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lected with much judgment by Mr. Felton, from the writings of Frederic Jacobs, will make the distinguished worth of that learned and great man more known and prized by the scholars of this country. There is also a collection of the letters of the most celebrated European philologists of the last and present century, illustrated by copious notes and by two original and very interesting articles, one from the pen of President Sears, on the “Schools of German Philology,” and the other by Professor Edwards, on the “Schools of Philology in Holland.” In short the book, as a whole, fully comes up to the expectations excited by the names on its title-page. The only portion to which we feel inclined to object, is the introduction, which strikes us as not being perfectly well adapted, in its tone and temper, to the work which it preludes, – though it is forcibly written, and would make a pungent article for a review. We might compare it, as it stands here, to a Gothic porch—very pleasing in its place, but very much out of place before a Grecian temple.

“Readings in American Poetry. For the use of Schools.”—This appears to be a very good selection, and will doubtless be well received. The compiler, Rufus W. Griswold, has devoted much time to the subject of American Poetry, and the Publisher, John C. Riker, has brought out the work in very good style.—The same publisher has also issued a very valuable “School Dictionary of Roots and Deri ratives,” designed to train children in tracing the origin of words. It is by Theodore Dwight, Jr. We commend it to parents and teachers. “The Keys of the Kingdom of Heaven,” &c., is the quaint title of a curious old work, by that great and good man, Mr. John Cotton, Teacher of the Church at Boston, in New England. Reprinted by Tappan & Dennet, Boston. It will be highly prized by all who wish to see the religious aspect of “two hundred years ago.”—“Lessons on the Book of Prorerbs,” is a small work, by the Author of the “Pastor's Daughter,” whose fine taste and excellent judgment are displayed to the best advantage in this selection.—We have also, from Tappan & Dennet, the fifth Number of the “Life of George Washington,” by Jared Sparks. No commendations of this work are needed.

Mrs. S. Colman's juvenile periodical, “The Boys' and Girls’ Magazine,” has reached the fourth number of the second volume. It has an excellent list of contributors generally speaking, and the articles are written always apparently with the best intentions, but not in every case with perfect success. The article entitled “The Old Slate,” (which represents a boy, old enough to cipher, expecting his slate to do his sum,) forms one of the exceptions. We like better the pieces in which the children are treated as though they had common sense; and these pieces we are happy to observe abound in this magazine. A child will take more interest, and gain more instruction of every desirable kind, from the piece of poetry about Izaak Walton, than from a thousand in the peculiar style of the “Old Slate.” The article in the July number, entitled “Philosophy at Home,” by Mr. J. Abbott, suits us better than anything in the Rollo Books, because there is no affectation of extraordinary wisdom, method, and subtlety about it. “The Captive Children,” is a story of the right sort, “Presence of Mind" is another. So are many others, which we have not space to notice. On the whole, this is the best juvenile magazine now issued; and it will, of course, succeed.

Kohl's “Russia and the Russians” is just issued in cheap numbers, by Messrs. Carey & Hart. It forms the first two parts of the Foreign Library, and is one of the most lively, picturesque and entertaining books of travels we have seen for a long time. It descends into all the minutiae of Russian life without being tedious, and it unites the vivacity of Stephens with the fidelity of Slidell.


Fig. 1–Dress of plaid silk. Corsage gaged; trimmed with a cape of the same material as the dress; narrow at

the waist; broad on the shoulder, trimmed with fringe. Sleeves are gaged same as the waist; skirt persectly plain. Rice straw bonnet, trimmed on the outside with ribbon, and on the inside with ribbons and flowers

Fig. 2.-Dress of white muslin, made plain, with the exception of an insertion down the front and round the dress. Body and sleeves à la puritan; collar and cuffs of cambric, lightly embroidered; cap composed of lace and ribbons.

Fig. 3—Morning Home Costume.—Dress of light green pekin, checked with brown, and a darker shade of green. The skirt is long and very full, and set on in gathers round the waist. The corsage is of a three quarter height, and made full. A piping of the silk confines it round the neck, where a lace chemisette peeps up all round. The sleeves are tight to the arm, but made with one seam only, and are finished at the top by an epaulette with two solds of the material of the dress. Cuffs of lace are turned up over the wrist. The front hair is in smooth bands, and a cap of lace, with a rosette formed of artificial roses, to confine it at each ear, conceals the back of the head, and gives an air of extreme simplicity to the costume.

Fig. 4.—Peignoir of thin muslin, worn over a primrose colour under dress. The skirt, as usual, is long and full, and opens in front, where it is trimmed with a row of insertion, edged at each side with valenciennes. The corsage is tight to the figure, very long in the waist, and trimmed down the centre to match the skirt. A small cape of muslin is also edged with lace, and a collar entirely of the latter finishes the dress at the neck. The sleeves are small, cut considerably longer than the arm, and gathered into the proper length at the seam, which is inside the arm (see plate). An epaulette trimmed with a double row of valenciennes takes off from the length of the arm. A ruffle of the same lace falls over the hand. A ribbon glace primrose and white is put round the waist in front, crossed behind and tied at the lest side in a small bow with two long ends. The hair is worn in one long ringlet in front, and a simple cap of valenciennes placed carelessly on the back of the head. This is trimmed with three flat bows and long ends, one on the summit, and one placed over each ear.


In our next number will be commenced an interesting series of articles, accompanied with trell-erecuted illustrations, showing the variations of the Fashions from 1785 to 1801. This has never before been attempted in our country, and will show the various mutations of that fickle Goddess FAshion.

The September Number of Godey's Lady's Book will be the richest, in point of illustrations and literary matter, that has been issued for some time.

--> NOTICE. The poem of “Marianne,” published in the March number of the Lady's Book, is the production of W. H. Carpenter, Esq., of Spring Grove, Md. We mention this in answer to a request for the name of the author, made in the Brother Jonathan of the 4th of March. Original Pictures by the First Masters are in the hands of the engravers, and will be given as fast as finished. Fushions.—We are pleased to find that our new style of Fashion Plates gives so much satisfaction. The fact is now conceded, that Godey's Lady's Book is the only reliable work for the latest and handsomest Fashions. Contributors.-We are making many important additions to our already extensive list of writers.

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“I car never finish this picture, Sir Anthony; it does not please me at all,” said the fair artist, as she rested her pallette on her lap, while the hand which held her pencil fell listlessly at her side. “I will try no more,” she continued, fixing her gaze half sadly, half disdainfully on the easel where stood the unfinished portrait of Edmund Waller! This youth, for he had not yet attained his twentieth year, was already a great favourite with the ladies of the court of Charles the First. His sweet songs that he sung sweetly to the accom. paniment of his Spanish guitar, which he touched with exquisite skill, had already won him the coveted smiles of Lady Dorothea Sydney, (so well known as “Sacharissa,”) and even Queen Henrietta herself, had deigned to bestow praises on the handsome minstrel poet. But there was among the ladies who attended the queen, one whom the young favourite had never been able to charm either by his poetry or music. This was the lovely and accomplished Mary Gowry, usually designated by the king, and, of course, by all others, as the “fair artist.” Mary Gowry was the orphan daughter of the unfortunate Lord Gowry — and after his death, Vol. xxv.11.-9


she had been brought up by her aunt, the old lady Morton, in her secluded country residence. There the young girl became an enthusiastic admirer of the beauties of nature, and after the favour of Queen Henrietta towards her Catholic subjects and their descendants, had sought out Mary, and established her as maid of honour in the elegant and refined court over which she presided, this taste it probably was, which led the new favourite to cultivate her talents for painting. She loved quiet and retirement, and her devotion to her pencil was permitted by the queen to apologize for the little interest which Mary seemed to take in the amusements of the court. The revelations of Miss Burney, in her lately published “Memoirs,” must have dissipated all the pleasant illusions with which the fancies of young ladies or gentlemen may have invested life in a palace. A more uncomfortable place of residence for rational beings can scarcely be imagined. The slavery of royal etiquette which never relaxes, never even sleeps without its fetters, which subdues the mind while it controls the every movement of the body, is a burden so revolting to the free spirit, that, when reading descriptions of the routine, it seems impossible that men, or even 97

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women who have constitutionally more patience, can submit to it. Pope, in one of his letters, describing a dinner given him by some of the ladies at the court of George the Second, says—“We all agreed that the life of a maid of honour was of all things the most miserable; and wished that every woman who envied it had a specimen of it.” And from this life it was that Mary Gowry sought to find some relief in cultivating her talents for painting, which the indulgence of her royal mistress was graciously pleased to sanction. Sir Anthony Vandyke—-for it was this celebrated painter whom the fair artist addressedhad been her instructor in this divine art, and it had been remarked by many a watchful eye in the royal household, that the lovely pupil engrossed a wonderful share of attention from her noblelooking master. And the favour of Sir Anthony Wandyke was not of slight moment. Those who cared nothing for his genius or his worth of character while he was only an artist, now that the king had knighted him, and heaped fortune and honours upon him, were his most obsequious flatterers. Still, the friendship of courtiers is, proverbially, hollow-hearted, and many who fawned on Sir Anthony, were eagerly watching for an opportunity to bring him into disgrace with the king. Among this number was Edmund Waller. He had taken mortal offence at a rebuke which Wandyke had given him, for alluding—as the painter thought lightly and presumptuously—to the fair artist in one of his songs. In his heart, therefore, Waller vowed vengeance against Vandyke; and having discovered, as he thought, (and truly enough,) that this distinguished artist was deeply in love with his fair pupil, the envious poet determined to profit by the circumstance. Mary Gowry had succeeded to a miracle, as it was said, in painting the portraits of the queen and her young daughter, the princess Elizabeth, and one or two of the ladies of the court. She had also succeeded in taking an excellent likeness of Vandyke himself; which she executed by command of the king, who wished to test her ability to paint a masculine head, and then, he said, he should sit to her for his own portrait. It was while Miss Gowry was painting the like. ness of Vandyke, that Waller contrived by various artful manoeuvres, to obtain from Queen Henrietta the expression of a wish, (which from royal lips is the same as a command,) that the fair artist would paint the portrait of Waller. Accordingly she began it, though with no good will, for she disliked his trifling manners, and the vanity and egotism which she had discovered to be his governing characteristics. What was Waller's motive may be easily understood. He intended to charm Mary, to torture the noble-minded Vandyke with jealousy, and, if possible, to provoke from him a declaration, which Waller thought would be both rejected by

the lady and disapproved of by the king and queen. “I will try no more,” repeated Mary in a low but decided tone. Waller bent down his head with a non-chalante air, while with a furtive glance he watched the master and pupil. “I will at least, have a story to tell,” thought he. Vandyke was not, in heart, sorry that the fair artist had failed in this instance; still for the credit of his eleve he must strive to encourage her; so he said, as he placed his right hand on the back of her chair and bent his regards on her fair face in a manner rather too tender for that expression of reproof, which a master conveys to a refractory pupil—“I think you may succeed yet; that shade by the corner of the left eye, and that near the mouth also,” pointing with the forefinger of his left hand, while he spoke, to the portrait, “are a little too dark. There is a sinister, unpleasant expression too in the face. Can you not see these faults?” “I see faults, many faults, Sir Anthony, which I cannot remedy. I am weary of the subject. It is vain for me to try longer.” “Yet you succeeded admirably with the queen's —with all that you have attempted.” “That was because I painted from the image in my heart, and not from the form before me. I loved the queen and”—she stopped suddenly as the thought flashed on her, that he must think that she loved the others also whom she had painted so admirably. The deep blush, the succeeding pallor, the effort she evidently made to conceal and overcome her emotions, these which, to an indifferent spectator, would have seemed of trifling import, were all harbingers of a blessed hope to Sir Anthony Vandyke. For the first time, the thought that Mary Gowry, young, beautiful, high-born and accomplished as she was, would permit him to love her, would return his affection, came to light up his soul with such brightness as the morning star sheds when we are weary with watching for the day. It was the crisis of their fate; the moment when the beatings of each heart seemed, as it were, to be heard and echoed by the other. The denouement is known to all who are conversant with the history of those times. We need not go into the particulars of this love passage, which enlivened in a most unwonted manner, the dull monotony of the court of Charles the First. That monarch had shown his good taste in appreciating the fine genius of Vandyke. He now showed himself capable of a wise and disinterested friendship towards those whom he had patronized. He gave Mary Gowry with a handsome marriage portion to Sir Anthony Vandyke, though he felt that in thus making the artist happy at home, he was lessening his dependence on his royal master. This species of self-remuneration Queen Elizabeth never would make. The scene which our engraving displays, was,

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we have reason to think, painted originally, by Vandyke himself, to illustrate the story which he related to the king of the manner by which he “won his Genevieve.” It is somewhat more than two hundred years since these events occurred, yet there sits Mary Gowry, in a costume almost identical with the present female fashions of dress. But those worn by the men are indeed antiquated. The longcurling hair, which adorns the magnificent head of Vandyke, from which he has just thrown aside his plumed cap, is, in a picture exceedingly becoming. The cloak too is very graceful, its dark folds relieved by the broad falling collar of lace, and white puffs at the sleeves of his dress. But on Waller the costume is much less becoming,

and will not be apt to excite any wish of returning to the fashions of those old times. How many changes have passed over the world since that picture was painted! The proud and powerful nobles who graced the court of the unfortunate Charles, who now remembers their names? And Waller, though he did possess a spark of the divine light of genius, yet as he devoted it to the mean purposes of exalting self, or flattering folly, he left little which deserves or receives a place among the world's treasures. But Vandyke, the favourite pupil of Rubens, the indefatigable and ardent seeker after the beautiful, true and perfect in nature and art, who that loves the beautiful in art does not keep his name among its precious remembrances?

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THE illustration of this plate is taken from the Spectator. It is No. 112 of that work. Addison's beautiful description of a Sunday in the Country.

I am always very well pleased with a country Sunday, and think, if keeping holy the seventh day were only a human institution, it would be the best method that could have been thought of for the polishing and civilizing of mankind. It is certain the country people would soon degenerate into a kind of savages and barbarians, were there not such frequent returns of a stated time, in which the whole village meet together with their best faces, and in their cleanliest habits, to converse with one another upon indifferent subjects, hear their duties explained to them, and join together in adoration of the Supreme Being. Sunday clears away the rust of the whole week, not only as it refreshes in their minds the notions of religion, but as it puts both the sexes upon appearing in their most agreeable forms, and exerting all such qualities as are apt to give them a figure in the eye of the village. A country fellow distinguishes himself as much in the churchyard, as a citizen does upon the Change, the whole parishpolitics being generally discussed in that place either after sermon or before the bell rings.

My friend Sir Roger being a good churchman, has beautified the inside of his church with several texts of his own choosing. He has likewise given a handsome pulpit-cloth, and railed in the communion-table at his own expense. He has often told me, that at his coming to his estate he found his parishioners very irregular; and that in order to make them kneel and join in the responses, he gave every one of them a hassock and a common prayer-book: and at the same time employed an itinerent singing-master, who goes about the country for that purpose, to instruct

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them rightly in the tunes of the Psalms; upon which they now very much value themselves, and indeed outdo most of the country churches that I have ever heard. As Sir Roger is landlord to the whole congregation, he keeps them in very good order, and will suffer nobody to sleep in it besides himself; for if by chance he has been surprised into a short nap at sermon, upon recovering out of it he stands up and looks about him, and if he sees any body else nodding, either wakes them himself, or sends his servants to them. Several other of the old knight's particularities break out upon these occasions. Sometimes he will be lengthening out a verse in the singing Psalms, half a minute after the rest of the congregation have done with it; sometimes when he is pleased with the matter of his devotion, he pronounces “Amen,' three or four times to the same prayer; and sometimes stands up when every body else is upon their knees, to count the congregation, or see if any of his tenants are missing. I was yesterday very much surprised to hear my old friend, in the midst of the service, calling out to one John Matthews to mind what he was about, and not disturb the congregation. This John Matthews it seems is remarkable for being an idle fellow, and at that time was kicking his heels for his diversion. This authority of the knight, though exerted in that odd manner which accompanies him in all circumstances of life, has a very good effect upon the parish, who are not polite enough to see any thing ridiculous in his behaviour; besides that the general good sense and worthiness of his character make his friends observe these little singularities as foils that rather set off than blemish his good qualities. As soon as the sermon is finished, nobody pre


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sumes to stir till Sir Roger is gone out of the church. The knight walks down from his seat in the chancel between a double row of his tenants, that stand bowing to him on each side: and every now and then inquires how such a one's wife, or mother, or son, or father do, whom he does not see at church; which is understood as a secret reprimand to the person that is absent. The chaplain has often told me, that upon a catechising day, when Sir Roger has been pleased with a boy that answers well, he has ordered a Bible to be given him next day for his encouragement; and sometimes accompanies it with a flitch of bacon to his mother. Sir Roger has likewise added five pounds a year to the clerk's place; and that he may encourage the young fellows to make themselves perfect in the church-service, has promised upon the death of the present incumbent, who is very old, to bestow it according to merit. The fair understanding between Sir Roger and his chaplain, and their mutual concurrence in doing good, is the more remarkable, because the very next village is famous for the differences and contentions that rise between the parson and the

'squire, who live in a perpetual state of war. The parson is always preaching at the 'squire; and the 'squire, to be revenged on the parson, never comes to church. The 'squire has made all his tenants atheists and tythe-stealers; while the parson instructs them every Sunday in the dignity of his order, and insinuates to them, in almost every sermon, that he is a better man than his patron. In short, matters have come to such an extremity, that the 'squire has not said his prayers either in public or private this half year; and that the parson threatens him, if he does not mend his manners, to pray for him in the face of the whole congregation. Feuds of this nature, though too frequent in the country, are very fatal to the ordinary people; who are so used to be dazzled with riches, that they pay as much deference to the understanding of a man of an estate, as of a man of learning; and are very hardly brought to regard any truth, how important soever it may be, that is preached to them, when they know there are several men of five hundred a year who do not believe it.

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