a little more than two years, when another establishment was secretly organized and the casts and other materials of art, which grew out of the collected earnings of the whole body of artists were by a majority vote removed to the New Royal Academy, thus depriving a highly respectable minority of the very materials their own money had paid for. Joshua Reynolds kept aloof, but the King The exhibitions continued to prosper, producing a clear average income of about thirty-succeeded in drawing him over by conferring five hundred dollars, till the institution had ac- the title of knighthood upon him, to assist in cumulated about fifteen thousand dollars, when giving consequence and dignity to the post of they determined on establishing a public Aca- President of the Academy, to which the artists demy of Arts. had elected him. But the King's favour stopped here, for he never employed him in the exercise of his profession, unrivalled as he was in the field of portraiture. The treasurer of this Artist's Society it was before stated was the same Dalton, the King's librarian, who lately returned from his Italian expedition, victorious over Robert Strange. He had entered into a print speculation, had purchased some auction rooms which he altered into galleries, and over the door he inscribed the words "Print Warehouse." But the business turned out a failure, and its projector becoming involved, the King was called on for help, and his mode of affording it was to " 'patronise" the Society of Artists and give them a royal charter. A scheme was concocted by After the death of Reynolds, West was chosen to succeed him as the head of the institution, and the same title was offered to the Pennsylvania Quaker; but West declined the knighthood as an empty honour. He continued to fill this eminent station of President (with but slight interruption) till his death in 1820, at the age of 82. The position was one he was fully entitled to, and in accepting it he rather conferred than received honour. West's style of composition was noble and dignified. Some of his works are so well-disposed in every respect, that it is difficult to imagine how they could be improved, and his facility in planning the general structure of a picture is surprising, while the drawing of the parts is equally just and true. What they want is which Dalton's rooms were taken off his hands by the Society, and the institution was honoured with the title of "Royal Academy." These words were painted over the door in place of "Print Warehouse" obliterated, and the rooms, when not otherwise occupied, were wholly or in part rented out for Mr. Dalton's private emolument, for the use of dancing-intensity; they command admiration, but they schools, auctions, &c. But the royal institution not only charged its shilling at the door, but begged subscriptions for its support. Disgust and bad feeling arose amongst the members, and another plan was matured by West, Chambers, and two other artists under the eye of the King, (who himself wrote some of the by-laws,) which resulted in the present Royal Academy of London. West arrived from Italy in 1763, and soon became a director, and it is the association just described that he alludes to when writing as follows to Charles Wilson Peale. "Those exhibitions became an object of attraction to men of taste in the fine arts; the young sovereign was interested in their prosperity, and the artists were by his royal charter raised into the dignity, the independence, and, as it were, the municipal permanency of a body corporate; and in this body I found myself a member and director," &c. The charter, here referred to so reverentially, was granted the 26th of January, 1765, up to which time the Society was highly prosperous, but after the royal interference it hobbled on never thrill you as Allston's or Haydon's sometimes do. They never violate the supposed proprieties of art; are full of learned lines, and graceful or happy thoughts, but mostly fail to rouse the glow of enthusiasm, or stir the passions, except in the very gentlest manner. His facility in composition was somewhat hurtful, for it helped him to pass rapidly from one great work to another before he had made all he could of the last. Hence the thin painting observable in the large pictures in the Pennsylvania Academy and elsewhere, which were executed at the later period of his life. The colour always has a tendency to sink into the ground on which it is painted, and therefore should be laid on, in large pictures, with considerable body, especially in the lights. The want of sufficiently solid painting has caused the original ink outline, drawn on the canvass with the reed, to appear distinctly through the thin paint; in every part of the pictures we see this black boundary line obtruding on the attention, and the consequence is, the slighted look, without the energy and fiery spirit of a sketch. Those pictures that he painted at an earlier period of his life, | true merit, as in the earlier part of his career are not equally liable to this objection. The he was esteemed above it. "Paul and Silas" is for the most part firm and bold, and the " King Lear in the Tempest," which belongs to the Boston Athenæum, is painted in a very vigorous style, loaded with colour, and in the masses of light thickly imparted. Washington Allston, who was no less competent to judge than he was just and impartial, said of him, that of late years he had been placed by the public as much below his The engraving in the last number of this Magazine of Christ Blessing Little Children," the original picture of which is in the collection of the Foundling Hospital at London, before referred to, will, to those who are unacquainted with the character of his style in art, convey a tolerable idea of it. This picture may be safely pronounced the best of the subject that has been produced by any master. HENRY THE EIGHTH AND HERNE THE HUNTER. BY MRS. MARY 8. WHITAKER. SCENE-WINDSOR CASTLE; TIME-MIDNIGHT. LOUD roars the rattling thunder through the sky, He hunted with the king, and led his suite; I'll haste to warn: wilt thou that warning heed? And down to latest time, thy baleful mind They bind thy form Where is the frown Ha! silent grown The purple pall O, pomp of power! Bloodstained and grim, The iron-hearted monarch, moveless still, And yet, they say there's harshness in thy tone!- And sneer at the harmonious chords which pour Alike the solemn organ-notes that swell The song of Paradise, while saints adore, Through Addison, Swift, Sterne, and Goldsmith playeth, The Doric strains of Burns, and those that dwell Nor is thy playfulness for such alone; But every merry thought can find in thee a tone. With Cowper, Coleridge, Gray, and Wordsworth's heavenly shell; VI. XII. And for the gentle heart, that would express Which, from the warblings of unhappy Clare, To fiercest wailings of sublime despair, Which to the sweeping touch of Byron thrill The bosoms, which they horrify and fill With all a Titan's suffering, command The diapason of the heart and will; But elsewhere seeketh not the master's hand For keys to speak the true, the lovely, or the grand. THE Wizard sat in his cave of night, And lit at the top of a spiral wire! Beside his foot was a torturer's rack That with never a motion would wrench the bones, And spurn the touch of the victim back. While the Wizard laughed to hear his groans! Anon the wretch's startled hair Would stand, with horror, on its ends; While sparkles hissed from his clenching fist As from an angry fiend's. The Wizard's cave was stored with things, He held in a flagon a strange fire-dragon, And the prisoned wind, like a bottled fiend, One Imp, who was hid in a dull brown stone, Another was sealed, for penance-shame, O the Wizard was a mighty man; He forged a tireless "Iron Horse," Wild racer of an iron course, As fleet as fairest bird; His mighty bulk, with all their force, And miles away, the people say, They heard, with noise like a drum-beat's roll, The systole and the diastole,* When his giant pulses smote, While he ran till the gales pursued in vain, To lift his backward-streaming mane. The Wizard weighed, in his either scale, The planets, every one; Through the meshes of its burning veil He drew the moon with his magic eye, The faithful image, that comes and goes And under his eye a demon lay, Ubiquitous, strong, and tame, Who knew the thoughts of the far away, And spread them, as far Judgment Day, Graved with the point of an iron pen, Fast as they fell from the brains of men, Though many a thousand miles they came. O, the Wizard was a mighty man! Mightier none since earth began. Tongue would weary and pen would fail To tell the marvels of his power, And men would count the startling tale The dream of a frenzied hour. We mean no offence to Greek, in breaking the neck of its accents, and curtailing its quantities;-the verse would have them as they are.-AUTHOR. FIGURE 1. Full Dress Visiting Toilette.-Bonnet of velvet épinglé, vert Président, which is a shade of vert oeillet or carnation green, a little less gray than the natural colour of the foliage of the carnation. The face is a little full at the top, enclosing well the cheeks, and embracing the chin. Around the edge of the face is affixed a strip of frizzed feathers, and on each side a noeud of three feathers, one rising upon the face and the other two falling in rolls below the cape. These are of the same colour as the bonnet. Under-trimming, two noeuds of white riband, from which proceed two small white plumes, which give an air of great sweetness to the expression of the counte nance. FIG. 2. FULL DRESS HOME TOILETTE. | lops. The three upper rows are interrupted by the opening of the corsage, but the two below pass across it over the beautiful lace guimpe which fills it. Upon the front of the skirt are a like number of rows of similar trimming, each composed of three volants of graduated widths and lengths, those toward the lower edge being longer and wider than those above. Sleeves a little wide, demi-long, with the seam toward the side, along which and around the lower part, pass two rows of trimming like that described above, and a third row around the lower part only. Under-sleeves of three rows of lace, falling extremely large and full over the hand. Dress of violet silk. Corsage high, open in front, almost FIGURE 2. Full Dress Home Toilette-Robe of light green to the waist, with five rows of trimming, composed each silk, with corsage opening square in front, and the opening of two narrow volants of violet riband with rounded scal-edged with festooned dents of silk of a deeper green. At |