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by the way, he must have had,) are described in the beautiful similitudes of Dante, as hastening to the boat
Like autuinn foliage dropping to the ground,
Or falcons stooping to the fowler's call.* Again, at verse 124, Virgil says that these 'lazy' souls, who, like asses at a ferry, must, it seems, be beaten with an oar to make them move, are always eager to get over; because, to use the poet's own strong language,
The justice of their Judge so pricks them on,
That fear is lost in longing. Surely, such a commentary has no need of comment. The following is the explanation I would offer. Charon, says the poet,
With eyes of fire, and guiding glance and sign
Gathers them all together. With what sign?—The answer,
one would think was obvious enough: the 'grim ferryman' batle col remo;-strikes with his oar,--and then-qualunque s'adagia—each one takes his seat in.Charon's barque, and that willingly, and even eagerly; because in the words of Dante, above translated,
La divina giustizia gli sprona
L. da Ponte.
THE DIVISION OF THE EARTH.
From the German of Schiller.
To mortals :—take all things to keep, or spend ;
But share them all, as loving friend with friend.
* Come d'autunno si levan le foglie
L' una appresso dell'altra, infin che 'l ramo
Rende alla terra tutte le sue spoglie ;
Gittansi di quel lito ad una ad una
Per cenni, com’augel per suo richiamo. + This is certainly one of the significations of adagiarsi, which means not only to walk adagio or slowly, but to sit a suo agio—at one's ease-in a convenient or reclining posture. This is, in all probability, the meaning of the word as it occurs in Petrarch. Part I. CANZON, v. St. iii. vers. 10.
Il Pastor &c.-
To seize his part, in busy haste, uprose
Both young and old, whoever had but hands ; The hunter through the forest lordly goes,
The farmer claims the produce of the lands. The merchant with rich wares his houses loads,
The abbot takes the generous old wine, The king bars up the bridges and the roads,
And loud proclaims—A title of all is mine. At last, when the division all was o'er,
From some far-distant spot the poet came; He came too late! for there was nothing more;
A jealous owner rose each gift to claim. Alas! alas! Shall I then, I of all
Thy truest offspring, be forgot alone? Thus to the God did he complaining call,
And threw himself before Jove's awful throne. If in the land of dreams thou would'st delay,
Replied the God, then quarrel not with me; Where wast thou when the world was given away?
I was, replied the gentle bard, with thee. Mine eye hung dazzled on thy features bright, Mine ear
th, heavens sweet harmonies ; Forgive the soul, that blinded with thy light,
Lost all on earth, to revel in the skies.
The harvest, market, chase, no more arę mine ;
Come when thou wilt, my home, that heaven, is thine.
EXTRACT OF A LETTER FROM AN ARTIST IN LONDON, TO HIS
FRIEND IN THIS CITY. DEAR FRIEND,
LONDON, May 13th, 1825. I believe it will give you some pleasure to hear of my safe arrival in this place. I had a pleasant and quick passage of twenty-four days to this city; from New-York to Havre, in twenty-three days. I have visited, since here, the royal exhibition at Somerset House several times. I am much gratified with the pictures, particularly with Turner's painting of the Harbor of Dieppe, which I shall not attempt, because I am not able, to describe. There are some sea-beach scenes, by Col
lins, who is an exceedingly clever artist, and finishes with much beauty and truth. He does not possess as much power as Turner, but his finish is better. Jo History there is Hilton who stands first. He has a picture representing Christ crucified, and with thorns, which is wonderfully fine, and would do credit to any age.
It was purchased by the British Institution, for 1000 Guineas. A picture representing a combat between two men, one of whom has had his sword broken, and is struck down on his knees, but still struggling, and a female endeavouring to save his life, is a very beautiful thing, in the Venetian style of coloring; and was painted by Mr. Etty. The deliverance of the children of Israel from the Egyptian host, who are overwhelmed by the sea, is a painting of true epic character, by Danby. In the cabinet line of painting, Messrs. Wilkie and Leslie stand unrivalled, although there are many respectable painters in that line. They have only one picture each. Mr. Leslie's is a scene from Shakspeare-Master Slender, assisted by Shallow, courting Anne Page; for character, coloring and expression, it is really admirable. Indeed, Leslie is near the top, and will soon be up. Mr. Wilkie's picture represents a Highland Family. I will merely say, that it is every way worthy of him. In animals, Mr. Ward has the reputation of being first; but, in my opinion, Landseer, son of the engraver by that name, is the best. Landseer finishes with a fine, delicate, yet decided pencil. Mr. Ward paints his pictures unnecessarily rough. The effect is forcible and fine, if the spectator can get at sufficient distance; but speaking distance will not answer. I think that the paintings of the English School are unnecessarily coarse without justification in the result. Of most of the works of the English Painters, we may say, “'Tis distance lends enchantment to the view.” I have seen some real Claudes, and do not find the British artists justified in their abuse of colours by that master, or by Titian or Rubens. In portrait Sir T. Lawrence is prodigious; his painting is poetry. There are many very fine painters in the portrait line: Sir William Beachy for instance, Jackson, Philips, Shee, Pekersgill, and some others who excel, besides a host of indifferent painters of the human face divine. The society of water-colour painters have an exhibition, and I was astonished to find to what perfection that branch of painting has been carried. It almost rivals oil pictures, of every subject, simple or complex; is equally as well managed, and that with a freedom too, which I supposed belonged only to oil colours. I am certain, however, that there is much trick in producing effects in water painting.
I have visited many collections of a public character, but have not seen any private collections. I find it difficult to get sight of them, not being of the privileged order. I shall go to Paris next week to spend some time; how long I know not ; it will depend on the facilities I may find to acquire knowledge in my profession. I have seen some prints by Woollet, but they are scarce, and difficult to be obtained.
WILD BIRDS, WILD BIRDS !
LINES ON REVISITING THE COUNTRY.
Broad, round, and green, that in the southern sky,
Orchards and beechen forests, basking lie;
And ever-restless steps of one who now
There plays a gladness o'er her fair young brow
As breaks the varied scene upon her sight,
To gaze upon the mountains—to behold
And clouds along its blue abysses rolled;
Its horrid sounds and its polluted air ;
And gales, that sweep the forest borders, bear
In this pure air, the plague that walks unseen;
From thy fierce heats a deeper glossier green;
The wide earth knows—when, in the sultry time,
He seems the breath of a celestial clime;
Arts, Science, and Philosophy. Lectures on Geology; bemg Outlines of the Science ; delivered in the Neu-York Athenenm in the year 1825. By Jer. Van Rensselaer, M. D. Associate, and Lecturer on Geology to the Atheneum ; Member of the Roval Medical Society, Edinburgh ; Corresponding Member of the Roval Academy of Sciences, Naples; of the Linnean Soriety-of the Society of Encouragement, and of the Medico-physical Society, Paris; Director of the American Academy of Fine Arts ; Corresponding Secretary of the Lyceum of Natural History, and of the New-York Horticultural Society --Secretary of the Literary and Philosophical Society, and Member of the Historical Society, New-York: Member of the Society of Natural History, Leipzic--of the Society for Promotion of Arts, and Correspondent of the Lyceum, Albany. 8vo. pp. 358. New-York. E. Bliss & E. White.
A Catalogue of American Minerals, with their Localities; including all which are known to exist in the United States and British Provinces,