or a fancy-ball given by Folly and Flattery jointly to Heathenism. Here are Apollo, the Muses, and Pan and Ceres, and Thames and Isis, and Flora and Ganymede, Juno and her Peacock, the Fatal Sisters and Jupiter. The Signs of the Zodiac, the Zephyrs and Destiny, and Venus with her legs upon a Swan, and Venus and Mars her lover. Pluto, Proserpine, Cœlus and Terra, Neptune and Amphitrite, Bacchus, Silenus, Diana, nd Romulus and his Wolf. Herccules Peace, Æneas, and the Twelve Cæsars, and the Genius of Rome; and (we must suppose, not in compliment to the Christian religion) Julian the Apostate writing at a Table, with Mercury the God of Eloquence at tending upon him. But if the king's grand staircase is shocking, there is a very proper matrimonial agreement between that and the queen's; for that blockhead Kent was allowed to daub the ceiling, and Vick to perpetrate the great picture upon the wall representing the Duke of Buckingham as Science, in the habit of Mercury, introducing the Arts and Sciences (that is, duplicates of himself) to Charles II. and his queen. Was there in those days no lunatic asylum to have provided a "Custos virorum mercurialium?" But we must confess, that of all these vile perpetrations, Verrio's are the best-we trouble not ourselves about the designs of any of them-but Verrio's keep up the ornamental intention best. They are light and gay in colour, and are at once both rich enough and weak enough to set off the more solid furniture. Some are dingy and heavy; and to have allegories ready to drop en masse as a dead weight, and overwhelm the spectator and his ideas, and bury him under Titans of brown umber, is a sad check upon a lively imagination. The "First Presence Chamber," too, presents us with a big allegory, 18 feet by 15William III. on horseback, in armour, and with a helmet that Mercury and Peace think it necessary to support, decorated with laurel-and Neptune with his attendants by the side of a rock acting master of the ceremonies villanously-while Plenty and Flora present flowers; for all which, King William would have done well, had such a happy invention been then in existence, to have sent Sir Godfrey Kneller to the treadmill, and Flora

NO. CCCII, VOL. XLVIII.

with him. Would we wish to see these allegories destroyed? It is a puzzle. They contain, some of them at least, portraits-and are, therefore, curiosities. It is to be lamented, then, that they are so large-the staircase walls, we protest, would look better whitewashed than as they are. But we fear, were we called upon to decide, it would be that they remainfor the precedent of destruction is a bad one; and there are who may take a fancy to have their fling at the cartoons. It is, perhaps, fortunate that those noble efforts of the mature genius of Raffaele were not set up in their present state, when by an ordinance of parliament, " Sir Robert Harlow, 1645, gave order for the putting down and demolishing of the Popish and superstitious pictures in Hampton Court, where this day the altar was taken down, and the table brought into the body of the church; the rails pulled down, and the steps levelled; and the Popish pictures and superstitious images that were in the glass windows were also demolished; and order given for the new glazing them with plain glass; and, among the rest, there was pulled down the picture of Christ nailed to the Cross, which was placed right over the altar; and the pictures of Mary Magdalen and others weeping by the foot of the cross; and some other such idolatrous pictures were pulled down and demolished." We extract this from Jesse's little, useful, and amusing volume, "Hampton Court," which, as a guide, judiciously contains much information which a visiter would wish to refresh his memory with, and to which we stand indebted for this and other matters. He took the above passage from a weekly paper of that date, 1645. The Parliamentary Commissioners, to the disgrace of the country, sold the treasures of art collected by the first Charles, and among them the nine pictures in distemper" the Triumphs of Julius Cæsar," by Andrea Mantegna. They at that time sold for a thousand pounds, and were repurchased, at the Restoration, by Charles II., and are now in Hampton Court. We do not pretend to offer any detailed account of these admirable designs: they require much time to study them. We should be glad to learn if they have ever been engraved. Andrea Manteg na was a great master of design: his 3 с

engravings are very scarce, and very valuable, some being subjects from Raffaele. He has been thought to have been the inventor of engraving. Nor shall we attempt to say much of the cartoons, which, though they have been so often described, may yet be critically examined, both with regard to their effect on the general spectator, and with regard to the rules and principles of art employed in, and to be discoverable from them. This, as well as a particular account of the pictures throughout the palace, we hope to make the work of some future day. But we earnestly recommend Mr Burnett, who is now bringing out the cartoons in a new and most effective manner, (and, we are happy to add, at a very low price), to write a small treatise upon them to accompany his plates. His great knowledge of all the details of art, and his judgment and feeling for the great master, particularly qualify him for the work. We had intended, when we began this paper, to have extracted from our note-book our remarks upon the pictures in Hampton Court; but, upon reflection, think it better, on some future occasion, to examine them more closely; and we do hope that the good will be, by a discreet hand, separated from the rub. bish, Many, too many, by far the greater number, are worthless-injure those those that are good, as evil company is apt to do; and surely nothing little or contemptible should be suffered in a palace originally erected by Wolsey, and rich in associations of what is great, and what is important in history. So should all the unauthenticated portraits be removed. Where there are so many undoubtedly genuine, it is a pity that a doubt should arise. There should be a delightful confidence in such a portrait gallery; that the vision, the waking dream of olden times, should pass before the mind, or linger where desired, with the most complete power and true enchantment. The faithfulness of Holbein should have nothing that is false near it. We are sure of the truth in Holbein's Queen Elizabeth, when young, probably thirteen or fourteen years of age. It is the only portrait of the great maiden queen that is pleasing. The countenance is very interesting, even pretty; the figure graceful; and with the countenance expressive of a sweet simplicity of

manner-a gentilezza. Self-will had not yet overcome the submission of her mind. Power had not enthroned the "glorious Gloriana." But, from this maiden age, there is not a portrait of Queen Elizabeth that is not hideous. The most unaccountably whimsical is that of Queen Elizabeth, in a fantastic dress, by F. Zucchero. It is as inex. plicable in its hieroglyphic as it is ugly in dress, and strange in every accompaniment. It is said that the Queen would not allow her face to have any shadow, whether from ignorance of art, or from a conceit partly belonging to herself, and partly the fault of that age of fulsome flattery, so that here all the shadow is in the back ground. She is supposed to be in a forest, a stag behind her, and a tree on which are inscribed mottoes, the meaning of which is past conjecture; her dress would disgrace a Kamschatkan milliner. On a scroll are some verses, by some supposed to be her own, and by some to have been from the pen of Spencer; we should acquit the latter of unintelligibility. The picture of the Queen, allegorically treated by Lucas de Heere, is extremely curious; but, for some specimens of this kind, we could scarcely credit the fulsome allegory of those days-allegory that wellnigh quenched the fire of genius, not that we mean to speak of the genius of De Heere. Allegory was then the court etiquette; in language and in art it was the veil between majesty unapproachable and her people. In language, it had its ameliorating and courtly use, when modified by genius and a love of truth; and perhaps even the wonderful power and fascination of the language of Shakspeare may be not a little indebted to this faulty source. But this only obiter, we fear getting out of our depth, and so return to this picture of Lucas de Heere. It represents the sudden appearance of Queen Elizabeth before Juno, Pallas, and Venus. Queenly is the step of the terrestrial majesty. Juno is in the act of retreating; Pallas is in utter astonishment, and Venus blushes at being overcome in beauty. The goddesses forget their own discord, each conscious that Queen Elizabeth alone would have been worthy the golden apple. Now the wonder is that Elizabeth herself did not start aghast at the ugliness of the picture, and particularly of the representation

of herself; and yet her two attendants have grace; but the ingenuity of the painter in this is admirable; for, as he could not preserve the queen's likeness, and give beauty at the same time, he makes her the standard of beauty, by representing Venus as much like her as possible, preserving, nevertheless, a very manifest inferiority on the part of the goddess.

The following Latin lines beneath describe the picture :

&

Juno potens sceptris, et mentis acumine Pallas,

Et roseo Veneris fulget in ore decus. Adfuit Elizabeth, Juno perculsa refugit,

Obstupuit Pallas erubuitque Venus." It is scarcely fair to poor De Heere to place this his picture directly under Holbein's Queen Elizabeth when young. It has been asserted, that there is no undoubted portrait of Mary Queen of Scots. What is, then, to be said of this by Janette. It is exquisitely beautiful, and, in style of art, surpassed only by Raffaele. It is like both Raffaele's and Holbein's portraits. It bears a "royal presence" and sweetness as a picture, it has wonderful grace, and truth, and power. There are several others by this master, and all of them strikingly good. The historical portraits of this period are most interesting; few before that time can be relied upon; but here we find the satisfactory attestation of Holbein and Janette. After that, art dwindled, and nearly sunk under senseless allegory, and has little to attract till we come to the beauties of Charles II.'s reign. These are so well known, and all that can be said about them has been so well said by

Mrs Jameson, that we can only refer to her book. We believe that, besides portraits, there are some very excel lent pictures at Hampton Court; but, placed as they are, they do not tell their own story. They are in a wretched state.

We could have wished, for the sake of art, that would not be conspicuous in her defects, that Mr West had been a miniature painter. He occupies far too much space, considering that he has not dignified what he has occupied; and his works are a satire upon the taste and patronage of good old George III. There has been an attempt made, and is not yet altogether relinquished, to have the cartoons removed to the National Gallery, or to some National Gallery within the city smoke. If there is danger of injury thereby, as some say there is, who would wish the removal? and why rob Hampton Court of its greatest treasure; and surely now it is accessible enough? We fear they must suffer deterioration where they are, their surfaces being exposed to the atmosphere. We should think no cost too great to put glass before them, if, at the same time, they could be so placed as to be well seen. The first thing to consider is their preservation. It is said, too, others of the set are extant; if it be the case, surely they should be secured to the nation.

This is a slight notice of Hampton Court; but if it be allowed to be a precursor to more detailed observations, and may attract the attention of those concerned in these matters to a careful scrutiny of the pictures, we may have our pleasure, not without some public profit.

air:

I.

I'm a bold smuggler;

I don't care who knows
That I'm always the slave

Of the ladies.
For the customhouse rogues
I have bullets and blows;
But the service of beauty
My trade is.

Come, my sweet Spanish roses!
Come buy, come buy;

I have goods for all fancies,
Come try, come try.
Here are earrings and bracelets,

Like woman's bright glance,
Here are sandals so light,

Of themselves they might dance. All the beauties are longing To come to my stall; I have rings for the wedding And wreaths for the ball. See these gossamer veils !

Mechlin has no such laces, Though I own 'twere a pity To hide your sweet faces. At Loretto, these beads

Round" Our Lady" were hung. See these mirrors! they'd make Your grandmothers look young. In short, such a cargo

In Spain was ne'er seen; 'Tis in friendship I show it, 'Twas made for the Queen.

Hark! the Ronda* are riding

I'll swear 'twas a shot!

Would you have me stand here
To be kill'd on the spot?
Here are meerschaums from Turkey,
And cameos from Greece-
I'm ruin'd by their sale:
They're for nothing a-piece.
See this ring-the Mogul

Never wore such a stone.
I'm mounting my mule:
You'll repent when I'm gone.
In short, such a cargo

In Spain was ne'er seen;
'Tis high treason to sell it,
'Twas made for the Queen.

III.

I'm a bold smuggler;

I don't care who knows;
I can take down a bull
With my lance, sir.
I have powder and shot
For Frenchmen and crows,
And have oft led

Napoleon a dance, sir.
What cares the Guerilla
For sunshine or snow?
His heart's in his hand

When he follows the foe. We laugh at their columns, We laugh at their lines, When we sharpen our knives And unsling our carbines. The Frenchman is coming. Hillo! hillo!

The true Spanish style

Is no word-but a blow. He may plunge in our valleysWe'll wait for him there, He shall find the Guerilla A wolf in his lair. He may climb up our hills, The Guerilla is nigh,

To make his last bed

With his face to the sky.
His bones shall be dust,

And his blood shall be rain,
Before he shall trample
The heroes of Spain.

Έως.

THIS is the age of Watering-Places. The pleasures of mankind are certainly increasing. We are not now speaking of the pleasures of the table; those our forefathers, perhaps, enjoyed as much as we, and studied them more. They had as much beef and fish, had more game, and had claret for condescending to drink its thin, tartareous vintage. Nor are we speak ing of the pleasures of gaming, such as they are; for they are rapidly disappearing from all that names itself rational society, and are fast descending into the professional hands of those who in other days would have been highwaymen. Nor do we insist on the pleasures of wealth, which is rather the key to them, than enjoy ment itself, and which is equally felt in every age of mankind. Our position is, that the age has acquired new sources of gratification, easy in their attainment, sifnple in their indulgence, and salutary in their effect on the spirits and the frame. For the relief of disease, for the relaxation of the mind, and for the enjoyment of the senses, the three things most essential are, change of climate, change of scene, and change of society. The modern system of watering-places secures them all. The system began in England, and even here is scarcely above a century old. In Germany it was about half a century later, and is now, after completing the circle of the Rhenish towns, slowly advancing through the interior of Germany. In France it is still scarcely known, and with the most delicious shores, and some of the most romantic country of the south of Europe, the French have scarcely yet discovered that they have on one side the waters of the Mediterranean, and on the other the surges of the Channel; that the severity of winter may be softened by thezephyrs of the south, and the languors of summer refreshed by the breezes of the Atlantic.

Of course it is admitted, that neither bathing nor the use of mineral waters are novelties; they are both at least as old in this country as the Roman conquest. The supreme deity of the Romans was good sense. Wherever they marched, they carried

the customs of their country along with them. Wherever a Roman legion was stationed, its first care was to establish three public works—a bath, a temple, and a theatre. They were well acquainted with the virtues of mineral waters, and seem to have discovered, or have named, the chief springs in France and Germany. It will be equally admitted, that for centuries those springs have been used by invalids; and that the baths of the Pyrenees, of the Rhine country, and even of England, have been prescribed by physicians, in every age, since the days of Charlemagne. But it was to England that was due the first idea of the" Watering-Place," in the more perfect, because the more pleasant, sense of the word; as an abode where not merely the invalid found health, but where all found enjoyment; others adding the charms of scenery to the animation of society, a holyday retreat, which gave a temporary relaxation to minds and bodies wearied by the prac tical anxieties of cities, and filled every day with amusement without fatigue, and gayety without dissipation.

It is remarkable, that almost every invention of our day has a tendency to increase the enjoyments of the mul titude. The inventions of the seventeenth century were chiefly scientific, and intended for the philosopher; the inventions of the century before were chiefly in the art and instruments of war, and intended for the soldier; the inventions of the fifteenth century (of all eras the most vivid and original,) were of the great arts which distinguish the modern world from the ancient, and were evidently intended to civilize the half-savage state of European nations. But the inventions of the eighteenth and nineteenth centuries, have been all for the comforts of the people. The uses of steam-that new principle of power put into the hands of man for a new mastery over nature-have been exclusively turned to the general increase of those means of enjoyment which especially concern the multitude;-to the production of better clothing, the drainage of mines, the relief of labour in the more toilsome and unhealthy occupations, and in later years the more easy, rapid, and