tion of righteousness. Sisters, what have you done, and what do you mean to do?

"In view of the decline of the noble anti-slavery fire in England, in view of all the facts and admissions recited from your own papers, we beg leave in solemn sadness to return to you your own words :—

"A common origin, a common faith, and, we sincerely believe, a common cause, urge us at the present moment to address you on the subject of that fearful encouragement and support which is being afforded by England to a slave-holding Confederacy.

"We will not dwell on the ordinary topics-on the progress of civilization, on the advance of freedom everywhere, on the rights and requirements of the nineteenth century; but we appeal to you very seriously to reflect, and to ask counsel of God how far such a state of things is in accordance with His Holy Word, the inalienable rights of immortal souls, and the pure and merciful spirit of the Christian religion,

"We appeal to you as sisters, as wives, and as mothers, to raise your voices to your fellow-citizens, and your prayers to God, for the removal of this affliction and disgrace from the Christian world.'

"In behalf of many thousands of American

women,

"HARRIET BEECHER STOWE.

"Washington, Nov. 27, 1862."

117

ELIZABETH LE BRUN.

"You shall be a painter, my daughter, or there never was one!"

T is true that the artist, like the poet, is born, not

IT

made. And yet Sir Joshua Reynolds is not alone in affirming that "a relish for the higher excellence of art is an acquired taste which no man ever possessed without long cultivation and great labour and attention." Or, in other words, no one was ever born great; greatness is achieved, not inherited. He that writes a book worth reading, or paints a picture worth seeing, only does so by long continuous application to the art of writing or of painting. To this rule there is no exception, and to the truth of which the life of every master writer or painter attests. Whatever genius they may have had, the account of their lives has been a record of how hard they have worked, how long and perseveringly they have striven. Unquestionably, at the outset they have manifested a strong disposition in a given direction, which has decided the vocation to which they have devoted their lives; and then, having made their selection, neither time nor effort has been spared in the acquirement of that perfection to which their genius pointed.

To the truth of these opinions Elizabeth Le Brun is a remarkable illustration. Marie Louise Elizabeth Vigée, her maiden name, was born in Paris, on the 16th of April, 1755. Her father, who was a successful portrait painter, must have been delighted at the early indication given by his daughter of her love for his art. While other children are only amused with toys, she, from her earliest years, was delighted to play with her father's tools, not as mere playthings, but in efforts to imitate him in his vocation. While thus employed one day, when only seven or eight years old, she succeeded so admirably in drawing a sketch of a bearded man, that her father exclaimed in ecstasy, "You shall be a painter, my daughter, or there never was one!" This encouragement, which, was never forgotten, doubtless tended to confirm the purpose of her life, which then, as the seed lies in the ground, lay latent within her. At that early age, with all seriousness and determination, she began the studies which culminated in long and enduring fame. The instructions of her father were soon exhausted; so that it became necessary that she should take lessons from some other master. She had first the instruction of Briard, who was famous in outline and sketching; then Davesne, who painted a picture of Marie Antoinette, as dauphine of France, which was afterwards engraved, became her teacher in colour. She was fortunate also to have the friendship of the celebrated Joseph Vernet, who was then,

at the invitation of Louis XV., painting views of the sea-ports of France; and who had at that time introduced into his paintings all the charm and freshness of nature. He gave the little Elizabeth valuable advice, and became much interested in the progress of her studies. This was so far fortunate, as she lost the assistance of her father, who died when she was only thirteen years old-under the circumstances, truly an incalculable loss.

But, undeterred by the absence of the praise and instruction of her father, she still continued that which she had begun, the study of the works of the great masters, which were exhibited in the public galleries. The artists which she chiefly loved to copy were Rembrandt and Vandyck, whose portraits had for her, in their strong oppositions of light and shadow, a special charm. The works of Rubens she looked upon almost as miraculous. This great painter, more than any other, has carried the art of colouring to its highest pitch; for, as one of his critics has observed, "he so thoroughly understood the true principles of the chiaro-scuro, and so judiciously and happily managed it, that he gave the utmost roundness, relief, and harmony to each particular figure, and to the whole together; and his groups were disposed with such accurate skill as to attract, and, indeed, generally to compel the eye of the spectator to the principal object." Elizabeth looked long and lovingly also upon the charming

female heads painted by Greuze. These studies, while her own genius prevented her from becoming a copyist, enabled her to attain a style, especially as a colourist, which led on to fame. It was well for her, and for her family also, that this was so. Her father had left no property at his death: probably, like too many Frenchmen, he spent his earnings as soon as received; so that had it not been for Elizabeth, who now turned her talents to account, the family would have been reduced to indigence. And even when her mother, Madame Vigée, entered into a second marriage, things were not much improved. Her second husband was a rich jeweller, but he was so avaricious, that he positively refused to furnish his wife and step-daughter with needful necessaries, not to mention those luxuries to which his wife aspired. The earnings of Elizabeth were therefore absorbed either in articles of home consumption, or in ministering to the expensive tastes of her mother, to whom dress and public amusements were a daily necessity. Vernet had counselled his little protegée to store her earnings, and allow her parent a fixed sum; but no, all went.

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It is interesting to know that Elizabeth's progress as an artist kept pace with her personal development; that she was as beautiful as she was accomplished. Many persons were induced to bespeak portraits of themselves, so that they might, during the needed sittings, have the pleasure of conversing with her ;