estate met together to take their meals with the family they served, in a common hall, where the chief persons presided, and the rest sate according to their rank or position in that little commonwealth. After the supper, which was an early and substantial meal, a harp was introduced, and each person at table sang or recited Saxon poetry, accompanying themselves on the harp. This custom shows us very clearly how much love of poetry and song there was among the Saxons. All our British ancestors, Celtic and Teutonic, were gifted in poetry and music.

Cædmon, the cowherd, was so much more ignorant than most of his equals, that he had not even learned any poetry, and he often retired from the table in deep humilia on when the harp was moved towards him.

On one of these occasions, overcome with vexation, he quitted his place, and going to the stable, where it was his turn to keep guard during the night, lay down and fell into a sound sleep. He dreamed that a stranger appeared to him, and said, "Cædmon, sing me something."

"I know nothing to sing," sadly answered Cædmon; "for my incapacity in this respect was the cause of my leaving the hall to come hither."

"Nay," said the stranger, "but thou hast something to sing."

"What must I sing?" said Cædmon.

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Sing the Creation," was the reply; and immediately Cadmon began to sing verses which he asserted he had never heard before. They are preserved in Saxon.

He awoke, and repeated the lines that he had composed in his sleep, then continued them in a strain of admirable versification. The next morning he hastened to the town reve, or bailiff, of Whitby, and the reve took him to the abbess of Whitby, Hilda, and to her, and to some of the learned men of the place, he related his story-and they were all of opinion that he had received the gift of song from heaven-which indeed he had; for thence alone cometh every good and perfect gift, only they mistakenly supposed that a miracle had been wrought. Every uncommon event was deemed miraculous before the laws of creation had been investigated, or the nature of miracles ascertained.

To test his new powers, a portion of the

Saxon Scriptures was expounded to him, and he was required to repeat it in Saxon verse. He went home with his task, and the next morning produced a poem which excelled in beauty all that they were accustomed to hear. This success was the means of raising him at once from his low and laborious position in society to one of studious ease, comfort, and dignity. The abbess solicited him to enter her convent, and he accordingly became a monk.

The abbess ordered him to turn into verse the whole of the sacred history; rather an unreasonable request considering its extent. Cædmon was constantly occupied in repeating to himself the parts of the Scriptures that were explained to him, ruminating on the matter, and turning it "into most sweet verse." The Bible not having been translated into the common tongue, every fragment of it so rendered was eagerly received, and highly valued; and verse was regarded as something so superior, that it belonged almost of right to religion.

Cadmon produced many poems on parts of the Bible history, although to versify the whole was a task beyond his, or any man's powers, even though enjoying the quiet leisure of a learned cloister. He did not confine his imagination within the limits of the sacred text, and probably understood little more of it himself than the general purpose and spirit. His poem on the Fall of Man, in some respects closely resem bles Milton's description in Paradise Lost. Part of it is lofty in conception, noble and energetic in expression, and sufficiendy proves that Cædmon was a true poet.

DUTY.

DUTY is far more than love. It is the upholding law through which the weakest become strong, without which all strength is unstable as water. No character, however harmoniously framed and gloriously gifted, can be complete without this abiding principle: it is the cement which binds the whole moral edifice together, without which all power, goodness, intellect, truth, happiness, love itself, can have no permanence but all the fabric of existence crumbles away from under us, and leaves us at last sitting in the midst of ruin, astonished our own desolation.-Mrs. Jameson.

STORY OF AN ORACLE. ONE bright cold morning in March, a man walked through a ploughed field. He held a bag in his hand, and as he went he scattered a small shining seed on the fresh red clay. A boy followed, dragging a large withered bush along the ground, in order to cover the seed sown; and then they both left the field: and who could have known that the germ of a power, mighty to sway the fate of kingdoms, lay reposing there? Three months passed: and the once red field was covered with the slender stems and delicate pale-blue flowers of the flax which the man had sown. Tender and fragile to look at, the lightest breeze of summer caused the young green plants to move and bend their modest heads, and hide their innocent blossoms from the noontide glare. Two months more passed on, and the field was entered by men and women. They uprooted the flax, tied it up in bundles, and put it to steep in the nearest river. Then the tremendous power it contained began to show itself: the fishes in the water died, and the human beings who were occupied about it, struck by the pestilential vapour it exhaled, became sickly and consumptive, and pined away.

Then the bundles of flax were taken and passed through as many transmigrations as the Hindoo deity Vishnoo, until at length they became fine white linen.

This was formed into garments to replace the original fig-leaves which our first parents wore; and it wound its delicate folds round the tender limbs of women and children, and the muscular frames of men, preserving all alike from contact with the biting air.

Then fashions changed, and the linen robes wore out, until, torn into ignominious rags, they were cast aside into corners, or thrown out on the streets.

But this humiliation was for the flax the thorny path that leads to glory-the funeral pile that purified Hercules, and made of him a god!

Haggard men came and collected these rags, only a little more tattered than their own clothing, and heaped them in tubs half filled with water, where, by maceration, they became a sort of mud. From this substance was made paper.

It was sold by the ream, and bound up in the form of blank books; but not yet had it become an oracle.

In another manufactory was a blazing fire, over which a caldron boiled; into this men poured various poisonous substances, and stirred them round until they produced a liquid blacker than the raven's wing.

The priests of the forthcoming oracle then took the paper, and with the ink traced on it certain characters. These were of a simple form, and but twenty-six in number, yet according to the relative positions they occupied, was their power small or great. Then the strength of the printing press was invoked to multiply these black impressions; the once white paper being covered with them was folded up and named a NEWSPAPER: and lo! the Oracle complete.

Quietly it glided into the homes of men; but once there, it swayed their spirits with a tyrant's hand, leading them now to good, now to evil; casting down one crowned head, and raising up another; praising a fool and condemning a wise man-according to the pleasure of its makers. Then how many marvels did it tell men to believe, and they obeyed!

It told them of miraculous medicines, which would, without failing, make the old young, and the sick healthy; and of equally marvellous political panaceas, which would render place-hunters honest, and statesmen incorruptible. All these and many other wonders, at the bidding of the oracle, its votaries believed.

But the day was ended, and to-morrow's sun shone on the worshippers changed into scoffers. A new oracle had entered the house, and the one of yesterday was deposed. Never before in any of its changes had it known such vicissitude. It was cut up into round pieces, to cover jars of sweetmeats; into long pieces, to light pipes; into square pieces, to be folded into game-cocks, boxes, and boats, for the amusement of children. Its only consolation was, that a similar fate awaited to-morrow its proud rival of to-day.

And this is the true story of an Oracle's rise and fall. Who, while standing gazing at a field of flax, could believe that such power is enshrined in its pale green slender stems, and laughing innocent blue-eyed flowers?

To trace the outlines.-Make a design, rub the back of it all over with a piece of rag dipped in powdered red chalk, remove the superfluous chalk, place the red side upon the plate, making it fast at each corner and round the sides with some soft wax. Lay the etching-frame upon a table, and trace lightly, firmly, and evenly, the outlines, breadths, and shadows with the stift, until the design is transferred to the etching ground, taking care to rest the hand upon the bridge of the etching-frame, and not to bear too hard upon the paper, as it will tear. It is advisable occasionally to inspect the work by raising a corner of the paper, to observe whether every part is transferred before removing the design altogether.

To produce an etching that is turned the same way as the original design.-Trace the design on proper tracing paper with red chalk, then transfer to the etching ground in the manner directed above, and when printed, it will be like the original drawing.

To etch.-The tracing being completed, it now becomes necessary for our amateur to display his artistical powers and inventive genius. Shadows, demi-shadows, lights, half-lights, &c., require a different handling of the tool; distant parts, architectural pieces, &c., each require a peculiar touch, and therefore we subjoin the various strokes necessary. Curved, or straight lines, if required to be of the same breadth throughout, should have an equal degree of pressure upon the needle along the whole course of the stroke.

Lines that diminish in breadth during their whole length, are produced by bearing strongly on the needie at first, and gradually easing of the pressure as the stroke approaches the smaller end.

Lines that are small at the extremities and thick in the centre, require but little force at first, then an increased pressure, and lastly, a diminished pressure to the end, in the same proportion as the force was increased at the other extremity.

Broad lines require the use of the oval-pointed needles and a firm pressure; narrow lines, a small round-pointed needle and gentle pressure; but all lines should be clean, which means that the varnish must be cut, not pushed before the needle, and the surface of the metal fairly exposed, so that the acid may act freely upon it.

When faint lines require enlarging, a broader needle should be used at first, and the stroke retouched with one of the round-pointed needles in the centre.

Distances in landscapes, or the faint parts of any picture, should be executed first, and are worked with a finer needle and closer strokes than the other parts. The darker parts must be etched wider, with a blunter needle and broader strokes. Very faint parts require the use of the graver. Architectural designs, buildings, &c., must be executed with care, and the assistance of a parallel ruler; blunt needles are generally used, and the etching should always be regular, unless as a background, in which case the outline may be done with the hand, (if the eye is tolerably correct,)

otherwise the fore-ground would become subservient to the back-ground.

Earth, walls, trunks of trees, and foliage, require decided strokes, somewhat waving and massive, for effect is always produced by united voluminous masses, whether of light or shade, and this may be again increased by an occasional touch in the mass of light or shade.

Flesh requires touches such as will produce dots or points. Draperies should have flowing strokes, dots, or cross strokes; it is better to allow them to wind and play, and not to terminate any strokes on the outlines. Linen, light stuffs, &c., require only a slight stroke with a fine needle; thicker stuffs are etched wide, except in those parts that are to be represented dull, where the strokes should be close.

Softenings to lights, &c., should be executed with very fine needles and gentle pressure, but stronger lines require greater pressure.

To hold the etching-needles.-The oval-pointed should be held the same as a pen, excepting that the cut or flat surface of the needle is to be turned towards the thumb, instead of the palm of the hand. The round-pointed should be held perpendicular to the plate. All strokes should be executed briskly and freely, so that the lines may be clean and steady, and therefore the needles should be often whetted to keep them sharp and in good order.

To make a bordering-wax for the plates.-Take one-third of bees'-wax, and two-thirds of common pitch, melt in a pipkin, pour into lukewarm water, mix well, squeeze out the water, and form into rolls for use. When wanted, put into lukewarm water to soften, work well with the hands into rolls, put round the edges of the plate half an inch high, and mould a spout at one corner to pour off the acid.

To bite in with the aquafortis.-Examine the work carefully, and if anything is omitted supply it; if scratches appear upon the ground, or mistakes be committed, stop them out by covering them with a mixture of lamp-black and turpentine varnish, laid on thinly with a hair-pencil, and let it harden. Enclose the work with a rim of bor dering-wax, taking care to lay it so close to the plate that no interspaces occur.

Pour the aquafortis (nitric acid) upon the plate, and if too strong, as will be seen in the biting, take it off, and mix with a little water in a bottle, employing a little agitation; when it becomes too weak from using frequently, add stronger acid to it.

Observe that the acid is kept in a stoppered bottle, with a coat of wax around the stopper.

When the acid has remained upon the plate for a short time bubbles will arise, which should be wiped off with the feathered part of a pen; and when the work is bit in sufficiently, pour off the acid, wash the plate with water, and dry; then scrape off part of the ground from the faintest parts to see if the corrosion is deep enough, if not, stop out the parts with lamp-black and varnish, and when dry etch again and renew the acid.

If the faint parts of the work are sufficiently corroded, stop them out as recommended above, and bite in the stronger parts, stopping them out in the same manner, and biting in the strongest, till the whole work is sufficiently bit in; then warm the plate, remove the soft wax, heat the plate again until the ground melts, pour on a little oil, and wipe the whole clean with a rag. When the ground is taken off, rub the whole well with the oil-rubber, wipe the plate clean, and finish the work with a graver,

To remove the soft varnish.-Warm the plate, remove the wax bordering, warm again, wipe with a clean linen cloth, rub well with oil of olives, and wipe clean.

To remove the hard varnish.—Use a piece of fine charcoal free from grit or knots, or cover with a ayer of turpentine, heat and wipe clean, then polish with oil, and rub well.

To cleanse the plates.-To restore the colour of the copper plates and cleanse them, rub the surface of the engraved parts with aquafortis diluted with water (one part of the former to two of the latter), and then rub immediately with a clean linen rag, polish with the oil rubber and olive oil, and wipe clean with an old rag.

Etching on metal requires care, artistical skill, and taste. To bite in a large plate sometimes occupies several days, requiring great nicety of observation and judgment both in the chiaroscuro and stopping out. The advantages which etching has over engraving is the freedom with which the needle glides over the surface of the plate, the ease with which it may be done, and its peculiar adaptation to the expression of picturesque scenery, such as rock, ruins, trees, cottages, &c.

The minutiae of etching on steel, zinc, &c., we do not feel called upon to enter into now; and as we purpose at some future period giving a series of papers upon lithography, with appropriate illustrations, we must, for want of space, defer the subject until then.

Etching upon egg-shells.-Cover the shells with appropriate designs in tallow, or varnish, and immerse in strong acetic acid; they will then come out in strong relief.

Etching upon glass. - Procure several thick pieces of clear crown glass, and immerse them in melted wax, so that each may receive a perfect coating. When quite cold, draw on them with a fine etching-needle any designs, such as landscapes, crests, initials, &c., taking care to remove every particle of wax from such parts of the designs as are intended to be corroded. When all the drawings are finished, the pieces of glass should be placed one by one (G) in a square leaden box (A),

with water to absorb the superabundant gas. To the bottom of the receiver or box should be carefully luted a leaden pipe (H), which is attached to the beak of a leaden retort (E) resting in the stand (F), with a spirit-lamp (D) under it. When sufficiently corroded, the glass plate may be removed, but it is necessary to have gloves on, and the hands covered with grease, to prevent the acid attacking the flesh. Those parts that are bit in enough, must be stopped out, as in common etchings (the plate being previously washed and dried), and the corrosive process combined until the several gradations of shade are obtained.

To prepare the fluoric or hydrofluoric acid gas.Put some finely powdered Derbyshire spar (fluoride of calcium), into the leaden retort, and add its own weight of sulphuric acid, fasten the stopper down immediately, lute with wax, and apply the lighted spirit lamp underneath, it will then pass through the perforated false bottom to the glass.

To remove the etching ground.-Dip the plates of glass first into warm, and then into hot water, or clean off with warm oil of turpentine.

A more simple method of etching by the gas is to beat up a piece of sheet-lead into a shallow basin. place some finely powdered fluor spar in it, and sufficient sulphuric acid to form a thin paste with it. The glass being previously prepared as directed above, is to be placed on top, the waxed side downwards, and well luted with bordering wax at the edges; a gentle heat is then to be applied, and in a short time the etching will be completed. The glass is now to be removed and cleaned as recommended above.

The etchings by the hydrofluoric acid gas are opaque; those executed by the liquid acid are transparent.

To etch by the liquid acid.-Prepare the glass, surround the edges with a border of wax, and pour some dilute hydrofluoric acid upon the surface so as to cover it, and it will soon be corroded.

Another method of etching is to prepare a plate by covering with varnish those parts which form the design, such as figures, trees, or any other device, and corrode the surrounding parts, so that the device remains smooth and clear upon an opaque ground; border with wax, dust some finely powdered fluor spar over the whole surface, cover with sulphuric acid, and put another prepared plate upon the top of the border. By this means two plates will be corroded at the same time.

Great care must be observed by those operating with the hydrofluoric acid or the gas, for the copious white fumes emitted during the operation are very dangerous, and the liquid acid, if dropped upon the skin, occasions deep and malignant ulcers. It is always advisable to operate upon a table in the open air, so that the operator may be below the fumes, and if possible, to windward of the apparatus.

To etch upon Ivory.-Cover the ivory with wax, hard varnish, or an etching ground, execute the required design, border with wax, and pour on sulphuric acid, hydrochloric acid, or a mixture of equal parts of both acids; when etched sufficiently, wash well, remove the wax, varnish, or etching ground with oil of turpentine, and rub well with old linen rag. Some persons rub a black varnish into the etched parts to give a greater effect. The varnish is made of lamp-black and common turpentine varnish, and the surface is rubbed clean off, leaving only the dark parts visible.