[merged small][merged small][graphic]

* Fia. 10.


Fin cite 10. Walking Oresa. Itedingote of moire, pinkgreen. Corsait'' fitting close, but open before. Sleeves short. deim-Urge, at the top, wide at the ends. The seam from the shoulder is en Mini upon the side to the bend of th- arm, tind from thence forms three dents. This seam is marked by an edging which holds a ruche of black lace du lain'.- which follows its contour.

The front of the skirt in buttoned its whole length, and trlmm.d on each side with from fifteen to seventeen narrow rows of lace de laiue, gathered, and to prevent the formation of a heavy and ungraceful thickness at the waist, these Iaces are placed en hiais, in such a manner as to form u trimming, slight at the waist and well widened at the base. The buttons of the robe arc of green stone surrounded by little white stones. There are two near the n-ck an I two at the belt. The collar and the underrdeev.-s or:' of gathered rows of white lace placed one upon the other.

Figi'Ri: 11. Dint for a Young Lady of Fourteen. White f'it Manet lined with pink, and trimmed with a strip of white plum.- fritte; bavojet white; brides pink. The face wide open and not raised. Hair in bandeaux. Paletot an l robe of dark blue poplin, the former lined with pink.

Fiodbk 12. Collar of white percale, ornamented with a wide embroidery. i'auts the same. Sleeves a little bouf


Fro. 11.






When Sartaln's Magazine was com mo need, it was with the determination to do, rather than to promise; not to give one splendid specimen Number by way of attracting subscribers, and then fall back into carelessness and neglect, but to maintain fully throughout the year the high character with which we set out. That we have acted up to the spirit of this determination, has been universally conceded. We can say what no other Magazine can—and we say it without the fear of contradiction —that our January Number/or 1849, so far from being the best, toas the poorest Number published by us during tfo year. It was indeed a splendid Number, and was commended in the highest terms publicly and privately all over the country. But it was eclipsed by the February, as that was by the March; In fact every succeeding month has been admitted to be an improvement upon its predecessors.

The Magazine for the present month may safely challenge comparison, either with its predecessors, or its competitors. In amount of matter, in the quantity and stylo of its embellishments, and more than all, in the character of it* literary contents, it is entirely unrivalled.

In the first place, though not in the habit of boasting of the number of pages in our Magazine, believing that readers core more for the quality than the quantity of what they buy, we may yet call attention to the fact that we give the present month a larger number of pages than was ever before given by any American three-dollar Magazine. We have never promised to give more than 64 pages. We have here given 104 pages. This, according to the standard of one of our contemporaries, is "a Doublo Number, and eight pages over."

In regard to embellishments, the Magazine has a guarantee of success—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 beautiful Gift book or Annual is not indebted for its choicest embellishments to the burin of Mr. Sartain? High, however, as was his reputation in the beginning of 1840, it is still higher in I850. Important improvements in the art of Mezzotinting have been introduced by him in the course of the last year, as will be obvious to any one who will look over the series of engravings by him published during that period. Lining and Stippling are now so blended with the Mezzotinting process, as to produce in the hands of a man of genius a picture, which for richness of effect, is unequalled by one produced in any other way. Examples of this may bo seen in "The Brothers," published in December, and In " The Rival Songsters," now given. But, besides the services of Mr. Sextain, whose most splendid efforts are contributed of course to his own Magazine, we have constantly aimed to secure the very best productions of other artists without reference to expense. The "Conversion of St. Paul" by Sera, the splendid Illuminated Title-page and the brilliant Coloured Flower by Ackerman. the Winter Scene printed in tints by Devereux, the spirited and graceful Illustrations of Shakespeare, Spenser, and Milton by Gihon, all bear witness to this fact. We give no less than nine of these large full-paged embellishments in this single Number. Besides this, we give throughout the book an almost uninterrupted succession of small gems of art— not " wooden blocks," such as appear in some other Magazines—but wood Engravings, of which an artist need not be ashamed.

But it is the literary character of Sartain, after oil, on which it has aimed chiefly to depend, and for which it is chiefly indebted for its unprecedented success. With this view it has sedulously excluded from its pages the whole brood of half-fledged witlings with fancy names—the Lilies and the Lizzies—the sighing swains and rhyming milk-maids of literature, who are ready to contribute any amount of matter, prose or verse, for "a copy of the Magazine," or for the mere pleasure of seeing their effusions In print. Instead of this miserable trash, of which the public have given unequivocal symptoms of disgust, we hare aimed to secure, as regular contributors to our Magazine, authors of world-wide reputation— writers of the very highest genius and celebrity on both sides of the Atlantic . To secure this class of writers required indeed an expenditure of money for authorship such as has never before been attempted by Magazine publishers In this country. Believing however in the existence of a reading public—men and women who desire a Magazine to road, not a picture-book to look at— we determined to make the attempt to produce a periodical suited to this supposed want, and we have not seen reason to regret the determination. Any one who will look at our list of contributors will see that it contains nearly every distinguished namo among the active collaborators In the field of American periodical literature. Not a few also of the most brilliant writers of Great Britain, who have heretofore contributed to the first class of periodicals in that country, have been Induced to transfer their contributions from those Magazines, and now write exclusively for ours. Articles appearing in Sartain are not of an ephemeral character, but such as are destined to take their place in the permanent literature of the country —such as instruct as well as amuse the reader, and profit while they pleaso.


In the December number of our Magazine we announced that we had another poem of Mr. Poe's in hand, which we would publish in January. We supposed lt to be his last, as wo received it from him a short time before his decease. The sheet containing our announcement was scarcely dry from the press, before we saw the poem* which we had bought and paid for, going the rounds of the newspaper press, into which it had found its way through some agency that will perhaps bo hereafter explained. It appeared first, we believe, In the Now York Tribune. If we are not misinformed, two other Magazines are in the same predicament as ourselves. As the poem is one highly characteristic of the gifted and lamented author, and more particularly, as our copy of it differs In several places from that which has been already published, we have concluded to give it as already announced.


It was many and many a year ago,

In a kingdom by the sea,
That a maiden there lived whom you may know

By tho name of Annabel Lee;
And this maiden she lived with no other thought

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 lore that was more than love—

I and my Annabel Lee—
With a love that the winged seraphs of heaTcn

Coveted her and me.

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 sepulehre,

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,

In this kingdom by the sea)
That the wind came out of the cloud by night,

Chilling and killing my Annabel Lee.

But our love it was stronger by far than the love

Of those who were older than we—

Of many far wiser than we—
And neither the angels in heaven above,

Nor the demons down under the sea,
Can ever dissever my soul from the soul

Of the beautiful Annabel Lee.

For the moon never beams without bringing mo dreams

Of the beautiful Annabel Lee;
And the stars never rise but I feel the bright eyes

Of the beautiful Annabel Lee;
And so all tho night-tide, I lie down by the side
Of my darling, my darling, my life, and my bride,

In her sepulehre there by the sea—

In her tomb by tho sounding sea.


We have seen a proof of tho largo plate of M The Deathbed of Wesley" now publishing by Messrs. Gladding and Higgins, and without having seen the original painting by Claxton, which is in England, have no doubt that it does full justice to that artist's picture. Tho plate is called a mezzotinto, but it is not purely in that style, being wrought nearly all over with stipple and other work, which is a great improvement on the old-fashioned method of unmixed mezzo tinto. The whole is executed in tho most careful manner, and is at the same tlmo brilliant and spirited. The composition is admirable; the groups, consisting of about twenty figures, are arranged most skilfully, both as to picturesque effect in themselves, and so as best to conduco to a rich contrast of light and shade. What adds greatly to the interest of the picture, is the fact that eighteen of the figures arc actual portraits of relatives and distinguished friends of John Wesley. This fine print Is valuable, not merely for the interest that must attach to it on account of the subject-matter, but also for its merit as a work of art. It is engraved by Mr. John Sartain.


Our February Number will contain a splendid engraving of tho distinguished and truly Christian woman who lately graced the Presidential Mansion, at Washington. This engraving will bo executed by Mr. Sartain in his finest style, and will bo accompanied by a biographical notice, by a lady of Washington well acquainted with the subject.

Portraits of eminent women, accompanied with wellwritten impartial biographical sketches, will form one of the features of Sartain for I850.


ART NOTICES. CHBOMO-LitHOORAPnr.—We give this month two fine specimens of this beautiful art, from the establishment of Mr. Ackerman in New York, and they do credit to his skill. The flower and title-page are each produced by seven or eight successive impressions, one for each tint required, and of course involving tho necessity for as many separate drawings on stone of the various parts, since but one tint can be printed at a time. In such subjects as will admit of the use of this method instead of colouring by hand, the advantages are numerous and obvious, especially in the case of very large editions being wanted. Tho result is similar, though the process is totally unlike that by which the print in colours ("The Serenade") given in our number for August last, was produced. That print Mr. Devereux claims as the first successful attempt in this country to obtain a finished effect in colour by means of successive printings from a scries of engraved blocks; but in Europe this art (although rude enough until within the last ten years) is ancient .

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 invention to Guttenberg, In 1436; the process and implements in both are precisely the same. Chromo-Llthography, however, or printing In colours from drawings on stone, is of comparatively recent discovery, and at the present time is in much more extensive use; which of the two methods will hereafter obtain the preference, either on account of economy or beauty, is uncertain. It will depend much on the skill and knowledge of the operator; on his degree of acquaintance with those laws which govern the harmonic relations of one colour to another and aa modified by either light or shadow; just as the sounds in nature arranged in accordance with similar laws produce what we call music. One is harmony addressed to the mind through tho organ of sight, in tones of colours ptaoed in extension; the other, harmony addressing the mind through the sense of hearing, in tones of sounds placed in succession. Both are orought to be tho medium of sentiment and feeling, colour bearing about the same relation to pictorial composition, as music does to poetry.

That the science of colour is a profound and difficult study is rendered sufficiently evident from the fact that so few really great colourlsts (comparatively) have appeared amongst eminent artists, from Titian and Paul Veronese down to the present time; and these appear to have succeeded rather from an intuitive feeling of the true and beautiful, than from known and fixed laws. When a knowledge of the philosophy of colour is as generally diffused as that of its twin sister musie, and its principles of harmony applied to a judicious selection and combination in articles of dress, it will become a curious and interesting guide in the study of character; for this is one of the endless variety of ways in which the inward tone and habit of mind give involuntary utterance of itself to the intelligent and thoughtful observer. How little do some ladies appear to comprehend tho help or 1 inj ury that a ribbon or flower may prove to the complexion. according as it is applied. Two friends, for instance, whose complexions are precisely similar, may each place deep pink near the face, and to a stranger one would appear to have a clear and brilliant, and the other a tawny-coloured skin. And why? Because one has it on the cap so placed as to serve as a foil and contrast to the face, while the other has fortunately chanced to use it for tho lining of a bonnet, where it imparts by reflection a health-like glow to tho features. The verse in tho "DeathFetch," however beautiful, is not wholly true:

"Then the rose methoughtdid not shame her cheek,
But rosy and rosier made it;
And her eye of blue did more brightly break
Through the blue-bell that strove to shade it."

But these remarks are somewhat out of place here; on suitable occasions in future numbers of this Magazine, the principles and philosophy of this useful and delightful study will be treated of, and well is it worth tho while of tho "fair sex" to apply "the good the gods provldo 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.

Middletox.—This artist, the author of the embellishment in our present number, entitled ** The Hiral Songtieri," has attained a distinguished position in his profession by the successful practice of that branch of art known 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, more 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 tho social condition, the love of fireside comforts and domestic family tics, which characterise the English, and also their descendants on this side of the Atlantic. Among such a people this style of painting mast always be popular. It is charming and attractive in itself, requires no great effort of tho imagination to comprehend and relish its merits and beauties, and is moreover 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 arc not seen to advantage except on the walls of a gallery erected for tho purpose, admitting tho light from above. Besides, these latter works, if of real merit, involve such an amount of study in the design, and of time and labour in execution, as to place another additional obstacle—cost—in the way of a due encouragement of the most elevated and ennobling branch of (what wo have become habituated to denominate) H the Fine Arts."

Middleton's chief occupation has been in portrait painting, but he has had the good taste to avail himself of every opportunity to produce something more than a i dry and literal representation of his sitter newly ; up in the latest fashion. Hence the style of picture engraved for the January number of our Magazine, more than one of which by this artist are known to the American public by finely executed prints. His picture of "Effle Deans in Prison," and other similar works of great merit, evince his capacity for a successful career in the higher walks of art J. 8.

Sir Peter Paul Rurens.—The second of our embellishments, "The Miraculous Conversion of Saul," is after a composition by one of tho most extraordinary geniuses that ever appeared in tho annals of Art, nor was it only within the sphere of his chosen profession that his remarkable talents were displayed. His varied acquirements and polished manners led to his appointment while yet very young, on a delicate and important mission from one of the Italian courts to that of Spain. Later In life he was sent by Philip IV. of Spain to England, in tho like capacity, when he succeeded in effecting a treaty of

peace between those countries, rendered less difficult by the death of the Duke of Buckingham. It was on this occasion that he painted his famous picture of "Peace and War" (now in tho British National Gallery), which he presented to Charles I. This fine work, known to the American public by the numerous engravings of it, represents in vivid colours, the blessings of peace contrasted with tho miseries and horrors of war, and the obvious relation of tho subject to the purpose of his mission, rendered it the most appropriate, elegant, and well-timed gift that could possibly have been made.

The father of this great artist was a magistrate of Antwerp, but during the struggle of the Netherlands to throw off tho yoke of Spain, he removed to Cologne to avoid the miseries of war. Here the future painter was born, but on the renewal of peace, the family returned to Antwerp. He began life as page to a lady of title, but the employment was irksome to him, and after the death of his father, he obtained permission to study painting. After suitable


preparation, ho proceeded to Italy to enlarge his professional experience; his acquisition of knowledge and skill was surprisingly rapid, and at the end of eight years he returned again to Antwerp to settle, his Italian career having been truly splendid.

The works of Rubens are remarkable for the magnificence of composition, and the rich and vivid brilliancy of colour, as well as of light and shade: the remote parts of the most extensive designs being united with every other into a perfect whole, in forms, in tints, and in chiaro-scuro. In truthfulness of imitation, he surpassed the best of the still-life painters, while in nobleness and dignity of historic conception he left the great men of the Venetian school, on whom ho had founded his style, far behind. The restless fervency of his imagination, together with the wonderful facility of execution he had acquired, made him ready to daro difficulties that would have daunted almost any other artist, Paul Veronese, perhaps, excepted. "Fifty feet square of wall," says Allan Cunningham, "or two hundred yards of canvass, which would swallow up the united genius of half an academy, only stimulated the Fleming to greater exertion, and with such success did he conceive his design and apply his colours, that it Is allowed by all that his largest pictures are his best." "Rubens," says Sir Joshua Reynolds, "appears to have had that confidence in himself which it is necessary for every artist to assume when he has finished his studies, and may venture, in some measure, to throw aside the fetters of authority: to consider tho rules as

subject to his control, and not himself subject to the rules; to risk and to dare extraordinary attempts without a guide, abandoning himself to his sensations, and depending upon them." "He saw the objects of nature with a painter's eye—he saw at once the predominant feature by which every object is known and distinguished; and, as soon as seen, it was executed with a facility that is astonishing. Rubens was, perhaps, the greatest master in the mechanical part of the art—the best workman with his tools—that ever exercised a pencil."

Rapid as was his execution, it was utterly beyond his ability to keep pace with the constantly Increasing demands for his productions from every quarter, and wealth poured in abundantly. His residence in Antwerp was adorned with pictures, statues, rases, busts, and every variety of beautiful or curious objects, till it resembled a princely museum, and connected with it was a collection of wild and savage animals, which he kept to serve as models when painting those superb hunting pieces In which he so excelled. His talents and success produced the usual effect. It excited envy, and a cabal was formed to detract from his reputation. "It is amusing to find him accused, amongst other deficiencies, of want of invention! His great picture of the Descent from the Cross, painted for the Cathedral of Antwerp, and exhibited while the outcry against him was at its height, effectually allayed it. Snyder and Wildena were answered in asimilar manner. They bad insinuated that the ohlef credit of Rubens' landscapes and animals was due to their assistance. Rubens painted several lion and tiger hunts, and other similar works, entirely with his own hand, which he did not permit to bo seen until they were completed. In theso works he even surpassed his former productions they were executed with a truth, power, and energy which excited universal astonishment, and effectually put his adversaries to silence. Rubens condescended to give no other reply to his calumniators; and he showed his own goodness of heart by finding employment for those among them whom he understood to be in want of it."

His style of drawing was very inaccurate, but his outlines were flowing and varied. His women were often beautiful in expression, and sometimes in form, but were too frequently inelegant, fat, middle-aged, and wanting in that refinement so desirablo in representations of feminine character.—J. S.



Poetical Quotations. By John T. Watson, M.D. Willi Illustrations. Pliiladtlphia: Lindsay d h Blak-isUm. 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 hare the advantage of being very conveniently arranged for the purposes of reference. The present edition is beautifully Illustrated with nlno line' engravings, by various artists, and is made in other respects ornamental. Altogether it is an elegant and useful volume.

Evenings At Woodlawn. Br Mrs. Ellet. A?w York Baker <£■ Scribncr. "There Is nothing," says Mrs. Ellet, u which marks the peculiar character of a people more

distinctively than their legends and superstitions. They are the first lispings of a nation's Infancy, expressing its impulses and tendencies before thought is matured; they grow with its advancement, embody its spirit, and give a colouring to its whole literature." In the "Evenings at Woodlawn," she has given a choice collection of the most graceful and amusing of the legends of central Europe. The large majority of these will be entirely new to American readers. The stories, she informs us, arc not mere translations, but something between a translation and an original work. The incidents are arranged In an artistic shape, and some indulgence given to the author's powers of description. Whatever merit there may be on the score of originality—and there seems to he fully all that she claims—she has at least given us a charming book.


phia: J. W. Moore. Fourth edition. The fact that Mr. Gregg's book has been able to keep its place in the face of such an avalanche of books on the same subject, and that it has reached a fourth edition, is the best commentary upon its merits. One cause of the value of his book ia that the author was not only an eye-witness of what he describes, but was for a long period intimately and practically conversant with the subject He was himself a Santa Fe trader, was engaged in eight expeditions acrots the prairies, and resided nearly nine years in northern Mexico. In addition to this fact, which necessarily gives an air of authenticity to his communications, bis book is written In a pleasant and attractive style, and is illustrated with maps and engravings.

Home Recreation. By Grandpather Merryxax. iVVw York: D. Jpplcton d? Co. This Is Intended as a gift beek fur young readers, containing a collection of tales of peril iind adventure by land and sea, with sketches of manners and customs, scraps of poetry, and coloured pictures.

Sights In The Gold Region. By Theodore T. Johnsos. Hew York: Baker dh Scribner. Mr. Johnson eecms to liuve set out for the gold region on a sort of frolic, and to

ve written his hook about it in the same dashing style. 11 we cannot commend it much for its literature, we can very freely say, it fairly runs over with fun, and is not wanting in good sense and information. It has also the commendable qualities of brevity and directness. The writer describes the route which he himself travelled, viz., that by the Isthmus, and also the scenes In the gold region wldch fell under his own personal observation.

Caprices. New York; Robert Carter dsBrothers. What

nil 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 intervalio—"Carter I Brothers." What an extensive prairie of white paper Ixtween 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 follow? I.i t us see some of them. Here is a part of one. It occurs on page 57, and is entitled " Shadows."



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.


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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