FOOTNOTES:

FOOTNOTES:[1]Sylvanus Spenser, the eldest son of the Poet Spenser, married Ellen Nagle, eldest daughter of David Nagle, Esq., ancestor of the lady, who was mother to Edmund Burke.[2]This as a picture is outlined with so delicate a pencil, and colored with such mingled purity and richness of tone, that we transcribe a few passages, as much in honor of the man who could write, as the woman who could inspire such praise:—"The character of ——"She is handsome, but it is beauty not arising from features, from complexion, or from shape. She has all three in a high degree, but it is not by these she touches a heart; it is all that sweetness of temper, benevolence, innocence, and sensibility, which a face can express, that forms her beauty. She has a face that just raises your attention at first sight; it grows on you every moment, and you wonder it did no more than raise your attention at first."Her eyes have a mild light, but they awe when she pleases; they command like a good man out of office, not by authority, but by virtue."Her stature is not tall, she is not made to be the admiration of every body, but the happiness of one."She has all the firmness that does not exclude delicacy—she has all the softness that does not imply weakness. * *"Her voice is a soft, low, music, not formed to rule in public assemblies, but to charm those who can distinguish a company from a crowd: it has this advantage—you must come close to her to hear it."To describe her body, describes her mind; one is the transcript of the other; her understanding is not shown in the variety of matters it exerts itself on, but in the goodness of the choice she makes."She does not display it so much in saying or doing striking things, as in avoiding such as she oughtnotto say or do.""No persons of so few years can know the world better; no person was ever less corrupted by the knowledge."Her politeness flows rather from a natural disposition to oblige, than from any rules on that subject, and therefore never fails to strike those who understand good breeding, and those who do not.""She has a steady and firm mind,which takes no more from the solidity of the female character, than the solidity of marble does from its polish and lustre. She has such virtues as make us value the truly great of our own sex. She has all the winning graces that make us love even the faults we see in the weak and beautiful in hers."[3]Our cut exhibits all that now remains of Gregories—a few walls and a portion of the old stables. Mrs. Burke, before her death, sold the mansion to her neighbor, Mr. John Du Pré, of Wilton Park. It was destroyed by fire soon afterwards.[4]During Barry's five years' residence abroad he earned nothing for himself, and received no supplies save from Edmund and Richard Burke.[5]Mr. Prior says in his admirable Life of Burke—"How the money to effect this purchase was procured has given rise to many surmises and reports; a considerable portion was his own, the bequest of his father and elder brother. The Marquis of Rockingham offered the loan of the amount required to complete the purchase; the Marquis was under obligations to him publicly, and privately for some attention paid to the business of his large estates in Ireland. Less disinterested men would have settled the matter otherwise—the one by quartering his friend, the other, by being quartered, on the public purse. To the honor of both, a different course was pursued."[6]Waller was a resident in this vicinity, in which his landed property chiefly lay. He lived in the family mansion named Well's Court, a property still in the possession of his descendants. His tomb is a table monument of white marble, upon which rises a pyramid, resting on skulls with bat's wings; it is a peculiar but picturesque addition to the churchyard, and, from its situation close to the walk, attracts much attention.[7]Our engraving exhibits his simple tablet, as seen from the central aisle of the church, immediately in front of the pew in which Burke and his family always sat.

[1]Sylvanus Spenser, the eldest son of the Poet Spenser, married Ellen Nagle, eldest daughter of David Nagle, Esq., ancestor of the lady, who was mother to Edmund Burke.

[2]This as a picture is outlined with so delicate a pencil, and colored with such mingled purity and richness of tone, that we transcribe a few passages, as much in honor of the man who could write, as the woman who could inspire such praise:—"The character of ——"She is handsome, but it is beauty not arising from features, from complexion, or from shape. She has all three in a high degree, but it is not by these she touches a heart; it is all that sweetness of temper, benevolence, innocence, and sensibility, which a face can express, that forms her beauty. She has a face that just raises your attention at first sight; it grows on you every moment, and you wonder it did no more than raise your attention at first."Her eyes have a mild light, but they awe when she pleases; they command like a good man out of office, not by authority, but by virtue."Her stature is not tall, she is not made to be the admiration of every body, but the happiness of one."She has all the firmness that does not exclude delicacy—she has all the softness that does not imply weakness. * *"Her voice is a soft, low, music, not formed to rule in public assemblies, but to charm those who can distinguish a company from a crowd: it has this advantage—you must come close to her to hear it."To describe her body, describes her mind; one is the transcript of the other; her understanding is not shown in the variety of matters it exerts itself on, but in the goodness of the choice she makes."She does not display it so much in saying or doing striking things, as in avoiding such as she oughtnotto say or do.""No persons of so few years can know the world better; no person was ever less corrupted by the knowledge."Her politeness flows rather from a natural disposition to oblige, than from any rules on that subject, and therefore never fails to strike those who understand good breeding, and those who do not.""She has a steady and firm mind,which takes no more from the solidity of the female character, than the solidity of marble does from its polish and lustre. She has such virtues as make us value the truly great of our own sex. She has all the winning graces that make us love even the faults we see in the weak and beautiful in hers."

"The character of ——

"She is handsome, but it is beauty not arising from features, from complexion, or from shape. She has all three in a high degree, but it is not by these she touches a heart; it is all that sweetness of temper, benevolence, innocence, and sensibility, which a face can express, that forms her beauty. She has a face that just raises your attention at first sight; it grows on you every moment, and you wonder it did no more than raise your attention at first.

"Her eyes have a mild light, but they awe when she pleases; they command like a good man out of office, not by authority, but by virtue.

"Her stature is not tall, she is not made to be the admiration of every body, but the happiness of one.

"She has all the firmness that does not exclude delicacy—she has all the softness that does not imply weakness. * *

"Her voice is a soft, low, music, not formed to rule in public assemblies, but to charm those who can distinguish a company from a crowd: it has this advantage—you must come close to her to hear it.

"To describe her body, describes her mind; one is the transcript of the other; her understanding is not shown in the variety of matters it exerts itself on, but in the goodness of the choice she makes.

"She does not display it so much in saying or doing striking things, as in avoiding such as she oughtnotto say or do."

"No persons of so few years can know the world better; no person was ever less corrupted by the knowledge.

"Her politeness flows rather from a natural disposition to oblige, than from any rules on that subject, and therefore never fails to strike those who understand good breeding, and those who do not."

"She has a steady and firm mind,which takes no more from the solidity of the female character, than the solidity of marble does from its polish and lustre. She has such virtues as make us value the truly great of our own sex. She has all the winning graces that make us love even the faults we see in the weak and beautiful in hers."

[3]Our cut exhibits all that now remains of Gregories—a few walls and a portion of the old stables. Mrs. Burke, before her death, sold the mansion to her neighbor, Mr. John Du Pré, of Wilton Park. It was destroyed by fire soon afterwards.

[4]During Barry's five years' residence abroad he earned nothing for himself, and received no supplies save from Edmund and Richard Burke.

[5]Mr. Prior says in his admirable Life of Burke—"How the money to effect this purchase was procured has given rise to many surmises and reports; a considerable portion was his own, the bequest of his father and elder brother. The Marquis of Rockingham offered the loan of the amount required to complete the purchase; the Marquis was under obligations to him publicly, and privately for some attention paid to the business of his large estates in Ireland. Less disinterested men would have settled the matter otherwise—the one by quartering his friend, the other, by being quartered, on the public purse. To the honor of both, a different course was pursued."

[6]Waller was a resident in this vicinity, in which his landed property chiefly lay. He lived in the family mansion named Well's Court, a property still in the possession of his descendants. His tomb is a table monument of white marble, upon which rises a pyramid, resting on skulls with bat's wings; it is a peculiar but picturesque addition to the churchyard, and, from its situation close to the walk, attracts much attention.

[7]Our engraving exhibits his simple tablet, as seen from the central aisle of the church, immediately in front of the pew in which Burke and his family always sat.

For the last twenty years the name of Mr. Goodrich has been very constantly associated with American literature. He commenced as a publisher, in Boston, and was among the first to encourage by liberal copyrights, and to make attractive by elegant editions, the works of American authors. One of his earliest undertakings was a collection of the novels of Charles Brockden Brown, with a memoir of that author, by his widow, with whom he shared the profits. In 1828 he began "The Token," an annual literary souvenir, which he edited and published fourteen years. In this appeared the first fruits of the genius of Cheney, who has long been acknowledged the master of American engravers; and the first poems and prose writings of Longfellow, Willis, Mellen, Mrs. Osgood, Mrs. Child, Mrs. Sigourney, and other eminent authors. In "The Token" also were printed his own earlier lyrical pieces. The work was of the first rank in its class, and in England as well as in this country it was uniformly praised.

In 1831 an anonymous romance was published by Marsh & Capen, of Boston. It was attributed by some to Willis, and by others to Mrs. Child, then Miss Francis. It illustrated a fine and peculiar genius, but was soon forgotten. Mr. Goodrich appreciated its merits, and applied to the publishers for the name of the author, that he might engage him as a contributor to "The Token." They declined to disclose his secret, but offered to forward a letter to him. Mr. Goodrich wrote one, and received an answer signed byNathaniel Hawthorne, many of whose best productions, as "Sights from a Steeple," "Sketches under an Umbrella," "The Prophetic Pictures," "Canterbury Pilgrims," &c., appeared in this annual. In 1839, Mr. Goodrich suggested to Mr. Hawthorne the publication of a collection of his tales, surrendering his copyrights to several of them for this purpose; but so little were the extraordinary qualities of this admirable author then understood, that the publishers would not venture upon such an experiment without an assurance against loss, which Mr. Goodrich, as his friend, therefore gave. The public judgment will be entitled to little respect, if the copyright of the works of Hawthorne be not hereafter a most ample fortune.

Mr. Goodrich soon abandoned the business of publishing, and, though still editing "The Token," devoted his attention chiefly to the writing of that series of educational works, known asPeter Parley's, which has spread his fame over the world. The whole number of these volumes is about sixty. Among them are treatises upon a great variety of subjects, and they are remarkable for simplicity of style and felicity of illustration. Mr. Goodrich has accomplished a complete and important revolution in juvenile reading, substituting truth and nature for grotesque fiction in the materialsand processes of instruction, and his method has been largely imitated, at home and abroad. In England many authors and publishers have disgraced the literary profession by works under the name of "Parley," with which he has had nothing to do, and which have none of his wise and genial spirit.

Besides his writings under this pseudonym, Mr. Goodrich has produced several works of a more ambitious character, which have been eminently popular. Among them is a series entitled "The Cabinet Library," embracing histories, biographies, and essays in science; "Universal Geography," in an octavo volume of one thousand pages; and a "History of all Nations," in two large octavos, in which he has displayed such research, analysis, and generalization, as should insure for him an honorable rank among historians. We cannot better illustrate his popularity than by stating the fact, that more than four hundred thousand volumes of his various productions are now annually sold in this country and Europe. No living writer is, therefore, as much read, and in the United States hardly a citizen now makes his first appearance at the polls, or a bride at the altar, to whose education he has not in a large degree contributed. For twenty years he has preserved the confidence of parents and teachers of every variety of condition and opinion, by the indefectible morality and strong practical sense, which are universally understood and approved.

Like many other eminent persons, Mr. Goodrich lets sought occasional relaxation from the main pursuits of his life in poetry, and the volume before us contains some forty illustrations of his abilities, as a worshipper of the muse whose temples are most thronged, but who is most coy and most chary of her inspiration. They have for the most part been previously printed in "The Token," or in literary journals, but a few are now published the first time. In typographical and pictorial elegance the book is unique. It is an exhibition of the success of the first attempt to rival the London and Paris publishers in woodcut embellishment and general beauty of execution.

That Mr. Goodrich possesses the poetical faculty in an eminent degree, no one has doubted who has read his fine lines "To Lake Superior:"

Father of Lakes! thy waters bend,Beyond the eagle's utmost view,When, throned in heaven, he sees thee sendBack to the sky its world of blue.Boundless and deep the forests weaveTheir twilight shade thy borders o'er,And threatening cliffs, like giants, heaveTheir rugged forms along thy shore.Nor can the light canoes, that glideAcross thy breast like things of air,Chase from thy lone and level tide,The spell of stillness deepening there.Yet round this waste of wood and wave,Unheard, unseen, a spirit lives,That, breathing o'er each rock and cave,To all, a wild, strange aspect gives.The thunder-riven oak, that flingsIts grisly arms athwart the sky,A sudden, startling image bringsTo the lone traveller's kindled eye.The gnarled and braided boughs that showTheir dim forms in the forest shade,Like wrestling serpents seem, and throwFantastic horrors through the glade.The very echoes round this shore,Have caught a strange and gibbering tone,For they have told the war-whoop o'er,Till the wild chorus is their own.Wave of the wilderness, adieu—Adieu, ye rocks, ye wilds, ye woods!Roll on, thou Element of blue,And fill these awful solitudes!Thou hast no tale to tell of man.God is thy theme. Ye sounding caves,Whisper of Him, whose mighty plan,Deems as a bubble all your waves!

Father of Lakes! thy waters bend,Beyond the eagle's utmost view,When, throned in heaven, he sees thee sendBack to the sky its world of blue.

Boundless and deep the forests weaveTheir twilight shade thy borders o'er,And threatening cliffs, like giants, heaveTheir rugged forms along thy shore.

Nor can the light canoes, that glideAcross thy breast like things of air,Chase from thy lone and level tide,The spell of stillness deepening there.

Yet round this waste of wood and wave,Unheard, unseen, a spirit lives,That, breathing o'er each rock and cave,To all, a wild, strange aspect gives.

The thunder-riven oak, that flingsIts grisly arms athwart the sky,A sudden, startling image bringsTo the lone traveller's kindled eye.

The gnarled and braided boughs that showTheir dim forms in the forest shade,Like wrestling serpents seem, and throwFantastic horrors through the glade.

The very echoes round this shore,Have caught a strange and gibbering tone,For they have told the war-whoop o'er,Till the wild chorus is their own.

Wave of the wilderness, adieu—Adieu, ye rocks, ye wilds, ye woods!Roll on, thou Element of blue,And fill these awful solitudes!

Thou hast no tale to tell of man.God is thy theme. Ye sounding caves,Whisper of Him, whose mighty plan,Deems as a bubble all your waves!

The "Birth Night of the Humming Birds" has been declared by the LondonAthenæumequal to Dr. Drake's "Culprit Fay," and it may be regarded as in its way the best specimen of Mr. Goodrich's talents. It is too long to be quoted in these paragraphs. In descriptions of nature he is uniformly successful, presenting his picture with force and distractness.

There are many examples of this in one of his longest poems, "The Mississippi," in which the traditions that cluster around the Father of Waters, and the advances of civility along his borders, are graphically presented. The river is described as rising.

"Far in the west, where snow-capt mountain's rise,Like marble shafts beneath heaven's stooping dome,And sunset's charming curtain drapes the skiesAs if Enchantment there would build her home.

The bard laments that

"though these scenes are fairAs fabled Arcady, the sylph and fay,And all their gentle kindred, shun the air,Where car and steamer make their stormy way;"

Yet trusts that in a future time,

"Perchance some Cooper's magic art may wakeThe sleeping legends of this mighty vale,And twine fond memories round the lawn and lake,Where Warrior fought or Lover told his tale.

In the volume are several allegorical pieces of much merit, of which the most noticeable are the "Two Windmills," "The Bubble Chase," and "The Rainbow Bridge." Several smaller poems are distinguished for a quaint simplicity, reminding us of the old masters of English verse; and others, for refined sentiment, as the "Old Oak," of which the key-note is in the lines,

Here is the grassy knoll I used to seekAt summer noon, beneath the spreading shade,And watch the flowers that stooped, with glowing cheek,To meet the romping ripples as they played.

The longest of Mr. Goodrich's poems is "The Outcast." It was first published many years ago, and it appears now with the improvements suggested by reflection and criticism. Its fault is, a certainintensity, but it has noble passages, betraying a careful study and profound appreciation of the subtler operations of the mind, particularly, when, in its most excited action, it is influenced by the observation of nature.

The volume will take its place in the cabinets of our choice literature, and will be prized the more for the fact that by selecting American themes for his most elaborate compositions, Mr. Goodrich has made literature subservient to the purposes of patriotism.

FOOTNOTES:[8]Poems: by S. G. Goodrich.New York, G. P. Putnam. [The designs—about forty—are by Mr. Billings, the engravings by Bobbett & Edmonds, Lossing & Barrett, Hartwell, and others, and the printing by Mr. John F. Trow.]

[8]Poems: by S. G. Goodrich.New York, G. P. Putnam. [The designs—about forty—are by Mr. Billings, the engravings by Bobbett & Edmonds, Lossing & Barrett, Hartwell, and others, and the printing by Mr. John F. Trow.]

The author of "St. Leger" was by that admirable work placed in the leading rank of the new generation of American writers. The appearance in theKnickerbockerfor the present month, of the commencement of a sequel to "St. Leger," makes it a fit occasion for some notice of his life and genius.

Mr. Kimball is by inheritance of the first class of New-England men, numbering in his family a signer of the Declaration of Independence, a President of the Continental Congress, and several other persons honorably distinguished in affairs. He is a native of Lebanon, in New Hampshire, where his father is still living—the centre of a circle bound to him by their respect for every public and private virtue. Though he had completed his preparatory studies before he was eleven years of age, he did not enter college until he was nearly thirteen. Four years after, in 1834, he graduated at Dartmouth, and upon devoting one year to the study of the law, he went abroad; travelled in England, Scotland, and Germany; and resided some time in Paris, where he attended the lectures of Majendie, Broussais, and Louis, in medicine, and those of the elder Dupin, and Coulanges, in law. Returning, he entered upon the practice of the law, at Waterford, in this state, but soon removed to New-York, where a year's devotion to his profession made him familiar with its routine. In 1842 he went a second time to Europe, renewing the associations of his travel and student-life in Great Britain and on the continent. Since, for seven years, he has been an industrious and successful lawyer in New-York.

Although but few works are known to be from the pen of Mr. Kimball, he has been a voluminous author. The vigorous and polished style of his avowed compositions, is never attained but by long practice. He has been, we believe, a contributor to every volume of theKnickerbockerpublished since 1842. He printed in that excellent magazine his "Reminiscences of an Old Man," "The Young Englishman," and the successive chapters of "St. Leger, or the Threads of Life." This last work was published by Putnam, and by Bentley in London, about one year ago, and it passed rapidly through two English and three American editions. It was not raised into an ephemeral popularity, as so many works of fiction easily are, for their lightness, by careless applauses; it arrested the attention of the wisest critics; commanded their study, and received their verdict of approval as a book of learning and reflection in the anatomy of human life.

Mr. Kimball had been eminent in his class at college for a love of Greek literature, and he studied the Roman also with reverent attention. It was his distinction that he had thoroughly acquainted himself with the philosophy of the ancients. At a later day he was attracted by the speculation of the Germans, and a mastery of their language enabled him to enter fully into the spirit of Spinosa, Kant,and Fichte, as he did into that of the finer intelligences, Göethe and Richter, and pervading he found the passion to know Whence are we? What are we? Whither do we go? In "St. Leger," a mind predisposed to superstition by some vague prophecies respecting the destiny of his family—a mind inquisitive, quick, and earnest, but subject to occasional melancholy, as the inherited spell obtains a mastery of the reason—is exposed to the influences of a various study, and startling experiences, all conceived with a profound knowledge of human nature, and displayed with consummate art; having a metaphysical if not a strictly dramatic unity; and conducting by the subtlest processes, to the determination of these questions, and the flowering of a high and genial character; as Professor Tayler Lewis expresses it, "at rest, deriving substantial enjoyment from the present, because satisfied with respect to the ultimate, and perfect, and absolute."[9]

Aside from its qualities as a delineation of a deep inner experience, "St. Leger" has very great merits as a specimen of popular romantic fiction. The varied characters are admirably drawn, and are individual, distinct, and effectively contrasted. The incidents are all shaped and combined with remarkable skill; and, as theAthenaeumobserves, "Here, there, everywhere, the author gives evidence of passionate and romantic power." In some of the episodes, as in that of Wolfgang Hegewisch, for example, in which are illustrated the tendency of a desperate philosophy and hopeless skepticism, we have that sort of mastery of the feelings, that chaining of the intensest interest, which distinguishes the most wonderful compositions of Poe, or the German Hoffman, or Zschokke in his "Walpurgis Night;" and every incident in the book tends with directest certainty to the fulfilment of its main design.

The only other work of which Mr. Kimball is the acknowledged author, is "Cuba and the Cubans;" a volume illustrative of the history, and social, political, and economical condition of the island of Cuba, written during the excitement occasioned by its invasion from the United States, in 1849, and exhibiting a degree of research, and a judicial fairness of statement and argument, which characterizes no other production upon this subject. As it was generally admitted to be the most reliable, complete, and altogether important work, upon points commanding the attention of several nations, its circulation was very large; but it was produced for a temporary purpose, and it will be recalled to popularity only by a renewal of the inevitable controversies which await the political relations of the Antilles.

"A Story of Calais," in the following pages, is an example of Mr. Kimball's success as a tale writer. Though less remarkable than passages in "St. Leger," it will vindicate his right to a place among the chief creators of such literature among us.

FOOTNOTES:[9]The Inner-Life, a Review of St. Leger, by Professor Tayler Lewis, LL. D., &c.

[9]The Inner-Life, a Review of St. Leger, by Professor Tayler Lewis, LL. D., &c.

Among the distinguished strangers who visited the United States during the last season, no one has left a more favorable impression upon American society than the thoroughly accomplished scholar and highbred gentleman, the Bishop of Jamaica. We propose a brief sketch of his history:

Aubrey George Spencer, D.D. and D.C.L., was born in London on the 12th of February, 1795, and is the eldest son of the late Hon. William Spencer, the poet, whose father, Lord Charles Spencer, was a son of Charles the second Duke of Marlborough, and grandson of John Churchill, the illustrious hero of Ramillies and Blenheim. His Christian names were given by the Dukes of St. Albans and Marlborough, who were his great uncles and godfathers. His mother was Susan Jennison, a countess of the Holy Roman Empire, and a lady of singular beauty and accomplishments, to whom Mr. William Spencer was married at the court of Hesse Darmstadt, in 1791. Aubrey Spencer and his younger brother George (subsequently Bishop of Madras,) received the rudiments of learning at the Abbey School of St. Albans, whence the former was soon removed to the seminary of the celebrated Grecian, D. Burme, of Greenwich, and the latter to the Charter house. For some time previous to his matriculation at Magdalen Hall, Oxford, Mr. Aubrey Spencer was the private pupil of Mr. Mitchell, the very learned translator of Aristophanes. At the house of his father in Curzon street, at Melbourne House in Chiswick, Blenheim, and Woolbeednig, Hallowell Hill, (the seat of the Countess Dowager Spencer,) he was in frequent and familiar intercourse with many of the most distinguished contemporary statesmen, philosophers, and other men of letters; and in this society his own literary and conversational talents obtained an early celebrity, and commended him to the regard and friendship of Mr. Rogers, Mr. Campbell, Lord Byron, Mr. Hallam, Lord Dudley, Mr. Coutts, Mr. Wordsworth, Mr. Francis, Mr. Homer, Thomas Moore, Mr. Southey, Lady Caroline Lamb, Mr. Crabb, and many other authors, with some of whom he still maintains a correspondence, while some have fallen asleep.

With the society of the county of Oxford, and with that of the University, he was equally popular. In the early part of the year 1818, he took leave of his College, on being ordained deacon, and entered on a charge of the parish of Great Oakering, in the diocese of London. From this, which is a very unhealthy part of Essex, he removed at the end of the year to Bannam, Norfolk, where he became the neighbor and frequent guest of the Earl of Albemarle and the Bishop of Norwich. In March, 1819, he was admitted a priest, and soon after gave up the brilliant society in which he had hitherto lived, and devoted himself to the Church in the Colonies, where, for a quarter of a century, he has filled a distinguished part as archdeacon and bishop.

His first visit to the Bermudas was undertaken for the recovery of his health, to which a colder climate has always been hostile; and when, in the year 1825, these islands were attached to the diocese of Nova Scotia, he was, at the instance of the late Primate, appointed to them as Archdeacon and Ecclesiastical Commissary to the Bishop of the see. Here he may be said to have created the Ecclesiastical Establishment which, under his conciliatory influence, has so rapidly and largely increased; and with it he soon associated the revival of Bishop Berkeley's Classical Academy, and a system of general instruction, of which a chain of schoolhouses, from either extremity of the island, are the abiding monuments.

From his connection with the Bishop of Nova Scotia, the visits of Archdeacon Spencer to that colony were frequent, and many of the inhabitants both of that province and of New Brunswick retain a lively impression of his abilities, as they were illustrated in his preaching and in the practice of the other duties of his profession and position.

In July, 1839, Dr. Spencer was consecrated by the venerable Archbishop of Canterbury, on the nomination of the crown, to the new see of Newfoundland, retaining still episcopal jurisdiction over the isles of Bermuda, under the extension of the Colonial Episcopate, which relieved the indefatigable Bishop of Nova Scotia of a large portion of his cares. The new Bishop was enabled, by the aid of the Society for the Promotion of the Gospel in Foreign Parts, to quadruple the number of his clergy within four years, and to consecrate more than twenty additional churches within the same period. A very grateful sense of the Bishop's exertions, and of the prosperous results of his unceasing labor, was manifested in the several addresses presented to his lordship on his subsequent translation to the diocese of Jamaica, by the clergy and laity of Newfoundland and Bermuda.

In a paper which only purports to be a biographical notice of one who is still living, it is not desirable to do more than briefly advert to the principal topics and dates of a history which may hereafter be advantageously amplified and filled up. The real progress of the established church in Newfoundland at this period, would be best gathered from the Bishop's letters to the government and the religious societies, and to the clergy under his jurisdiction, but to these documents it is not likely that any biographer will have unreserved access during the life of his lordship.

On the decease of Bishop Lipscombe, in April, 1843, Bishop Spencer was translated, under circumstances peculiarly indicative of the high opinion which was had of his ability by the Queen's ministers and the heads of the English church, to the see of Jamaica, one of the most important connected with the crown. He quitted his old diocese, as the papers of the day amply testify, with the respect of all denominations of Christians. A national ship, the Hermes, was appointed to convey him and his family and suite to Jamaica, where he arrived in the first week of November, having made the land on the auspicious festival of All Saints.

The sermon delivered by him at his installation, in the cathedral at Spanish Town, was published at the request of the Speaker of the House of Assembly, while the Earl of Elgin, the Governor-General, in his speech to the Legislature, "congratulated the inhabitants of Jamaica on the appointment of a prelate of such approved talents and piety to that see." At every point of the Bishop's visitation, which he commenced by a convention of eighty clergymen, at Spanish Town, he was met by congratulatory addresses from the vestries, and other corporate bodies, declaratory of their confidence in his projected measures, and of their desire to aid him in the extension of the church. In consonance with his views the local Legislature passed an act increasing the number of island curates, and providing higher salaries for their support, while at the same time, they granted three thousand pounds as a first instalment to the Church Society, which had been organized by him, and to which the Governor-General contributed the annual sum of one hundred pounds.

On his visit to England in 1845 and in the beginning of 1846, he was continually employed in preaching in aid of various charities, and in assisting at public meetings which had for their object the promotion of Christianity by the servants of the church. At the weekly meetings of the Society for the Propagation of the Gospel, in London, he was a constant attendant; and the increase of the funds of that association, and the conciliation to it of many powerful supporters, are result of measures which may be traced to his projection and tact. In his reply to an address from the clergy, on his return from a recent visitation, published at length in the last annual report of the parent Society for the Propagation of the Gospel, will be found the clearest exposition of the existing state and future prospects of the church in Jamaica; and a charge addressed by his lordship to the clergy of the Bahamas, on the subject of a difficult and embarrassing question, for the adjustment of which the Bishop received the thanks of the Queen's government and of the local Executive, is full of valuable information on the condition, principles and progress of the colonial establishment. In closing the last session of the Bahamas Legislature, Governor Gregory declared in his speech, with reference to this matter, that he considered the arrival of the Bishop in the island, at that juncture, as a convincing proof of the interposition of a special Providence in the conduct of human affairs.

In 1822, the Bishop was married to Eliza, the daughter of John Musson, Esq., and the sister of a former friend at the University. He has had one son, now deceased, and has three daughters.

As a man of letters, Bishop Spencer is entitled to a very honorable position. As a scholar and as a critic, he has evinced such abilities as, fitly devoted, would have secured fame; as a poet and essayist, he has unusual grace and elegance; and a collection of the various compositions with which he has relieved the monotony and arduous labors of his professional and official career, would vindicate his title to be classed with those prelates who have been most eminent in the literary world.

The following poems, from autographs of Bishop Spencer, we believe are first given to the public in theInternational.

I tread the church-yard's path alone,Unseen to shed the gushing tear:I read on many a mould'ring stoneFond records of the good and dear.My soul is well-nigh faint with fear,Where doubting many went to weep;And yet what sweet repose is here—"He giveth His beloved sleep!"The world has but a feverish rest,To weary pilgrims sometimes given,When pleasure's cup has lost its zest,And glory's hard-earned crown is riven.Here, softer than the dews of evenFall peaceful on the slumbering deep,Asleep to earth, awake to heaven—"He giveth His beloved sleep."Yes, on the grave's hard pillows riseNo cankering cares, no dreams of woe;On earth we close our aching eyes,And heavenward all our visions grow.The airs of Eden round us flow,And in their balm our slumbers steep.God calls His chosen home, and so"He giveth His beloved sleep."Ah! vainly could the human voice,In this dull world of sin and folly,Tell how the sainted dead rejoiceIn those high realms where joy is holy—Where no dim shade of melancholyBeclouds the rest which angels keep,Where, peace and bliss united wholly"He giveth His beloved sleep."If on that brow so fair, so young,Affliction trace an early furrow,If Hope's too dear, delusive tongueHas broke its promise of to-morrow,Seek not the world again, to borrowThe deathful print its votaries reap.Man gives his loved ones pain and sorrow,God "giveth His beloved sleep."

The world has but a feverish rest,To weary pilgrims sometimes given,When pleasure's cup has lost its zest,And glory's hard-earned crown is riven.Here, softer than the dews of evenFall peaceful on the slumbering deep,Asleep to earth, awake to heaven—"He giveth His beloved sleep."

Yes, on the grave's hard pillows riseNo cankering cares, no dreams of woe;On earth we close our aching eyes,And heavenward all our visions grow.The airs of Eden round us flow,And in their balm our slumbers steep.God calls His chosen home, and so"He giveth His beloved sleep."

Ah! vainly could the human voice,In this dull world of sin and folly,Tell how the sainted dead rejoiceIn those high realms where joy is holy—Where no dim shade of melancholyBeclouds the rest which angels keep,Where, peace and bliss united wholly"He giveth His beloved sleep."

If on that brow so fair, so young,Affliction trace an early furrow,If Hope's too dear, delusive tongueHas broke its promise of to-morrow,Seek not the world again, to borrowThe deathful print its votaries reap.Man gives his loved ones pain and sorrow,God "giveth His beloved sleep."

Veil'd in robes of snowy whiteness,Filled with love and sacred fear,Forms of beauty, eyes of brightness,At the altar's foot appear.There with hearts oppressed with feelingWhat their dying Saviour felt;At His throne of mercy kneelingWhere their pious parents knelt,Many a youth, and many a maidenMeekly and devoutly bow,And from worldly cares unladenRatify a Christian's vow.Hark! what voice subdued and holyIn that deep and tender tone,Prays upon those suppliants lonelyChrist's eternal benison!God! who call'st them to inheritJoys no mortal tongue can speak,Guide them with thy gracious SpiritThrough the storms that round them break.When thou seest these children strayingFrom the way thy word imparts,Then, thine anger yet delaying,Renovate their faltering hearts.If provoked by strong temptationFrom thy paths again they swerve,If in prideful elevationThey forget the God they serve,Then by timely, mild correction,Lead them, wheresoe'er they roam,Fan the embers of affectionFor their Father and their Home.

Veil'd in robes of snowy whiteness,Filled with love and sacred fear,Forms of beauty, eyes of brightness,At the altar's foot appear.

There with hearts oppressed with feelingWhat their dying Saviour felt;At His throne of mercy kneelingWhere their pious parents knelt,

Many a youth, and many a maidenMeekly and devoutly bow,And from worldly cares unladenRatify a Christian's vow.

Hark! what voice subdued and holyIn that deep and tender tone,Prays upon those suppliants lonelyChrist's eternal benison!

God! who call'st them to inheritJoys no mortal tongue can speak,Guide them with thy gracious SpiritThrough the storms that round them break.

When thou seest these children strayingFrom the way thy word imparts,Then, thine anger yet delaying,Renovate their faltering hearts.

If provoked by strong temptationFrom thy paths again they swerve,If in prideful elevationThey forget the God they serve,

Then by timely, mild correction,Lead them, wheresoe'er they roam,Fan the embers of affectionFor their Father and their Home.

Midnight is on the earth:Flowers that in darkness bloom,Their odorous life pour forthBeneath the gloom.O'er palace and o'er stallHer sable curtain spread,Mantles within its pallThe living dead!Midnight is on the sea:A soft and still reposeSteals o'er the untroubled leaThat darkly glows.Hushed in their ocean cavesThe winds their sleep prolong,Or mourn along the wavesIn dreamlike song.Midnight is in the Heaven:The planets of the airTo her as vassals given,Wander and worship there.No sound comes from her throne,Piled in those lofty skies,Calmly she broods uponHer own deep mysteries.Yet in her silence deep,There breathes a language fraughtWith spell to wake and keepThe energies of thought;And on her awful browStrange characters appear,The portraitures to showOf the advancing year.Night is a fearful book,And in her darkling skiesDid Seers and Magi look,Searching earth's destinies.But oh! had I the powerTo ancient science given,I would not use this hourTo rifle Heaven.The night is Memory's sphere,In light and shadow cast;In her dim disk appearThe last—the past.The lov'd ones of our youthHasten'd to life's last bourne;Dear to the heart's deep truth,Will they return?Ask of the phantoms paleThat haunt the hollow sky,Ask of the fitful galeThat mourns and passes by,Invoke the spirits' home,Unsearchable, unseen—Where do the wanderers roam?Are they as they have been?Silence is on the land,No voice comes from the sea,No spell can reach thy strand,Thou dim Eternity!Fled like the cloudy rackWith morning's early breath,What night shall bring them back?The night that brings us death!

Midnight is on the earth:Flowers that in darkness bloom,Their odorous life pour forthBeneath the gloom.O'er palace and o'er stallHer sable curtain spread,Mantles within its pallThe living dead!

Midnight is on the sea:A soft and still reposeSteals o'er the untroubled leaThat darkly glows.Hushed in their ocean cavesThe winds their sleep prolong,Or mourn along the wavesIn dreamlike song.

Midnight is in the Heaven:The planets of the airTo her as vassals given,Wander and worship there.No sound comes from her throne,Piled in those lofty skies,Calmly she broods uponHer own deep mysteries.

Yet in her silence deep,There breathes a language fraughtWith spell to wake and keepThe energies of thought;And on her awful browStrange characters appear,The portraitures to showOf the advancing year.

Night is a fearful book,And in her darkling skiesDid Seers and Magi look,Searching earth's destinies.But oh! had I the powerTo ancient science given,I would not use this hourTo rifle Heaven.

The night is Memory's sphere,In light and shadow cast;In her dim disk appearThe last—the past.The lov'd ones of our youthHasten'd to life's last bourne;Dear to the heart's deep truth,Will they return?

Ask of the phantoms paleThat haunt the hollow sky,Ask of the fitful galeThat mourns and passes by,Invoke the spirits' home,Unsearchable, unseen—Where do the wanderers roam?Are they as they have been?

Silence is on the land,No voice comes from the sea,No spell can reach thy strand,Thou dim Eternity!Fled like the cloudy rackWith morning's early breath,What night shall bring them back?The night that brings us death!

My heart lies buried with the past,'Mid scenes where fleeting memory straysAnd time its darkening shadows castO'er all the marks of by-gone days;I look in vain for ancient ways—The olden paths are worn and gone;No friend that trod them here delays,I pass benighted and alone.Yet in this mist of life and mind,Which ever dark and darker grows,There is one living lamp enshrin'd,Whose ray in deathless lustre glows.That star-like light my God bestowsTo break the deep sepulchral gloom;Its beams Eternity disclose,And show the garden round the tomb.

In the concluding volume of the Life of Southey, just published by the Harpers, is a letter from the poet in answer to one by Lord Brougham, on the subject of the encouragement of literature by government. "Your first question," writes Southey, "is, whether Letters would gain by the more avowed and active encouragement of the Government?

"There are literary works of national importance which can only be performed by co-operative labor, and will never be undertaken by that spirit of trade which at present preponderates in literature. The formation of an English Etymological Dictionary is one of those works; others might be mentioned; and in this way literature might gain much by receiving national encouragement;but Government would gain a great deal more by bestowing it. Revolutionary governments understand this: I should be glad if I could believe that our legitimate one would learn it before it is too late. I am addressing one who is a statesman as well as a man of letters, and who is well aware that the time is come in which governments can no more stand without pens to support them than without bayonets.They must soon know, if they do not already know it, that the volunteers as well as the mercenaries of both professions, who are not already enlisted in this service, will enlist themselves against it; and I am afraid they have a better hold upon the soldier than upon the penman; because the former has, in the spirit of his profession and in the sense of military honor, something which not unfrequently supplies the want of any higher principle; and I know not that any substitute is to be found among the gentlemen of the press.

"But neediness, my Lord, makes men dangerous members of society, quite as often as affluence makes them worthless ones. I am of opinion that many persons who become bad subjects because they are necessitous, because 'the world is not their friend, nor the world's law,' might be kept virtuous (or, at least, withheld from mischief) by being made happy, by early encouragement, by holding out to them a reasonable hope of obtaining, in good time, an honorable station and a competent income, as the reward of literary pursuits, when followed with ability and diligence, and recommended by good conduct.

"My Lord, you are now on the Conservative side. Minor differences of opinion are infinitely insignificant at this time, when in truth there are but two parties in this kingdom—the Revolutionists and the Loyalists; those who would destroy the constitution, and those who would defend it, I can have no predilections for the present administration; they have raised the devil who is now raging through the land: but, in their present position, it is their business to lay him if they can; and so far as their measures may be directed to that end, I heartily say, God speed them!If schemes like yours for the encouragement of letters, have never entered into their wishes, there can be no place for them at present in their intentions.Government can have no leisure now for attending to any thing but its own and our preservation; and the time seems not far distant when the cares of war and expenditure will come upon it once more with their all-engrossing importance. But when better times shall arrive (whoever may live to see them), it will be worthy the consideration of any government whether the institution of an Academy, with salaries for its members (in the nature of literary or lay benefices), might not be the means of retaining initsinterests, as connected with their own, a certain number of influential men of letters, who should hold those benefices, and a much greater number of aspirants who would look to them in their turn. A yearly grant of ten thousand pounds would endow ten such appointments of five hundred pounds each for the elder class, and twenty-five of two hundred pounds each for younger men; the latter eligible, of course, and preferably, but not necessarily, to be elected to the higher benefices, as those fell vacant, and as they should have improved themselves.

"The good proposed by this, as a political measure, is not that of retaining such persons to act as pamphleteers and journalists, but that of preventing them from becoming such, in hostility to the established order of things; and of giving men of letters, as a class, something to look for beyond the precarious gains of literature; thereby inducing in them a desire to support the existing institutions of their country, on the stability of which their own welfare would depend.

"Your Lordship's second question,—in what way the encouragement of Government could most safely and beneficially be given,—is, in the main, answered by what has been said upon the first. I do not enter into any details of the proposed institution, for that would be to think of fitting up a castle in the air. Nor is it worth while to examine how far such an institution might be perverted. Abuses there would be, as in the disposal of all preferments, civil, military, or ecclesiastical; but there would be a more obvious check upon them; and where they occurred they would be less injurious in their consequences than they are in the state, the army and navy, or the church.

"With regard to prizes, methinks they are better left to schools and colleges. Honors are worth something to scientific men, because they are conferred upon such men in other countries; at home there are precedents for them in Newton and Davy, and the physicians and surgeons have them. In my judgment, men of letters are better without them, unless they are rich enough to bequeath to their family a good estate with the bloody hand, and sufficiently men of the world to think such distinctions appropriate. For myself, if we had a Guelphic order, I should choose to remain a Ghibelline.

"I have written thus fully and frankly, not dreaming that your proposal is likely to be matured and carried into effect, but in the spirit of good will, and as addressing one by whom there is no danger that I can be misunderstood.One thing alone I ask from the legislature, and in the name of justice,—that the injurious law of copyright should be repealed, and that the family of an author should not be deprived of their just and natural rights in his works when his permanent reputation is established.This I ask with the earnestness of a man who is conscious that he has labored for posterity."

The publication of this letter, and of the correspondence between Southey and Sir Robert Peel, in which the poet declines being knighted, on account of his poverty—a correspondence eminently honorable to the late Prime Minister, has occasioned an eloquent letter from Walter Savage Landor to Lord Brougham on the same subject.

TheEdinburgh Reviewrebukes the daring of those uneducated story-tellers who profane by their intrusion the holy lands, the sacred names, and golden ages of art. We have acceptable specimens of the "classical novel" by Dr. Croly, Lockhart, Bulwer, and Collins (the author of "Antonini"), and in this country by Mrs. Child and William Ware; but nineteen of every twenty who have attempted such compositions have failed entirely. The Edinburgh Reviewer, after showing that the writers whom he arraigns have merely parodied the exterior life of our own time, proceeds—

"It is not uncommon to excuse such deviations from historical propriety by saying, that if the mere accidents have been neglected, the essential humanity has been only more fully realized: and those who quarrel with the neglect are stigmatized as pedants having no eyes except for the external. We think, however, that it will be found, in most cases where the plea is set up, that the humanity for which the sacrifice has been made is equally external with that which has been disregarded, and much more commonplace and conventional; being in fact, only the outer life of existing society. We are met, of course, by the triumphant answer that Shakspeare wrote Roman plays with a very slender knowledge of the classics. It would be sufficient to reply, that we are speaking of cases where ignorance of antiquity is not counterbalanced by any very exuberant or profound knowledge of human nature. Possibly posterity may have to deal with another myriad-minded dramatist whose poverty is better than other men's riches; but it must not be rashly presumed that he is likely to appear at all; or, if at all, with the same deficiency of learning which was not unnatural three hundred years back. Meanwhile, it is a perverse and pernicious paradox to maintain that Shakspeare's consummate genius was in any way connected with his 'little Latin and less Greek,' or that he might not have portrayed the Romans yet more successfully if he had known more about them. Believing this, we are not presuming, as the same absurd reasoning would have it, to set up ourselves against him. We do not say that any other man in his age or our own, however great his command of learning, could possibly mend those plays by touching them; but we say that Shakspeare himself, with increased knowledge, might have made them yet more perfect. It is easy to oppose inspiration to scholastic culture; to coin antitheses between nature and art; and to say that Shakspeare's Romans are more ideally true than Niebuhr's. There is some truth in all this; but it is not to the purpose. A poet like Burns may have really known more of classical life than a critic like Blair; nay, it may be that if Keats or Tennyson had been a senior medallist at Cambridge, they would not have produced any thing not only so beautiful but so purely Greek asEndymionorŒnone. In what we were just saying we were thinking of the very highest minds. And, when we recollect how gracefully Milton could walk under the weight of his immense learning, we need not fear that the Alantean shoulders of Shakspeare would have been oppressed by a similar load. The knowledge of antiquity may operate on the recipient so as to produce mere bookishness and intellectual sophistication; but in itself it is a real and legitimate part of all knowledge, a portion of that truth with which poets are conversant, a lesson set in other schools than those where man is teacher. We know not what were Shakspeare's feelings with respect to his own deficiencies; but we cannot believe that the same modesty which besought his friend to chide with Fortune, 'the guilty goddess of his harmful deeds,' would have shrunk from confessing want of knowledge as an evil to be lamented, at the same time that it was imputed to want of opportunity. If he was self-centred, it was in his strength, not in his weakness. His eulogists may show the greatness of their faith in him by doubting whether he could have assimilated the learning which obstructs Ben Jonson'sCatilineandSejanus; but we have no proofs that he thought so meanly of himself or of that which he happened not to possess. On the contrary, it may be argued, from the diligent use which he has made of such information as he had, that he would gladly have taken advantage of more. Arnold, in his Roman History, has noted the poet's perception of historical truth in a matter where it might well have been overlooked; and future critics may perhaps spend their time more profitably in discovering other indications of a like vigilant industry than in laboring to prove that the absence of so servile a virtue has been conducive to his preëminence as a creative artist."

The editor ofThe Albionthus christens, while he translates, the following lively narrative, culled from the varied columns of theCourrier des Etats Unis. The malicious writer dates from Paris; but for such experiences our own city would probably be quite as prolific a hunting-field.

How rapid is the progress of oblivion with respect to those who are no more! How many a quadrille shall we see this winter, exclusively made up from the ranks of inconsolable widows! Widows of this order exist only in the literature of the tombstone. In the world, and after the lapse of a certain period, there is but one sort of widows inconsolable—those who refuse to be comforted, because they can't get married again!

One of our most distinguished sculptors was summoned, a short time since, to the house of a young lady, connected by birth with a family of the highest grade in the aristocracy of wealth, and united in marriage to the heir of a title illustrious in the military annals of the empire. The union, formed under the happiest auspices, had been, alas! of short duration. Death, unpitying death, had ruptured it, by prematurely carrying off the young husband. The sculptor was summoned by the widow. He traversed the apartments, silent and deserted, until he was introduced into a bedroom, and found himself in presence of a lady, young and beautiful, but habited in the deepest mourning, and with a face furrowed by tears. "You are aware," said she, with a painful effort, and a voice half choked by sobs, "you are aware of the blow which I have received?" The artist bowed, with an air of respectful condolence. "Sir," continued the widow, "I am anxious to have a funeral monument erected in honor of the husband whom I have lost." The artist bowed again. "I wish that the monument should be superb, worthy of the man whose loss I weep, proportioned to the unending grief into which his loss has plunged me. I care not what it costs. I am rich, and I will willingly sacrifice all my fortune to do honor to the memory of an adored husband. I must have a temple—with columns—in marble—and in the middle—on a pedestal—his statue."

"I will do my best to fulfil your wishes, madam," replied the artist; "but I had not the honor of acquaintance with the deceased, and a likeness of him is indispensable for the due execution of my work. Without doubt, you have his portrait?"

The widow raised her arm and pointed despairingly to a splendid likeness painted by Amaury Duval.

"A most admirable picture!" observed the artist, "and the painter's name is a sufficient guarantee for its striking resemblance to the original."

"Those are his very features, sir; it is himself. It wants but life. Ah! would that I could restore it to him at the cost of all my blood!"

"I will have this portrait carried to my studio, madam, and I promise you that the marble shall reproduce it exactly."

The widow, at these words, sprung up, and at a single bound throwing herself towards the picture, with arms stretched out as though to defend it, exclaimed, "Take away this portrait! carry off my only consolation! my sole remaining comfort! never! never!"

"But madam, you will only be deprived of it for a short time, and—"

"Not an hour! not a minute! could I exist without his beloved image! Look you, sir, I have had it placed here, in my own room, that my eyes might be fastened upon it, without ceasing, and through my tears. His portrait shall never leave this spot one single instant, and in contemplatingthatwill I pass the remainder of a miserable and sorrowful existence."

"In that case, madam, you will be compelled to permit me to take a copy of it. But do not be uneasy—I shall not have occasion to trouble your solitude for any length of time: one sketch—one sitting will suffice."

The widow agreed to this arrangement; she only insisted that the artist should come back the following day. She wanted him to set to work on the instant, so great was her longing to see the mausoleum erected. The sculptor, however, remarked that he had another work to finish first. This difficulty she sought to overcome by means of money.

"Impossible!" replied the artist, "I have given my word; but do not distress yourself; I will apply to it so diligently, that the monument shall be finished in as short a time as any other sculptor would require, who could apply himself to it forthwith."

"You see my distress," said the widow; "you can make allowance for my impatience. Be speedy, then, and above all, be lavish of magnificence. Spare no expense; only let me have a masterpiece."

Several letters echoed these injunctions, during the few days immediately following the interview. At the expiration of three months the artist called again. He found the widow still in weeds, but a little less pallid, and a little more coquettishly dressed in her mourning garb. "Madam," said he, "I am entirely at your service."

"Ah! at last; this is fortunate," replied the widow, with a gracious smile.

"I have made my design, but I still want one sitting for the likeness. Will you permit me to go into your bedroom?"

"Into my bedroom? For what?"

"To look at the portrait again."

"Oh! yes; have the goodness to walk into the drawing-room; you will find it there, now."

"Ah!"

"Yes; it hangs better there; it is better lighted in the drawing-room than in my own room."

"Would you like, madam, to look at the design for the monument?"

"With pleasure. Oh! what a size! What profusion of decorations! Why, it is a palace, sir, this tomb!"

"Did you not tell me, madam, that nothing could be too magnificent? I have not considered the expense; and, by the way, here is a memorandum of what the monument will cost you."

"Oh, heavens!" exclaimed the widow, after having cast an eye over the total adding up. "Why, this is enormous!"

"You begged me to spare no expense."

"Yes, no doubt, I desire to do things properly, but not exactly to make a fool of myself."

"This, at present, you see, is only a design; and there is time yet to cut it down."

"Well, then, suppose we were to leave out the temple, and the columns, and all the architectural part, and content ourselves with the statue? It seems to me that this would be very appropriate."

"Certainly it would."

"So let it be, then—just the statue, alone."

Shortly after this second visit, the sculptor fell desperately ill. He was compelled to give up work; but, on returning from a tour in Italy, prescribed by his physician, he presented himself once more before the widow, who was then in the tenth month of her mourning. He found, this time, a few roses among the cypress, and some smiling colors playing over half-shaded grounds. He brought with him a little model of his statue, done in plaster, and offering in miniature the idea of what his work was to be. "What do you think of the likeness?" he inquired of the widow.

"It seems to me a little flattered; my husband was all very well, no doubt; but you are making him an Apollo!"

"Really? well, then, I can correct my work by the portrait."

"Don't take the trouble—a little more, or a little less like, what does it matter?"

"Excuse me, but I am particular about likenesses."

"If you absolutely must—"

"It is in the drawing-room, yonder, is it not? I'll go in there."

"It is not there any longer," replied the widow, ringing the bell.

"Baptiste," said she to the servant who came in, "bring down the portrait of your master."

"The portrait that you sent up to the garret last week, madam?"

"Yes."

At this moment the door opened, and a young man of distinguished air entered; his manners were easy and familiar; he kissed the fair widow's hand, and tenderly inquired after her health. "Who in the world is this good man in plaster?" asked he, pointing with his finger to the statuette, which the artist had placed upon the mantel-piece.

"It is the model of a statue for my husband's tomb."

"You are having a statue of him made? The devil! It's very majestic!"

"Do you think so?"

"It is only great men who are thus cut out of marble, and at full length; it seems to me, too, that the deceased was a very ordinary personage."

"In fact, his bust would be sufficient."

"Just as you please, madam," said the sculptor.

"Well, let it be a bust, then; that's determined!"

Two months later, the artist, carrying home the bust, encountered on the stairs a merry party. The widow, giving her hand to the elegant dandy who had caused the statue of the deceased to be cut down, was on her way to the mayor's office, where she was about to take a second oath of conjugal fidelity. If the bust had not been completed, it would willingly have been dispensed with. When, some time later, the artist called for his money, there was an outcry about the price; and it required very little less than a threat of legal proceedings, before the widow, consoled and remarried, concluded by resigning herself to pay for this funeral homage, reduced as it was, to the memory of her departed husband.

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