Inque humeros cervix collapsa recumbit.Purpureus veluti cum flos succisus aratro,Languescit moriens; lassove papavera collo,Demisere caput, pluviâ cùm fortè gravantur.
Perhaps Mr Eastlake may reply, that the simile expressesprivationof life, and therefore shows the matter capable of receiving it; but this appears further to involve the necessity of association, which denies the beauty of the lineper se. The idea of privation is a sentiment; but the question is, if there bealine of beauty independent of sentiment or association. Let us attempt to answer it by another—the opposite. Is therealine of ugliness? We think there is not: if there be, what line? certainly not a straight line, (we must not here refer any to an object.) Perhaps we may not be very wrong in saying thatalineper seis one of "indifference"—similar to that state of the mind before, as Burke says, we receive either pain or pleasure. May we not further say that, very strictly speaking, there is no one line but the straight—that every figure is made up of its inclinations, which are other or equivalent to other lines? If there be any truthin this, the "line of beauty" (here adopting for a moment the word) is not a single but a complicated thing: the straight line has no parts, until we make them by divisions: the curved line has parts by its deviations, which constitute a kind of division, without the abruptness which the divided straight line would have. The organ of sight requires a moving instinct: that instinct is curiosity; but that is of an inquiring, progressive nature. Without some variety, therefore, in the object, it would die ere it could give birth to pleasurable sensation. It is too suddenly set to rest by a straight lineper se; but when that line is combined with others, the sense is kept awake, is exercised; and it is from the exercise of a sense that pleasure arises. Too sudden divisions, by multiplying one object, distract; but in the curve, in the very variety, the unity of the object is preserved. A real cause may possibly here exist for what we will still call a "line of beauty," without referring it at all to so complicated a machinery of thought as that of life, with its antagonistic principle, with which it continually contends. This is, doubtless, physically and philosophically true; but it is altogether a thought which gives beauty to the idea of the line after we have contemplated it—not before. The line may rather give rise to and illustrate the philosophical thought, than be made what it is by that thought, which it altogether precedes.
Mr Eastlake objects to Hogarth's line that it repeats itself. We are not quite satisfied of the validity of this objection: for we find a certain repetition the constant rule of nature—a repetition not of identity, but similarity—an imitation rather, which constitutes symmetry—which, again, is a kind of correspondence, or, to clothe it with a moral term, a sympathy. To this symmetry, when a freedom of action is given, it but makes a greater variety; for we never lose sight of the symmetry, the balancing quantity always remaining. Thus, though a man move one arm up, the other down, the balance of the symmetry is not destroyed by the motion. We know that the alternation may take place,—that the arms may shift positions: we never lose sight of the correspondence, of the similarity. Every exterior swell in the limb has its corresponding interior swell. The enlargement by a joint is not one-sided. Every curve has its opposite. The face exemplifies it, which, as it is the most beautiful part, has the least flexible power of shifting its symmetry. Mark how the oval is completed by the height of the forehead and the declination of the chin. In nature it will be mostly found that, when one line rises, there is an opposite that falls,—that where a line contracts to a point, its opposite contracts to meet it. And this is the pervading principle of the curve carried out, and is most complete when the circle or oval is formed, for then the symmetrical or sympathetic line is perfected. Let us see how nature paints herself. Let us suppose the lake a mirror, as her material answering to our canvass. We see this repetition varied only by a faintness or law of perspective, which, to the eye, in some degree changes the line from its perfect exactness. As we see, we admire. There is no one insensible to this beauty. Nay, we would go further, and say that the artist cannot at random draw any continuous set of lines that, as forms, shall be ugly, if he but apply to them this imitation principle of nature, which, as it is descriptive of the thing, may be termed the principle of Reflexion, and which we rather choose, because it seems to include two natural propensities not very unlike each other—imitation and sympathy. We say "not very unlike each other," because they strictly resemble each other only in humanity. The brute may have the one—imitation, as in the monkey; but he imitates without sympathy, therefore we love him not: and it is this lack which makes his imitation mostly mischievous, for evil acts are the more visible,—the good discernible by feeling, by sympathy. The sympathy of the symmetry of nature is its sentiment, and may therefore be at least an ingredient in beauty, and thus exhibited in lines. Lines similar, that approach or recede from each other, do so by means of their similarity in a kind of relation to each other; and by this they acquire a purpose, a meaning, as it were,a sentient feeling, or, as we may say, a sympathy. A line of itself is nothing—it has no vital being, no form, until it bear relation to some other, or, by its combination with another, becomes a figure; and because it is a figure, it pleases, and we in some degree sympathise with it, as a part, with ourselves, of things created. Thus the curve, or Hogarth's line of beauty, which we assume to be made up of straight lines, whose joining is imperceptible, is the first designated figure of such lines, and in it we first recognise form, the first essential of organic being and beauty. It is like order dawning through chaos,—life not out of death, but out of that unimaginable nothing, before death was or could be. It is the Aphrodite discarding the unmeaning froth and foam, and rising altogether admirable. Now again as to Hogarth's line—carried but a little further, it would be strictly according to this principle of Reflexion. Divide it by an imaginary line, and you see it as in a mirror. If the serpentine line, then, as Hogarth called it, be a line of beauty, let us see in what that line is rendered most beautiful. Let us take the caduceus of Hermes as the mystic symbol of beauty. Here we see strictly the principle of reflexion, (for it matters not whether lateral or perpendicular,) and here, as a separation, how beautiful is the straight line! Take away either serpent, where is the beauty? We have a natural love of order as well as of variety,—of balancing one thing with another. If we remember, Hogarth falls into the error of making it a principle of art to shun regularity, and recommends a practice, which painters of architectural subjects have, as we think, erroneously adopted, of taking their views away from a central point. The principle of reflexion of nature would imply that they lose thereby more than they gain, for they lose that complete order which was in the design of the architect, and which, by not disturbing, so aids the sense of repose—a source of greatness as well as beauty. But to return to this Reflexion. It has its resemblance to Memory, which gives pleasure simply by reflecting the past,—by imitating through sympathy. We are pleased with similitudes, when placed in opposition. They are, like the two sides of Apollo's lyre, divided only by lines that, through them, discourse music,—harmony or agreement making one out of many things. The painter knows well that he requires his balancing lines to bring all intermediate parts into the idea of an embracing whole. If any of Hogarth's lines, as given examples in his plate, (though he gives the preference to one,) had its corresponding, as in the caduceus, it would at once become a beautiful line.
We took occasion some years ago, in a paper in Maga, to notice the practice, according to this principle of nature, followed by perhaps as great a master of composition (of lines) as any that art has produced—Gaspar Poussin; and we exemplified the rule by reference to some of his pictures; and we remarked that, by this his practice, he made more available for variety and uniformity the space of his canvass. We have since, with much attention, noticed the lines of nature, when most beautiful,—have watched the clouds, how they have arched valleys, and promoted a correspondence of sentiment,—and how, in woods, the receding and approaching lines of circles have made the meetings and the hollows, which both make space, and are agreeable. We are not setting forthourline of beauty. We would rather suggest that it is possible the idea of the wave or curve, right in itself, may be carried to a still greater completeness. It may, in fact, only be a part of beauty, which must scarcely be limited to a single line, or rather figure. We should have hesitated, lest we should seem to have hazarded a crude theory, if it had appeared to be entirely in opposition to Mr Eastlake. We think, upon the whole view, it rather advances his, and reconciles it as a part only with that of Burke and Hogarth. The thing stated may be true, when the reason given for it may be untrue, or at least insufficient. The notion of life and its antagonism is true; but its application may be more ingenious, and in the nature of a similitude, than an absolute foundation; for many similar referable correspondences of ideas may be given, as the range of similitude is large. But the objectionto them is that they are mental, and will not, therefore, apply unconditionally in a theory from which we set out by abstracting association.
Nor can we go so far as to carry this idea of "life" into the theory of colour.
"Colour," says Mr Eastlake, "viewed under the ordinary effects of light and atmosphere, may be considered according to the same general principles. It is first to be observed that, like forms, they may or may not be characteristic, and that no object would be improved by means, however intrinsically agreeable, which are never its own. Next, as to the idea of life: creatures exhibit the hues with which nature has clothed them in greatest brilliancy during the period of consummate life and health. Bright red, which, by universal consent, represents the idea of life, (perhaps from its identity with the hue of the blood,) is the colour which most stimulates the organs of sight."
"Colour," says Mr Eastlake, "viewed under the ordinary effects of light and atmosphere, may be considered according to the same general principles. It is first to be observed that, like forms, they may or may not be characteristic, and that no object would be improved by means, however intrinsically agreeable, which are never its own. Next, as to the idea of life: creatures exhibit the hues with which nature has clothed them in greatest brilliancy during the period of consummate life and health. Bright red, which, by universal consent, represents the idea of life, (perhaps from its identity with the hue of the blood,) is the colour which most stimulates the organs of sight."
We doubt if any one colour, as we doubted of any one line, isthecolour of beauty; and as to red representing life, possibly by resemblance to blood, speaking to the eye of Art, we should not say that redness is the best exponent of the beautiful flesh of human life. If so, it is most seen in earliest infancy, when it positively displeases. The young bird and young mouse create even disgust from this too visible blood-redness.
What is beauty? is quite another question from that of whether there isaline of beauty. Lines may be pleasing or displeasing, in a degree independent of the objects in which they happen to be. Lines that correspond in symmetry, as well as colours which agree in harmony, may exist in disagreeable objects, leaving yet the question of beauty to be answered; though beauty, whatever it is, may require this correspondence of parts, this order, this sympathy in symmetry.
Burke has separated the sublime from the beautiful. Mr Eastlake has, we suppose intentionally, with a view to his ulterior object, in this fragment omitted any such distinction. He may be the more judicious in this, as Burke admits ugliness into his Sublime.
It has been supposed that the ancient artists studied the forms of inferior animals for the purpose of embellishing the human. The bull and lion have been recognised in the heads of Jupiter and Hercules. Mr Eastlake lays stress upon the necessity in avoiding, in representing the human, every characteristic of the brute; and quotes Sir Charles Bell, who says, "I hold it to be an inevitable consequence of such a comparison, that they should discover that the perfection of the human form was to be attained by avoiding what was characteristic of the inferior animals, and increasing the proportions of those features which belong to man."
This is doubtless well put; but there is an extraordinary fact that seems to remove this characteristic peculiarity from the idea of beauty, however it may add it to the idea of perfection. Man is the only risible animal: risibility may be said, therefore, to be his distinguishing mark. If so, far from attributing any beauty to it, even when we admit its agreeability, we deny its beauty,—we even see in it distortion. Painters universally avoid representing it. They prefer the
"Santo, onesto, e grave ciglio."
Some have thought the smile, so successfully rendered by Correggio, the letting down of beauty into an inferior grace.
Perhaps the sum of the view taken by Mr Eastlake may be best shown by a quotation:—
"We have now briefly considered the principal æsthetic attributes of the organic and inorganic world. We have traced the influence of two leading principles of beauty—the visible evidence of character in form, and the visible evidence of the higher character of life. We have endeavoured to separate these from other auxiliary sources of agreeable impressions—such as the effect of colours, and the influences derived from the memory of the other senses. Lastly, all these elements have been kept independent of accidental and remote associations, since a reference to such sources of interest could only serve to complicate the question; and render the interpretation of nature less possible.A third criterion remains; it is applicable to human beings, and to them only. Human beauty is then most complete, when it not only conforms to the archetypalstandard of its species, when it not only exhibits in the greatest perfection the attributes of life, but when it most bears the impress of mind, controlling and spiritualising both." "The conclusion which the foregoing considerations appear to warrant, may be now briefly stated as follows:—Character is relative beauty—Life is the highest character—Mind is the highest life."
"We have now briefly considered the principal æsthetic attributes of the organic and inorganic world. We have traced the influence of two leading principles of beauty—the visible evidence of character in form, and the visible evidence of the higher character of life. We have endeavoured to separate these from other auxiliary sources of agreeable impressions—such as the effect of colours, and the influences derived from the memory of the other senses. Lastly, all these elements have been kept independent of accidental and remote associations, since a reference to such sources of interest could only serve to complicate the question; and render the interpretation of nature less possible.
A third criterion remains; it is applicable to human beings, and to them only. Human beauty is then most complete, when it not only conforms to the archetypalstandard of its species, when it not only exhibits in the greatest perfection the attributes of life, but when it most bears the impress of mind, controlling and spiritualising both." "The conclusion which the foregoing considerations appear to warrant, may be now briefly stated as follows:—Character is relative beauty—Life is the highest character—Mind is the highest life."
We confess, in conclusion, that we are not yet disposed to admit, from any thing we have read, that Burke's "Sublime and Beautiful" is superseded. We can as readily believe that the sublime and beautiful may be reunited in one view, as that it is optional to separate them. The sublime and the beautiful both belong to us as human beings, making their sensible impressions all sources of pleasure, greatly differing in kind. It is inseparable from our condition to have a sense of a being vastly superior to ourselves: sublimity has a reference to that superior power over us, and to ourselves, as subject to it: while it renders us inferior, it lifts our minds to the knowledge of the greater. Beauty, on the contrary, seems to look up to us for aid, support, or sympathy. It thus flatters while it pleases, and, in contradiction to the subduing influence of the sublime, it makes ourselves in some respects the superior, and puts us in good humour both with the object and ourselves.
We are loath to quit this most interesting subject. We thank Mr Eastlake for bringing it so charmingly before us. We feel that our remarks have been very inadequate, both with regard to the nature of the subject, and as "The Philosophy of the Fine Arts" may seem to demand. But we are aware that to do both justice would require larger space than can be here allowed, and an abler pen than we can command. We almost fear a complete elucidation of beauty is not within the scope of the human mind. It may be to us not from earth, but from above; and we are not prepared to receive its whole truth. Burke somewhere observes that—"The waters must be troubled ere they will give out their virtues." The allusion is admirable, and justifies disturbing discussions. On such a subject, where the root of the matter grows not on earth, it may be added, in further allusion, that the stirring hand should be that of an angel.
Acting in China, 89.Agriculture of France and England, comparison of, 3.Alain family, the, extracts from, 560.Algoa bay, settlement of, 159.American thoughts on European revolutions, 31.American war, caricatures illustrating the, 552.Anne, queen, character of, 327.Antwerp, a legend from, 444.Arabian nights, the, 472.Aristocracy, necessity of a, to Britain, 14.Art its prospects, 145Eastlake's literature of,753.Art-unions, results of, 146.Ashley, lord, on the juvenile population, 66.Ateliers Nationaux, sketches of the, 249.Auersperg, count, 382, 532.Australia, importance of, 66demand for emigration to, 67Mitchell's researches in, 68.Austria, the revolution in, 519.Baden, state of, 378.Baikal, the lake, 88.Balloons, rage for, 554.Balzac, M. de, 572.Banking act, suspension of the, 262, 263Barbauld's hymns, 404.Barnard's cruise, &c., review of, 158.Bashkirs, the, 81.Basil, letter to, 31.Baston, Robert, 222, 223.Bavaria, the revolution in, 518.Beauty, Eastlake's theory of,762.Beaver and Beaver-stone, the, 84.Beggar's Opera, origin of the, 336.Belgium, state of, 521.Bentinck, lord George, death of, 632.Beresov, town of, 80, 81.Bernard, Andrew, 225, 226.Blue Dragoon, the, 207.Blum, Robert, 532.Bright, John, 271.British navy, the, 595.Buraets, the, 90.Buried flower, the, 108.Burke's eulogy on Walpole, 331.Byron's address to the ocean, on, 499.Cabrera, movement under, 630.Caged skylark, to a, 290.Call, a, by Julia Day, 625.Canning, rupture of Castlereagh with, 620.Canterbury tales, the, 466.Cape, sketches of the, 158.Caricatures of the 18th century, the, 543.Caroline, queen, 331, 332, 334,et seq.Carpentaria, gulf of, expedition to, 68.Castlereagh, lord, memoirs of, 610.Catholic priesthood, proposed endowment of the, 638.Cavaignac, general, 259.Caxtons, the, Part IV. chap. ix., 40chap. x., 41chap. xi., 43chap. xii., 44chap. xiii., 48chap. xiv., 50Part V. chap. xv., 171chap. xv., 179chap. xvi., 181chap. xvii., 182Part VI. chap. xviii., 315chap. xix., 317chap. xx., 318chap. xxi.,ib.chap. xxii., 320chap. xxiii., 321chap. xxiv., 323chap. xxv. 324Part VII. chap. xxvi., 388chap. xxvii., 392chap. xxviii., 395chap. xxix., 396chap. xxx., My father's first love, 397chap. xxxi., Wherein my father continues his story, 400chap. xxxii., Wherein my father brings about his denouement, 402chap. xxxiii., 405chap. xxxiv.,ib.Part VIII. chap. xxxv.,672chap. xxxvi.,674chap. xxxvii.,677chap. xxxviii.,680.Chartism, classes among whom prevalent, 269.Chartist demonstration, feeling regarding, in America, 35.Chartists, sympathy between, and the Irish, 261.Chaucer as laureate, 224.Cheremisses, the, 87.Chesterfield, lord, 334.China, Erman's travels in, 88.Chuvasses, the, 87.Cibber, Colley, 230.Cinque Cento, the, 145.Cleghorn's ancient and modern art, review of, 145.Cobden, Mr, reductions proposed by, 265, 266.Coercion, necessity of, in Ireland, 485.Coercion bill, the Irish, 281.Cologne, state of, 378, 521.Colonial legislation, review of recent, 275.Colonisation, 66.Colours, Goethe's theory of,759.Compton, Sir Spencer, 329.Commerce, statistics of, 496.Commercial classes, rise of, to power, 115.Commercial crisis, the, 262.Conciliation, failure of, in Ireland, 485.Congress of Vienna, errors of the, 516.Conservative union, 632.Constitution of the United States, the, 33.Continental revolutions—Irish rebellion—English distress, 475.Cossacks, the, 81.Cottier system, the, 423.Cotton manufactures, growth of, 409.Crown security bill for Ireland, the, 283.Currency, on the, 492.Da Vinci, Leonardo,760.Dante's Beatrice, 220.Danube and the Euxine, the, 608.Davenant, William, 227, 228.Day, Julia, "A Call" by, 625.De Chatillon, Mrs Hemans',652.Deer forests and deer-stalking, 92.Denmark, state and character of, 286sonnet to, 292.Devonshire, the duke of, 329.Dickens, the novels of, 468.Dogs of Siberia, the, 86.Doomster's first-born, the, chap. I., The tavern, 447chap. II., The lovers, 450chap. III., Father and son, 453chap. IV., The execution, 455.Drama, decline of the,648.Dryden as laureate, 228.Dudevant, madame, and her works, 568.Dumas, Alexander, 557, 558, 695.Dunbar, William, 226.Eastern life, Miss Martineau's, reviewed, 185.Eastlake's literature of the fine arts, review of,753.Economists, rise and doctrines of the, 408.Egypt, Miss Martineau on, 185.Eighteen hundred and twelve, a retrospective review, 190part II., The Moscow retreat, 359.Electric telegraph in America, the, 31.Emersonianism in America, 38.Emigration, importance of, 66from Ireland, necessity of,663.England, necessity of an aristocracy to, 14under George II., 327the history of, illustrated by caricatures, 543the present position of, 477, 492.English and French agriculture, comparison of, 3laureates, sketches of, 221.Entail, the law of, 1bill, examination of the, 9.Erman's Siberia, review of, 76.Ernest, letter from, 31.European revolutions, American thoughts on, 31.Eusden, Lawrence, 229.Eusebius, letter to, on novels, 459.Eustathius, the romances of, 472.Excise bill, Walpole's, 336,et seq.Exports, diminution of, 274.Fashions in the 18th century, the, 554.Female poetesses, on,641.Feudal law of succession, the, 5.Few words about novels, a, 459.Fielding's novels, on, 460, 466.Financial measures, recent, 263.Findhorn river, the, 96.Fine arts commission, the, 148Eastlake's literature of the,753.Fishing in Russia, 83.Fitzgerald, lord Edward, 615, 616.Fleming on the papacy, notice of,710.Fleury, cardinal, 332.Fo, temple of, 89.Foote, Samuel, 550.Forty shilling franchise in Ireland, the, 611.Fox, caricatures of, 553.France, agriculture of, compared with that of England, 3her law of real property, succession, &c., 6, 11feeling in America on the revolution in, 31State of, June 1848, 51the present state of, and lessons from it, 476, 477pictures of, from Jérome Paturot,87.François le Champi, notices of, 568.Frankfort, appearance of the town of, 525the insurrection in, 541parliament, the, 375, 380, 515.Frederick-William, character, policy, &c., of, 518, 519, 523.Free trade, progress of, 114its influence on shipping, 125its failure, 264, 268examination of its principles, 269, 409.French actors, riots against, in London, 1755, 549literature, recent, 557novels, on, 471.Fur trade of Siberia, the, 84.Gagern, Herr von, 381, 531.Gaming in England, rage for, 554.George I., accession of, 328.George II., life and times of, 327his personal and public character, 329sketches and anecdotes of him, 334,et seq.George III., caricatures of, 552.German novels, modern, 190.Germanic confederation, the, 285.Germany, objects of the revolutionary party in, 373and its parliament, a glimpse at, 515errors of the congress of Vienna regarding, 516democratic character of the smaller states, 517first outbreak and rapid progress of the movement, 518objects of the democratic party, 536state of the country, 538.Gillray the caricaturist, 544, 553.Glass, painting on, 156.Glimpse at Germany and its parliament, a, 515.Godwin's novels, on, 466.Goethe's Theory of Colours,759.Gothic architecture, rise of, 145.Gower the poet, 224.Grattan, close of the career of, 620.Gravière's sketches of the naval war, review of, 595.Great Britain, importance of Australia to, 66present state of 479, 492.Great Tragedian, the, chap. I., 345chap. II., 348chap. III., 349chap. IV., 352chap. V., 355chap. VI, 358.Greek sculpture, on, 154romances, 472.Green Hand, the,743.Gulielmus, the first English laureate, 222.Habeas corpus act, suspension of the, in Ireland, 284.Harrington, lord, 341.Harrowby, lord, notices of Castlereagh by, 621Heidelberg, first revolutionary assembly at, 518state of, 378.Hemans, Mrs,641.Hervey's life and times of George II., review of, 327.Heywood the poet, 226.Highway robbery, prevalence of, in 1720, 546.Hoadley, bishop, 342.Hogarth as a painter, 153his first caricature, 548career of, 551.Horse-dealer, the, a tale of Denmark, 232.Huzzah for the rule of the Whigs, 112.Imports, increase of manufactured, 273.Income tax, modifications of, proposed, 421, note.Intestacy, law of succession in, 5.Ireland, agriculture and laws of property in, 12amount of immigration from, 261legislation of the session regarding, 279its state, remedies proposed, &c., 421, 423the rebellion in, 480,et seq.proper government for, 489state of, before the union, 611the rebellion of 1798, 615the union, 619the miseries of, and their remedies,658.Irish crime bill, the, 281.Irkutsk, town of, 88.Italy, Whig policy toward, 286present state of, 476.Jacobitism, prevalence of, under George I., 545.Jahn, professor, 531.Jane Eyre, remarks on, 473.Jérome Paturot, review of,687.Jervis, Sir John, 599.Jewish disabilities bill, the, 279an American on the, 36.John, the archduke, 520.Johnson, Daniel and Ben, 227.Kaffirland, 158.Kames, lord, on the law of entail, 3.Karr, M., and his writings, 560.King, lord chancellor, 339.Kock, Paul de, 571.Kosacks of the Ural, the, 81.La Famille Alain, the, 560.Lady tourists, on, 185.Laffan, archdeacon, 280.Lamb plant, the, 79.Lamoricière, general, 259.Land, the laws of, 1.Last Constantine, Mrs Hemans',652.Laurels and laureates, 220.Law, John, career of, 546.Laws of land, the, 1.Lays of the Deer Forest, review of, 92.Legend from Antwerp, a. Introduction, 444The Doomster's first-born; chap. I., The tavern, 447chap. II., The lovers, 450chap. III., Father and son, 453chap. IV., The execution, 455.Leiningen, prince, 383.Letter to Eusebius, a, on novels, 459.Lichnowsky, prince, 532his murder, 533.Life and times of George II., the, 327.Life in the Far West, part II., 17part III., 130part IV., 293part V., 429part VI., 573memoir of the author, 591London, state of, under George I., 545.Londonderry, lord, memoirs of Lord Castlereagh by, reviewed, 610.Louis XV., character of, 332.Louis Philippe, American estimation of, 32.Lyons, state of, 59.Macculloch on the succession to property vacant by death, review of, 1.Madame de Malguet, remarks on, 474.Maimachen, town of, 88.Manufactures, state of exports and imports, 273, 274.Mariage de Paris, notice of the, 565.Martineau's Eastern life, review of, 185.Masquerades, prevalence of, during the eighteenth century, 548, 550.Mayence, state of, 525.Memoirs of Lord Castlereagh 610.Menchikoff, a Russian favourite, 81.Mery, M., the works of, 565.Mill's political economy, review of, 407.Mill, Mr, on the waste lands of Ireland and their improvement,668,et seq.Miseries: of Ireland, the, and their remedies,658.Mississippi scheme, the, 546.Mitchell, trial and condemnation of, 283.Mitchell's Australia, review of, 66.Modern tourism, 185.Molesworth, Sir William, 271.Monceaux, sketches in the park of, 249,691.Monsieur Bonardin, review of,687,700.Montemolin, the Count de, and his party in Spain, 627.More, Hannah, works of, 461.Mormons, sketches of the, 577.Mosaic law, the, relative to land, 3.Moscow, the burning of, 79the retreat from, 359.Moses, Miss Martineau's theory of, 188.Muggite societies in London, the, 545.Musset, Paul de, 567.Naples, affairs of, 286.Napoleon, caricatures of, 555.National gallery, the, 150.National workshops of Paris, sketches of the, 249,691.Narvaez, the policy of, 627, 629.Naval war of the French Revolution, the, 595.Navigation laws, the, 114.Nelson, career and character of, 597.Nicholson's The Cape and its colonists, review of, 158.Nijni Novgorod, fair of, 79.Novels, a few words about, 459.O'Connell, John, on Ireland, 281.Orange, the princess of, 339, 342.Orval, the prophecy of,704,705,et seq.Ostyaks, the, 82, 83,et seq.Painting, Eastlake on,757.Painting on glass, on, 156.Parcel from Paris, a, 557.Paris, state of, 51its supremacy, 53this beginning to fail, 55,et seq.sketches in, 248a parcel from, 557pictures of, from Jérome Paturot,688.Passavant's Life of Raphael, notice of,758.Peel, Sir R., on the sugar act, 276the adherents of, 633his banking act, suspension of it, 263.Pericles, the age of, 155.Petrarch's Laura, 220.Philosophy of the fine arts, Eastlake's,755.Poetry: The Buried flower, 108Huzzah for the rule of the Whigs, 112To a caged skylark, 290Sonnet to Denmark, 292Danube and the Euxine, 608A Call, 625.Poitiers prophecy, the,708.Polar bear, the, 85.Political economy, 407.Poor-law, long want of, in Ireland,661that lately passed, and supplementary measures required,662.Population, redundancy of, in Ireland, and means of restraining it,660.Previsions of the solitary of Orval, the,704,et seq.Primogeniture, sketch of the history of, 3its advantages, 5.Prisons, &c., expense of, 67, 75.Prophecies for the present,703.Prussia, state of, 476recent policy of, 517the revolutionary movement in, 519.Pye, Henry James, 231.Pyramids, the, 186.Queensberry, the duchess of, 335.Rachel, mademoiselle,693.Raffaelle, the Madonnas of, 152Passavant's Life of,758.Ragged schools, statistics of, 67.Reaction, dread of, in France, 56.Rebellion, the Irish, of 1798, 615,et seq.Records of Woman, Mrs Hemans',653.Reichsverweser of Germany, the, 520, 535.Rellstab, Lewis, 190, 359.Republican France, June 1848, 51First-fruits,687.Review of the last session, a, 261.Revolutions of England, the, 327on the Continent, the, 475of 1830 and 1848, coincidences between,712.Reybaud's Jérome Paturot, review of,687.Richardson, the novels of, 460.Roads of Russia, the, 83.Roman law of succession, the, 5.Rowe, Nicholas, 229.Rowlandson the caricaturist, 544, 554, 556.Russell, Lord John, review of the policy and measures of, 262, 270.Russia, Erman's travels in, 78.Ruxton, the late George Frederick, 591.St John's Wild Sports of the Highlands, 96.St Maur, the national workshops at, 253.St Paul's church, Frankfort, 530.St Vincent, lord, 599.Samoyedes, the, 85, 87.Sand, George, and her works, 568.Satires and Caricatures of the eighteenth century, 543.Saxon law of succession, the, 3, 6.Sayer the caricaturist, 553.Scarborough, lord, 334.Scotch agriculture, effects of entail on, 3.Scotland, the law of entail in, 7.Scottish Deer Forests, the, 92.Scrope's deer-stalking, 94.Sculpture, Eastlake on,756.Seal-catching in the North, 85.Session, review of the, 261.Shadwell the laureate, 228.Shipping, influence of the navigation laws on, 116statistics of, 118.Siberia, 76treatment of the exiles in, 80.Sicily, the revolt of, 286.Sigismund Fatello, chap. I., The opera,714chap. II., The masquerade,714chap. III., The accusation,724chap. IV., The captain's room,734chap. V. The day after the wedding,739.Silk, increased importation of, 274.Simmons, B., To a caged skylark, by, 290.Skelton, the laureate, 225.Sketches in Paris, 248.Smith, Adam, 407on the navigation laws, 114.Sonnet to Denmark, 292.South Sea scheme, the, 547.Southey as laureate, 231remarks on his "Doctor," 470.Spain, Whig policy toward, 289present state of, 627.Spenser as laureate, 226.Stuart's Lays of the deer-forest, review of, 92.Sturgeon, fishing for the, 83.Stuttgardt, state of, 379.Succession, the laws of, 1.Suffolk, lady, 341, 343.Sugar duties, the committee on, 276.Sugar trade, statistics regarding the, 273.Switzerland, present state of, 538.Tapestry, on, 157.Taquinet le Bossu, notice of, 571.Tasso, 221.Tatar domination in Russia, the, 79.Tate, Nahum, 229.Taxes, abolition of indirect, 268.Thompson, colonel, 271.Tobolsk, town of, 82.Tourists, publications of, 185.Townshend, lord, 334.Trollope, Mrs, the novels of, 469.Tunguzes, the, 91.Uhland the poet, 531.Union of Ireland, the, 617,et seq.Venetian school of painting, the, 153.Vespers of Palermo, Mrs Hemans',648,649.Vicar of Wakefield, the, 466.Vienna, the insurrection in, 537.Vincennes, the castle and forest of, 253,et seq.W. E. A., The Buried flower, by, 108Danube and the Euxine, by, 608.Walmoden, Madame, 343.Walpole, Sir Robert, 329,et seq.Ward's Five years in Kaffirland, review of, 158.Warren's novels, remarks on, 469.Warton, Thomas, 231.Waste lands of Ireland, proposed employment of the,665,et seq.Watering-places of Germany, state of the, 538.Wealth, the duties of, 414.Wellington, a Frenchman's estimate of, 601sketch of his career in answer to it, 603.West Indies, legislation toward the, 276.What is Spain about?, 627.What would revolutionising Germany be at?, 373.Whig ministry, review of the conduct of the, 262.Whitehead, William, 230.Winther, Christian, the Horse-dealer, by, 232.Wood, Sir Charles, 264.Woodward, caricature by, 556.Wright's England under the house of Hanover, review of, 543.Wurtemberg, state of, 379.Yakutsk, town of, 91.Yekaterinburg, town of, 81.Yenisei, the Ostyaks of the, 85.Yellow Goat, the, 567.Zitz, a member of the Frankfort parliament, 533.Zollverein, real object of the, 517.
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