ployment of No. I tool, or the point of a bradawl; and the mouth must have a slight incision made with apenknife, and finished off with the moulding tool. -The hair may be moulded as a separate piece by this method, and when filled in with leather chips, and neatly joined, the appearance of the cast is greatly improved.

The basket-work of the capitals is cast either from a model, or constructed of thin strips of leather, affixed to resemble a basket; and the fruit in No. 1 should be formed as recommended in our former papers.

No. 3 represents the statue of Esculapius, the god of Physic, in the museum of the Louvre.

First of all, obtain the cast; and then mould upon a wire, or piece of stick, a rough figure, by means of leather and leather chips well glued together. Be sure that it is of the proper size, and maintains the same attitude. Cast both feet the same as you would a peach or pear, or the heads of the Caryatides; and when dry, lay them aside. Stretch, mark, cut out, and moisten a piece of leather the size you require for the lower part of the dress; press it into every part of the cast that you can; touch it up with No. 1 tool; and, when dry, remove carefully. Mould the upper part of the dress in the same way, and also the arm, and the part that hangs from the left shoulder.

The right arm must be separately moulded, as also the snake, stick, chest, back, head, face, and neck. When all the various parts are dry, the edges should be trimmed, and neatly levelled off in such a way, that some portions have the absorbing surface outside, and others inside; because, by this means, the junction of the several parts, when smeared with liquid glue, rubbed down, and var nished, will not be perceptible if neatly done.

As soon as all the parts are moulded and dry, they should be glued on with great care, and then the whole covered with a thin coating of black Japan varnish, which may be rubbed off in the prominent parts, and retouched in the hollows, so as to heighten the deception of its being old carving.

No. 4 represents the statue of Fortune, which should be constructed in the same manner as the preceding one.

No. 5 is a medallion head of Alexander. This westhink looks better when constructed in the manner we recommended in our last paper, (pp. 26-28), when describing cornices, &c., and it is the method we have generally employed for medallion work in leather; but it can be formed very nicely in a gutta percha cast, especially if large-ten or twelve inches in diameter.

No. 6 is the medallion head of the nymph Arethusa, one of the attendants of Diana, who was transformed into a fountain. It is moulded the same as the medallion above, and varnished either with oak or black Japan varnish.

→ Some persons have complained to us, that "Ornamental Leather Work" is very laborious, dirty, and unsatisfactory. We can only say, that we have never experienced any of these results; the labour, if any, has been one of love, as we gained experience in modelling and knowledge. It need not be unsatisfactory if properly done; ours has always met with approval, and moreover, satisfied annoyed over-fastidious taste. If any person is annoyed or alarmed by a fiale liquid glue, do little

our

standing the old adage hath it, that "muffled cats are not good mousers."-KAF. Y

OTHER men are lenses, through which we read our own minds.

I COUNT him a great man who inhabits a higher sphere of thought, into which other men rise with labour and difficulty.

EVERY one can do his best thing easiest. THE true artist has the planet for his pedestal; the adventurer, after years of strife, has nothing broader than his own shoes.

THE aid we have from others is mechanical, compared with the discoveries of nature in us. What is thus learned is delightful in the doing, and the effect remains.

A MAN is a centre for nature, running out threads of relation through every thing, fluid and solid, material and elemental,

IN one of those celestial days when heaven and earth meet each other, it seems a poverty that we can only spend it once.

LIFE is girt all round with a zodiac of sciences, the contribution of men who have perished to add their point of light to our sky.

TALK much with any man of vigorous mind, and we acquire very fast the habit of looking at things in the same light, and on each occurrence we anticipate his thought.

WHAT has virtue so signal, as its sublime attraction to whatever virtue is in us?

IT is the delight of vulgar talent to dazzle and bind the beholder; but true genius seeks to defend us from itself.

WHEN we are exalted by ideas, we do not owe this to Plato, but to the idea, to which also Plato was debtor.

NATURE never spares the opium, or nepenthe, but wherever she mars her creature with more deformity or defect, lays her poppies plentifully on the bruise, and the sufferer goes joyfully through life, ignorant of the ruin, and incapable of seeing it, though all the world point their finger at it every day. 77 $ THERE needs but one wise man in a company. and all are wise-so rapid is contagion. WHAT indemnification is one great man for populations of pigmies!

IT is as real a loss that others should be low as that we should be low-for we must have society.

NATURE never sends a great man into the planet' without confiding the secret to another soul.

A NEW quality of mind travels by night and by day, in concentric circles from its origin, and publishes itself by unknown methods; the union of all, minds appears intimate; what gets admission to one, cannot be kept out of any other: the smallest so much good to the commonwealth of souls. Emerson's Representative Men.

any

White-Mr. Harrwitz. 1. K. P. 2.

2. K. B. P. 2.

3. K. P. takes P.

4. K. Kt. to B. 3.

5. Q. Kt. to B. 3. 6. P. takes P.

7. K. B. to Q. B. 4.

8. Q. takes B.

9. K. Kt. P. 1.

10. Kt. takes Kt.

11. Q. B. P. 1.

12. Q. P. 2.

13. Q. B. to K. R. 6.

14. P. takes B.

15. Mates in 7 moves.

Black-Mr. Storey.

1. K. P. 2.

2. Q. P. 2.

3. K. B. to Q. B. 4.
4. Q. B. to K. Kt. 5.
5. K. Kt. to B. 3.
6. Kt. takes P.
7. B. takes Kt.

8. Q. to K. R. 5. (ch.) 9. Q. takes B. (a.)

10. Castles.

11. Q. Kt. to B. 3. 12. B. takes P. (b.)

13. Q. R. to K.

14. Kt. takes Q. P. (c.)

Solution to Problem III., p. 92.

WHITE.

1. B. to K. Kt. 4. 2. K. moves.

3. P. takes P. Mate.

BLACK. 1. Either P. takes B. 2. P. to Kt. 6.

THE game of chess is of great antiquity, and appears to have been invented in China or Hindostan. Sir William Jones inclines to the latter supposition. In the second volume of the Asiatic Researches, he says, "We may be satisfied with the testimony of the Persians, who, though as much inclined as other nations to appropriate the ingenious inventions of a foreign people, unanimously agree that the game was imported from the west of India in the sixth century of our era. It seems to have been immemorially known in Hindostan by the name of Chaturanga, i. e., the four angas, or members of an army; which are these-elephants, horses, chariots, and foot soldiers; and in this sense the word is frequently used by epic poets in their descriptions of real

armies."

Chess was not known to the Greeks or Romans; indeed it is commonly supposed not to have been introduced into Europe till the time of the Cru Europe, and has been constantly becoming more saders, since which, however, it has existed in and more popular.

THE CHALLENGE.

ENTER this large old-fashioned library with nie, reader, and mark well the occupants. Look at that beautiful girl of about seventeen, who is seated in the bay window, painting. I say, beautiful--you can hardly see, just now, whether she is or no, for her long auburn curls nearly conceal her face as she bends over her drawing-but I have seen her before, and as I am very fastidious, you may take it for granted she deserves my praise.

Now turn and look at her brother. You would not take them for such near relations, for there is scarcely any resemblance between them, either in feature or expression. Leaning against the chimney-piece-with his head resting on his arm, starting at the slightest sound, and looking continually towards the door, as if he expected and feared a visitor-stands a tall young man ; as he raises his head, the glimpse you get of his face gives you an idea of thoughtfulness and great determination, but the varying expression of his eyes, and his anxious manner, seem to denote that just now, at any rate, he is engaged in a controversy with himself which he finds some difficulty in deciding.

The door opened, and a servant, advancing towards his master with a note, said"Please, sir, a gentleman has brought this, and he waits for an answer."

"Where is he?" said Edgar, hurriedly, as he snatched the note from the man's hand.

"In the breakfast-room, sir." "Very well-you may go," he added abruptly, as the man lingered in expectation of further orders.

The servant left the room, and Edgar tore open the note and glanced at its contents, and then with folded arms paced two or three times through the room; at last he threw himself, in a kind of desperation, into a chair near the table, and began to write.

His sister's pencil was idle-she had been anxiously watching her brother since the arrival of the mysterious letter. She thought he had been unusually moody all day, and a terrible thought flashed across her mind as she watched the expression of his face while he sat at the table. He had finished

VOL. V.-NO. LIII.

the letter, and as he looked up to her with a forced smile on his face, he took up his note as if to offer it to her, but seeing the anxious look with which she regarded him, he suddenly changed his plan, folded and sealed the letter, and then rose to ring the bell. Ere he reached it, Clara was by his side, her hand upon his arm.

"Dear Edgar," she said in a low voice, "what is this note about? Is it a " She hesitated.

"It is a challenge, Clara," said Edgar, with forced calmness, and the same smile as before.

"And you have not accepted it? Oh, Edgar! you cannot have done it!"

"I have, dear; I could not do otherwise," he replied.

"But stay, Edgar-one moment," she said, earnestly, for he laid his hand upon the bell-"why could you not do otherwise?" and she gently removed his hand"why could you not do otherwise, dear? I thought you did not approve of duelling."

"I do not approve of it, I think it radically wrong; but I have provoked a challenge, and must take the consequences."

"How did you provoke one, Edgar? I am sure you would do nothing that ought to have provoked it; and if you have not done wrong, why fight? If you have done wrong, why do worse?"

"Why," said he, half smiling, " in your eyes, Clara, nothing ought to provoke a challenge, but I was unjustly accused of having done what I would scorn to do, and I told the man he lied. He did lie; but that would rather aggravate my offence in his estimation. I subjected myself to this, and I cannot refuse it."

"You cannot refuse it? Edgar, if you were to kill this man, or even to injure him, you could not bear your life."

"And could I bear to be pointed at by every one as the coward who dared not fight? I know it is wrong, Clara-I know it as well as you do; and yesterday I could have talked as eloquently on the evils of it; but custom is omnipotent. Custom and the laws of society say, 'Fight!' and I must obey."

"Custom is not omnipotent with brave men. No one would call you coward whose praise or censure you heed, or care for. Oh, Edgar! dear Edgar! have courage this time to say, No! If you think only of

F