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faute, with plaits, and trimmed upon the hand. Small paletot of dark velvet, buttoned strait. Sleeves short and wide. Little coloured gaiters.

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FIG. 10.

WALKING DRESS. FIGURE 10. Waling Dress. Redingote of moire, pink. green. Corsage fitting close, but open before. Sleeves short. demi-large at the top, wide at the ends. The seam from the shoulder is en biais upon the side to the bend of the arm, and from thience forms three dents. This seam is marked by an edging which holds a ruche of black lace du laine which follows its contour.

The front of the skirt is buttoned its whole length, and trimmd on each side with from fifteen to seventeen narrow rows of lace de laine, gathered, and to prevent the formation of a heavy and ungraceful thickness at the waist, these laces are placed en biais, in such a manner as to form a trimming, slight at the waist and well widened at the base. The buttons of the robe are of green stone surrounded by little white stones. There are two near the neck and two at the belt. The collar and the underpleovis ara of gathered rows of white lace placed one upon the other.

D'IGURE 11. Dress for a Young Lady of Fourteen. White it honnet lined with pink, and trimmed with a strip of white plum frisec; bavolet white; brides pink. The face wide open anl not raised. Hair in bandeaux Paletot anit robe of dark blue poplin, the former lined with pink.

FIGURE 12. Collar of white percale, ornamented with a wide embroidery. Pants the same. Sleeves a little bouf.

FIG. 12.
LITTLE CHILD'S DRESS.

EDITORIA L.

OUR JANUARY NUMBER.

But it is the literary character of Sartain, after all, on

which it has aimed chiefly to depend, and for which it is WHEN Sartain's Magazine was commenced, it was with chiefly indebted for its unprecedented success. With this the determination to do, rather than to promise; not to view it has sedulously excluded from its pages the whole give one splendid specimen Number by way of attracting brood of half-fledged witlings with fancy names-the subscribers, and then fall back into carelessness and Lilies and the Lizzies—the sighing swains and rhyming neglect, but to maintain fully throughout the year the milk-maids of literature, who are ready to contribute any high character with which we set out. That we have amount of matter, prose or verse, for “a copy of the acted up to the spirit of this determination, has been Magazine,” or for the mere pleasure of seeing their universally conceded. We can say what no other Maga- effusions in print. Instead of this miserable trash, of zine can, and we say it without the fear of contradiction which the public have given unequivocal symptoms of -that our January Number for 1849, so far from being the disgust, we have aimed to secure, as regular contributors best, seas the poorest Number published by us during the to our Magazine, authors of world-wide reputationyear. It was indeed a splendid Number, and was com writers of the very highest genius and celebrity on both mended in the highest terms publicly and privately all sides of the Atlantic. To secure this class of writers over the country. But it was eclipsed by the February, required indeed an expenditure of money for authorship as that was by the March; in fact every succeeding month | such as has never before been attempted by Magazine has been admitted to be an improvement upon its prede- | publishers in this country. Believing however in the cessors.

existence of a reading public-men and women who The Magazine for the present month may safely chal desire a Magazine to read, not a picture-book to look atlenge comparison, either with its predecessors, or its com• we determined to make the attempt to produce a periodical petitors. In amount of matter, in the quantity and style suited to this supposed want, and we have not seen reason of its embellishments, and more than all, in the character to regret the determination. Any one who will look at of its literary contents, it is entirely unrivalled.

our list of contributors will see that it contains nearly In the first place, though not in the habit of boasting of every distinguished name among the active collaborators the number of pages in our Magazine, believing that

in the field of American periodical literature. Not a few readers care more for the quality than the quantity of

also of the most brilliant writers of Great Britain, who what they buy, we may yet call attention to the fact that

have heretofore contributed to the first class of periodiFe give the present month a larger number of pages than

cals in that country, have been induced to transfer their was ever before given by any American threo-dollar

contributions from those Magazines, and now write ex. Morazine. We have never promised to give more than 64 | clusively for ours. Articles appearing in Sartain are not pages. We have here given 104 pages. This, according to

of an ephemeral character, but such as are destined to the standard of one of our contemporaries, is “a Double

take their place in the permanent literature of the country Number, and eight pages over."

-such as instruct as well as amuse the reader, and profit In regard to embellishments, the Magazine has a

while they please. guarantee of succese-which the public has not been slow to recognise in the distinguished artist who has given it its name, and who, in company with others, has embarked his fame as well as his fortune in the enterprise. What

POE'S LAST POEM. beautiful Gift book or Annual is not indebted for its

In the December number of our Magazine we announced choicest embellishments to the burin of Mr. Sartain?

that we had another poem of Mr. Poe's in hand, which we High, however, as was his reputation in the beginning of

would publish in January. We supposed it to be his last, 1849, it is still higher in 1850. Important improvements

as we received it from him a short time before his decease. in the art of Mezzotinting have been introduced by him in

The gheet containing our announcement was scarcely dry the course of the last year, as will be obvious to any one

from the press, before we saw the poem, which we had bought who will look over the series of engravings by him

and paid for, going the rounds of the newspaper press, published during that period. Lining and Stippling are

into which it had found its way through some agency DOW so blended with the Mezzotinting process, as to

that will perhaps be hereafter explained. It appeared produce in the hands of a man of genius a picture, which

first, we believe, in the New York Tribune. If we are not for richness of effect, is unequalled by one produced in

misinformed, two other Magazines are in the same prediany other way. Examples of this may be seen in

cament as ourselves. As the poem is one highly charac"The Brothers” published in December, and in "The Riva

teristic of the gifted and lamented author, and more parSopusters," now given. But, besides the services of

ticularly, as our copy of it differs in several places from Mr. Sartain, whose most splendid efforts are contributed

that which has been already published, we have concluded et conse to his own Magazine, we have constantly aimed to give it as already announced. " to secure the very best productions of other artists without reference to expense. The “Conversion of St. Paul" by Sers, the splendid Illuminated Title-page and the brilliant

ANNABEL LEE. Coloured Flower by Ackerman, the Winter Scene printed in tinta by Devereux, the spirited and graceful Illustra

A BALLAD. tions of Shakespeare, Spenser, and Milton by Gihon, all

BY EDGARA. POE. bear witness to this fact. We give no less than nine of these large full-paged embellishments in this single It was many and many a year ago, Sumber. Besides this, we give throughout the book an In a kingdom by the sea, almost uninterrupted succession of small gems of art That a maiden there lived whom you may know not a wooden blocks," such as appear in some other Maga

By the name of Annabel Lee; zines but wood Engravings, of which an artist need not And this maiden she lived with no other thought be ashamed.

Than to love and be loved by me.

She was a child and I was a child,

In this kingdom by the sea;
But we loved with a love that was more than love-

I and my Annabel Lee-
With a love that the winged seraphs of heaven

Coveted her and me.

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And this was the reason that, long ago,

In this kingdom by the sea,
A wind blew out of a cloud, chilling

My beautiful Annabel Lee;
So that her highborn kinsman came

And bore her away from me,
To shut her up in a sepulchre,

In this kingdom by the sea.

The angels, not half so happy in heaven,

Went envying her and me-
Yes, that was the reason (as all men know,

ART NOTICES.
In this kingdom by the sea)

CHROMO-LITHOGRAPHY.-We give this month two fine That the wind came out of the cloud by night,

specimens of this beautiful art, from the establishment of Chilling and killing my Annabel Lee.

Mr. Ackerman in New York, and they do credit to his

skill. The flower and title-page are each produced by But our love it was stronger by far than the love

seven or eight successive impressions, one for each tint or those who were older than we

required, and of course involving the necessity for as Of many far wiser than we

many separate drawings on stone of the various parts, And neither the angels in heaven above,

since but one tint can be printed at a time. In such subNor the demons down under the sea,

jects as will admit of the use of this method instead of Can ever disse ver my soul from the soul

colouring by hand, the advantages are numerous and of the beautiful Annabel Lee.

obvious, especially in the case of very large editions being

wanted. The result is similar, though the process is For the moon never beams without bringing me dreams totally unlike that by which the print in colours (" The Of the beautiful Annabel Lee;

Serenado") given in our number for August last, was And the stars never rise but I feel the bright eyes produced. That print Mr. Devereux claims as the first of the beautiful Annabel Lee;

successful attempt in this country to obtain a finished And so all the night-tide, I lie down by the side

effect in colour by means of successive printings from a Of my darling, my darling, my life, and my bride, series of engraved blocks; but in Europe this art (although In her sepulchre there by the sea

rude enough until within the last ten years) is ancient. In her tomb by the sounding sea.

In tracing back its history, it is thought we succeeded in showing that it was either older than the art of book

printing itself, or that there is an error in attributing that THE DEATHBED OF WESLEY.

invention to Guttenberg, in 1436; the process and imple

ments in both are precisely the same. Chromo-LithograWe have seen a proof of the large plate of “The Death phy, however, or printing in colours from drawings on

of Wesley,” now publishing by Messrs. Gladding and stone, is of comparatively recent discovery, and at the Higgins, and without having seen the original painting present time is in much more extensive use; which of the by Claxton, which is in England, have no doubt that it two methods will hereafter obtain the preference, either does full justice to that artist's picture. The plate is on account of economy or beauty, is uncertain. It will called a mezzotinto, but it is not purely in that style, depend much on the skill and knowledge of the operator; being wrought nearly all over with stipple and other on his degree of acquaintance with those laws which govern work, which is a great improvement on the old-fashioned the harmonic relations of one colour to another and as method of unmixed mezzotinto. The whole is executed | modified by either light or shadow: just as the sounds in in the most careful manner, and is at the same time nature arranged in accordance with similar laws produce brilliant and spirited. The composition is admirable; the what we call music. One is harmony addressed to the mind groups, consisting of about twenty figures, are arranged through the organ of sight, in tones of colours placed in exmost skilfully, both as to picturesque effect in themselves, tension; the other, harmony addressing the mind through and go as best to conduce to a rich contrast of light and the sense of hearing, in tones of sounds placed in succession. shade. What adds greatly to the interest of the picture, Both are or ought to be the medium of sentiment and feelis the fact that eighteen of the figures are actual portraits ing, colour bearing about the same relation to pictorial of relatives and distinguished friends of John Wesley. composition, as music does to poetry. This fine print is valuable, not merely for the interest that That the science of colour is a profound and difficult must attach to it on account of the subject-matter, but study is rendered sufficiently evident from the fact that also for its merit as a work of art. It is engraved by Mr. so few really great colourists (comparatively) have apJohn Sartain.

peared amongst eminent artists, from Titian and Paul

Veronese down to the present time; and these appear to ENGRAVING OF MRS. POLK.

have succeeded rather from an intuitive feeling of the

true and beautiful, than from known and fixed laws. Our February Number will contain a splendid engra

| When a knowledge of the philosophy of colour is as geneving of the distinguished and truly Christian woman who

rally diffused as that of its twin sister music, and its lately graced the Presidential Mansion, at Washington.

principles of harmony applied to a judicious selection and This engraving will be executed by Mr. Sartain in his combination in articles of dress, it will become a curious finest style, and will be accompanied by a biographical

and interesting guide in the study of character: for this notice, by a lady of Washington well acquainted with the is one of the endless variety of ways in which the inward subject.

tone and habit of mind give involuntary utterance of Portraits of eminent women, accompanied with well. | itself to the intelligent and thoughtful observer. How written impartial biograpbical sketches, will form one of

little do some ladies appear to comprehend the help or the features of Sartain for 1850.

I injury that a ribbon or flower may prove to the complexion, according as it is applied. Two friends, for instance, | peace between those countries, rendered less difficult by whose complexions are precisely similar, may each place the death of the Duke of Buckingham. It was on this deep pink near the face, and to a stranger one would occasion that he painted his famous picture of Peace and appear to have a clear and brilliant, and the other a War" (now in the British National Gallery), which he pretawny-coloured skin. And why? Because one has it on sented to Charles I. This fine work, known to the Amerithe cap so placed as to serve as a foil and contrast to the can public by the numerous engravings of it, represents face, while the other has fortunately chanced to use it for | in vivid colours, the blessings of peace contrasted with the the lining of a bonnet, where it imparts by reflection a miseries and horrors of war, and the obvious relation of health-like glow to the features. The verse in the "Death the subject to the purpose of his mission, rendered it the Fetch," however beautiful, is not wholly true:

most appropriate, elegant, and well-timed gift that could "Then the rose methought did not shame her cheek,

possibly have been made.

The father of this great artist was a magistrate of AntBut rosy and rosier made it;

werp, but during the struggle of the Netherlands to throw And her eye of blue did more brightly break

off the yoke of Spain, he removed to Cologne to avoid the Through the blue-bell that strove to shade it.”

miseries of war. Here the future painter was born, but But these remarks are somewhat out of place here; on on the renewal of peace, the family returned to Antwerp. suitable occasions in future numbers of this Magazine, the He began life as page to a lady of title, but the employ. principles and philosophy of this useful and delightful

ment was irksome to him, and after the death of his father, study will be treated of, and well is it worth the while of he obtained permission to study painting. After suitable the "fair sex” to apply “the good the gods provide them" to the still further improvement of their already good looks; the more so too, as it affords at the same time a means of giving expression to good taste, which seldom suffers from cultivation.

J. S. MIDDLETON.–This artist, the author of the embellishment in our present number, entitled “The Rival Songsters," has attained a distinguished position in his profession by the successful practice of that branch of art knosn by the technical term of “genre painting," that is the class of subjects which are neither historical nor mere portraiture, but something between, and embracing the pictures that are sometimes called “fancy portraits."

The same causes which have operated, inore particularly in England, to the depression of high historic Art, have had a tendency to foster and encourage the production of these familiar and domestic pieces. The chief of these may be traced to the social condition, the love of fireside comforts and domestic family ties, which characterize the English, and also their descendants on this side of the Atlantic. Among such a people this style of painting must always be popular. It is charming and attractire in itself, requires no great effort of the imagination to comprehend and relish its merits and beauties, and is moreorer from its nature necessarily painted on canvass of a size best adapted for the adornment of the parlour or boudoir. On the contrary, historical painting is more frequently executed on a surface of such extensive dimension that they are not seen to advantage except on the Falls of a gallery erected for the purpose, admitting the

preparation, he proceeded to Italy to enlarge his profeslight from above. Besides, these latter works, if of real

sional experience; his acquisition of knowledge and skill merit, involve such an amount of study in the design, and

was surprisingly rapid, and at the end of eight years he of time and labour in execution, as to place another addi

returned again to Antwerp to settle, his Italian career tional obstacle--cost-in the way of a due encouragement having been truly splendid. of the most elevated and ennobling branch of (what we

The works of Rubens are remarkable for the magnifihave become habituated to denominate) “the Fine Arts.”

cence of composition, and the rich and vivid brilliancy of Middleton's chief occupation has been in portrait paint

colour, as well as of light and shade; the remote parts of ing, but he has had the good taste to avail himself of

the most extensive designs being united with every other Every opportunity to produce something more than a

into a perfect whole, in forms, in tints, and in chiaro-scuro. mere dry and literal representation of his sitter newly

In truthfulness of imitation, he surpassed the best of made up in the latest fashion. Hence the style of picture the still-life painters, while in nobleness and dignity of engraved for the January number of our Magazine, more

historic conception he left the great men of the Venetian than one of which by this artist are known to the Ame

school, on whom he had founded his style, far bebind. rican public by finely executed prints. His picture of The restless fervency of his imagination, together with "Yfile Deans in Prison," and other similar works of great

the wonderful facility of execution he had acquired, made berit, evince his capacity for a successful career in the him ready to dare difficulties that would have daunted higher walks of art.

J. S.

almost any other artist, Paul Veronese, perhaps, excepted. SIR PETER PAUL RUBENS.—The second of our embellish- “Fifty feet square of wall,” says Allan Cunningham, “or ments, The Miraculous Conversion of Saul," is after a two hundred yards of canvass, which would swallow Dica position by one of the most extraordinary geniuses up the united genius of half an academy, only stimu. that ever appeared in the annals of Art, nor was it only lated the Fleming to greater exertion, and with such within the sphere of his chosen profession that his re success did he conceive his design and apply his colours, taarkable talents were displayed. His varied acquire that it is allowed by all that his largest pictures are ments and polished manners led to his appointment his best.” “Rubens," says Sir Joshua Reynolds, "apEbile yet very young, on a delicate and important missionpears to have had that confidence in himself which it is from one of the Italian courts to that of Spain. Later in necessary for every artist to assume when he has finished life he was sent by Philip IV. of Spain to England, in the his studies, and may venture, in some measure, to throw like capacity, when he succeeded in effecting a treaty of aside the fetters of authority ; to consider the rules as

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subject to his control, and not himself subject to the rules; distinctively than their legends and superstitions. They to risk and to dare extraordinary attempts without a are the first lispings of a nation's infancy, expressing its guide, abandoning himself to his sensations, and depend- impulses and tendencies before thought is matured; they ing upon them." "He saw the objects of nature with a grow with its advancement, embody its spirit, and give & painter's eye-he saw at once the predominant feature by colouring to its whole literature.” In the "Evenings at which every object is known and distinguished; and, as Woodlawn," she has given a choice collection of the most soon as seen, it was executed with a facility that is as graceful and amusing of the legends of central Europe. tonishing. Rubens was, perhaps, the greatest master in The large majority of these will be entirely new to Amerithe mechanical part of the art-the best workman with can readers. The stories, she informs us, are not mere his tools-that ever exercised a pencil."

translations, but something between a translation and an Rapid as was his execution, it was utterly beyond his original work. The incidents are arranged in an artistic ability to keep pace with the constantly increasing de shape, and some indulgence given to the author's powers mands for his productions from every quarter, and wealth of description. Whatever merit there may be on the score poured in abundantly. His residence in Antwerp was of originality-and there seems to be fully all that she adorned with pictures, statues, vases, busts, and every claims-she has at least given us a charming book. variety of beautiful or curious objects, till it resembled a COMMERCE OF THE PRAIRIES. BY JOSIAL GREGG. Philadelprincely museum, and connected with it was a collection

phia: J. W. Moore. Fourth edition. The fact that Mr. of wild and savage animals, which he kept to serve as Gregg's book has been able to keep its place in the face of models when painting those superb hunting pieces in such an avalanche of books on the same subject, and that which he so excelled. His talents and success produced

it has reached a fourth edition, is the best commentary the usual effect. It excited envy, and a cabal was formed upon its merits. One cause of the value of his book is to detract from his reputation. “It is amusing to find

that the author was not only an eye-witness of what he him accused, amongst other deficiencies, of want of inven

describes, but was for a long period intimately and prection! His great picture of the Descent from the Cross, tically conversant with the subject. He was himself a painted for the Cathedral of Antwerp, and exhibited while Santa Fé trader, was engaged in eight expeditions across the outcry against him was at its height, effectually the prairies, and resided nearly nine years in northern allayed it. Snyder and Wildens were answered in a similar Mexico. In addition to this fact, which necessarily gives manner. They had insinuated that the chief credit of an air of authenticity to his communications, his book is Rubens' landscapes and animals was due to their assist. I written in a pleasant and attractive style, and is illustrated ance. Rubens painted several lion and tiger hunts, and

with maps and engravings. other similar works, entirely with his own hand, which

HOME RECREATION. BY GRANDFATHER MERRYMAN. Nero he did not permit to be seen until they were completed.

York: D. Appleton & Co. This is intended as a gift book In these works he even surpassed his former productions

for young readers, containing a collection of tales of peril they were executed with a truth, power, and energy which

and adventure by land and sea, with sketches of manners excited universal astonishment, and effectually put his

and customs, scraps of poetry, and coloured pictures. adversaries to silence. Rubens condescended to give no other reply to his calumniators; and he showed his own

SIGRTS IN THE GOLD REGION. BY THEODORE T. JOHNsos. goodness of heart by finding employment for those among

New York: Baker & Scribner. Mr. Johnson seems to them whom he understood to be in want of it."

have set out for the gold region on a sort of frolic, and to His style of drawing was very inaccurate, but his out.

have written his book about it in the same dashing style. lines were flowing and varied. His women were often

If we cannot commend it much for its literature, we can beautiful in expression, and sometimes in form, but were

very freely say, it fairly runs over with fun, and is not too frequently inelegant, fat, middle-aged, and wanting in wanting in good sense and information. It has also the that refinement so desirable in representations of feminine

commendable qualities of brevity and directness. The character.-J.S.

writer describes the route which he himself travelled, viz, that by the Isthmus, and also the scenes in the gold region which fell under his own personal observation.

CAPRICES. New York; Robert Carter & Brothers. What shall we say of such a dainty little “fairing" of a book? The title-page certainly looks odd. Just imagine, dear reader, at the top of a rather tall page, this simple word “Caprices," and at the bottom-longo intervallo—“Carter & Brothers." What an extensive prairie of white paper between these two significant points? Is the title-page itself meant as the first “caprice" in the book-a sort of out-rider to the army of little “caprices" that follos? Let us see some of them. Here is a part of one. It occurs on page 57, and is entitled “ Shadows."

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SHADOWS.

Here-there

Everywhere;
On my pillow-in the air-

By my side:
Muse as lightly as I may;
When I watch and when I pray;
At the nightfall and by day

Shadows glide.

POETICAL QUOTATIONS. BY JOHN T. WATSON, M.D. TVith Ilustrations. Philadelphia: Lindsay & Blakiston. It is pleasant to have within reach a judicious collection of extracts from favourite authors. Dr. Watson's selections indicate sound taste and extensive reading, and have the advantage of being very conveniently arranged for the purposes of reference. The present edition is beautifully illustrated with nine line engravings, by various artists, and is made in other respects ornamental. Altogether it is an elegant and useful volume.

EVENINGS AT WOODLAWN. BY MRS. ELLET. New York Baker & Scribner. “There is nothing,” says Mrs. Ellet, " which marks the peculiar character of a people more

Here-there,

Everywhere;
Mellowing the noonday glare

On the lawn;
Waving, when the leaves are green;
Shivering, when the frost is keen,
And the boughs look sere and lean,

In the dawn.

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