heard on the stage. The refinement of the woman and the versatility of the actress are equalled by the thorough vocal schooling of the artist. Her vocalization is faultless, her execution remarkable for ease and finish. Her economy of her voice is indeed consummate; in itself it seems but a fine, silvery thread of melody; yet, without overstraining, it is always ready for the most trying passages, and, as if by a sort of spiritual reserved energy, it tells in the strongest and most impassioned bursts. Bosio is evidently a musician, and not, like many a prima donna, a clever singer by rote, with a dramatic turn. You feel entire reliance, therefore, on her artistic acquirement, as well as on her judgment and her feeling. All this completes and justifies the charm she exercises through certain of the higher and transcendent qualities of genius. She possesses the rare gift of imagination. You feel it in the versatility which enables her, like Madame BISHOP, to enter into the very spirit and individuality of so great a range of characters, impersonating each to the life, be it a Zerlina, or a Lady Macbeth, or a Lucy of Lammermoor. We first saw and heard her, quite unprepared for what we were to witness, in the Macbetto of VERDI, and what was our delight and astonishment to recognise, in that slight and delicate woman, the real spiritual conception of Shakspeare's terrible heroine, as we had never done in any more masculine actress of the spoken drama! In her Lucrezia Borgia, it was the same sort of power, rendered the more interesting from the contrast of the demoniacally strong and wicked character with the delicately-strung instrument that represented it. It was a spiritual creation; it seemed like magnetism; where the flesh seemed weak, the will was superhuman, and the visible weakness measured the invisible energy. As mere musical art, too, nothing could have been more complete and harmonious; it would have satisfied the composer. Again, in another sphere of tragedy, -the sentimental and pathetic,-nothing on our stage has ever equalled her Lucia. Here it was not the harmony of contrast, but of identity, between the assumed and the real person. The native delicacy and slight form of the actress were just what was wanted. The maidenly, sweet, mournful music of the character was embodied both to eye and ear. When it came to the mad scene, which had been a failure and a maudlin exhibition with most of the operatic Lucias, she rose to a pure height of art and genuine pathos. It was beautiful and real; there was method, music, in the madness; the sweet delirium was without drivelling and over action. Here again you felt the spiritual element, the true poetic imagination; it was like enchantment; it had the strange fascination of a fine thing dreamed, but vanishing at the rude touch of most attempts at representation. And now, hear her in MOZART's dear little peasant bride, Zerlina! Here the innocent, arch eyes are set in just the right head, and their timid, wandering, gazelle-like gaze is just in place. It would have drawn tears out of MOZART's eyes, to have seen and heard so perfect an impersonation of this little pet character of his. nature of the utmost refinement, in peasant life and garb ;-just what the music of the part indicates it to be; just that did Bosio represent and sing. And how exquisitely sweet and true and expressive was her singing of that music! It A was the express ideal, the audible soul and vibration of the insinuating, pleading Batti, batti, changed to rapture with the success it felt quite sure of, and of that purest outpouring of the tranquil ecstasy of love in Vedrai Carino. Hear Bosio sing them, and you will know why these two simple melodies are immortal. And here we recognise in her another test of a true artist. Unlike Italian singers generally, she can subordinate herself entirely to the music, and find her highest artistic pride and happiness in the precise intention and spirit of the composer. MOZART, and MOZART's work, absorbs her, and she is too deeply, conscientiously, and fondly occupied to be striving for effect with ornaments and commonplace cadenzas, as if the prima donna were the main thing, and the music secondary. We have a thousand things to say of her, but must save some space (already much contracted) for the others. The queenly, womanly, good, generous, affectionate-looking TRUFFI-BENEDETTI, must always hold a choice place in our operatic memories. Always the woman claims respect; always the sight of her is pleasant, and in any part, assurance that there shall be no worse fault than comparative feebleness or coldness. Her power is very unequal, and of late her voice and inspiration have seemed less and less reliable. The trouble seems to be partly physical weakness; partly the fact that she is not a musician, but sings a few parts, con amore, rather than possesses the science that can master many parts, and take the place of inspiration tolerably at all times; and partly, that her nature is so eminently sympathetic, that her power fails her without just the right support in the other characters of the piece. We are happy to see it announced that BENEDETTI has recovered his voice, and will take to the stage again. With her lover's, now her husband's, Edgardo, or Gennaro, TRUFFI's Lucia or Lucrezia was once a certain triumph. Her real power resides in feeling. In simply surrendering herself to her passional instincts, she would become transfigured and sublimely beautiful in such tragic finales as those of Il Giuramento and Ernani. In the last named opera has been, perhaps, her finest vocal achievement. Her voice is of a sweet, refined, and sympathetic quality, but not uniformly strong. Her execution is certainly superior, despite a faulty tremulousness, partly the fault of weakness, and partly of imperfect culture. Her trill is wonderful; it seems to come right from the thrilling soul, and is not a mechanical ornament. In MOZART's Donna Anna, the highest of all operatic female characters, though her voice lacked weight and volume, she evinced a true feeling and conception of the music, and had there been a decent Ottavio, would have been almost sublime in those great recitatives, as well as supremely beautiful in the trio and sextette. She is But the cars will not wait; we pass swiftly by several pleasant minor stations, and find ourselves already in the County of CONTRALTO, where we make only one stop. Signora CAROLINA VIETTI has borne the whole burden of this department. She is a large woman, with a face full of generous vivacity and intelligence. Her voice is large, rich, ready, and clear, and of great compass, and executes the most florid and difficult music with astonishing ease and brilliancy. For the sad and drooping tender ness of such a contralto part as the Bianca, in Il Giuramento, she is not fitted in person or temperament, though we have never heard the rich, delicious melody of the part so finely rendered. We missed a certain delicacy, too, in her impersonation of the Italian poet youth, Maffeo Orsini; she made it mere champagne and brusquerie. But in Rossini's sparkling music, in the arch and playful espieglerie of Rosina in Il Barbiere, she was admirable. Would that she were not prone to certain unartistic tricks of vocal display, such as indulging in certain strong and mannish low tones, quite down in the cellar of her voice, and more adapted to the wonder of the groundlings than to any artistic uses of expression. Among the tenors, SALVI is supreme. There is an air of masterly experience in all he does, a quiet self-possession and reliance on sure means and methods, and thoroughly-acquired habits of art. His manly pose, when he stands up to sing, is expressive of all that. His voice is past its prime, but exquisitely sweet and warm, and smooth in quality, and rendered perfectly ductile and manageable by cultivation. He economizes its force with consummate skill, so that it always affords great volume, or rings and rebounds with a crisp energy, where it is needed; while his peculiar tendency is to a subdued, protracted fineness, carried almost to excess and feeble sentimentality in some of his diminuendos. We liked him best in the LIND concerts, especially in those masterly duetts with BELLETTI. As a concert singer, no tenor has approached him. He could do justice to the greatest of all tenor arias, the Il mio tesoro, in "Don Giovanni." Would it not be a treat to have him substituted for the painfully-strutting, forcible-feeble, turkey-cock striving of Signor FORTI, in the Don Ottavio of that opera, who not only caricatured his own part, but almost disenchanted the Donna Anna of TRUFFI! Signor BETTINI is the freshest hero of the habituès. Young, strongly built, manly, frank, and dignified in person, he throws himself into such impassioned lyric crises as the wedding and the "malediction scene," and the finale of Lucia di Lammermoor, with a sort of glorious abandon, which is sure to bring the house down. His voice, of a very rich and fresh and telling quality, and of great volume, is one that he can fully trust for such effects. In cultivation he wants much, and is not to be compared with SALVI as an artist. It is his manliness, his passion, with a voice to match, that carries him through, and that triumphantly. He runs no little risk of wearing out that voice, by lack of vocal economy. He is a tenor wholly of the modern Italian operatic school, formed and fashioned on this sanguine, intense, Red-Republican music of effect, where all is highly-strained and exciting; he is the creature of VERDI and DONIZETTI. We should doubt him in the deeper, purer, and more quiet art of music like MOZART'S. LORINI, however obscured in such high company, is a tenor of some mark. We never heard him that we were not struck with his improvement. His voice is strong, clear, sweet and resonant, with a good deal of the manly robust quality of BENEDETTI'S. His delivery is even, wellproportioned, and sustained; nowhere great, but uniformly fervent, tasteful, and refined. A liabi lity to swerve from perfect pitch is the worst thing about him. All the opera-lovers will welcome the return of BENEDETTI, the earliest of our true Italian tenors, and with many still the favourite. He too, unfortuately, is not a musician. He has relied upon his native gifts; namely, his voice, so sound and golden in its quality, and sweet to the very core, even in the unpolished roughness of its tones; his decidedly musical temperament, and his quick and reproductive imagination of character, inspiring his action with a force and directness and wholeness that always magnetized the audience and the other actors. We have heard SALVI and BETTINI since, but we have always had a sort of feeling that BENEDETTI ought to be the greatest tenor of them all. Success to his new trial! Turning to the baritones, we cannot pass by the brave, burly BENEVENTANO, who indeed is not much of an artist, though no man makes himself more surely heard. He is the stout, reliable, main-spoke in the operatic machinery, for two-thirds of the operas pivot upon the baritone. Glib and voluble; with a big voice sure to make itself heard, and some of whose tones might be musical; with a ready faculty of learning a part at short notice, and a retentive memory; and with an infinite assurance, rendered less offensive by a manifest obligingness and good nature, he is a most serviceable man for the manager. He has a good deal of execution, and can sing well at times, after his tendency to exaggeration has been snubbed. He is especially clever at that rapid, voluble delivery, so purely and peculiarly Italian, technically called the parlando style. But BENEVENTANO is no man for Don Giovanni, in which character he out-buffoons the proper buffo, his own servant. But BADIALI is an artist whom it is most refreshing to encounter, one of the very highest we have had in any class of voice. He, with Bosio, must share the highest honours. With all that ripeness and refinement of voice and style which we enjoy in SALVI, he has far more solidity, and depth, and force of intellect. His part is always central, by the intrinsic spell of art, and not by any melodramatic effect, such as lends a questionable colour to so renowned an artist as the basso profondo MARINI, with which we close our list. MARINI is immense in voice and person. Some say he is second only to LABLACHE. There is a fresh, elastic, and, as it were, moist quality in those ponderous bass tones of his, most satisfying to the ear. They do not sound husky and marrowless; and he has an artist's command of his mighty organ: some of his cavatinas are masterpieces of delivery. His power and range of impersonation, too, are very great. Each successive rôle of his seems a perfect Protean transformation. His barbarian Attila (which is the all of that poor opera of VERDI's); his gouty, testy, proud, revengeful old Spanish Don Silva; his stern old monk in La Favorita; his courtly Duke Alfonso; his cunning blockhead style of Leporello (the poorest of them all, by the way); and his ludicrously solemn Don Basilio, are each unique, and full of a certain coarse invention. It is the fine and subtle quality of genius that seems wanting. And yet, when not tempted with a too rampant display of his ponderous faculties, he appears a most correct, substantial, and impressive artist. Altogether, he is by far the grandest basso that has sung upon our stage. In the same sketchy and imperfect manner, we might notice not a few other stars, though of less magnitude, in the rare galaxy of vocal talent revolving about MARETZEK's batch. May he retain them all! Such a mass possesses in itself attractive force, enough to sweep all the new stars that may come into its brilliant tourbillon; and it is by this unitary policy, as we endeavoured to show in our last article, that the Opera must live in our land, if at all. J. S. DWIGHT. BOOK NOTICES. PLYMOUTH AND THE PILGRIMS, OR INCIDENTS AND ADVENTURES IN THE HISTORY OF THE FIRST SETTLERS. By Joseph Banvard. Boston: Gould & Lincoln. 1851. 12mo. pp. 288. Another sketch of the first settlement of the New England colonies, written in simple style, well-adapted for young children. This is the first volume of a proposed series of American histories by the same writer, now in course of preparation for publication by the same house. If the author can avoid the greatest dangers of such attempts, the influence of local prejudices and the general sectional leanings of men of three widely-different classes, who have stamped their impress on the institutions of as many empires within the empire,-his labours may prove promotive of national fraternity and the perpetuity of the Union, the greatest social desiderata of the day. We do not mean to signify that there are as yet obvious any clear symptoms of such defects in the compiler of this little compend, but the task he proposes is one of great difficulty. The book is illustrated with a few wood-cuts, one of which is a little chart of Massachusetts Bay. A CONVERSATION BETWEEN A LADY AND HER HORSE. By Thomas Craige, of the Philadelphia Riding School. pp. 71. 12mo. A droll attempt to make the horse his own spokesman in discussing the manner in which he should be treated by his rider. This opusculum contains many useful, practical hints. No lady who rides should be without it, and any gentleman not perfectly familiar with the rein, would do well to glance over its pages. for the work before us the careful examination of all who are engaged in the business of instruction. In compilations of this character, originality in the matter is not expected, and the talent of the writer can be displayed only in the judicious selection and happy presentation of facts and theories. From the hasty examination which we have been able to make of a volume in which every paragraph is important, we have arrived at the conclusion that its principal defects are an occasional involution of phrases, which adds to the dryness of the study without increasing the terseness of expression, and a certain want of completeness in many of the definitions, which, to be strictly philosophical, should include the whole subject of the explanation, while excluding all extraneous matter, and leaving no inlet for exception. Of the latter, which is by far the more important defect in a treatise designed for tyros, two examples will suffice to explain our meaning. The following is the explanation given of the solid state of bodies: "A solid body is one of which the component parts cohere with such force that it maintains its figure, unless submitted to some action more or less violent, by which it will be fractured, bruised, or otherwise changed in form." Now, every natural philosopher is aware that this definition would apply with equal force to liquids. It is true that a subsequent phrase gives an individual illustration of the author's meaning, in which the action of gravity is apparently excepted from the "actions more or less violent" which act on bodies, though it is capable of overcoming cohesion and destroying the integrity of any solid, if the dimensions of that solid be increased beyond certain limits, or moulded into unfavourable forms; but this illustration does not render the definition philosophically clear. Again; the liquid state of bodies is thus defined. "A liquid body is one of which the component parts do not cohere with sufficient force to prevent their separation by the mere influence of their weight." The tyro who sees a drop of water refusing to separate by the weight of its component parts, when adhering to the under surface of a plate of glass, or he who sees a globule of mercury flattened indeed, but not separated, by being compressed between two planes under a pressure of many pounds, or he who witnesses the sundering of a weak beam, the breaking of a long rope, or the crushing of a tall building under the simple violence of gravity, may possibly be confused, under this definition, in endeavouring to distin A BUDGET OF WILLOW LANE STORIES. With Illustrations. By Uncle Frank: and, A PEEP AT OUR NEIGHBOURS; THE SEQUEL TO THE WILLOW LANE BUDGET. With Illustrations. By Uncle Frank. Charles Scribner, New York. From A. Hart, Philad. Two neat little duodecimos with tinted engravings, for the amusement of young children.guish between a solid and a liquid. This censure They are part of a series of six volumes by Francis C. Woodworth, a popular writer of juvenile books. HANDBOOK OF NATURAL PHILOSOPHY AND ASTRONOMY. By Dionysius Lardner, D.C.L.; formerly Professor of Natural Philosophy and Astronomy in University College, London. First Course: Mechanics-Hydrostatics-Hydraulics - Pneumatics-Sound-Optics. Illustrated by upwards of four hundred engravings on wood. Philadelphia: Blanchard & Lea. 1851. 12mo. pp. 743. The great learning of Dr. Lardner as a natural philosopher is well known to the American public; and notwithstanding the multitude of elementary treatises upon this science which are already in the market, his reputation will claim will be deemed hypercritical, no doubt, by many; matters. of "First Lines" in science in our own tongue. He is perhaps less so than most authors The faults under notice are obvious in almost every elementary treatise on science, of English or American origin, and especially in schoolbooks, which should be the most carefully, though they are usually the most heedlessly written of all literary labours. The French are by far more clear and terse, and the Germans more comprehensive and accurate in these matters than ourselves. The work under notice has one rare excellence: | certainly true to nature, but, the mind of the pupil is continually directed to the practical and utilitarian applications of the theoretical problems, and thus he is freed from that worst annoyance of the young beginner, the necessity of devoting many an hour to the wearying study of abstract principles and dogmata, of which he perceives not the purpose or the usefulness. The volume is also very rich in facts not usually embraced in such a treatise. It will prove valuable in every library, public or private, as a guide to the studies of beginners, and a remembrancer to those of more mature acquirements. We hope that its success may be sufficient to induce the early appearance of the second appears to us that, where Protestant society is concerned, and its moral refinement described, the exception, instead of being taken to prove the rule, is employed to constitute it. We will dismiss the book with the remarks, that it is not just and reasonable to expect perfect fairness from a partisan; and that the appreciation of feminine character displayed in this novel is such as becomes the bachelor, not the married man; who, alone, can truly decipher Nature's most perplexing riddle. We do unhesitatingly avow that no man can justly estimate, without exaggeration or depreciation, the excellence of female motives and conduct, till he has passed the matrimonial Rubicon. course. EPISODES OF INSECT LIFE. By Acheta Domestica, M.E.S. Third Series. New York: J. S. Redfield. Boston: B. B. Mussey & Co., 1851. Svo. pp. 432. From Wm. B. Zieber. This is the completion of a work which, as the author amusingly represents, has already passed through the stages of the larva and the pupa, and behold, the imago! Beautiful in all its forms, it culminates in the last, and, as it would be a work of supererogation to add further praise to that which has been lauded by every critic who has had the happiness to dwell upon its sparkling pages, ourselves among the number. Let it suffice, at present, to congratulate the American republishers upon the success that has already crowned their speculation, and the public, on the taste and refinement that has led to that success. The song of this cricket will be heard by our firesides for many a year, and the applause which it has already received is only the type of that which is yet to come. ALBAN-A TALE of the New WoRLD. By the 1851. 12mo. An attempt to bend the novel to the purpose of Roman Catholic proselytism. Very harmless for mature minds, but far from being so in the hands of youth -we speak morally, and not religiously, for, as labourers in the vineyard of literature, which is, and ever has been a republic, we are content to leave to God the decision of the relative excellence of the peculiar modes in which His creatures see fit to worship Him :—but morally, we think that when young ladies sit down at midnight to compare the merits of different liturgies, he is not the umpire we would choose, who interlards the conscientious throes of an inquiring mind on sacred subjects with descriptions of the interlocking and pretty trifling of rosy-tinted toes before the chamber-fire. The author quarrels with his "Grandmamma, the North American Review," for questioning the moral tendencies of a former heroine, and we shall not attempt to renew the charge against "Alban," lest in censuring the fault, our own necessary extracts should prove a repetition of the offence. The work displays great knowledge of American social life, and great powers of description. In its quiet flings and covert sarcasms, as well as in its open attacks on Protestantism, it may be suggestive of amendment; for, bigotry and false pretension are confined to no one sect-they, at least, are catholic, in the broadest acceptation of the term. In the pictures of American manners, the writer is VAGAMUNDO; OR, THE ATTACHE IN SPAIN. Including a brief Excursion into the Kingdom of Morocco. By John Esaias Warren. New York: Charles Scribner, 1851. 12mo. pp. 292. From Wm. B. Zieber. A lively, dashing tour, with an occasional picture of some interest. If the reader "Wants but little here below, Nor wants that little long," he will be much pleased with the Attaché. He winter afternoon. HISTORY OF THE PROTESTANT REFORMATION IN FRANCE. By Mrs. Marsh, Author of "Two Old Men's Tales," "Emilia Windham," &c. Philadelphia: Blanchard & Lea. 1851. 2 vols., 12mo. pp. 633. "The object of this unpretending work," says the author, in her preface, "has been to relate a domestic story, not to undertake a political history;-to display the virtues, errors, sufferings, and experiences, of individual men, rather than the affairs of consistories or the intrigues of cabinets,-consequent upon the great struggle to diffuse the principles of the Reformed Religion in France;" and the object appears to have been very happily accomplished. In a style sufficiently lucid, and a spirit of marked candour, the author introduces us to the private characters of the leading men and women of France in the age of Condé and Coligny, the ambitious, treacherous, and hypocritical Catherine de Medicis, and the brave, but cunning and cruel Duke of Guise. The horrible scenes of that era are not dwelt upon in all their horrible and disgusting detail, but a sufficient number of examples of ravage, massacre, and torture, are stated to give the reader an idea of the "religious" (diabolical) spirit of the age, while our sympathies are con⚫ tinually enlisted by the current narrative of the personal feelings and conduct of the principal actors, divested of the vast mass of political and polemic matter in which the moral history of those times is so frequently buried. The narrative in these volumes terminates with the death of Charles IX.; but Mrs. Marsh suggests the possibility of a continuation, at some future time, down to the Revocation of the Edict of Nantes. We hope that circumstances may permit her to complete her plan:-the work will then be a valuable companion for that of De Felice, which we noticed in our July number, and which dwells at greater length on the religious and political view of the subject. THE DEWDROP. A Tribute of Affection. For 1852. Philadelphia: Lippincott, Grambo & Co. 12mo. pp. 316. This is the first appearance of a competitor in the continually-increasing crowd of Annuals offered to the American public, at the season of greatest festivity. It is "got up" in very neat and pretty style, with nine engraved illustrations, including the vignette title, and all fully worthy of the work. The literary matter is of domestic origin, and free from the prevalent sin of literary piracy. Among the writers we observe the names of some of the most accomplished American authors. Edith May, Miss Sedgwick, Longfellow, Boker, George Burleigh, and Mrs. Child, and many others of equal or nearly equal distinction, figure in the list of contributors, and give ample security for the value and interest of the literary contents. THE IRIS: An Illuminated Souvenir, for 1852. Edited by John S. Hart, LL.D. Philadelphia: Lippincott & Grambo. 8vo. pp. 298. This is a highly-illustrated Annual, differing widely in appearance from the numbers of the same series in former years, its eleven illustrations being all printed in colours, and presenting, chiefly, views of American scenery and Indian life, the text being mainly composed of articles founded upon aboriginal legends collected by Captain Eastman, of the United States Topographical Engineers, during a nine years' residence on the Northwest frontier, and wrought into song and story by his accomplished lady. These cannot fail to interest the American public, by their authenticity, at a time when everything relating to the fast-fading race whose inheritance we have seized becomes hourly more difficult of acquisition, and more important in history. Several articles from the pens of other American writers of deserved distinction have been superadded to these, and some of them are of a high order of literary merit. 66 THE MILLER OF OUR VILLAGE, AND SOME OF HIS TOLLS. With Illustrations. By Uncle Frank, Author of The Willow Lane Stories." New York: Charles Scribner. 16mo. pp. 174. Another of the very pretty books for children, from a well-known and popular author of juvenilities. QUARTERLIES AND MONTHLIES.-Blackwood's Edinburgh Magazine. Reprint of Leonard Scott & Co. For September. From Wm. B. Zieber. The North British Review. Reprint of Leonard Scott & Co. New York. From Wm. B. Zieber. PAMPHLETS, SERIALS, NOVELS, &c.-Dictionary of Mechanics, Engine Work, and Engineering. No. 39. New York: D. Appleton & Co. 1851. 8vo. This very valuable work is now, we presume, complete, although we have not yet received the final number. The alphabet is concluded and the appendix commenced, so that it only remains for us to add to our numerous previous notices this final recommendation,—that the work contains a very large and very concentrated mass of valuable matter in a form well calculated for frequent reference. Its own intrinsic merits will secure its success.-Reveries of an Old Maid. Embracing Important Hints for Young Men. New York: Dewitt & Davenport. 12mo. pp. 188. Price 50 cents. From Wm. B. Zieber. This is a bundle of fun, farce, and caricature, with illustrations in wood-cut in the extravaganza style. Most works of this class uttered in these days of cheap literature, so miscalled, cater to a vulgar and often vile taste. No such objection exists against this volume. Its satire is not low, and is often justly pungent. The subjects attacked are the Woman's Rights frenzy, the modern boarding-schools for science. Some, who will never read anything young ladies, and humbug in matrimony and but the humorous may be benefitted by it, and all will find occasional home-thrusts of considerable piquancy in its pages.-The Girlhood of Shakspeare's Heroines. New York: George P. Putnam. 1851. Tales VII, and VIII. From Wm. B. Zieber. Containing the characters of Catharine and Bianca and Ophelia. This curious series we have had frequent occasion to notice in former numbers.-The Ways of Providence: or He Doeth all Things Well. By T. S. Arthur. Philadelphia: Lippincott, Grambo & Co. 1851. Another of the series of stories from the collection entitled Arthur's Library for the Household, of which we have already taken frequent notice. The present series is on a subject that cannot be exhausted, and is handled in the practically moral manner for which the author is so deservedly distinguished. THE EDITORIAL BOW. With the present number, our duties, as temporary editor of this Magazine, are completed, and the journal, which we received from the hands of Professor Hart in July, we now resign into those of John Sartain, Esq., one of the proprietors. Placed thus between the results of very high literary and those of equally high artistic control, our labours, during five short months, appear in the most disadvantageous though the most honourable position; but we feel assured that the quality and value of the literary matter presented in the pages of the Magazine, have not been deteriorated during our brief regency. To us the chief pleasure of the service has been the epistolary correspondence with some of the best minds in the country, originating friendships which will long subsist.-All letters on business of the journal, or the unreturned Prize Articles, should be hereafter addressed to Sartain & Co.; and with this announcement, we make our last official bow to the public, and merge ourself once more in the general brotherhood of contributors. |