an extended notice of Parts I. and II. (The Two Gentlemen of Verona, and King John); and in that view we failed not to pay a just tribute to the skill of the respective artists engaged in the designs and illustrations. Amongst the designers Harvey stood then, as he stands now, at the head of his beautiful art; amongst the engravers, we specially noticed Orrin Smith, Jackson, Williams, Thompson, &c. Whenever these names appear, in the Parts now before us, the same cordial praise is due. In Love's Labour Lost, however, Messrs. Harvey, Jacque, Sargent, &c., find an able coadjutor in Buss. His design of "Love's Labour Lost, acted before Queen Elizabeth," (engraved by Landels) is really a very splendid affair. In noticing some of this artist's earlier illustrations of the play, it struck us that he was not quite au fait in embodying his ideas upon wood; but, in the design just mentioned, practice appears to have made him perfect." There is so much broad humour, as well as characteristic force, in all that Buss executes, that, in illustrating the comic productions of our bard, his aid cannot prove otherwise than extremely valuable. 66 66 With the editorial department of that most exquisite of love stories, Romeo and Julietespecially as regards the notes, and the "Supplementary Notice"- —we are particularly pleased. The admirably philosophical remark of Wordsworth's, that Shakspeare's writings, in the most pathetic scenes, never act upon us as pathetic beyond the bounds of pleasure," is ably enlarged upon, to the complete demolition of the wretched fancies of Garrick, Mrs. Inchbald, and others, who thought that Shakspeare (poor simpleton!) had been misled in his catastrophe of Romeo and Juliet! Kind, critical souls, they were therefore desirous, by substituting horror for pathos, to amend the catastrophe! We are told that, once upon a time, a link-boy thus responded to Pope's prayer, "God mend me !" "Mend you; he had better make half-a-dozen new ones!" Now, according to our humble view of the subject, it would be more difficult to mend Shakspeare than it would have been to mend Pope. At all events, the operation would require an artist of infinitely higher powers than either Garrick, Tom Warton, or Mrs. Inchbald. The aggregate number of illustrations in Parts III. and IV. amounts to fifty-four. Part V. presents the historical play of King Richard the Second; but we have not yet been able to pay it the requisite attention on which to found our opinion. Many of them we recollect having seen in that once elegant and popular publication, LA BELLE ASSEMBLEE. The name of Mrs. Clarke is also familiar to us, as that of a very charming writer in The Liverpool Albion, one of the ablest, soundest, (its politics excepted,) best conducted, and most interesting journals in the kingdom. In fact, for copiousness, variety, and literary talent, London can produce nothing like it, in the form of a newspaper. Thank heaven, however, our fair author does not trouble herself or her readers about politics: judging, no doubt, that we encounter more than sufficient annoyance of that description from the "lords of the creation." We have only one reason for not quoting largely from the pages of the volume before us that most of them have already met the public eye. There is a sweetness, a gentleness, a tenderness, a touching beauty about many of these "Tales and Sketches,' " of which we cannot speak too highly. Amongst others, we may particularize as our favourites, Coeur de Lion's Return, The Tournament, Mary of Lorn, The Days of Wallace, James of Scotland in Captivity, Tradition of Ludlow Castle, The Pilgrimage to Normandy, Lochlevin's Flower, Henrietta of France, &c. In collecting these pieces, and presenting them in a form so attractive, Mrs. Clarke has conferred a great favour upon her friends. Heads of the People taken off, by Kenny Meadows (Quizfizzz). No. 5. Tyas, 1839. MR. Kenny Meadows, no longer a masked executioner, but a much more agreeable operator than the guillotine, takes off four of the "Heads of the People," in this number, with his accustomed adroitness: the Barmaid, the Teetotaler, the Factory Child, and the Conductor; the Conductor, ladies and gentlemen, of that light and airy, elegant and fashionable vehicle, an omnibus. In his operation on the Barmaid Mr. Meadows is assisted by Charles Whitehead; on the Teetotaler, by Laman Blanchard; on the Factory Child, by Douglas Jerrold; and on the Conductor, by Leigh Hunt; all of them accom plished practisers of the art of literary dissection. A Treatise on Consumption, Asthma, Hooping The Teetotaler's "Doctrine is in favour of extremes meeting; the excellence whereof he illustrates by a reference to the especial pleasantness of whiskey-andwater. To drink water, he conceives is about half of the whole duty of man, which is necessarily of a mixed' character. Tea, nevertheless, he will not absolutely decline, even in his non-professional hours, and apart from his avocation as a temperance teacher; but then he imperatively requires with it a dash of brandy. To him there appears no reason why Mr. Twining should not enter into partnership with Hodges or Booth. This sine qua non granted, he will respond in the affirmative to the considerate, but too often satirical, enquiry, 'Is your tea agreeable?' but to expect him to relish Souchong out of the society, to tolerate gunpowder but with a view to going off with a glorious report, is to single out the Teetotaler for a task never imposed upon moralist or agitator before." Meadows's portrait of the poor Factory Girl is not without a fault: it is not sufficiently miserable and squalid. Jerrold's accompaniment is well sketched, but it does not excite the intense agony that was produced by the horrible details that were given in evidence before the Committee of the House of Commons. How ever "Science may not turn Seven-Dials into the garden of the Hesperides; nor do we look that it should make Holywell Street flow with milk and honey ;—but the time is approaching when, by its wise and bounteous nature, the wrongs at this moment eating like ulcers in the social body, will be classed with the cruelties of bygone ages. Another generation, and they who insist on the necessity of the condition of the nine years old Factory Child of our day, will take their places with the admirers of thumbscrews, the champions of the social value of the steel-boot." From Mr. Hunt's "noticeable varieties" of the class of conductor, we crib a portion of the first: : “The Conductor is a careless-dressing, subordinate, predominant, miscellaneous, newlyinvented personage, of the stable-breed order, whose occupation consists in eternally dancing through the air on a squalid bit of wood, twelve inches by nine; letting people in and out of the great oblong box called an omnibus; and occasionally holding up his hand, and vociferating the name of some remote locality. He has of late been gifted with a badge, which classifies the otherwise "promiscuous" appearance of his set-out; and in some districts they have put him into livery, which, though it raises him in the scale of neatness, and, perhaps, of civility, wonderfully lowers his aspect in that of independence, and conspires to turn the badge of office into an aggravated mark of servitude." (Whooping) Cough, and other Affections of the Lungs; especially in reference to the Endermic and Inhalent Methods of Treatment. By John Pocock Holmes, Esq., Member of the Royal College of Surgeons, &c. Second Edition. Holdsworth. 1839. THE employment of counter-irritants in the relief and cure of disease, is not new: it has been successfully adopted by our older, as well as by our more modern practitioners; but there is, we apprehend, a considerable degree of novelty in Mr. Holmes's mode of combining the process of friction with that of inhalation. Into a description of this mode of treatment it is not within our province to enter. According to Mr. Holmes's statements, sustained by apparently unimpeachable testimony, it has been found eminently successful; and therefore we deem the little volume before us entitled to the attention of the afflicted. 66 Gertrude and Beatrice; or, the Queen of Hungary. An Historical Tragedy, in Five Acts. By George Stephens, Author of "The Manuscripts of Erdeley." Mitchell. 1839. THIS tragedy, it appears, was written with a view to representation, and the author once hoped (after certain curtailments) that it would have been brought out on the boards of Covent Garden Theatre." Our opinion, however, is in perfect accordance with that of Mr. Macready, that the situations between Rodna and Beatrice, in the fourth act, must have proved fatal. In fact, the scene referred to is such, that no manager, unless labouring under a paroxysm of insanity, would dare to present to an English audience. It is nothing to the purpose to say, that "the obnoxious scene is only not strictly historical, because the intent, which in the play is frustrated by the appearance of Bankban, was, according to all accounts, actually consummated.” It is the business of the historian to record facts-simple, naked facts; but, as "the truth is not to be told at all times," the dramatist and the romance writer are imperatively bound to dismiss from their compositions whatsoever may be found militating against delicacy, manners, or morals, in passages of actual life. We must remark, however, that Mr. Stephens's powers are of no mean order: the rhythm of his verse is frequently defective; but his ideas are bold, occasionally original; and his modes of expression, though not always correct, have considerable power. Travels of Minna and Godfrey in Many Lands. From the Journals of the Author. The Rhine, Nassau, and Baden. Smith, Elder, & Co. 1839. THIS is one of the cleverest, most attractive, and most instructive books for youth that we have for a long time met with. In the progress , of our young friend's travels along the Rhine, drawings by Miss La Creevy," "will comprise through Nassau, on to Baden, Basle, &c., a | Portraits of the most interesting individuals world of information is conveyed: historical no- that appear in The Life and Adventures of tices of the respective places-observations on Nicholas Nickleby,' selected at the period when public buildings and productions of the fine their very actions define their true characters, arts-legends of the Rhine-romances-tales- and exhibit the inward mind by its outward anecdotes-natural history-are profusely and manifestations. Each Portrait will be a literal gracefully interspersed. transcript from the accurate and vividly minute descriptions of this able and most graphic author; and will present to the eye, an equally faithful version of the maiden simplicity of Kate Nickleby-the depravity of Sir Mulberry Hawk The volume is further enriched by the introduction of several neat graphic illustrations. This little book appears to form a sort of sequel to a similar volume, in which the travels of Minna and Godfrey through Holland are de--the imbecility of his dupe-the heartless vilscribed; and we sincerely hope that it will itself find a sequel, or continuation; for we could ramble with these young people and their friends the world over, with increased and increasing delight. Heads from Nicholas Nickleby. No. I. Tyas. WE are promised, that these "Heads," professing to be " etched by A. Drypoint, from lany of the calculating Ralph-the generosity of the noble-minded Nicholas-the broken spirit of poor Smike-and the brutality of Squeers." This number presents the Heads of Kate Nickleby, Ralph Nickleby, Sir Mulberry Hawk, and Newman Noggs: they are enlarged, with much accuracy of resemblance, from the designs of the original work; and, from the extreme cheapness of the publication, we have no doubt that they will prove extensively acceptable. Select Necrology. THE DUCHESS COUNTESS OF SUTHERLAND. HER Grace, Elizabeth, Duchess-Countess of Sutherland, was born at Leven Lodge, near Edinburgh, on the 24th of May, 1765. She was Countess of Sutherland in her own right. The earldom to the title of the Sutherland family is the most ancient of any in Great Britain; having been continued without interruption in the lineal course of descent, for nearly six hundred years, and through twenty generations, to the late noble possessor. On the death of her father, the Countess, then only a twelvemonth old, was placed under the guardianship of John Duke of Athol, Charles, Earl of Elgin and Kincardine, Sir Adam Fergusson, of Kilkerran, and Sir David Dalrymple, of Hailes, Baronets, and John Mackenzie, of Delvin. A competition arose for the title of Sutherland, to which claims were entered by the Countess, Sir Robert Gordon, of Gordon's Town, Baronet, and George Sutherland, of Forze. After various proceedings, the cause was, on the 21st of March, 1771, resolved, and adjudged, by the Lords Spiritual and Temporal, in Parliament assembled, in her Ladyship's favour. under the command of the same officer. That regiment, in 1798, volunteered its services to assist in quelling the rebellion in Ireland, where it was actively and successfully employed. At a subsequent period, it was incorporated into the line, and is now the 93rd regiment of foot. The Countess of Sutherland was married in London, on the 4th of Sept. 1785, to the Right Hon. Geo. Granville Leveson Gower, afterwards Marquess of Stafford, and raised to the Dukedom of Sutherland, in 1833. By this union, the Countess of Sutherland had a family of six children, of whom the eldest was George Granville, second and present Duke of Sutherland. In 1779, the Countess of Sutherland raised a regiment for the defence of Britain, called the Sutherland Fencibles, which was completed to the full number of 1000 men in twelve days, and the command given to her cousin-german, Lieutenant-General William Wemyss, of Wemyss. At the commencement of the war in 1793, the Countess again raised a regiment of Fencibles, The late Duke of Sutherland died on the 19th of July, 1833, when his noble relict assumed the title of Duchess-Countess; at once distinguishing herself from the Duchess her daughter-in-law, and preserving her own hereditary title. After a short illness, her Grace expired, at her town residence, Hamilton Place, Piccadilly, on the evening of Tuesday, the 29th of January. Having expressed her desire that she might be interred in the same vault with the late Duke, and a long series of her ancestors, her remains were embarked in a steam-packet, for Scotland, on the 9th of February. The Countess of Sutherland was eminently distinguished for her taste in literature and the fine arts, and for the most munificent patronage of their professors. Highly accomplished, charitable, benevolent, generous; SIR WILLIAM BEECHEY. ON the 26th of January, at Hampstead, Sir William Beechey, R. A., aged 86. Mr. Beechey was born at Burford, in Oxfordshire, in 1753. For some time, he was under an eminent conveyancer at Stowe; afterwards with a gentleman of the same profession in London, who died; and subsequently with Mr. Owen, of Tooke's Court. Becoming enamoured of the fine arts, he procured a substitute for himself with Mr. Owen, deserted the law, and in 1772, was admitted as a student at the Royal Academy. He made a rapid progress in his new profession. Amongst his earliest performances were portraits of the old Duke and Duchess of Cumberland, Dr. Strachey, Archdeacon of Norwich, and the Chevalier Ruspini. From London, Mr. Beechey went to Norwich, where he painted small conversation pieces in the manner of Hogarth and Zoffanii. At Norwich, he became acquainted with and married Miss Jessup, afterwards Lady Beechey, and who become an admirable miniature painter. By that lady he had a family of fifteen children, most of whom are yet living. His youngest daughter, Charlotte Earle, was, in 1825, married to Lord Grantley, the elder brother of Mr. Norton, the magistrate, husband of the Hon. Mrs. Norton. Captain Beechey-his brother, the traveller-and George, the painter, have all acquired high reputation. On his return to London, Mr. Beechey took the house in Brook Street, Grosvenor Square, which had formerly been the residence of Vandergucht. He afterwards removed successively to fill Street, Berkeley Square, George Street, Hanover Square, and Harley Street, Cavendish Square. The nobility of both sexes flocked to him from all quarters. He was appointed portrait painter to Queen Charlotte, and employed by George the Third, to paint a whole length of her Majesty, and portraits of all the Princesses. With the exception, perhaps, of Sir Thomas Lawrence, no artist ever painted the portraits of so many of the most beautiful women of the age. In their figures he was generally successful; the likeness strong, with a natural and easy air. Of his powers as an artist, no adequate judgment can be formed by those who have seen only the works of his declining years. In 1793, Mr. Beechey was elected an Associate of the Royal Academy, and in 1797, an Academician. In 1798, the King_conferred upon him the honor of knighthood: he was the first member of the Royal Academy who had been so honored since the death of Sir Joshua Reynolds. JAMES BOADEN, ESQ. THIS veteran in dramatic, biographical, and editorial literature, was a native of Whitehaven. He was born on the 23rd of May, 1762. His father, Mr. William Boaden, was many years in the Russian trade. Sent to London at an early age, he was first engaged in the counting-house of Alderman Perchard, and subsequently as a banker's clerk in the house of Prescott, Grote, and Prescott. Soon afterwards, however, he devoted himself to the newspaper press. He entered himself in the Inner Temple, but was never called to the bar. At an early period, and for some years, he was editor of the Oracle, a morning paper, of some note in the literary and fashionable world. Mr. Boaden was a distinguished partizan in what was termed the Shakspeare controversy. If we mistake not, he was the first person who attacked the MSS. that were attempted to be forced on the public as Shakspeare's. Besides his writings, which from time to time appeared in the Oracle, on this subject, he published " A Letter to George Stevens, Esq., on Ireland's forgery of the Shakspeare MSS." Mr. Boaden wrote and published several pieces for the stage: The Prisoner, 1792; Osmyn and Daraxa, 1793; Fontainville Forest, 1794; The Secret Tribunal, 1795; The Italian Monk, 1797; Cambro Britons, 1798; Aurelio and Miranda, 1799; The Voice of Nature, 1803; The Maid of Bristol, 1803. Mr. Boaden generally drew the material for his plots from popular novels and romances. originality, little invention, little of the fire of genius. Most of his pieces were more or less successful, for a time, but none of them attained the honour of becoming a stock piece. He had little Mr. Boaden was more successful as a biographer and critic, than as a dramatist. His Life of John Kemble, abounding in theatrical anecdote, of a highly interesting character, was also rich in criticism. His Life of Mrs. Siddons, which followed soon after the death of that lady, was of a similar description; but, partly from the sources of information, &c. having been exhausted, it was not equal in merit to its precursor. His Life of Mrs. Jordan came last, and was altogether a performance of very humble pretensions. It was objectionable, too, in other respects: the spirit and feeling which it evinced were bad; and rumour did not hesitate broadly to assert, that the main object in producing it was, that it might be bought up and suppressed. If so, the design was frustrated. We are sorry to say, that the latter years of Mr. Boaden's life were not passed in affluence. He died on the 16th of February, in the present year. EDWARD CHATFIELD, ESQ. BOTH literature and art have sustained a loss in the early and lamented death of this gentleman, who died on the 22nd of January, in Judd Street, Brunswick Square, at the age of 39. He was the only surviving son of the late John Chatfield, Esq., of Croydon. He became a pupil of Haydon in the year 1818, or 1819; at the same time, if we mistake not, with the Landseers, Y Bewick, and Christmas. His first picture was the Death of Moses, which was exhibited in the gallery of the British Institution, in the spring of 1823, and is now at Salters' Hall, in the City. He painted the Otter Hunt, a picture now at Islay, in Scotland, for Campbell, Esq., M.P. for Argyleshire. The Battle of Killicrankie, exhibited two or three seasons ago at Somerset House, evinced one of the most rapid advances in art, within a very short period, that we ever witnessed. It was extremely well composed, finely coloured, harmoniously toned, and altogether in excellent keeping. This painting was sold at the Liverpool exhibition, and will, no doubt, be preserved as a beautiful specimen of the artist's powers. His Death of Locke was exhibited at Somerset House; his Ophelia, in the new rooms of the Royal Academy at Charing Cross, in 1837; and his Portrait of the Son of William Russell, Esq., also at the Royal Academy, in 1838. In his portraiture of childhood and youth Mr. Chatfield was remarkable happy. His particular friend, Mr. J. Orrin Smith, of Judd Street (one of our ablest and most effective artists in wood engraving), has in his possession a portrait of one of his own children, painted by Chatfield, which, for truth of resemblance, and also as a work of art in all its finest properties, may be pronounced perfect. It is, in truth, a gem. When seized, last year, with the fatal illness which terminated his existence, Mr. Chatfield was employed on a work of considerable extent, entitled The Embarkation of Troops. This promised to be his chef d'œuvre. It is in a very advanced state; the story is clearly and beautifully told, with some charming touches of both pathos and humour. The composition is good; and it displays considerable force, variety, and distinctness of character. Were the painting ours, even unfinished as it is, we should deem it sacrilege to have it touched by any other hand. Fortunately for Mr. Chatfield, though not so for his progress in art, he possessed a moderate independence, which enabled him to study his own tastes rather than mere pecuniary acquisition. His love of painting was intense; his conceptions were of the loftiest stamp; but, successful as he was in execution, his execution, like that of many other men of genius, never satisfied himself. 6. Mr. Chatfield's love of literature was scarcely less ardent than that of his own art. His first literary essays appeared in the Annals of the Fine Arts, in 1818 and 1819; and, at intervals, he has since frequently written, not only for the newspapers but for the superior periodicals, under the signature of ECHION.' About three years since he wrote "Notes of an Artist" in the Monthly Magazine; a few months ago he had an article in the New Monthly Magazine; and his last paper, On Poetic Painting and Sculpture, was in the February number of the same publication, in the present year. In the third number of 66 Heads of the People," the paper illustrative of the Old Lord, under his usual signature of "ECHION," was Mr. Chatfield's. It is written with extreme neatness, and much quietness of point. This was the last paper he wrote, and must have been the relaxation of some of his latest hours. In private life Mr. Chatfield was amiable and honourable, friendly, generous, and benevolent. LORD ST. HELENS. THE Right Hon. Alleyne Fitzherbert, Baron St. Helens, of the Isle of Wight, who died at his house in Grafton-street, on the 19th of February, at the age of 85, was the fourth son of William Fitzherbert, Esq. of Tissington, in the county of Derby, where his family had been settled ever since the time of William the Conqueror. He was educated at Derby and Eton, and sent to Cambridge in 1770, where he gave an early indication of his talents, by carrying off the first classical medal. He travelled in France and Italy, and on his return home, was appointed the Minister of this country at the Court of Brussels, in 1777. He resided there till August, 1782, when he was sent to Paris as sole plenipotentiary for negotiating a peace with France and Spain, and the States-General of the United Provinces, which he successfully accomplished. He had also a leading share in negotiating the peace with America, concluded at Paris in 1783. In August, 1783, he was appointed Envoy Extraordinary to Catherine the Second, Empress of Russia, whom he accompanied in 1787 on her tour to the Crimea, At the close of the same year he returned to England, was created a Privy Councillor, and appointed Chief Secretary to the Lord Lieutenant of Ireland. In the spring of 1789 he resigned that employment, and was sent as Envoy Extraordinary to the Hague; and in May, 1790, he repaired to Madrid, as Ambassador Extraordinary, with the powers for accommodating the differences between Great Britain and Spain, respecting the right of British subjects to trade at Nootka Sound, and to carry on the southern whale fishery. His Majesty was afterwards pleased to create him an Irish Peer, with the title of Baron St. Helens. In 1793 he concluded a treaty of alliance between his Majesty and the crown of Spain; but the country disagreeing with his health, he quitted it at the beginning of 1797, and was appointed Ambassador at the Hague, where he remained till the ensuing winter, when the Dutch Republic was overturned by the invasion of the French. He went to St. Petersburgh as ambassador in May, 1801, to congratulate the Emperor Alexander on his accession to the throne of Russia, and to propose terms for accommodating the differences which had arisen between Great Britain and the three Baltic powers, towards the close of the reign of the Emperor Paul, and had occasioned the attack on Copenhagen, and other hostilities. This negociation he brought to a conclusion, by the signature of the Convention of St. Petersburgh, of the 17th June, 1801.— |