His best works are his frescoes at MadritI, Florence and iJt^mc. 
 Some of his linest paintings are at Dresden. His grand altar^ piece iti the Chtirch of Ascension 
 /at Naples "The I. at tie of the Angels and tiie fall of Lucifer," i>< considered his best performance, 
 ?he picture btV the Adoration was -specially selected aiid engravcf) by thp Baron D. V. •J)enon 
 for the reeeptionof the l{oyal Academy, 1787. Denon was appointed by Napoleon, Directeur 
 General desMusees, a post of great intlucnee, and one for which he was well lltted. Deuba's 
 cicliogs arc numerous, amounting to upwards of :{(XM they are chieily in imitation of the style 
 of that great mast^«r. IJembrant. 
 
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 'TIIIvl\ViVI.II)lvl) SllLlMEII AT lIOMIv'. 
 
 . J. X: I'ATON. R S. A. 
 
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 IIK |pi(tiiic tells il> (»\vn story and ivijuiiv>-i iin coinincnt. It \\a> jreiicralh ifL'iiidrd 
 , V ii> till" Ik's! of tilt' soiitiiiiciitiil class of luiintin-rs callrd forth l>v the .('miu'aii 
 ,'^. ^^'in' ii»d its tcriumation. Tlic diftwiiifr is aliiut>t I'aidtfos and I>cvi»iid (liti- 
 
 visiii, altlioiiLdi tjit' foloinin.L' had sonic N>vcei»in<rccnsMrcs Itotowi-d n[>oM it. loicinost 
 
 >.,--.., aiiiHnjrst tltcm ^as IJiiskin's; ncvcrtliclcsi*. the artist', who n-sidf-s at Kdiul>ni'_di. i-* 
 
 \'^,X'" rc;j;ardt'd liy his counlnnK^n as one of the niost iiroiuisiiiLr of their rjsinii iMiiitcrs. 
 
 ^ -*■ His caftnoii.of 'The S.|ririt of IJelidon,' which ol'tained one of the three ineiuiiinis 
 
 of t:2(»() itwarded^at the Carttjon Kxliil.ition in Westminster Hall, 181."), I.ioiiirht 
 
 liim into, notorie^y. The tollowin^ are his *inost celcl.rated pietuivs: 'Quarivf t.f Oheion and 
 
 Titania; pureliased U tlic Scottish National (iallciy: 'Dante nieditatihjr the episode ot Fian- 
 
 ccsoa" 1n52; -The |rt)rMiit of |»leasure.' 18oh . ■ - ' . 
 
 : The onirravinir is an artist's pro<»l' hy 11. T. Kyall. 
 
 
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TIIK|)EI{BY day: 
 
 W. p. FRIT II. 
 
 ■ "* ^^' •""'''"'*'^ nf iMisJno^^H lor the «"xciu-inc»fnr ik, <|«v--<)ii|. loremost iiioii, such as 
 '^l^T^'-t^''^''^^'- '""' •'"''"^'■^'"''. Hii.l oiii- nol.ilitv ol Lotli soxcs min^'Ic with tlio crowd. 
 
 and .join in 11,.. -ni.«ial .ainival. wImmv all ranks and conditions meet lo-ctlicr in 
 .41 Iviaporaiy saturnalia of sncinl eqnalitv. 
 
 this picture. exhil.itcd in IBos, the a.tisl has selet-fd Inr illustmlion llie pleasum 
 side ..I- the .ours,':. na.si will deiiv -,vaf,.|- satislaction lion, the <-ontcniidation of it, than 
 of the ci-owded linp: with it^ des,.c,„t,. sj.c(nIato,s. ' Fo.tnunj an.l Mason' uie now the fiivst 
 tavoriles: chaia|.a-„c, h.l.stei-salads, conviviality and nicTfiaent. thindde-ii^rfro, uci^obats, and 
 loilunc^ tcliin;j: jiipsies are the oi'dei- ot' the day, 
 
 The thind-lcifTfrcf with his satellites. n„e of the,,, indncin;: a count m,ian to speculate 
 on tl.e h-a: the Lusty frood-wite. „ot conlidinpr in the siiai-ps, endeavonrin^r to lead awav he,- 
 husLaud. who ,^ evidently a.lat. iron, the t.ial of luck: H,e well pl.K-ked vouth, .^en to the 
 loss .,1 iMs. .hi,., studs. >,itl, doleful lace, .vpentiiitr his indiscretion : the ac,.d,at with his 
 'lnm.at.e cn.pany: the he,.r of ,1... J.a,.d..an-pi,.es and dmn. a,,^stin;r tl.e pn.fr,x.ss„f a bov 
 wislnn, .0 ento,. the a,cna: how frraphic !-The youthlul acobat with wistful e^>i..4ii^.rin.' metal 
 ...ore a.„ae,ne- in .hose <.,eatu.v co.nAats Jusf di.lo<l,ed ln„a a neijrhhou.m^ >W„,e.- than 
 ... .1.- ■pe-,..,,..ance. wh,cl. he is ten.pora.ily delaying: is a choice hit of senti^^talism. Tl,e 
 l.lea.und.le p,en,e on the nn.f oHlavca.na.e i„,.acdi:U..|y behind this pronp. from wh„n. the girl 
 m std.s .. ask,,,, e..,t..ib,,tio..s IW. the aeto.s : .he ' last' yottn, hulics with thoi.- l,ettinjr-lKx,ks ; 
 .l.e yo,.,h,. e,,a,.ve.,de, .^n.. OKI ,ipsv. .anti..,^^^^ 
 
 n..na.e, "ho cv.den.ly appears disgusted eithe. with the p..posed fiu-tune tellinj, or'at the 
 .ne na.n . he ,,...,•. .how ad..,i..a..ly each scene i. .lepi.ed. will be the ..adyi^xelamation 
 ol .111 who liavc rvei- w,tnes>ed an English Iface-cuiixv 
 
 M,'. ,W. I'. Fiith was (ilected ]{ \ in tR-.9 11: V 
 
 , ,• ,, , , •- ^f'^''m. A. in 18,,3. ,His works, such as the ' Enjrlish Merrv- 
 
 ! .^ M M „ t' """,;'•",'""■' ■■ ■""■ """■' .-'"-. ■' view „r ^„. „„,„ 
 
 '."..<.".. aflectionatc man,n,a could wish then, to k. TTi« .1. • 
 g.t.upmjraiv ,ood. without parade o,.aftec,ation: but thev l-n-V 1 ^ V ''"^f^ ^'"^ 
 
 of Hogartl, Wilki,.; and Web^ster. hioad and -enial humour 
 
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 '|7^^ PIIAKI) DOUW, ot DOW, .vas lK,m at Loydcn, in 101.1. and was a pi.pil of 
 
 Ww:.- Rnnl..«mU. Imt unlike thfi hold and magi, handling of his ga-at master, 
 
 Ins im.nt.ngs arc characterized hy a delicate finish ; he clabofated everything 
 
 he touched with the most exquisite delicacy and minutchess, iuHomueh that 
 
 the threads of brocades and fine car,)ets nre expressed in his smallest paintings. 
 
 r^»l>^/' ."'""^ '''"'*"' '"' '^'' '''^"' ^""'"- °'« P'^^"'^^' «« «POcimcns of technical 
 fiYLj^i »'""ty, aif admirable. 
 
 ^ >-A'.. The suljcct selected is a well known picture, and is admirably engraved 
 
 by Jean George Wille. H is om, of his most celebrated prints, and. like all 
 
 in ,!..„. • ^'V'""'^' "^ ^""''' ^'^•"«' «"'' '^th^'- masters of the Dutch Schw^l/ is con-ect 
 
 ho 12^ r' "' 'f "*' "' "'"' •" ^"'^^^ and convcys^vith wonderful p^cision 
 ttie ctiaractcr of the ongmal picture. 
 
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 Ill- curlli, m iIm! HiHiroi' «tf liih pnn'tic-ril philo-^ophy. In {\w h.ft foirgniuiKl is l'.\(liii;f«(tuM, 
 wrilinp mton Jii« kiiw. Kiii|mm|ihIi'>» anil oiIhm' mIioIui-n* (m> nwnnd him: llir xonililiil lljrui-i! 
 1b tliv >vliii(> iiiantk*. i* u |K>ltmi« of the i)iiko i>l' Liiiiiui, uqawtt ..i 4uU4w U., iui«l ihe iVitwf 
 iind patrim of Uunucllr ; inini«'<liiittly li<liinil him in f^rniti?*, I'xpliiinin^r his «lo«tnn»'H to AhihiiKk'M. 
 Kcilining on. tlic ^t^•pH, (ui*l kirpinj.' ul<M)f finni lii> liri-ihivn, is" iIk; « vui<»| DiojrcncH. In 
 llic lifrhl foiv^riniiiul is Airhi»ii«|('H, runstnu-tinjr ti jrconictriciij llj^iiiv on u tiililft |yin{( oiw the 
 frronn.l; M'vniil w'iM.lais watch its prnfrrr-ss: |.> tht-ir n;rht aiv Zuioiistci- and Ploh-iiiy, oh 
 i-opivsontativt'siif Astronomy and fJcojriaphy, with .rlrHtiaj and Icnvsiriul jrl'dw'S <!»' pliiloHoph«5rs 
 nn' in tin- art of addWMMn;.' two persons jns^ cnlrrinir thi> Hcho.,|,— thoy an« poitiails of Haflaclk; 
 and hi«» niaslcr Pt'nijjino. 
 
 A pictmvs.|iit' "nity of cllivt M-cms to ha\r Imtu Ww aiiiM'^ aini Ihron-rhonl this pictuif, 
 nnd Ihi^ aim he has attainid nio>t piiH-clly. Tho jrionp of v.mlhs in |.aili( iilar, coihTtcd' 
 around Airhin.id.'s-whi.h i. said to I... a portrait of Haflaclh.-s um-h- Hranmnt..'-is aniong 
 the mo>l inlnT-stin;.' and natnral of tho tr'»'al artist's clfation. h-rhaps. no master has loft 
 M) numy r.-ally ..xcellonl w.nUs ^s he, whose days w.-m so early numbered, and who, l.y IiIm 
 skill and moral Cxiellenee exaltt-il I'ainlilij: to the hifrhcKt heaven. . ' . 
 
 llalVaelle was Lorn ..n the (J(|li ..t April. I IKJ, and died on ChmI Friday; April tJlh, 1520, ut 
 the a-e Id' 37-, it is a sin-ular.Voinei.lenee, Shakspere died on the anniversary ..f hisMiirtliday, 
 in Ihe month of April. Two sueh paint.MS. pcrrhanee the world will neyer again pro.luco-their 
 works are their lie^l monnntentN 
 
 The original eirti.K.n of this eompo>.ilion with «pme slight varialion« is in the Aiiibt^siun 
 Lil.raiT at Milan. Tlu- -ngravlng is one of the. series of the works of art iij the Vatiean 
 pul.lished l.y anthorily of I'np,. Ifins V|., entitled 'Musco Pio Clementino.' 
 
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 Mr^V|I Wt^*t ^^'-^''' CObKS' (loMR'stic laiidscain's, it :wo iiiiiy so term theiii, arc precisely 
 
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 * "'^ ^^»>/r ' '* known arid aivprccirttcs the charm Of rural sccnerv and domestic life. In 
 
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 irtui^ (k^ nnd tlie cold i>ro]irictv of Creswick. • , ■ 
 
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 *- . Mr. Coles is a menil»er of the Society of JJritish Aitists, to whose exhibitions 
 .■A^#^ ■ •»• I'C generally contrilmtcs. 
 ^C^' "'X^ The ])hotoLn'apli, a happy i|lusfi\ition of photo^rapliy becoming us it were its 
 
 own cngi-avcr, is taken from the orijiimd oil paiii^,in|r. which is one of those landscapes that 
 the luxuriant Surrey Downs_jn cry where presents to tho hands of the painter. 
 
 
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 ir'' it WOliT IHM), when inecUii'vuliHUi in tli(H)logy niiil niTliitiM-turo wan at \K* 
 
 '^ liuighU a few paintcFH, fellow-HtudentH in the Uoyal Anidouiy, iKH-anie eonvurti* 
 
 i, to the iH-evalent fashion, and aH«<K*iale<l thoniHelves to/plher In the \w\vi, by 
 
 - ,,,) devoted and cxcluHivo Htudy of the oafly " CiiriHtian " painteiM, to n'mtoro ^ 
 
 ^lA Vvt^f;^/' nrt tlie leliiiion, depth, eamOHtnesM, trnlh and Hiinnlicitv, which eharactt^nzod 
 
 Slt'^'^i^Vr^ the paintinRH of Giotto, Pel UKin(» and otheiH ; and announej'd theinHnlvOjK i\\ 
 
 '^^^"i'f'^ J the world as the " Pre-ltaphoelite Bn'thien." Among them Wm. Hohmin lfl«mt 
 
 '' '''" ^V1j< , t<H»k the foremost phico. ■ , \^ I ^ 
 
 ThiH picture, originally exhibited at the Royal Aciidemy in 1851, and MibHe<iuenlly iri the 
 Pino Art Department of the International Kxhibilion, (lHfl2,) han been the Hiibjeet of nuich 
 (febato, UuMkin an<l Fni-HaplmelitiHin, vcrtiua Dr. Wiiagcn and his diseiples." In tint* great 
 "Art" cane, tlie evidence and opiniom^ pro and. row, mtly interest the ourious, but it ^ not 
 in our province to give them in detail. ; j^i 
 
 The text immediutely illustrated is fi-om the th|i-d ohitpter of the Kevtilution oC Sttint 
 -John the Diviue: " IJehold I stand at the d(K)r «nd kmwk :" ,' , 
 
 The picture is eminently symbolic of the (Jospel Covenant, and refpiiros a careful study 
 to understand its purport. We have- Christ rcpre*nted in his thn!cfold l*haracter ol' IMecmoP, 
 Priest and King. lie is knocking ftt a door* overgrown ^with ivy; the entranc(5<iis chok«l with 
 hemlock and other \veeds,embJenMUical of tlu^ties of this worhl,' and ho lioWs in his left 
 band a lantern from whence issues light, typifying the light of the world-; on hw lieadis 
 the regal crown, and also the crown of thorns; the .iewelled clasp denotes hi^ priestly offlco; 
 he is clothed also in the J' white raiment " of Uim that overcom'eth . tho world. 
 '. , Uirnn cxahiination, the crown of thorns will bo perceived to l>c budding. In the foreground 
 are somtj apples, and in the background arc s(|no trees in the act of . genninationi These are 
 > open to different modes of inten>retation ; ivcrliaps the artist intended to convey the idea 
 that the fallen apples, which are being trodden under foot^ arc to rcj^esent sin ; whilst the 
 new apples, on the trees, are to represent the fruit, that, bringeth forth righteousness. 
 
 It is questionable wliotlier such a subject is not too sublimo for pictorial representation; 
 
 again whether it be ' necessary in this* age. In the I4th am] 15th centuries, pictures of this 
 
 class were painted for the so-called instruction of a people ignorant of scriptural knowledge. 
 
 'The knoekirfg at the human heart, or soid, for entmnce, is a spirituality not to^ bo 
 
 reached by mei*b painting; it isj a theme whieh mijght make an angel pause. 
 
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 THK AI.IMNK TOKKKNT. 
 
 A. CAI.AMR. 
 OMI'AkK iIms |»uliirc widi its toiii|»!iiii<m 'SolitiHle" by tlic kuiiu' urtiHt, 
 
 ''^**^*^->^S^nl,|.,i|,( sjnikiii-r tin- >Monir-l 
 
 i(P'>'V funyinjt with it <lc\tiMiUion nnd <h>H<iltition to tlie volleys Mavr. 
 
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 UHt! Tin* MUf, Xaiiiiv in nil lit'r iuIiiiiicmh and woix-ijily ; tin* otiici', full 
 
 of iin|H>tiiusity : the liim<iit. all foaiii ami fury, niHliiii^r hoadloiip; over tlio Ntoep 
 
 -Ita'Hdl piitnioiitory. upi-(M)tiii;^ tlu- lofiy j)in(.'M, and 
 
 ^!..^,\ Look at tiK' wtdidi'ifnl iicmnltMisucss imparted to tlav branches of the trccH, 
 
 ■ "-v '•wajrijin'r 
 
 iajrgin;-' their hi;jlr 
 , fratherin}.' ^trt'njrth en- 
 
 tops ;■■ ajtain, at the roUin^r clcaids, which sccin to lie 
 they liiunch out the frust>< of heaven. 
 
 In fontcmpiatinfr this, pictuiv leiijrraved by the artist) one is forcibly reminded of tho 
 
 beautiful lines by Coleridge: 
 
 •' Vo vriM t'lriviiU fi<?rt.'oly j^Wl J^ 
 Wlin cuIlM you f.Tth fnini iii){lit anil utter ilcftth, 
 Frnii <lnrk iinJ n'y cavcni.* callM ymi fortli; 
 D«wii tliO* prei'ijiiiKU*, lilaik juj5({c4 nickii, 
 •For cvor uliirtttT'il. ifiicllhi' i>umo forever? . 
 •Who j;iivi' you youf iiivulncrulile life, . ^ 
 
 Your iitrciigtli, your ."iiecil, your fury shiI yimr joy, 
 I Jiccwiii;" tLumler iiiiJ ctenial rottiii ? 
 Ami who voiiiniuiiikMi (and tlie uileiiec cuuie), 
 Ilori' fft jhfc Ifillowg jliffen, and have rest V 
 
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.-m 
 
 THE THRKK MAHYS. 
 
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 \i>$i.;^tli<" suliject. Let ea- 
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 ^YO one can postsihly T»x>|vtat this Vundcrful picture, wliich niay emphaticully 
 
 lu> tt'iiiictl "the 'picture (tf tlie Avoild," without emotion. The iiRtliiy depietetl 
 
 f,v 111 the faces of these holv women is intense, almost that of death. The 
 
 hands are equally expressjive. There is u sublimity in the prief that palls upon 
 
 I the senses, an! deprives 'criticism of language strong enough to do justice to 
 
 L'ach lieholder try to realize the situation, and then give vent 
 
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 The artist, Annil)ahr Garracci, was born at Bologna, abtiiit lo60, and laboured 
 
 in his vfX'ation with an unwearying and enthHsiastic i evotion, and with a 
 
 singleness of purpose which ; ha;^ never been excelled, rarely equalled. lie disliked all study 
 
 bat painting. The fame of Carracci reaching Konie, lie- was invited by the Cardinal Odoardo 
 
 Farnesc to adorn his palace with paintings. He went, and, exalted by the sight of the 
 
 ancient works of art, and the labours of Michael Angelo and the divine Kaflfaollo, he worked 
 
 with an intolei-ant devotion, and expended eight years on the Farnese Gallery, which is justly 
 
 considejed his greatest worlv. • ; . 
 
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 The engraving is by Koullet, aiid Was kindly lent to the publishers by his X<u-dshij> Tlie 
 liishop of Montreal and ^Metmpolitan. It is a faithful copy of the original picture, now in 
 the possession of the Right Honourablo the Earl of Carlisle, and formed one of the principal 
 attractions at the Exhibition ot^ Art Treasures, in Manchester (1857.) It wa.s previously 
 in the Orleans GallerjS and is considered CatraCci's nmster-piecc. 
 
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 N wntcr colour . (Iniwing. fuw Uavo attained in their id&rinc piccus anch 
 
 |,>.A colt'»iity as this artist.' The hqo and tlJb Bca-sliore seem to 1^ his home. 
 
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 render the " vestv"' waves that ■*^' > 
 
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 " CyiiPminl iinJ svrallnw im'vij^atmu uji;" , .. 
 
 fbcr brave ship, taken uliaik by the iWgingHtOfni and tcfnpest, is in 4^7" 
 situdtion of the jrmilost |ilan;i<'r; sin; is stiUirirFinx as with a last effort to' right herself.; 
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 and the boatswain are at tlu;iru*f)'*t. .. . ' 
 
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 exhrbited at tjio lat4.< ewnvorsu^iofie of the "Art Association of Montreal," iind -is in the 
 
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 ^wOiO'saw! the picture wiHcxclaiiu, what a laithlVil translation! It shows, the fulaptability of 
 
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 I.A MALmNNA COLLK STl-llK. 
 
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 OI.(l> l.i.)-;ni|.li|r, HuMuiinri, ull.ibuti'H the l'xijoIIuh.v of ]m pftinting to 
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 I'hf piv«riit Mil.jivl i^ .liiini.t..!;i<*ti.- ol ih.- :irtisl : jt i* oiii.> of « diiss (hut 
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 ^lK"'illi, u piij.il of |{,K,.ili, i»l,w was faii.uns'tor hi< |.ow..is of tcachinjr. In ioni yrurs, Curio 
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 '^ .. TH£ GOLDEN WEDDING. ' ' 
 
 '-. 'r) ' L. KNAUS. 
 
 f^ -^ (JOLDEX marriage [^ imleed sumethmg worthy of celebratioD ; it falls to 
 
 A the lot of few. Those newly wedded, when novelty and hope threw a glory over 
 
 _^ their first hpme, can hardly reuli/e the position of the aged couple -who, having 
 
 ^7^<^^-^/: '""^^'*' ^''*' ^™''''' ""*' ^''^'^'' '^''''^''■' •'*^'^ hQcom^ more United,— more indivisible. 
 
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 >^^>-=^ ''"'"'">■- ='""^'' "''''' i''.^'^'"* '"•^'<«' 'l'i»cing and re:Joicing together,— what a feast 
 
 " -; ■ vf 5-^ "^ '"^■*'; Tl'cte is a l.cuutifub bit in Sterne's Sentimental Journ«y, apposite to 
 
 - '. • -^ this oictufe. wh(!ii> ho di>Mfi'ilir>u n r.iinMt. «,^«i.:.,t:. ^e __ _ij • , » 
 
 ^ • ' ' ^ this picture, whei-e he 'l«^<^'^.'t ''Unily consisting of an old grey-headed 
 «)an and his wile, with five or Six sons^;|^„s-in.hiw, and tlieir several wiv^s, and a 
 I«mnis jrenealogy out of em engaged in a dahee, iii which he savs, " I 'fiincied I could 
 distingnish an eleVal ion Of spirit, diflerent irom that which is the^ cause or eilect of simple 
 jolhty. In a woH, I ihougl.t 1 beheld /^%^« ...ixing in the dancc^but as T had never 
 seen h&r so ongaged. J should have looked upon it .to w^ us one of the illusions of an 
 •U'ngumtion wrUth is^ernally misleading me,^ad ,K.t the old man, as soon as the dance 
 ende.l, saMV^hat thji/ was his constant ^^i«y.; and that alibis lite-long lie had made it a 
 •ule. after s.|,,e.- w/. over, t^ call out his tamiiy to dance and rejoice; believing, lie said, 
 H.i.t a ,.l,ee«>^ contented n.ind was the best sort of thanks to heaven that an iUiteratei^ 
 pea^aivp^^d jiay— • 
 
 Or a learned prelate either, said I." 
 
 The: artist was originally a ly.pil of JUcobi's, and is a native of Swabia, but has long 
 •|ecn msMlcnt in France, whe.-e he deservedly ranks amongst tlu) tanost of the French 
 Nhool of -Genre" painters. The ,,..;sent Mibjeot commends itself and n^q aires little to be ■ 
 -aid ol ,t: It ,s treated with feeling, and is a gntceful composition. 
 
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 I^TH^'^'V, ^"^^'^ 'i"'^^ "^^^^f"* wiiieh he besloivcd more than hia' 
 I l^diiijw^ care. Gerard %i>^1.4»e<;n charged Mjith excessive slowness in 
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 HE i>arttble in rocord.»d j| th« Oonpol of St MaUlieWj|JCXV. 1-13. tt !• 
 
 iU^f^; founded on ft nmrrittg*; hcoiio, «ad It i« the taxf. act in tlio drama of itich 
 
 f^^ corertionioH as wcrtf (»b«crved in Cana of (;ttlila'. that the picture wproHontn. 
 
 Tho time, an iH still tiio cam in many KaHtcrn countrioH, in niRht, when it was 
 
 UHiial for the bridegnKim to bring hin bride to the houno. but a|. no flxo.1 hours 
 
 «* ^^A' ""** '''^*^ '"" '''^'""' ''*'*^*'"*'"'^ ^ ""*'''^' <^"''*''"'' »«* waiting \.ar the houno 
 >* ,lf ;^with lamps, in ottlcr to go out and moot him, whoo^ rtier^iould be informed 
 
 *' * , «^^ of hi« coming. *. " * "* » - .;. , 
 
 m. « i«/8Vident, that, Iwing tired of matching, thc'AdegiDom hati'% tani.^l l.«oiidl 
 the time ,.bf Wh expect«l coming, they have all fallen anlecp. Anon, thkirc hoaJtho 
 »*|hout8 and^^8*of joy, breaking the deepJ^ilcnGt• of the midnight': thPlkhtH o^ the 
 'torches '^li-anim the dislnneo.. the proceHsion is . ad vancing, and the ciy l^fcehold thoi 
 bridcpnKjm comclh! g%,yo out to meet him." The coming^^ is widdcn; airsavTcMfcare^ 
 awakened, and have start|4 % i^^'*' f««t |o arrange their attire, and to trim their ^^•' 
 fite, more cag.rthan,^h^ '■««*; J^vc the^ (eet sandalled, and their lamps burning; tho* 
 remamder. havita^rovi^^ no oi. and doli.tless thinking that the brid6gnM)u, would not 
 tarry, and that Iffey Inid sufficient oil to last untjl he should come, are looking Hwith 
 dismay up<m-thclr^ptylu^^^^ is imploring her more provident 
 
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 |5mpanion8 to p.1^i:^r oil, whiPJs refusef; and'^by tjo action of the hands she h 
 pomted to the n,>ighlK,u.ing city. «W^t.e^ can go< l^^^^^ that sell, and buy for herself. 
 
 ^^[ -Clonal Instltntion in 18J4; nothing can bo more 
 
 «jject;-no incident, is forgotten, the figures are eflWftfhwIy 
 
 l^p-^, the drup53,iej^ are jprmfimd it is ^euemWy (.onsidore<l the In^st work o1 ■ 
 taloutcd artist. .V v .. 
 
 I This picture was^exTiibi 
 
 t^Jiternl than the rcmlciiii'' ol 
 
 
 J. Ecklonl LrtuckM- is a uAeml^er of the Hoy al Scottish Academy: his works are held in 
 g^at r^ft. in England, he is a vigoreus and sell^thinking painter, and one whose selections 
 ot KUbiccts goncndlv indicate a lofty and original mind r to wit. his celebntted, picture the 
 "Edict ot>, the Iconoclast.' which was exhibited in ^1. It depicted with great ,K)Wcr 
 an .uterestu;g episode in the early hi^to.. of the schism b«twi,t the Greek and Homan 
 GRurehcs. The ijngravmg is an artist's preof l>y Ly^; Stwks. 
 
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 T an early ago. the artist evinced ii decided predilection for art, and 
 
 ■^»Vt^ yr elected fur her subjects, landscaiK-s and animals, the latter in prtrticnlar; 
 
 r , '/_i^^^^.* and under the training of her father— J[iimself u painter of great ability— 
 
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 "''? "iv"^*r~* observation of living animals during* their >*»rdinary unconstrained movements, 
 
 '^ :^^;'yr she has risen t() an eniinence, perhaps never before attained by oikj of her. 
 
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 > they arc almo-^f invariably simple and unalVccted .^ in (oMiposition, admirable in drawing, 
 
 -. free. ' broad,, and what miglU be called masculine in execution, did not the contrast Nillbrded 
 
 b.^ ,the stippling and mincing mannei of >ome of our modern male painters suggest the 
 
 inai)pli(abilit\'"ol Muh an epithet. 
 
 Tiie present subject, and her great woik. entitled Le Labourage \I\crnaLs," exalted lior 
 t.ime in IB.'iU. It received the "honour which is the crowning ambition of a French artist. 
 a'i)lacc in the iraller\ of the ].u\end)ottig. . / 
 
 ,^' The "lloise Fair,' iiy which she is K-st known, was e\hibile<l at the Krcjich exhibition 
 in bondou in 18.>."), aud excited an unusual ttmount uf ,Httenti<)n au(i^aduuiatiwn ; antf when 
 / Mdlle. Honlieni xisitcd the English Metropolis during the cNhibition, she met with un 
 'enthusiastic letT'ption Imm. artists as well as auialcuris. 
 
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 •X^ l^j^ij^ '*•»• wo «ay of Iiiin, whose fieniuH is u nalion's hi'iitage, whose iiiiinortatity w 
 •^ »Kkv oiit-hist the inoniinu'iits (^f ail ages, and until "Fame weeps o'er tl 
 
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 HAKSPKRK,— the very name is ah invocation to the Musch,— what Mhall 
 
 ill 
 
 the 
 
 skeleton of Time "-^whosc tepceiitenary has, so iceentiy been eclcbratc<V/ 
 
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 wlieies(K'vev the Kiiplish lanjrungi! i»* «i>oken, and all over the eontiiient of 
 Kun»[)e. where he is known as a*V know (Joothe, I)antc, Kahelais, or Cervantes, 
 — wl^' his works have licen tbnslated and illustrated jiy men the most 
 discriVjniatinjr and profound I . An epMome of his history, however Itricf. wouM ^m) 
 not only out of place, hut beyond our liufits. All who have studied hiV >vritingi*. , 
 
 '^JiiQW that theiv is nothiug hut Uiu-ertainly about his |ife-rthc spellinji of his Maine is yqt 
 a ijue'stion. liiif one that <»upht now to Ite tinallv determined— the dav of his Jtuth is 
 
 ought now to lie tinallv determined— the dav of hisJtuth 
 _ ^ * i[)ociyj.hal. i>ut comnion ronseut has. lixed it on the 2:{nl Ajdil, luftl, Jjt. George's Day. 
 ''" '^''^''■n^i^^. ^^^ '^'^''*^S^ liidving the names ofour Xational Bard, and our Xatioual Saint. Of his 
 
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 ^seh^)t-flays . liuil education, there is nothing dclinitc: <»f his ai^axMUit-esJiip m- pi-oftjssional 
 
 I calling, all is conjecture; the day of his marriage iinautticnticated. those of his baptism and 
 death alone registered. Hut what of these things! our ig\iorance of his life detracts nothiu" 
 from his ^ghny. Of, liomer and Virgil we have little k*nowledgc beyond* tradition,' yet^ the 
 Iliad and tlH*-Ent'id have outlived TniyiinclCanhajfe. »j ' 
 
 !_: -it hasjjlea^^ of all gifts, who luiUi m^^rullefl the noble; 1 ait hath rat Iter - 
 
 ehosen '-the, foolish ^thingsol' the work! to eonlound the wise, and wculv tMngs of the world 
 to einifound the thing.s which are uiiglily," to permit the lives <»f thip tiiajl to Ik; shrouded 
 
 • in iiiyMerr. It 'Would donbtless\ in the caxe of these Englikh. Git-ek and'it()man Mards, have 
 J.ecn most ■rratifyin g toJ haVe been furnished with some historical traits liiliistrative of the 
 
 . dfiwn <)f Iheir mighty geniuses. aml\»f the progiesision of their intclleetuai (leveloj.mcnt. This- 
 patincatiou is denied us— contemplation and ama/ement fdl the'" Void— a^l we believe the 
 lnqre that ■Spirits are not finely touched but to tlije issues." Tlmt Sliakspeie was a biblical 
 
 ; 'scholar, Ins writings'' abundantly testify: the phraseology of the IJibJe 'ha« " in many eases 
 peueti.ited colouicd and shaped hi»' language. He was (atholic lu his ereed not the slave 
 of an> particular sectarian opinion. His. e(aitiibution>. to moial'^aiid social .s^-ienee ami to 
 natural hi»tor\, aie numerous: and the\. with some of the iliviuu truths' of religion, are 
 
 . e.\piesM-n in the • richest poctr}— his moral and I'eligious ai>horism.s are in theni.selves' 
 h..milics— his Know Icd-rcv of human nature and of the inufttc qualities of the human mind." ' 
 i- wonderful. All 1ms chaiacters speak the lanuMia-.'e of nature; !«; thev high or low,, they 
 utter words 'tliat imaiiably ami intuiti\ely become the position and eonditioh of each. 
 .Theie is nol a ieliltion oj liie, mn n (ijiullty'or the soul, that has esc-aju'd his notice.. Ue 
 
 ■ ha-' taken us beyond this- \U)rld, and his eve " ' , ^ ' u\ 
 
 ( * , " III n fine fr«>ii/y ro)lM)g, ' , , '\ & , .. 
 
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 Anil, us im.'igiiiatioii liodics forth 
 ^ T'"" 'inn of .thing'* unknown, thi' jioct's pen 
 
 ' • . "^ Tur;i«t thuin to shapes, , ami i^ivcs to airy notinnsi 
 
 ;J . r A loial lial)it,iiion, .mil a iijine, 
 
 1^^ wlndFThey are left t^ngKnen on our mimls^with an indelible 'stamp,; ai^ huppv slulll "- 
 we be if wc never try to elface the impress?' ,. . ' 
 
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 IlrmbKiiken. 'and Mr. Virtue, with their lives and eharaetei-s, l.y Thonuis^ieh, A.Af,- -F.R.S. . " 
 
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 IN MEMORIAM. 
 
 J. N, PATiojf, R.a:jj. 
 
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 •W/^' N this picture the artJBt Ms imagined a very probable incident connected 
 with the Indian niutiny And revolt. The wives and families of soino of -those 
 unsuspecting European- oflBccrs who have iKjen treacherously . and- inhmnaniy^ 
 slaughtered, have taken rofuge in an olwBcure den, in order to escape from the 
 impending fate which has already overtaken tho,se denre6t,*o them on earth. In 
 the anguish of their soUlrf, they lafc sustained by u higher and holier Jliope than 
 that of deliverance. In the centre of the picture "kneels a heroic lady, a noble 
 tyjK; of the British mother, in whose countenance the grandeur, of Christian 
 fortitude and the inspiration of Chrisfian hope triumph over despair. Her calm 
 and lofty resignation aftects all that surround her; every heart gathers, strength from the 
 words, "Yea, though I walk through the valley of the shadov^- of death, I will fiar 'no... 
 evil, foi» Thoii art with me,'' which she is reading from the , open Bible in her left liandT 
 while with hei- right arm she supports a -delicate girl, who apparently has b^eii startled from 
 a sick bed, to Ik? hurried into this tei'iiblc ami trjing scene. The expression *of the girl's 
 face is that of a solemn and humble "Amen" to' the mother's prayer. > 
 
 To the grand and powerful expression of tyMjfcnivs/W^^^H^^ presented in 
 
 the peaceful though fevered face of the little "^P^ ' sleeps unconscious of. the disasters • 
 that have made him fatherless, or of the fate ;^at, threatens himself and t|io8e around him. ' 
 How fine is the confident repose of the interesting group in the back ground! The quiet 
 glance of solittfiTe is as characteristic pf the Ayah, as (he calmer confidence is of the youthful 
 British mother. St^Il finer is that -to^ of nature' in the little girl, who. anxiously looking . 
 towards the devoutl matron, and hearing her words instinctively (bids her hmids in imitative 
 pwiyer. . ■ ■: - ■:',.- J ■■ '■ ' ■' '■■ -. 
 
 Tlie accessories of the scene, and the dresses of the women, indicate the suddenness of 
 thciv flight, giving no time to pause or consider, a,s they are hurried from their i^eaceful 
 homes to this awe-inspiring place of refuge. Tlic quick eye of the Ayah has detected a rav 
 ol l^ht streaming in by the opening door It is a moment of awful suspense^life or death 
 -who can tell'/ The fight rages without-which side will be the victor? The door is opened 
 by a bmvc and stalwart Highlander of the 78th, who pauses on the threshold, awe-stricken 
 by the holy sight, and hesitates to announce that deliverance, in answer to their fervent 
 prayer, which he brings. ' • 
 
 a .J'f rf "* '""^""" '" '*"?»"•«' a, a memorial Piotm,,. A. »uch k ,vas, i„ 
 a .,, nt of deepest earnestness, designed by ,l,c artist, and he has concentrated in it all that 
 
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 KEY TO THE ■ ... ;, n -^^ . \^ . BY DELAf^OCHE 
 
 PAINTING "" ' ''^ *"'■ FRENCH SCHOOL 
 
 ■ or THE HEMICYCLE DU PALAIS DES BEAUX ARTS 
 
 *'^, 
 
 PAINTKUS. 
 
 
 12. Van Dvfk, 
 
 J 13, CnrVappio. 
 
 ^ ("t)no}.'<?i(>, . 
 
 
 11. IJcllini, 
 
 nft* Paul Voi-uiiosu, 
 
 
 J IT). Ciiorgionc. 
 
 1. AutoncllodiMcHsinii 
 
 
 y 10. Itnysdacl, 
 
 •1. Murillo, 
 
 
 } 17. Paul Potter, 
 
 r>. Van EycU': 
 
 
 ' 18. Claude liormiu. 
 
 (1. Titian, 
 
 
 1. U). (iasnard Poussin, 
 
 7. Tcrltui'i.', 
 
 
 t. : 
 
 8, llcmbramlt, 
 
 
 1 SCrLPTOKS. 
 
 9, Van-dci' llclsl, 
 
 
 to. llubcns, 
 
 ." 
 
 1 2(». Petei Fiselier, 
 
 11. NClnzqiiez, ' 
 
 
 21. Iknitcuips, 
 
 ■ ./•-'"■■■'■.•■'■•..., ■"• 
 
 3i. 
 
 Gothic- Alt, 
 
 ''-■■. •' 
 
 35. 
 
 G»"ceian Art. 
 
 
 36. 
 
 fttinus,. 
 
 ■'.■■■ ■ ' ■ -■ 
 
 37. 
 
 Apellew, ''-.;,.. 
 
 22. 
 
 Ijueca delia llobbia, 
 
 23. 
 
 Heuodetto da Maiantt, 
 
 21. 
 
 (liovannl Pisauu, 
 
 2.'). 
 
 Itandinelli, 
 
 2(). 
 
 Donntello, 
 
 27. 
 
 (Jliilieiti, 
 
 28. 
 
 Palissy, 
 
 20. 
 
 (loujon, 
 
 30. 
 
 Collini, 
 
 31. 
 
 Pillon, 
 
 32. 
 
 Pnget (Piiuie), 
 
 33. 
 
 .lean do IJolojine, 
 
 38. Piiidias, 
 
 39. Tiic Gcnins ol AH. 
 10. Uoman Art, 
 41. Ln Renaissance. 
 
 AKCHITECTS. 
 
 42. Dolornie, 
 
 43. Teruzzi, 
 
 44. Erwin de Stcinbs^clt, 
 
 45. Sansovino, 
 
 40. Robert de Luzarches, 
 
 47. Palladio. . 
 
 48. Urunelleselii, 
 
 49. Inigo Jones, 
 
 50. Aruolfo di Lapq, 
 
 53. Mansart. 
 .'54. VJgnole, 
 
 PAINTERS. 
 
 55. Bcat(t Angclico, 
 Man; Antoine, 
 Edclinck,. 
 
 .58. Holbein. 
 
 59. iiC Suciir. 
 Orgagnaj 
 
 .56 
 57. 
 
 60, 
 
 ai. Lcscot, 
 ,')2. Hramaiite. 
 
 01. Sebastian del Piombo, 
 
 02. Albert Dnrcr, " 
 
 04. 
 65 
 66. 
 67. 
 68. 
 69. 
 70. 
 71. 
 72. 
 73. 
 ^74 
 
 iitipliardo «la Vinci, 
 DoinenMrino^^,,,, 
 
 5. Era IJartolomeo, 
 
 '•^-'■^j. 
 
 ■^J-^Jy 
 
 Andrea Mantcgna, 
 .lulio Romano, 
 RafTaclle, 
 Perugitio, 
 Masaccio, 
 MiclicI Angclo, 
 Andrea del Sarto, 
 Ciuiabue. 
 Giotto, 
 
 r^:^^^'^.,.,,..,.,,. 
 
 75. 
 
 Nicliolas Poussin, 
 
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IIKHM'Vi'I.K IH I'AUIS \m WUi \ AliTS. 
 
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 '- 0' \V\. DF.r.MtOritK HUN iNirii at Pnrii. ii» 1707. Knrlv inti<n«liii({ !•> foiluw 
 \% iirl iiM II p(i>f<>*iMiiiii. Ih- lit ni>t Mttidicti Iiiiu1mu|m', niul hmi> in |H|7 un 
 ly iiiiNiut'cHHfnl nindidiiM* C«*r llip At lulciiiv yt\/.y^\u liiiMlwit|ii>|inintiti^ <'«MiviiM><>fl 
 v>V tliiil luiiilMU|H'-|iiiiiitinjx mus irot .lii* viM'iilitui, Ih* «-nlt'n-<l ttic alrlU'i oi Haritii 
 fiitH*. iiniici whoM* i^iiitlaiin' lu> iimuIi' mpHI /^-^ijxti'Hx in (lit* mIihIn ni' iIh> f||{im<. 
 Ili>< MiiijtH'iM \\v\v t'lioocn In II •iit'at cxiciit ipiiii iiitNlorii liiMlory tMciiHioiuilly 
 |Hiiiitiii)r II I'l-M M'l-iptMiiil Hiili|trt». Ill IH2i \\v |Hiiiili'«l \\W "SI. Vinrnit ili> I'aiil 
 Pri'iifliiiip' iti ()h' I'li'M'iifc ut' l^iiii^ MM": iiimI •ItMiaiir A' \xv iiiicnitiruliil in 
 IVIhimi liv Ciinliiiiil HiMiifiai, ' uliitli |iiiMlii^f«l n ^rt'iit iiii|iri<KHi)iii. In |H2n lit' 
 (>\liil>itiil till' lli-Hf III' liiM vi>n Kniiiikulilo |»tiiniini;n I'lirm Kn^li^ll liiMmy,—" Tin- i)«>atli of 
 <)iii'i'n Kli/alN'lli. ' TliiH imliiif uti» |iiiii-liiiot>il I'ly; (lie }railcn iif tin- LiixcnilNtiny. In iKtl 
 lu< Jitrain IiynI um Kn^liHli k*'<*i>»<I' <i><*I •'MiiMiH|M><| n it'iHitatinn in Kn^lllrl(l liv liin Hiin'DHHfiil 
 piftniiv CliiNli't'ii 1)1° K(l»iinl l\ in (Im- TnuuC ; IhiI ••! u tin lii^hri' iinltM' wiih Imh iwxt 
 cMMiy. ■ Cridimrll CtinttMnpliilin;: rlif ('i»i|tsc ni ('liiirlr> I.' In llli^ |»ifliiii' lie Ihim iMiiifrined u 
 i-ii-('iiiiisitiiii'c in itM^ir Miflici«'ntl> |ir<iliiililc. iiiid In- ||||^ ii-t-alttl il with a i-alni ili^nih wtirtli\ 
 (iC till' llicnir. Till- uMcntiiin ul' tlu' U'liolilt'i' ih iit diici* aiTCMtcd by iIh> tlHin^litl'iil lifiul tif 
 flif PriittfUir. tliifi'lfd In tlir lilt'l('^> luini In- is liitMKliii>f ovit ; and ii ih'vit wan<U'r»H ' riiiin 
 tlit> victtni nn<l the vittor. riiin pirliiit' io in ()u> iHiSNCxMim til Hit- Karl tit KllfHini'n-. 
 
 In IKH lif I'xliiliitotl his " K\('ti»iion nl Ijuly Jane (iivy " ; in IHM", CbarlcH I in tim 
 <iimnliixnii, insiilicti l»y the I'arlianiinlaiy SolilituM,' and ' Ltinj StmllonI on IiIh way u> thf 
 .Scufl'old, i-et'eiviiifr the Blt'HHin}r of AwbhisliKp fiiuul.' Tlii- lusl in in tlu* tullt'tjtion til" llu' 
 Dnkt* of Sntliciland. Tluisc hij1ij«!<Is ww all well known liy tin- »'np;ravinn;h. Among llif Kntntdi, 
 IiIk " NapoliMtii at Fontainlilcan. ' ami ' NaiKilcon iiusHinjr tlir Alpn, " art' nnivci-willy i»opulur. 
 IVrliapK ihc nionl ninaikalili- of DflariKlioH piiMliitttions, liowt'vt.-r, is liis painting of tbt! 
 * Mfinit ytic til" the I'alain <K %aii\ Aits." fnjrrnvttl in lliifi> |Mitls liy l)u|)ont, nud kindly 
 k-ni, tlif pul»lislicM> by the ' InKtilnl ('anadicn. " It is one, ot thf largi- serioH ol engravings 
 St. f^racioasly pn'sentt-il to thai Insiiiinc l.y (hi. IVinii' Napolfon in icnifinbnintr of his visit 
 to Canada. 
 
 In this(m»ittiiiv hf has ivpifst'iilcil many ol. tin; gmit painttis, s(!nlpU)rH, and an;hitet;ls 
 tVoiM thf oaiiicst time tlown to thf pivscnl. Knim the cfntiv of thf tWptich, when" Aiwllen, 
 Phidias, iind k-tinus aiv fnthronftl as thf i-opifSfntativfs of the mi% in umiient <iriKJ<r. and 
 maishalk'd iimlfr fjguH's which syudwlizc the piincipal i>ras in thf liisloiy of art, the groat, 
 stinliitois and aivhitecth aiv arranged in gi-oups. the paint<*rs tK;enpying the extromitiCH. The 
 aitisiN fh().sen, and tbow in inoic instances omitted fn.m this aitiHtic wallhalla, will probably 
 raise a smile on the lips of the student of th«' history of art: but the work cannot fail to 
 excite iidmirat ion, it is so elevated In style, trpgi?d with so much rclincnient, and is so 
 8im[>lft. ami offeetive in armngt'ment and execntion. This great work einnloye<l the painter 
 during the years 1837-4i.s 
 
 M. Delaroehc is justly rtgaitled by the French as one of their greatest painters. 'Ho 
 has undoubted genius; is a master of his .vrt ; and is always truthful, correct in drawing, 
 and tells his story with admirable iiei-spicuity. He was created an officer *of the Legion of 
 Honour in ISS-l. 
 
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 ROAII SCENE, LAKE OF TWO MOUMAINS. 
 
 ^^i^^^ F «ivv artist who is in tlio l.t^bit of composing his lectures, would but take 
 'rt'&S'' ■ the liist copse he meets with. ;in.l would careluUy study and paint its trees, 
 
 rol»ed in their pnmd /plt)8pcrity of leaves," and 
 ^ itrUiidclcalyibregn)un.l of tangled creepers, luvivould, be more satisfied with 
 
 ^x fJli^"* with their wreathed Inanclic 
 
 c^M ....... ., . 
 
 ^i^y^ the pictUR' than the best and most (laboratcXp ^'V''' invented. 
 
 A 
 
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 Tliis ?mnted, will be rvason siimcient lor tlu' selection ol this bit of road 
 
 r.^ scenerv-photographed Jpn. nature-it will U- i^elVe^hing to all true lovqrs of 
 
 ^''^:, " landscape painting, and specially tho>c acquainted with the works of Crcswick, 
 
 **" Hunt and Linnell.-artists who are not content to compose and imagine, but who 
 
 do draw from nature, and t.y lor nature-nature in her libert^nd who feel with Wordsworth 
 
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 ;. ' ^ V The heart tliat loved her; 'tis lier privilege, 
 
 Through all the years of tJiis our life, to lead 
 . From joy to joy; for she tan so iiiforiii 
 ^ The imiul that is within us, bo impress 
 
 With quietness ami IWnuty, and so feed . , 
 
 ' With lofty thoughts, that neither evil tongues, 
 
 Rash judgments, nor ilits sneers of seltish men, 
 ■ . , Shall e'er prevail against us, or disturb \^ . 
 
 • . I]' Our cheerful Jaith, that all which wcbeliOld, -■ 
 
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MEKCIIKV AND AlUJIfS. 
 
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 W7\ ATI UK ill nil Ik'i' vuri('<l nl^I>ot•t^ TumiM <l('liglit««l to 
 •i IK) (ithcr iirtint, iim-ii'nt (ir iiicxlcrn, linn over rfi|)^'wmt( 
 
 
 
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 ^I 
 
 Htutly ; and (wrbai^ii 
 •ntwl her on cnnvaM in 
 
 ^ many iiiimkIk. 
 
 His pirtuiVM Mil' haul to Im- iiiuhn-HtiMHl ; ami khv reason in, that wo huvo 
 
 •j|?y%^;''T »<>< hH>k«'«l upon the hoav«'iis with the kuiiu- Kpi/it. A netting Hun to Komo, 
 
 ^i^l)^J/ i« l»ut that RlorioiiH orUHlnkinjX below the horizin, a llery ml colour, tinging 
 
 the ncighltoiiiiriff cloiKls. Turner l(K)k('(| ii|H)n tl/e IleavfiiiH in, the Bume Kpirit 
 
 ftH ShakHiKji-e fliif when lie xilys 
 
 " l.dok liciw tin' lliMir of licnvcu 
 N thick iiilnril with |iiitiiu'>< of bright nold ! 
 'riicrc'H not tht' itiimllc'.t orh wliich thou hi-hohl'm, 
 llitt^iii liiK iimtitiii like an iiiif;('l NJiign, 
 •■ • Still i|iiiriii){ to tho yoimK-<'y<'<l chpriibitn." 
 
 Ill (but spirit niiiHt we lie laii'rhi in nnler to appreciiite Turner ;^— he who, at all liourH, in 
 all seasons, ha* wateheU every iiKMlilieuiinn of the sky, ami jrivon ilH eveiy phase and feature. 
 
 Tlieix' is Kcareely an atuiospherie elVecl (haf Turner has not produced, rroin an hour before 
 ■ sunrise till i.iiidni}rht—falm and ti'iiipest —winter and siunuior— tlic thnndcr-storni and the 
 serene «kv — lo^r andniisls — miii and iiioon— snow and hail—tbt; irlorious rainbow and the forked 
 liphtning— <'Utaraets. and hinrieanesr—- fhe.M' f*eeni to ok»y his will, 
 
 Airatn: look at his se;l-pietures, . Xone , but those who ■oeeupyj heir business in great 
 waters," or . who have hatl liy ihc si'a-side an opptalunity of watching the sea after a 
 jiroloiijred s'tonii. ihe broad hcavin^i' of the whole ocean, and iiiivc nnilized the power, ma jeaty, 
 and deathfulness of the (i|>e(i. deep. . iiriinitable sea. can a|>prechite suclr a picture its hi,s 
 '"Slavo Ship," 'painted in IhU). a work iii. itself wuthcienf to render the ar'tixt immortal. 
 
 Iluskiiv in his "Stpderii I'ainters." A>»l. I; lja^ eight distinrt icfeix'nees to the ■"MoBQUry-. 
 and Argus,"' citing it iis a glorious exaiiii>lc nf fjoiid-painting : as shewing the fulness and' 
 inystery . of Turners distaiices: as the i»erfe(;t paintiitg of thick leafy foreground ;, and tlie 
 BpiHt .of ro.poW' pervading tt. It lian been selected, as an cxaiiiple of Turner's landscape!* . 
 iKjfore. he sacriliced cvbrything elij»> ;in the ellfoit to. attain, the utmost splendour of light ami 
 colour^-to luiiko -(ill t lie strange laogunge of his cnvH ■• M.S. Fallacies of lIope;")\''tlic sun 
 
 "-'' ' • •-■ • K.xlmK' earth's huinrd biil)b|i'.<. iinrl,, I'liiiiloiis of liijJit', ■ . ■■ 
 
 • ■; Itetlcct Jim* roriiis, ■ ("iich itj '|ifi»iiiHlir miisf,.'" , ' ■ ' • 
 
 ■ ••".• . ' "-. ' ■ ■■ ' ■ ' ' . - • ■ . .■ " ..■'.■■■ 
 
 Turner wirf liorii ill 1 7»>o : he • cntoretl tlic Afudeiny as a student- iii 1787, and regnlarly 
 coiitril»ii)('d froiii this time ttlj his death— ii period of sixty ycfjus— to every exhibition of the 
 Rovjtl Acadcmv. with the exception of 1821, ■'lil. iMid "18, ; sending in all two' hundred and 
 lifty-nine iiicture>. Hut these iilont! . would give a very inadetpiate. notion of his remarkable 
 facility iind industry. Dming that period he sent to the HritisU Institution twenty iiictures, 
 and i>ainted many »)4hci; of Ids chief works, which wci-c never Vsxhibited at a4i l»csides jnatiy 
 ii.undrctls of water-colouKttrawiaigs and designs IJH: engraving..' •. 1 '"1 
 
 He died in 1851, and w'4»s buried with some state in the crypt of St. I'anls tathedial, 
 by lilt" side of Reynolds, Wilkic, Fuscli, and otheis of/our eininent painter.s.. By his nili- he 
 beciuciithcd to the iiatidn all the pictures and drawings' then, collected in. his i-csidcnee. The 
 oil-paintings, tmt- liundretl in niimber, include matiy of his -finest works, "as wdl as examplesi. 
 |<)f his pciicil. from the vcrv outset to the t( 
 
 termination of his i career. The nation also 
 possesses in the collections presented i.y Mr. Vernmi and Mr. Sheepshank, several other choice 
 exami)les of Turner's pencil. > 
 
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 \f^ MUiKsrioi t(i Hint nf (w»iiy «>r tlu- KngliNli rMildlRy. ""<lj|"iN 
 
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 iNick t«> i\w! UKynnmrtu «>r the N'wrniaii liiiMw: hu I* tt^-^ r^^ m uf,.lh« Intv 
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 of Um» Lin«»ln*hin' Clcnrvmnn liihi-riteii tw^'n" Jgp(pP l^''"! ^«»«l «l«v«»: tlw 
 writing of tiilcM iiiiil vcrMCH wiim IIi<> iiniiiMMtMll of all ilii< VKilili«ii^fnini tlio tiiiio 
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 UiiM litoraiy ift»t«' himI liilt'iit willi iIm-iii, In IM2H, Kmk'rick Ti>iiii> wm olituintNl 
 tlw iiitMiiil for It (irecK imh'Iii irriinl at tin* «'ommrn<)^iiiP»l of that ycur; nnti 
 ill tho following ycui, 1820, AIfrc<l obtoiuwl tlu-. CliuiMfllorH Mtiful for uii KiigllMli |MH>m in 
 hhiiik vpmc, ontitlwl Tiiiil»u«'<«»».' In ui uhotil tin- wium' ycur, AlfnHl, in coi^unction with 
 IiIm iinitlwr CImrlcH, puliliiiltul priviitfly u «mull \olimif of [Hrniit, wliich ('ok'riJgo \n n'jHirttHl 
 to liiivo notiowl with V^t0l" IJ'«» »*•"<•'• IH3<>, it Iiuh Ihh-h inninly Alfntl thnt lias vimiiciUiMl 
 by lUH actual nirfcr ^f |>i'«»tital jtcniun «>f ijic laHiily. 
 
 In 18J1.1, u voluini' ol I'ot'ni* by Alfml Ti-nnywin,' llitm ai lUi- agt- ul twfnty*tlinM>, 
 wttM publiMliiMl by Moxon. ii iwlucM • ^Knom-." ' Ttw May (iuwni,' Tlio Mittcr'M Daughter,' 
 'TIio I^ituH KaU'rH,' Ac, in: Many of tlii'in' jKn-niH aiv cxquiuitoly miiHioul; great t;oMiinnn«l 
 of the roHOUivcH <if nioliv iH nianifcNt ; and n lichuoHr* of phrawology 'every wlich< alKHindM. 
 
 From that linio the cinic of Tonnywm'H ailniirciN gmdually innvaMMl, ami hin naiue 
 lH>gan to lio known. In 1842, wuh iiubliithud in (uu voluincN, ■ I'oeniH liy Alfred TennyMW.' 
 ThecK* contained, ItoHide^ irprintx c»f many "'inlLiilJt*''!!' '" 't**^ predeccMHorH, a kcHcn of new 
 pio<H.m, ineludinir 'Lady ('n|||r» Verc de Ven%'^jCXB|feUiiir; '1te|^<> VoM'h,' ' Ondiva. and 
 many otliorH. wKKr^'''. 
 
 In 1B>'><), he publiNlied (he wtnideii'ul ^viieH ol elegies, entitled -In Mcmoriam.'-'a tribul 
 
 ^'tgtttheml through ycarN, to the memory of Arthur llalhun, the,tK)n of the liiHtorian, "luid u doar 
 
 xe. friend and HHHoeiate of the |MK>t. In no lahgtnige, probably, \h there Hiich another sofmh 
 
 ). deepl so metaphysieal, mi imaginative, m nnisieal, ami xhowing Hueh iniMutsiigieil 
 
 Vlttl iiiijilHolemniHing ufleetion for the dead. • » "^ 1 
 
 vM 111 •oiil^w*''' time «)1" the publication ot 'In Mcuioriain," that Tennyson, on the death 
 
 imlsworth. was named Toel Laureate. In 1&52, was published his ' Ode ,$n the Death 
 
 of the Duke of Wellington," ami in I8r»r) wan publishe<l ' Maud.' Alwut, ia'i7, wax publishc«l 
 
 a Hiilendidly illuHtrattnl cnlition of Tennyson's |K)cms, with icnderingK of nome of them, by 
 
 some of the most eminent artist k of the "^Tay. '. 
 
 Of the Poet Laureate then' has Innm no iiort rait yet published but the present one by 
 Watts,— engraved by StephenKon— that is destined to liv<'. It is a Ixiautiful rendering, of the 
 poct'8 noble lace and head, and is eharivctCrize<l by d(H!p thought, and is snggcHtivc of thnt 
 reeluso manner that Ims distinguished Tennyson during the whole of his life. 
 
 The Times' siieaks of Mr. Watts as the most worthy to do great heads amongst ^lio ■".. 
 iwrtrait painters of Great Britain. It is also reported of Mr. Watts that he will not employ 
 his talent in painting the portraits of otiierwise Uinn great heads. ^rtai»ly he has done 
 justice to Tennyson: it is a portrait which the iioet and his friends may be proud of, one 
 
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 r. .1. Way: 
 
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 r-^^(^-|! HE productions of this artist arc wi well known and appreciated iii Montreal, 
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 \#^ '-L^ been no artist, certainly no water colour painter, resident in Canada, who has 
 ■ .^ *-'*' given to us so much variety of subject, fn>ni the grandeur of our mountain 
 ^ '■"^^'^ solitude, to the quiet dell and 1 nibbling brook— and has so happily caught the 
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 interest than any other in Canada, with the exception of Niagara. There is a grandeur and 
 solitude about them, and when it is considered that the Kiver St. Maurice drains an area of 
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 REMBRANDT VAN RYN. 
 
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 EMBRANDT <va8 bom on the loth of Juno, 1600, in his father's mill, on ., 
 
 the Rhine, near Ix?y(lcn, whence the agnomen of Van Ryn. 
 
 roung'lic was sent t» a Latin School at Ijeyden. but he Shewed 
 
 for learning, that "his father gave up the idea of making u 
 
 vVk'^- W'T, scholar of him, and consented to his becoming a painter, as he had manifested 
 
 :':^MC^T^-:<'' ' a decided talent "tol- it. After a fe«^_vears study under various masters, he 
 
 /^>^ i - returned to his fatlAr's ""H. where he conimemcd painting, taking the immediate 
 
 ■ .v"^'". vicinity, and the peasants of the neight»orhoo<l. as his standard of nature, and 
 
 _-• /:- applying himself enthusiastically to his work. He had not finished many i)ieces 
 
 before he was considered a' pi-odigy by his friends, and he was jMirsuaded by them to take 
 
 one of his early productions to a dealer in the Hague, who, to hi& no greater joy than 
 
 astonishment, gave him 100 tlorins for his performance, ^rom this time he rapidly acquired 
 
 both fame arid fortune. ': * ' 
 
 Rembrandt's best etchings realise'^orraous prices, both the iwtralts and historical pieces, 
 vaiying from 30 to 100 guineas. His great power Avas jtortlrait; his pictures of that class 
 arc in the mass incomparably superior to hi% historical piieces, which though wonderful for 
 their effects of light and shade, exhibit frequently an utler want of taste in design. 
 Rembfandt is supposed to have acquirtjd his peculiar taste for a brilliant concentration of 
 light from an appearance he had l>een familiar with from his infancy in his father's mill, 
 vherc a strong beam of light, coming from a small and lofty aperture, east on the surrounding 
 objects that iieculiar tone which we see so happily illusti-atcd in his pictures. He arranged 
 the light of his own painting-i-oom upon -similar principles, and generally fixed a drapery 
 behind his sitter of 6uch colour as he intended to paint the ground. 
 
 The present portrait of Rembrandt was painted by himself in 1633, and is a copy of a 
 verj' rare engi-aving by Masson, a self-taught engraver. The fantastic and eccentric mode in 
 which Masson sometimes^ engraved his portraits has been condemned by some xritics as mere 
 bravura, to display his own remarkable facility in handling the graver. 
 
 
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 . ivn<l('ic(l tlioniscJvfs fiiuious Ity |Piiiiitiii:a - laii*l'<t:;i|'»es with irrotosqiit! Ijjrm(.'s. 
 liiiins, satyr>». \c.. ' thcatriciil m-l'1il'>. ' ai^il ' ti''te> clwuipriius : tlu- salijoctsi^ wem , 
 popular, and nearly all the Fivncli 7*n;iiaV('rs ul' the linn- woic oc'i.'npicd with the 
 works (ti; those artists. Wutteau wi\s appointed pienlre' de- iT-tes ;|n!fiii^«* '4rt J?oi., 
 and was elecled a niemher of the Frejich Acadeniv (if BuLnliW'i. ^ 'f he present 
 '''\^^^ 'subject is an elegant exainjde of tUe stvle <.1' art ol' that iieriod: it eonies strietl\\ 
 /"_^ .under the deiionnnation of scene paintin;^. iIkjUuIi jierlia|»> the hc-st term to apply 
 to jt is (leeorafiye: it pleases. I»iit' the enjoyment i,s only transitory: it invites 
 no study, and e(')nse<]uently oilers nothing lof thonuhl ti. feed uiton. The thures ate well 
 in(.s<; >ii sf'fiw. to use a theatrieal fjlirase or expression, : the Charaeters are etVoetively grouped, 
 and each play,s a earefiilly studied *part; they are pielua'sfiuely (.'ostuiried and altogether 
 eouipose into a pretty tuldeau, signifieant uf the ('lanies and- cavaliers of Fntnee, in the 
 beginning of Hie- last ceiiturv. • ' . - 
 
 This iHcture was engrjived '.by Philippe le lias V the reception of the Aeudcinv .in uls. 
 
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 FETE 1)K iA MAITRKS^Iv HKOIi:. 
 
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 T\ ^{''^§)^ Alt Association of M(»ntit'al. for tlu- piivilejic of pliotoirmphi^ijr the origiimJ 
 "m '^jL »/1^ ' '•:',....... li :.. .. '.,i,-.,.i «i,..t tvill (..iiMiniMid itself to fvcrv onc wlio lins not 
 
 '^^ ^/F i.iduio It is II subject that will conunoml itsolf to every one who hns not 
 
 ^^•i^iif!' <•"'?<»•*<'" '•''' <■''>''""«'<'• ^"" '""!-'^ to sec the faev of the worthy sehool- 
 ' 4^^*V ' uiistrcsH wh(» eouUl (haw forth siieh feelings from her puinls. It must bo as 
 '._ <^^^. - mdiant with benevoienee and inOthcrly afVectioii as those of the ehildrcn ace 
 \7' 'AiS'^xi V '' witli jov, as tliey eonie hulen with fruits and flowers,— #ee-xviU olVerinfrs to 
 i .): ->!<» y -^. I eclebrato "the birtli-ilay of onC who i^ their instrueto'r and benefaetor. 'Tlu' 
 *^.'*. picture is full of interest, and* must be aeceptable to all. who, next to tlieir 
 
 ■love (.t: "Xatur(>, enjoy, and can partieipitte with..tire ^innoeei;! amuscirtenl of ehil%en. It is 
 llio Vel.clion of such subjects thiit has imparted so ^rreal achavih , to tjie works of Mulrcady 
 and AVebster, and with whom Verheydcn,nmy justly. tuk(» a position. 
 
 TJiis picture was exhibited at the Kxpositipn Gent'rale des »eaux-Arts. at - Brussels, in 
 liic year IHiO: in \yhich fity 'the artist is resident, and' whpre he is thou-iht highly of by 
 his confreivs.- This is a spocimen to shew the capability of" i»hotoj.'raphy, and it will go far 
 to prove the assertion (»f. Tout Taylor, the artvcritlc of . the •' Thicsr thatfc the tincst cngraiing 
 by the ablest master i^ infinitely '.inferior as a reproduction <tf a painting, than a good 
 photo-raph ■ Some of our best painters, sutli as Miilais.; Saht, and Noel I'aton. liaye painted ' 
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 ig'*k Mil. h'iMlcrH nl' Orftiiiii inyUiuI«»;,7 luo «i"»|imiiiii'tl wiih iho hturv of D.jiuiMii. 
 
 '' • 1/ ^ r ""' ""'^' '"•'' il)u»1riilt'<l tbtit i'|»is«Mlc, wliiii' il|c ("»>iituuv N'cHxrls i'ihN'rvoiiicH 
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 t'vwiluullv oliiiii with a |iuim»m'tl (jitow. ; : , 
 
 '•'ht' Willi;* <.f IJiiiilo hiixr iitw»v». iiikI Jihtiy litfii lulmiixMl all our Kiiii>|m'. 
 vS'^V^'^'S/ ""'' •■""'»'"""^" '••i'^' «» ••sli^iaiinn hihI Yullk', His hI.vK' is pcciiliaily Iw 
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 . ' , r * ^ ••I'riV'w*'. wttli tlM- hi^rlH-Ht iKifLcliou ill iliu iiR'cImnical i.aiK rightiHSH nf 
 ■ *■■ ' ' |'<'i»'il- rwtf^pii ■ nt" tuiK'h, an<l o.v|uiNil»! tk'licacv, olitairiod liiiii (lie uiiiveiHiil 
 i4»(4;niv III lii» «?Kii»f*H»jwr.iri<,i., and liavu wn-iiiwl him tin- lustinfT luliiuratlon of iKisli'iity. 
 AiHoii^ Tiis ni'»Ht »fK>liri(tf| \Vi>i4|ii weir an iiltnr-iiiw' in tin- tiauvli of St. I'liilip NVri "jikt 
 Kan... i.'iii.v,inllin ClirM «k)flvi!riiig tin- koyn tu SU^Pi^terf'u St. John in tlu" Archicplwjopiil 
 (Jallm. ill MiliiH: Ih* Vlq^in and Cliil.l, and St, JVihii, in tho Titniuo l^llaw^ ut Buloj^na: 
 and til.. l^mit.'tvw i,f'St. iVcr ikttvr dfnyinjr'ciiiist, with mv o|' the ApoHtlcs conitbiting 
 liiui, in the Unipicii Palueo, oiiflr ol' hi« inoMt exccllout workH, . ;, V^ 
 
 ttiiido wa*. Itohi ut lioloJ;m^ in loH, and died in 1012. i 
 
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 TIfE LOTOS WATERS. 
 
 DITKCANSON. 
 
 ^r^^ROM Alft-cd Tennyson's poem, "Tim LqIos Eaters," the painter has caught 
 his inspiration. In the foreground of the picture is tlie "gleaming river" 
 
 its .-» '«' ' 
 
 with its 
 
 "gcftward flow, 
 
 
 ^ From tlic iijnor lanJ;" 
 
 Whcrt)in the -mild-eyed niqjancholy Lotos Eaters" are bearing branches oTSxi 
 enchanted stem, laden with ilowcr and Iruit. The mid^istance is * 
 
 "-■^ lanJ of s'rcanis! some like a downward smoke, ■ 
 
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 -- . ^'^ some through .wavering ligliu and riiadows broke ^ - : . ., - ^ - 
 
 Rolling a slumbrous Bbcct of foam below." • 
 
 FarnDff in the distance are seen— 
 
 I "Three mountain-tops,-^ :' 
 
 i .';, /. t' ■'"'"^*''' *^"'' pimiacles of aged snow 
 
 Stood sunsct-fluahcd: and dewed with sliowcrjf drops, '. ■* 
 
 " . ^V'"a'> the shadowy, pine about the wivcn copSe. , -V \ ■ 
 
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 A In the red West; through mountains clefts' the dale r ' 
 
 • ^ Was seen far inland, and the yellow down " • " 
 
 : Bordered with palm, and many a winding vale' . 
 
 '^ ■'^"'^ n"**"^"*'^"" *'*'' s'^tiicr galingalc; 
 
 3v' A land where all things alwap seemed the same!'' ' 
 
 ^.ImClr' ^'^^•^'^^'^^^-^.^^^^^ «.« ....owing 
 
 ^^iUccept my .thanks, and believe me, 
 
 "Truly yours, \ 
 
 •,••■'.:■/;■•■, V ■■;.--•_■ "A. TENNYSON." ■ 
 
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 THE CARD PLAYERS. 
 
 , ' ' D. TKNlEItf . 
 
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 UK works of this liijrlvly ostooinod painter arc ho well known as scarcdv 4o ; 
 iTquiro, (Icsmption: villatfe fairs, festivals, and rustic sports; interior)^ and' 
 
 f^J<r< I'xtenors 
 
 of ale-houses, with peasants gambling, sniokihg, nnd drinking, wiM'O 
 
 lis principal and* favorite themes. His works nro deservedly held in the high^t 
 esliniation. If in \m |tictiires we wmie.time!* see what would «tfl'i>nd our nolroiis » 
 "S^^ftf^g^ of propriety, we nmstiW;()llectT the ; times in which he "lived, and tlic pooplt" ' 
 pN^^- among whom he dwelt. Like our great llogartli he iniinted from the lifci Jind " 
 ^^ "^ ^^^^i'* ^*'" **">' ''''^*' ^^^^^ capnblt' «'f readimg his w'onderfid dflincations on eafivas 
 Avere ever, di'riioralized by Ihfir iiitusalJ-^Modern taste aii() 'luailiiers may be more relived, 
 but perhaps less natural and unuiTeded. ' j, . y^ 
 
 Teniers was a gentleman in the true sense of Ihe \\<m\: he was a mjiu of wealth, and^ 
 
 iiis biographers relate that he mixed in good society, and was given to hosi)itality ; his niUural 
 
 disposition iialinod him to the gay and humorous. It was Ijis cusloni to visit tlio vilhif^ilt^ 
 
 and fea>(s, and his pictures arc the faithful mirrors of thf scenes incident ttf revelling, \^and 
 
 such likL*. 'I'he Archduke UH)pold William, of Austria, ani^ Christina, Queen of Sweden, were 
 
 his patrons; both were so plcast*il with his pictures, that they vaeli presented him with their 
 
 portraits ami a chaiy of gold. The King of Spain, and the Elector Palatine held him in 
 
 high repute: in short, he was in universal favour, and aecdinnlatcd wealth and ■ hdnt>ui-s.' 
 
 William; Prince of Orange", honoured him with his fridndship; and Rubem^ not onl^' esteemed 
 
 his works, but assisted him with his advice. | -j ■. a 
 
 Alt to Teniers was an amusement. He i)ainted very rapidly ;; sometimes he painted 
 landscapes, and occasionally mythological history. The iiuml)er of his" pictures, considered as 
 genuine works, exceed, perhaps, those of any othci^ painter. 
 , Teniers was born at Antweip, in 1610, and after a long life passed industrioqsly and 
 
 honourably, he, died in 1690, at the age of 80 years. 
 
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 kpdncHH iind ctiarity whh truly udiiiirftblc, and who had 
 L>ndwnchs for, tliC poor, and a qtiidk hciihi! of (Im; wunliiof 
 otlieiH; and who, to what Chuifh M)cvcr he came, inmlc it one of Win ll/Ht 
 can's to luakc' proviHion ,for the poor, audr to utir up the bounty^ of the rich 
 )tly Haid: "Charit) never faitoth." St. James nay^ that pure 
 the futherlcHH and the widbwn in ifioir affliotion." Out of > 
 rV '*\uO». t''c Schools of the ApostloH the Heroine of this picture must have been taught; 
 '^^^¥k^ her hand' is '.'opcn as day for inviting charity," and though snc Ih? not a Vestal 
 virgin, or by' her garb a member of the eclcbmted order, of the ' Socurs de la 
 Charito,' gr one of the IJcguines of Flanders^ she is evidently one, who, knowing her duty, is 
 ^yith tiuc womanly pity and tcnderaess, in the act of practising it ;— -one, who has iK'en 
 t'aughj, by Ilim who first set the most Itoautiful qxamplc of charity, and displayed his 
 Almighty [)ower, not by removing mountains or destroying citii'?*; liut who went about doing 
 good, curing the diseased, and relieving the distressed. Such pictures aa^ thin, t^ach ; they go 
 direct to the heart,— -Oicy are a pictorial sermoii to those who arc unwilling to take some 
 trouble, or« to spare Kome little of their substance, to relieve another's wants, and who aiv. 
 apt to forget ihe sentchcc of the great judge :" Inasmuch as yc did it not unto one of the 
 least of these, ye did it not unto me." , 
 
 Dubufc, as an artist, will be popularly known by his portrait of Rosa Bonheur, where 
 shQ is represented standing with a portfolio in her left hand, and with her- right arm resting 
 on tbe neck of a young bull. 
 
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 IIKHE is liealth of luiinV in tlie sim|i|e contemplation of o x to mal nature, for 
 
 -? ^ aiir— l>nt niostlv fur tliose \vli(j) st'ck the ini<rlitv mother to recruit worn 
 
 ^:^ thouiiiits and Aveaiicd sjiirits, tjo throw oiT the* long coil of busy care, to 
 
 wake, and IjOar the murmur of th<| prroves, to breathe the fresh i^Jreath of the 
 
 early niorninjr, to l(x)k vipon the pastmal uplantl, the (lowing rivgr, tlitf clear blue 
 
 sky, — when thougUt seem s to stand still, and the heart iloats in tmnquiMity and 
 
 light, rellected from the pliysieal worhl. In the absence of the glories of Xatnre'8 
 
 landscape, Art has d()ne.: lii.uch ; and few discii)les of Xature liavo endeavoured 
 
 liiore faithfully to interpret her than Sidney Percy. We can look upon liis glowing landscaiHJS 
 
 -during .our long Canadian winters* with pleasure, and with hope that the coming Spring will 
 
 set our rivers free,— when, as Milton exprcsscs it, ^- " 
 
 "The winds, tbc waves, and, all the finny drove, 
 • Beneath th* moon, will in mazj morris move," 
 
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 whcn'^iu the still more beautiful language of the Psalmist, — the floods will clap their hands, 
 
 the hills win be joyful together^ before the Lord; and all the earth will be glad! 
 
 The proprietor of the prescmt picture, Mr. B. Gibb, and other of our citizens, have 
 
 some fine examples of Sidney Perfcy's paintings; he is evidently a favourite, and deservedly 
 
 so with our Canadian patrons of JMrt, andpKC can but hope that guch an artist will be scop 
 
 resident amongst us. * _^ 
 
 
 
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 La madonna del IAN FRANCESCO. 
 
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 ,-rt,j^^ - LLEGllI, caUc<l Com'jrgiu, iVoiii tlu- itlaeo of hits hirtli, was ' born in the 
 '^I^N^vC ,^ year W94. Ili.s history is still oliscnrc. Xlis fame as a painter, with few 
 •'' cxcoptionsy.i.s' unrivalled. The 1 test criticism of his woij^s will perhaps be the 
 ^ exclamation, of. Titian: 'If 1 were not Titian, I woul(l||bc Correggio," and al80| 
 ^(?J>>A/" the fact that the two Caracci adopted him as tl^eir model of excellence.^* 
 • sr.rv4H/ He nwcr visited Kpnie, and was unacquainted with the works of the cstabliahod 
 M;-^'^^-^-\^fi!^m^\^. Nature wa.sCorrcggios guide; he was oiie of her favourite pupils. ' . 
 'J ,^-^ tic .wa.s one ef the- niost origuial painters, as w-ell as one .of the greatest of 
 ' »i;^" coloui-i*ts.*. To express' the facility with which he painted, he used to say tjiat ' 
 he always 1^1 his thoughts at the end of his pencil. The original of the present subjeot, 
 admirably e||ravcd by Peter Lutz, is .in the Gallery of Dresden, Avhere also is his inaster-prece 
 of Chiaroscuro, , the 'Nottc,' or rather .Dawn," a, grand picture^ on the subjctet of the Naffvity. 
 In the National Gallery, arc three or four of his best pictures. . 'Mercury instructing 
 Ciipid in /the presence of Vcnus,'rand an Ecce Homo,' were purchased by the British 
 Government for £10,Q00. The latter fact gives a force to a letter Written by Annibale 
 
 My heart is ready tb 
 -that so wonderful a 
 man (if he ought not rather to be called^ an angel) should finish his days so^ miserably, in 
 a country where his talents were never known." > 
 
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 Caracci to his cousin Lodovjco, wherein occurs the following passage: "M 
 break with grief when I think qn^-the tinhappy fate of poor Correggio— 
 
 
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 SUNDAY IN TIIH 1JA( KWOODS. 
 
 » T FAKl), B.A i 
 
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 HAT lias lioeii uiiulc siicivtl in tlio splivn* of |i(»ctry In- tlU' wiitiWjrs -<»f 
 
 Cnilibi' «n<l Wt»i<1sw(.Hli. H>i«'"< inimy frtllriwiTs in (li'i' ninks dl" living tirtNts. 
 
 Wel'sior un<l Fiml si'lrct iiuintcil chiinu'tcM' i»n<l simple incidt'nts Iniiii (tvcry 
 
 tiny life, and in thoir iiiiinliii<j;s nnihinir oiin Ik- nunc litallliliil, lionost, iui'l 
 
 iK'arlfelt. In scenes ol lunnlilc lilt- Facd litis won niiicli tlistiiicliun. Ilg 
 
 ■^.-J^a^WI^ Y ninst not Itc placwl in 'tlic ofdinary ninstcr-i(!»ll of ^'cnrc*|iaintcrs ; in nil Imh 
 
 Ja^^^UKcfiVii' iiictm-CH lac aims, luuK sncci'sMiilly Imo, U» ilinlHic llicm wirli llic (|ii:i|itic:< 
 
 wliij'li every, sound and true critic cNpeet?* t-* lind in a I'eallx L'o'td pi<-tiiri,', 
 
 Alxj'ut cfL'lit vears iiv'o, Faed. likt Vis rt'lltuv-eoim/iviiiini Wilkie iMliHf! 
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 liiin c;ime to Lttndon from KdinliUrL'li, and liis suliseiiyent ,sufees.s shows iliiil lie neitlier 
 
 over-ratod liis powors! nor formed a \vron<r estimate of tfl'^ judirment others wo'iild pronounce 
 
 on liis works, which now rank aiium;_' the hi;:he>t attractions in the exhiltitjons (»f ih;- iJoyul 
 
 Academy, of which hi>titHtipii he hits re(.,.ntly been elected a memlier. • 
 
 • The Iti-oscnt' scu-ne. thoiVih irot >trictly fanadian in Us noatment, i-, iicverllieL'ss, full (if 
 
 intei-estAj The family* are entrajred in the act of devoijon: onv i> readinju' imd perhaps 
 
 expoundii)^ a chapter of the Hilile: and tliouL'h there 14 no altar— i 
 
 Willi auti<|iic ]iillars massy ' jinjijf, ^> 
 Anil stofii'il vviinl.tt •» richly 'Vi;rlil 
 Oastih';^ a dim nli.'iim* light," ^ 
 
 Who kiK)\vs 1 what words of c(»infort may reach th'- lieartj" of the invalid, . whei is intcp 
 |Lhe Monl of God! Well might IJurns in hiii*j'C'JttcM's SaturdSfsllNight,'' say 
 
 listening! to 
 
 
 ■ '^ Froin seoiics liyc ilicH', oM Scotia's jjraiiilcur tiiiriH;;^," 
 Tliat makes licl- IdvciI at lioino, revered n'»roa<J." 
 
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 thought, jind inducing gratitude. 
 
 
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 DAWN TO SUNSET. 
 
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 ^ffl\.if*^u*-^ IIAKSPKRE, in Iiin <'«'U'ImiiUmI "Scvon AgfM," Iiom iii wunln imwt UiMttttruily 
 w4^A T )iiiiiit(>i| riiaii fniiii (he infuiit ''mowliriK itml iiuking in lliu luinui'M ur 
 
 until lio (imvi>« ul t)w Miad* of " mnn tct;th, mna vya*, mm fiiitto, mMm 
 
 i!V(>i')-Uiin(r!" Wlio ImiI liiniM-lf lunhl liiivc ('r(«a(<><l Oii> wonderful individnitti/oitioii 
 
 uf tlie HfMMid cliitni^Mi'/ TIk' urtJMl, in n*|)n>iw<nting niiin from 'iDnwn to Sunw't," 
 
 inuy |NtHMil)|y liav«> liud llic uiuiuncliul) '.l<u|nuM in IdH inimlV «*>(•; and (IioiikIi 
 
 In* lins not litvmllv or wittlntrly utlcuiplod (o iruli/.t! tliu imhI'h dCHcription, 
 
 liflK iiiiiHU'(u<l to liiH pictiii^' a |Hiotry that wo arv ut u Ionm ud<<i|imt6l^ U» 
 
 «'Xpn.'H«. Kii'HlJv, lIu'H' \h Jlic ladiuMl lml»> in tlio inotlmi'H anu< Hniilihf; In, 
 
 hoi' fiM"*', uncouiwionK of tin- solicitude on licr Itrow, •»!• the sorrow llmt wulfftiH u|M>n ln-r hoart. 
 
 an hIic raiw'H hvv hand l<> enjoin Nilcncr upon the l»oy just rot^rfliMl froln kc|i<m»I, and thf 
 
 girl juht arrivi'd with a IwttU' of medicine, and with u- haHket cuiitainin^ perhaps syme 
 
 dolieaey sent by nonit' considerate an^el to eonifoil,,-ml«frclievc the Mick. The {,'roup at the 
 
 foot of the niotlM'r,— how true to natur('!-:ah<?J'"1»re n«)t yet arri-^wl at that time rjf life Svhon 
 
 grief pivt's place to joy; they arc^-ifnconeernedly aniusinfr themseivcH with a (ilayful kitten 
 
 and a Hund-Klnss,— tlicjjm^^'typieal' of tlieir eon«lition, the <»tln'r of the ebhinn lifo of the 
 
 patriarch, whfv_>i4Hr^amatie propriety, i»* hiddon from view. Lc^ok at tlu* ea^h resignation 
 
 of the father, probably an only M»n, who has souptht eonifort in that Uoly Wynl, which sayH : 
 
 " I will Ikj a Father \o the fatherless,"— lie has partially closed his Bible, and is RazinR with 
 
 an earnest but sa(hh>ned alVeetion u|K)n his a^od father, whom he Hoon expects to be, if ho l)e • 
 
 not already, ranscininl home to our connuon Father who is in Heaven. Thu feihale ottlic 
 
 iK'd-hide is abandoning herself to that jrrief whi(|l woiils cannot utter, but which can o^y* llnd 
 
 utterance and relief in tears; and is perchance j^inp up her fervent prayer for that peace 
 
 which passcth nil understanding. ^^ 
 
 Tlie tlgua'H aiv all liarmoniously groujMid; thoy tell their story admirably: theiv is even 
 thought and care bestowed upon the acccusorioH, andt there is great signiticance in the llickering 
 candle against the wall, nearly bprnt to its «ockct, symbolic of the te.\t, 'Man tieeth also 
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 *,''lX the Piilii»7Ji Kospiplio^i ut Home is the origijial fi-osco, Avlucli ivtaioH its 
 
 ' lVt•sllnc^<s 4ui<l Itrilliancy, tliougli iniinted alxjut two hundred j^rs ago. Filled. 
 
 .^ us tlui l\vTa//.a is With works of artv if t^ edifice contained nothing but thl" 
 
 !^3 Auroni,' It won hi amply repay 'a visit. This ccli'lirated work • is so well known 
 
 < <.i^'~^' that it sciuvcly iv<iwires any deserij»tion,, yet itodetoands a, few explanatory woixIh. 
 
 ■ !>^^*'ify Dawn, Sunri>o aiuV Day are here synilwli^^ed, tiie ftrKt,|by the figuiiv floating on 
 
 ;*• jj:^ «^ a dark cloud, Mattering flowers nu the earth {is sh|^ flies aV>ng ; Sunrise 1>>' a 
 
 ( *^ . V winged vapid" >n. bearing a lighted torch; and Day by«a figure- of Aiwllo, reining 
 
 i^i the fiery eoursei>. as' if to show his graduid and istcad-y approaich. . Around the chariot 
 
 are the hours,-^a Itiight and joyoHs train, dancing with graceful action. The grouping of the 
 
 figures is admirable, they are fullSj' Hfi', "'otion, and buoyancy/and seem to be sailing on v 
 
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 with the severer, practice of the alkient (Jreek bas-i-eliefSl^^^^^^^^^^^^^^ ' >:\^^ "« ■ ' 
 
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 , To the Engriiyers art we aro' indebted for the present • translation, and also to the- 
 kindness of Mr, (leprgc Frothingham, the itossessor of this beautiful example. of the burin of 
 l^\phaelMorghen, an artist, who, by his rendering of. the Last Suppet', (Da Vinci), and of the 
 jirosent subject, will be immortalized as a line engravej^ ' .' 
 
 V rnderneatli the engraving is the 'following quotatlbn : — ' *" ' » 
 
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 '• Quudrijugis iiivci'tu!' _ E«|ui* S«K iij^eug cm( 
 
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 .' Liicifcr ant«vo1at. ' KafiUir fuge liampada Soils 
 . Aurora unKraJfum victri? w victa rJtcdaH." 
 
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 HE faiiiihr of tlio Willianis, under tlic iiamcs of Boddinptoii, Percy, atul (;ill)t'il. 
 
 4^»wr;v'i «*•■« Ja'Kl^t-aiH; |>aihterH of more iJian ordinary merit. To them iscem to 
 
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 ^; in Ijei- inountains, valleys, lakes, and rJvciJM, with an endless variety of iwuiiing 
 
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 ^ ^^ conquest^ \ylnch ijieita this gifted^ fiimily to untir^ 
 
 ^1$ f'iis will 1.0 it. lilting eompamon to iVrcyVijolgclly. It is painted with 
 
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 breaking through thcr dark (Unjds, and illitinining the water, upon which arc peacefully riding 
 some ducks, unmindfiii: of the" fitful ami gusty stonii. ^ ■ X ' "^ 
 
 ■ Jlie original pictufc^^iu the possession of .Mr. Jtitkcn, to whom wo ,ai-e indebted for 
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 LANDHRKU. 
 
 ,^^ IR EDWAKD LANDSto. K.A, \v..s l.om in 1«()2 ^>il.7^ fiiwi work tlml ^ 
 , V Wrougiit hhii, prominently l.elorc tlie ininiic was DojrM Figlitin-' cxl.ibitpcK 
 l^^ in 1819: ami since its_ cxlnhj^tion. his carcci- lias been ono^ of untnoken and 
 almost uHeqnalled success; " Most, it' not all Lis i>icturcs, Imvo l)c^«braved : 
 they are pcncral lavourites . with the English people. Laridsecr is-1«p(Pd- itie ^ 
 bpst animal paHiter of his time: his conceptions aie often highlx^ioctical ; -Uvc 
 sentiment which Iw throws ; into hiss reprcscHtations'rif the 'diiml) creatures* is 
 quite wonderfid, arid thj? felicity of his execution is un8ij|5>assed. The. whole of 
 his paintings are .characterized 1a- accuracy of detail, and; he has succeeded in 
 reproducing to i)erjection the Ininuto trmts of his subjects in such a manner as to direct 
 attention to all peculiarities of breeds W other, sudi incidents in tire animals winch he 
 represents on canvas. As a/ Landscape painter, he necessarily demands our admiration ; his 
 Highland scenery, tbrming tl/e back ground of many of his pictures, conveys to the mind a 
 vivid idea of tiie grandeur if many of the wilds, lochs, and mountai^ passes of Scotland. 
 The present subject is/engraved by his brother Thomas, who is ohc of the best living 
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 (iUHTAVK vBRlON. 
 
 .. ': .. V Englisli wcdcVni: in ili<- time of pnxl QuOcn Bchs wqh a joyous public 
 
 ^''^ fcHtivi.]: tl.c rereniouy ;renoraUy wound up with humiuctinpH. nmsqucs. and V 
 ' ^/ papeanls. A ^'uy V««'<^>*»*'"» ''"'■'"•^'* " I"""* of tlic. humbler nuirrinfips, the;. 
 
 ,' l.mle was Ud to church bo4wcon two t)n,vs wcarinR bridc-laccs and rosemary ' 
 
 ■' tied al)out their silken sleeves, and licibre her was carried a largo silver goblet, 
 
 ' iS'!^/^^?»^ ' lilhMl with wiBo; next came the mu,sicians, and then 4I1C bridcmaids, and the - 
 
 ^ S1^<5^ ,onr<-l.od. fn ihurch. amidst the shouts and >,boncdictions of the 
 
 •''7; 1 -^jj Hpectators. ^ - , .. : 
 
 v* "^- k , ^ In Norway the uuirriages of the bonder or peasantry arc conducted witW .,^ 
 
 vei-y gay ''ceremonies: and in each parish there is a set of 4)maments-for the temporary -Use 
 
 itf the bride, 
 
 •/' In France, on the Rhenish frontfcr. there is a custom which ^s so graphically dfawn in 
 ' /tlMv present picture, that it icquires no ooramcnt,-it is intelligible to all,— tliQ secnc \^.- 
 /inspiritiqg, tind in imaginatiou the joyous marHage bells cap be heanl. It requires^ ii«) r 
 7-connoisseursfiip to criticiso. this picture,-the tigiiros are JruthfuUy disposed, and their easy 
 ./ natural action is evident enough. • >; 
 
 ' The Painter, (iustAve,Bripn. holds a foremost rank in the French Academy; V Baa 
 
 lairly entei'cd tlie lists «tth'our .)wn AVilkiu ;in.l Webster, and is not lilcely to have his ■ 
 lance broken. The original picture was in the Fi-ench division of the Interiiational Exhibition. 
 London. Ami. , . - .. ;■ 
 
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 SllNBIIINK AND SIIOWKU. 
 
 .1 r II AH K II. 
 
 |( HIS in one- of tho few lan<l«cuiK.H that thi- iirtiHt Iiuh prinliKOl nincc liin n-Hidcm-ii 
 i**^ in Cunudii. iri»« pnu'liro in to iniiiit in tli.> oikjii aii. <lim't IVuni Nuturu; 
 ^-^ and iminy of UIh ^k.-tclaH aiv faithrnlly transnilKMl from |.aitM'nlar «!«)!« : 
 Uieltj is a fivsl.ni'Hs ami miUnal Ion.' alK.ul Ih.-iii liiat maki's iih ri'^ivt ho lias 
 n<.t lm<l moH' oppoitiinily ..f folluwin;^ a laancli of ait in waiich he would U- 
 «ucfi'Ksful. We may Hav of lliem, in lla- felicitous lanKUU,re of the pi-osent 
 Archbishoi* of Dnhlin : , • ' . 
 
 If we ill tU't'it • 
 
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i'f/ 2ri:^ <i|° till' Kiii|K'n»r ('lmrU'«« V, itiui Ciinliiiul XimoncH. I'liiil VrniJu'M? Iuih t-nrndi'd 
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