greatest of all his poetic creations, the exquisite Francesca save intimate and privileged friends,-even refusing hencedi Rimini. The grace, tenderness, and spirituality, the forth to exhibit his works in the public "Salon," his artromance and marvellous beauty of this wonderful compo- inspirations became yet higher and purer, whilst the mechasition, have obtained for it a foremost place among the chefs nical deficiences of hir earlier days were remedied, so far as he d'oeuvres of our century. Its general outlines are so gene-ever could remedy them. Turning aside for a brief space, as rally familiar that we need not dwell upon them. Artists if to rest from his loftier efforts, he painted a subject of and connoisseurs alone can estimate the amount of time, real life, the Four Ages, a small but exquisite picture, labour, and meditation bestowed on this great work, which painted in four compartments:-1. Two children, a boy and a to himself was a favourite subject of contemplation, and con- girl, playing; 2. An older pair, back to back, shyly loving cerning which he once said to a friend :-"If I have uncon- 3. A middle-aged couple staidly loving; and 4. A feeble old sciously borrowed from any one in the design of the Fran- pair, tender of each other's infirmities. In 1846, he finished cesca, it must have been from something I had seen in Faust and Margaret in the Garden, Dante and Beatrice, Flaxman's drawings." This celebrated picture was pur- and the St. Monica with St. Augustine; each different, chased by the young Duke of Orleans, and, after the Revo-yet each a masterpiece of absorbing interest, from being so lation of 1848, it was sold, from his collection, to Prince full of sentiment and expression. The first is an embodiment Demidoff, in whose gallery at Florence it now remains. Lord of newly-awakened and tender earthly love; the second, of a Ellesmere has a fine replica of this subject, on a slightly rapt and spiritual admiration on the part of the poet for his reduced scale, painted under Scheifer's eye, and finished by celestial guide; whilst the third represents the dying mother himself. A second replica, copied by Scheffer from the resigned through faith, yet clinging to earth through affection original picture when it was in his hands to be repaired, and for her son, and the mixed emotion of that son at his sainted finished with all his improved method of working and mother's passage from time into eternity. This triumph of colour, is now in the possession of his daughter and her hus- art is still in the possession of the ex-Queen of the French. band at Paris. It was completed in 1851, and is considered It was repeated two or three times. The Annunciation to to be finer even than the picture of 1835. the Shepherds, completed in 1841, the Christ the Consoler, Scheffer's disappointment, as well as that of his friends, at the Saintes Femmes, and now the St. Monica with St. the conduct of Louis Philippe's government, which they had Augustine, announced Scheffer to be, beyond all comparison, themselves helped to establish, his soul-felt sorrow at the the first religious painter of the age; and his devoted death of Princess Marie, and his incessant anxiety and grief mother, even in 1839, might have foreseen that the aspiraconsequent upon the declining state of his mother's health, tions, which we have quoted from her letter to him when he so wrought upon him, that though followed, flattered, and was at Lille, were already approaching their fulfilment. admired," he was not happy. To provide for the education In 1815, Cornélie Scheffer was married to M. Marjolin, a of his daughter, in addition to meeting his ordinary expen-physician of repute, whose father, indeed, had attended diture (often unduly increased by his liberal assistance to Madame Scheffer, and was on intimate terms with the family. pupils, for he even sent some to Rome at his own expense), The pain of the separation rendered necessary by this maraud partly also to escape from the disagreeable realities of riage would have been infinitely great, had it not happened the time, he toiled closely at the easel; and besides many that Cornélie had no children, and was therefore enabled to portraits of royal and distinguished sitters, and the splendid be much in her father's studio, where she often worked at achievement of the Francesca, he painted the two world- his easel. About this time, too, the Count of Paris became known Mignons (since bequeathed by the Duke of Orleans to Scheffer's pupil, a timely event to strengthen the ties which Count Molé), those touching impersonations of Goethe's for- held him to the Orleans family, for these had been weakened lorn and romantic child; also the Margaret coming out of by the departure for Wirtemberg and the early death of the Church, the Roi de Thule, and the magnificent composition Princess Marie, by the sudden calamity which overtook the of Christ the Consoler, now so well known through the fine Duke of Orleans, and by the indifference which Scheffer felt engraving by M. Henriquel Dupont. In reference to this towards the King, after that monarch's defection from truly libenoble work, Mrs. Grote mentions that she has been informed ral principles. In 1818, the storm which had long threatened that a print of it has been published in America, from which to burst over the house of Orleans, came and dispersed that the negro slave is omitted. To give accuracy and complete-dynasty. Curiously enough it fell to the lot of Scheffer, who ness to this story, it should be added that the engraving in first, in company with M. Thiers, had opened a prospect of the question formed the frontispiece to a Bible, and that this was crown to Louis Philippe in 1830, to be the very man who, published at New Orleans. Only the Southern States of eighteen years later, helped the fallen and fugitive King into America, therefore, are answerable for this double insult the carriage that bore him for ever from his royal residence. and outrage on God and man. In all these pictures, and in The story of the chivalrous part played by Scheffer in his others of less import but of corresponding date, Scheffer had devotion to fallen greatness, told by Mrs. Grote as it was attained to that wondrous and peculiar gift of depicting received from his own lips, is very interesting. Having seen intense expression, even in the stillest figures and faces, the King and Queen and other members of the family depart, he which was the distinguishing characteristic of his style. It accompanied the Duchess of Orleans and her son to the Chamwas not till some years after that he painted another Mignon ber of Deputies, and stood by her side during the stormy scene with the Harper, and the Christ the Remunerator, a that ensued; and when her escape also was secured, and he companion picture to the Consoler, more melodramatic in felt sure of the safety of the whole of the royal family, he its principal figure, but beautiful as usual in the heads. fought during those other "three memorable days," as a captain of the National Guard, with much military judgment and undaunted courage. But on being afterwards offered by General Changarnier, his superior, the cross of a "Commander of the Legion of Honour," he declined it, saying that if it had been awarded to him in recognition of his merits as an artist, he would have accepted it. "But," he added, "to carry about me a decoration, reminding me only of the horrors of civil war, is what I cannot consent to do.""

In 1839, Scheffer completed two pictures, as labours of love, viz., Portraits of his unparalleled mother, who, to his great and undying grief, breathed her last, in the presence of her three fond sons, during the summer of this year. Both these pictures are fine works. One is a single figure, full of truth, dignity, moral beauty, and the serenity of declining age; the other depicts his revered mother in her parting moments, giving her blessing to the daughters of her two

sons.

The poignant sorrow which took hold of Scheffer at his mother's death, and the deprivation of that "dominant motive to all his exertions, his "grateful love and devotion" to her, is esteemed by his admiring biographer a sufficient explanation of the languor to be observed in his immediately succeeding works. The sudden and unexpected death, in 1812, of the Duke of Orleans, a fast patron and friend, in whom Scheffer's last hopes of political improvement for his country rested, also depressed and dejected him exceedingly. But by 1844 his power had returned. The Three Kings or Magi showed progress in colour, and greater boldness of style; whilst soon after the noble Saintes Femmes (not finished till 1847), pure in design, sober and harmonious in colour, with an almost celestial expression in the heads, by many deemed his masterpiece, and certainly a rival to his Francesca, inaugurated his later and riper style.

Subdued and saddened by domestic troubles and political disappointments, he retired more and more within himself. In the seclusion of his house in the Rue Chaptal, seeing few

When, subsequently, Louis Napoleon was chosen president, Scheffer became more hopeful of public progress; but this delusion was speedily dispelled by the untoward expedition of Oudinot to Rome. In his indignation, Scheffer determined to leave Paris and to pay a visit to Holland. From Brussels, he wrote to Cornélie in high terms of the Queen of the Belgians, with whom he renewed his old friendship. On visiting the Rembrandts at Amsterdam, and comparing his own works with those of the other great Dutch and Flemish masters, he recognised the possession by himself of a something which they did not possess, and yet he arrived at a just, though modest, estimate of his own peculiar powers. -Probably he painted much during his sojourn here, for there are many of his pictures in public and private collections in Holland. At the Hague, their Majesties of the Netherlands welcomed the plain-spoken artist with hearty warmth. A joyful reception awaited him also at Eisenach, from the Duchess of Orleans and her children; whilst the exiled Queen of the French scut to beg his presence in England, but the idea of visiting England was repugnant to him at that time,

Δυα. 1860.

he knew not why. On his return, through Rotterdam, Scheffer was fêted by the Society of Arts and Sciences of that city, and returned thanks in a much-applauded Dutch speech. On regaining his own snug residence about Christmas, 1849, he painted the Amour Divin et l'Amour Terrestre, to which undraped beauty of form and fulness of colour give a realistic air, not seen in his sublimer creations.

To the Orleans family he proved his attachment (after his own heart) by redoubling his attentions to them in their adversity; and on the death of Louis Philippe, in 1850, he hastened to attend the funeral of that inglorious monarch at Claremont, and was the only person admitted to the presence of the widowed Queen. The funeral over, he visited the famous Elgin Marbles, and, as he wrote to his daughter, was greatly struck with their marvellous beauty. In the spring of this year he married the widow of his friend General Baudrand, who had served as military governor of the young Duke of Orleans, at the siege of Antwerp, where Scheffer also accompanied that prince. Madame Sophie Scheffer was an excellent woman, though, unfortunately, narrow-minded enough to be jealous of rivalry, even of her husband's devotion for his art. Though wide in his sympathies, Scheffer cared little now for pleasure; he enjoyed the society of a few literary and artistic friends, and indulged in the luxury of fine music, especially in private, numbering among his associates Madame Viardot, and other musical celebrities. Besides the two Eberhards, the portrait of General Cavaignac, one of his finest, and St. John Writing the Apocalypse, a grand ideal figure, were produced about this period, just prior to the coup d'etat of Louis Napoleon in 1851.

This event inflicted unutterable dismay upon every highminded Frenchman. Early on the 2nd of December Scheffer attempted to collect his company of the National Guard in defence of legal authority, but no one would respond to his call. The picture drawn of his grief and anguish at this event is deeply interesting. "All is up with the Republic," he exclaimed; and on hearing a list read of those who had just been arrested, his honest wrath burst forth in loud exclamations. So unstrung was he, that he could not paint a portrait, that of Madame Holland,-which he had engaged to paint, until an appeal was made to the promise to paint it which he had made. The humiliation which he, in common with so many of his compatriots, felt on beholding Napoleon's bayonets swarming in Paris, rendered him averse to taking his usual rides; and he preferred to stay whole days painting in his atelier, or reading the scriptures, or reading, in their original tongues, the standard works of England, France, Germany, and Italy, whence he doubtless drew consolation and fresh poetic inspiration.and fed d From this time, blow after blow descended on him. Sickness and death seized upon friends and relatives. First, in 1853, his brother Arnold fell ill, and as Arnold was a widower, Scheffer removed him to his own house, watched over him tenderly to the great injury of his own health for eight months, grieved sorely at his death, and then adopted his only son, Ariel, or Little Ary, as he was called, and treated the boy with fatherly affection. In the following year, 1854, several lofty compositions were painted, or in progress, viz. the Ruth and Naomi, the Madeleine en Extase, Les Gémissements, and the Temptation of our Lord. The first is a peculiarly fine rendering of its well-worn subject, but it is perfectly and purely Schefferesque. The Gémissements, not finished till 1857, is a lofty, ideal, almost mystical work. It was the artist's favourite picture. It represents human passions and sorrows becoming purified and refined as the possessors and sufferers recede from earth to enter heaven. Groups of ordinary heads at the bottom of the picture are succeeded by others bearing a more radiant aspect, until in the higher parts of the composition spirit-forms alone are seen. In this picture, Scheffer introduces many of the heads familiar in his previous compositions, such as his mother, the St. Monica, Dante, Beatrice, and others. The Temptation cost him severe labour; but, though very fine, is perhaps not equal to his best achievements. Two other works of a religious character deserve mention, the Christ en Roseau, an elaborate work, producing a most devotional feeling in the beholder; and Jesus appearing to Mary Magdalene after his Resurrection, a beautiful and suggestive sketch. At this time, although Scheffer's disposition to melancholy increased, and revealed itself in his works, yet he strongly eulogized industry; he laboured harder than ever,-probably to drown reflection; and he continued to share his gains with whomsoever chose to ask him for assistance.

But new sorrows were in store for him. In the spring of 1856 his friend, Augustin Thierry, now afflicted with blindness and paralysis, fell sick. Notwithstanding the many calls on his time, Ary performed the offices of true friendship, visiting Thierry daily during his fatal illness. Indeed he passed the

two last days and nights of his poor friend's existence at his
bedside. Scarcely had this cloud passed over, when a yet
darker one descended. The health of his attached wife,
Sophie, never strong, had been shattered by her filial atten-
tions during the long illness of her mother, at whose death
never rallied, and in June, 1856, died calmly in the arms of
her own condition became alarming. From that state she
her inconsolable husband. He himself became completely
prostrated. For five months, owing to this and other like
calamities, he could not even resort to his art. Fortunately,
the Manchester Exhibition of Art Treasures, in 1857, tempted
him to visit England; for the idea of seeing in one focus so
vast an assemblage of works by ancient and modern masters,
roused him from the stupor into which he had fallen; so that,
with Cornélie and little Ary to accompany him, he started for
the residence of his esteemed friend, Madame Salis Schwabe,
situated near Manchester. At this place he spent three happy
weeks, going daily to the Exhibition for hours at a time,
greatly to the benefit of both body and mind. At Manchester
he formed a high opinion of the British school, especially as
colourists, and he expressed his admiration in vivid language.
From Manchester he proceeded to Claremont, to paint a long-
promised portrait of Queen Marie Amelie. Here he passed
some weeks in tranquillity, and then rejoined Madame
Schwabe at Glyngarth, on the Menai Straits, where grand
scenery, and the kind attentions of his hostess and her
family, so greatly restored his health and soothed his broken
spirits, that he felt much regret when compelled to return to
Paris.

No sooner, however, had Scheffer reached home, than he
was destined to be shocked by the sudden illness and death
of an old and dear friend, M. Manin, the defender of Venice
in 1849. Though ill, he imprudently resolved to make a
posthumous portrait of that heroic man, at whose death-
couch he painted from early morn till nightfall. The next
day he insisted on attending the funeral of his friend, whose
remains were deposited in Scheffer's own private vault. This
occurred in September, and in October Ary himself became
very ill,-a heart-affection, partly perhaps inherited from his
mother, partly induced by his previous trials, becoming greatly
aggravated by this new woe. By November, however, he
was able to work a little, and in January, 1858, was so far re-
covered, that he began to paint with great ardour, and
working in turn at three or four pictures.

These were the Gémissements, now named Les Douleurs de la Terre (the Sorrows of Earth), Faust holding the Cup, Margaret at the Fountain, and his last work, the noble and these we have already noticed. The second and third exhibit sublime Angel announcing the Resurrection. The first of Scheffer in his latest years, still turning, true to his national origin and the instincts of race, to that great production of his fatherland, as no mere French painter could do; and they are especially interesting as showing us our noble artist reaping a ripe harvest in the same field as that in which his early seed was sown. His fondness for Goëthe was evidently second only to his strict devotion to subjects selected from the life and labours of Christ. Of the two above-named subjects from Faust, the former excels as a work of art, being a masterly exposition of Goethe's idea. Of the Angel announcing the Resurrection, which was never finished, it remains only to say, that, in the opinion of his ardent biographer, it is not easy to describe "the deep, mysterious sentiment inspired by this sketch." The form of the angel, she remarks, displays affinities with the Greek antique, but is here made "supremely instinct with celestial meaning, commanding reverential awe and pious emotion" in the beholder.

It was whilst occupied on these pictures, early in May, that the tidings of the sudden death of the Duchess of Orleans reached Scheffer; and, in spite of friends and physicians, he insisted on attending her funeral in England, accompanied by his faithful Cornélie, Alas! the painful excitement, together with the damp chill of the tomb in which the Duchess's remains were laid, though at first unheeded, laid fatal hold of his depressed energies. Madame Marjolin broke the return journey by stopping in London, where Scheffer was suddenly seized with illness, in the night, at Dr. de Mussy's, at whose house he slept. As soon as M. de Mussy had Seized, however, mitigated the most alarming symptoms, he summoned Dr. Marjolin from Paris, and had these two experienced advisers been listened to, the life of Scheffer might perhaps have been spared for a year or two more. ing for Paris before he was in a fit state to hazard the with a restless desire to quit England, he insisted on startjourney. Contrary to expectation, the sea passage seemed to benefit him; but a detention at the hot, unwholesome " Douane," crowded with eager, pushing passengers, tired him sorely; for the apathetic officials showed the illustrious invalid no favour, so that when released he was sensibly

worse. The care of his companions enabled him to reach his country-house at Argenteuil, the Pavillon Roquelaure, quitted a month previously on this mad but chivalrous enterprise. For the first week of his return to Argenteuil he suffered less from difficulty of breathing, and appeared to be tranquil, indeed almost cheerful, his mind deeply satisfied at having done what was his duty. He even worked at his last picture, could there have been a more fitting subject?-the Angel announcing the Resurrection. But his heart daily grew feebler; it became apparent that life was ebbing; and a few days later he expired, in the sixty-fourth year of his age, on June 15th, 1858. In person Scheffer was well-formed, above the middle height, wide-chested, and large-headed. His gait was erect and manly; his forehead full, as well as high; his features large and expressive; his complexion fair; and his eyes greyish. His hair, which in his later years was nearly white, was allowed to flow back from his head, and, with his light and soft moustaches and imperial, rendered his fine sensitive countenance (which was of the Teutonic, and not of the Celtic • type) most attractive and picturesque. In conversation he was most delightful,-fitted, as it were, by nature, for a court. His manner was dignified, yet kind and affable to all.

subtler lights and shadows of passion we did not expect to see portrayed by Mackay, whose genius is essentially lyrical. We have been disappointed, however. There is the love of a man's heart in this poem, but not the strength that should support at once love and sorrow. Washington Irving made the betrothed of Robert Emmett die of a broken heart, and many wept over the story until it was well known that the mouiner had entered into holy matrimony, and was the happy mother of a hopeful family of young patriots! We always deemed the real woman a more sensible being than the imaginary one. We have, therefore, not much sympathy for the man dying of a broken heart in the arms of Charles Mackay. We grant the pathos and interesting simplicity of the story; we admire the purity of the heroine,-the constancy of the hero; but we cannot withhold from the reader our sad impression,-an impression that ripened to a conviction as we became more thoroughly acquainted with Arthur Westwood,-that his character,-grant the poet may forgive us, is not so much that of a Christian, as that of a pureminded, affectionate, and rather effeminate,-heathen.

The children so prettily described by Dr. Mackay in the opening of this poem grow up in the near neighbourhood of As an artist, Scheffer was by no means perfect. There each other, and the youth and maiden nearest of age form an have been many better skilled in execution, and in other tech-attachment, which runs counter to the ambitious intentions nicalities of the brush and palette; there have been better of Edith Bellenden's father, who is represented as a man of draughtsmen and better composers, and far better colourists immense wealth. As a precaution against the danger he and chiaro-scurists; there have been artists less timid, less foresaw under these circumstances, the father of the hero same, more vigorous, and more real and varied; and there induces him to travel; and Edith, during his absence, gives have been poet-painters of real and unaffected sentiment or her hand to a titled suitor, but without her heart, and solely pathos, and of high religious feeling and tone. In regard to in obedience to her father's will. Arthur hears of the marcostume, and general treatment, at least in his religious sub-riage while travelling in Italy, and his love changes to the jects, he still adhered to the classical conventional style. But bitterness of hate. In course of time, Edith is left a widow, in Scheffer, in spite of his deficiencies, known best of all to and the truth concerning her marriage comes to the knowhimself, especially his inherent incapacity to teach himself howledge of Arthur, who thereupon marries her. This gives the to use the glorious illumination of transparent light, shade, poet occasion to luxuriate in images of happiness during the and colour, we find that consummate quality of "expression" wedding tour, the scene of which is among the highlands of carried further than in any modern pictures, or even than in Scotland. Unhappily, the party are overtaken by a storm in the those of the older painters. This quality, developed by him- mountains, and the bride is killed by falling down a precipice. self, and by the external circumstances of his domestic and Arthur survived only time enough to paint his lost mistress's social life, achieved such results that, with all his failings, portrait, breathing out his soul in the canvas, and mingling his name will endure to the end of art. his sighs with the colours as he painted it; and then, laying his head upon his father's breast, he died, and was buried in the same grave as his wife. Such is, substantially, Dr. Mackay's story of A Man's Heart.

Where did he derive the inspirations of his enchanting female heads? From his incomparable mother, from that saint-like Princess, or from that wronged one,-so speedily lost to his embrace? We know not. But, to use his own words, "the most accomplished artist has neither invented nor created anything;" and we almost expect to find in the Christ the Consoler or the Remunerator, or in the Sorrows of Earth, the face of her whose name he never uttered. The two Mignons, too,-were they not painted when his own little Cornélie was growing up? Suggestive thought! to those who compare the story of the reality with the romance. Be this as it may, the settled seriousness of his mind, and the healthiness of his soul, prevented him from ever degrading his powers in art, which he always maintained and showed should ever be devoted to the good, as well as to the beautiful and the true. His spiritualistic tendencies lifted him up from earth, and, at least in his art, his religion kept his feet from falling. "Take him for all in all," he was so completely original, that in all probability the world will "ne'er look upon his like again."

As a man, he was truly and tenderly affectionate, devoted to his mother, to his younger brothers, to his Cornélie, to his brother Arnold's little Ary, and to his wife. In friendship, he was fast and firm,-as exemplified in his attentions to Thierry and Manin. In attachment to his patrons he was warm and faithful, devoted, yet retaining his self-respect,-as witness his relations to the risen and fallen House of Orleans. In duty he was sternly regular; industrious at home, the protector of his whole family, the faithful attendant and comforter of the sick-bed of many a dying relative and friend. For the sacred liberties of his adopted country, he conspired, fought, and mourned,-a martyr to principle, rectitude, and duty. In charity he was most abundant. Touched, like all of us, with the frailty of mankind, he yet clearly had a supporting faith in another and a better world; and, letting fall a tear to his memory, we say, without fear of raising a single opposing voice, that, apart from his grand and soul-stirring productions, he has bequeathed in his Life a useful and touching lesson to mankind.

A MAN'S HEART.*

THE story of this poem is prettily related, but it fails to satisfy the expectation suggested by the title. The least we hoped for was the poetic apotheosis of love and strength; the

A Man's Heart. A Poem. By CHARLES MACKAY, Author of Egeria, Under Green Leures, etc. London: Smith, Elder, and Co. 1800.

The versification is carefully wrought, and the imagery of the poem sufficiently expressive, at the same time that it is unpretending and chaste. The following is touching,-some passages in it sadly beautiful :

"Since first I lost her, oh, my love's best treasure!
There hath been darkness on the weary day;
A throbbing anguish in the purest pleasure--
Pleasure? Ah, no! Its fair face passed away
With hers still fairer; and its glancing robe,
Mist-woven, vanished from the globe.

I look upon the light of morn,
And wonder, utterly forlorn,

How it can break when she's no longer here;
And when the young buds blow,
Rose-tipped or white as snow,

There seems a want of Pity in our sphere,
That Nature's self should not refuse
The sunshine and the dews,
When she, her sweetest child,

So young and undefiled,

No longer breathes upon the vernal air
The fragrance of her unforgotten bloom-
Lost! lost for ever, in the tomb,
That never yet had habitant so fair.

"Come Day! Come Night!

I note your changes, heedless of them all;
For evermore, betwixt you and my sight,
A sweet face, with a coronal

Of glory, heavenly bright,

Looks down upon me, tinting the long hours
With a celestial paleness. Sleeping, waking.
Ever I see it; till my eyes drop showers,
And make the vision brighter by my weeping;
Brighter-but still more sorrowful to see,
Except when Night lies gently on my brain,
And Sleep restores her to my soul again,
As Death-Sleep's brother-shall in days to be,

If day be word or thing, in God's Eternity.

"Where are my once high thoughts that soared sublime, My purpose brave;

The hopeful glow and fervour of my prime ?

Low in her grave.

Most little and most mean appear to me
All that the world can offer ine again.
Wealth is a froth-bell on a billowy sea,

And power, and pride, and all the gauds of men,
Mere tricks and shadows. Were I Earth's sole king,
To rule all nations by my high behest,

Nor I, nor they, nor all their wealth, could bring

My lost beloved living to my breast.

REGISTER.

That took them from us: and instead of flowers To strew upon their graves, or tombs high-piled, Let us bestow on them unsullied hours, And innocent thoughts, and actions undefiled." Interspersed in the poem are several sweet lyrics. We select one, which may serve as a fair specimen of the rest :"How could I tell that death was there?

These tempting little bits, and we might have cited many more, for the poem abounds in prettinesses,-will induce many to read it; and we do not doubt it will be read, and read again, with pleasure. Nevertheless, in these stirring times we must not encourage the idea of our young men dying of broken hearts. When the dearest hopes of life are blasted, its duties remain; and if these are fulfilled, humbly and earnestly, the life cannot be all joyless. If love and sorrow too often accompany each other (and who has not felt this ?), truth should extort the confession, even from Dr. Mackay's muse, that the sorrow, if it verge to despair, is proportioned to the selfishness. Unselfish love can hardly be hopeless.

SOME RECENT BOYS' BOOKS.*

A GOOD book for boys is a thing so desirable, that we shall at all times be happy to record the publication of any earnest effort in this department of literature. Most authors know how difficult it is to write for that uncertain period which intervenes between childhood and maturity, hence few make the attempt, and fewer still succeed in producing a juvenile book worthy to be given as a birthday present to any noble boy who is just looking out from the dreamy foreground upon the great battle-field of life. In this state of things, we can only take note of the best that comes in our way, and earnestly hope for better things.

4 Boy's Dream of Geology. By JonN MILL, M.D. London: Darton and Famous Boys, and How they became Great Men. London: Darton and Co. 1880.

Heroines of our Time. London: Darton and Co. 1860.

The Whaleman's Adventures. Edited by the Rev. W. SCORESBY, D.D. London:

whaler. Dr. Scoresby has, however, incorporated with it a tolerably full account of the arctic whaling, so that the book now presents a detailed account of the whole art of whaling, as carried on in both hemispheres.

Judging from the records which we have of him in this book, the whale is a highly interesting and noble animal, possessed of great intelligence and deep affections, passionately fond of its young, and altogether a kind, sociable, and harmless creature.

In the early part of the work there are some very curious statistics as to the amount of oil, spermacety, and whalebone annually obtained from these noble fish; the amount seems incredible to the ordinary reader, who seldom reflects on how much of our wealth is derived from the sea. Then follow adventures and hairbreadth escapes in the capture of whales, as well as curious facts in natural history, illustrating the animal's instincts and habits. The volume is full of information upon the subject, and is evidently the work of a pious man who thoroughly understands his subject.

Not the least interesting part of the work is that which treats of the natural enemies of the whale, and the conflicts which are constantly going on in the great deep. Here are records of attacks by the sword-fish and the thrasher, and even by the great sea-serpent, upon what the author calls the mammoth of the sea. Alter these ample details, and the admiration which is naturally felt for this noble animal, whose ordinary bulk is that of two hundred fat oxen, we hear with sadness that the whale is fast becoming extinct. So many thousands are slaughtered annually that the trade of whaling is becoming unprofitable, and many whaling stations are now abandoned.

to all mankind. All things purely spiritual are therefore from their very nature out of the pale of the regular sciences, and have in consequence been handled loosely. Hence in a hundred ghost stories, how many are there which are not magnified and mystified in the relation until all certainty about them is at an end? This has been the case to such an extent that a tale about the supernatural, although eagerly listened to, is usually received with incredulity.

Mr. Owen's is one of the very few books in which ghosts receive a fair and proper treatment. It is as calm and logical a work as exists in the English language. It gives fair, but only fair play to all parties. There is not a single story given except upon what appears to be undoubted authority; and the author has carefully avoided mixing up with his inquiry either theological dogmas, or other matters of sectarian controversy. It will be interesting, therefore, to see how a mind at once so open, candid, vast in its range, and disciplined by the highest culture, has been led to investigato this occult subject, and what mature convictions have resulted from the investigation.

Mr. Owen's serious attention was first won to the study of these subjects in 1855, whilst he was ambassador from the United States to the court of Naples, where, at the house of the Brazilian minister, he witnessed for the first time, with mingled feelings of surprise and incredulity, certain physical movements which took place apparently without material agency. "Three weeks later, at the Russian minister's, an incident occurred, as we say fortuitously, which, after the strictest scrutiny, I found myself unable to explain without referring it to some intelligent agency foreign to the spectators present,-not one of whom, it may be added, knew or had practised anything connected with what is called

FOOTFALLS ON THE BOUNDARY OF ANOTHER spiritualism or mediumship. From that day I determined to

WORLD.*

The method pursued by the author was in the first instance to make an historical inquiry into the cognisance which had been taken of those occult influences. This convinced him that there is nothing whatever new in what is termed spiritualism. Houses have been affirmed to be haunted, tables have rapped and tipped, and all the supernatural sights and sounds observed in this age have been observed in every previous age of the world, and amongst almost every description of people, from the savages of Africa to the most enlightened Europeans. What is it, then, that has fascinated the imagination without satisfying the understanding? In other words, is there any positive and reliable evidence that a ghost has ever been seen?

test the matter thoroughly." The result of this determination is to be seen in the volume before us, which contains SPIRITUALISM is making converts on all sides every day. With- 528 pages of deeply interesting matter. It is not possible, out organization, without any visible advocacy except that of a within the brief limits of this notice, to give even a synopsis single magazine, in whose quiet pages the principal news of its contents. Every page teems with interest, and the respecting the movement is registered, it creeps silently from book cannot fail to leave the impression that it is the work house to house; neighbours are invited to the séance, the of a man whose mind is free from anything like strong mediums make their appearance, the tables rap or tip, the prejudice or prepossession. It is indeed an able and elabo chairs or other articles of furniture are set in motion, the rate report of a special commissioner who has carefully other wonders of spirit-writing and spirit-music are ex- surveyed the mysterious regions of what are generally hibited, and the company breaks up. All marvel, many regarded as spiritual phenomena. believe. Pious and thoughtful men ask what is the meaning of all this? what does it point to ?--but there is no response. Upon this point, at all events, the oracle is dumb. The only thing about which we can be certain is that a great revolution is going on amongst us. Opinions which we ourselves and our fathers before us believed to be as firmly fixed as the everlasting hills, are being tunnelled, sapped, and blasted; and yet all this goes on slowly, quietly, silently. No church is alarmed, because no sect is attacked. There is little or no opposition to the movement, because it is intangible. With whom are you to fight? There must be two parties to a battle, and the spiritualists, as a body, decline to debate. Here and there a zealot may be found amongst them, but he speaks only for himself; he has no authority, and will find little support amongst those who may hold similar views with his own. The more intellectual amongst them smile in the face of an opponent, and quietly tell him that he knows nothing about the matter at issue. They will show him what is to be seen; will admit him to their séances; and will allow him to question the table, provided he does it in a gentlemanly manner. He may hold the accordion in his hand, and be satisfied that it is played by invisible fingers; but having seen all this, he must make what he can of it himself. In this respect spiritualism is unlike any other movement of modern times.

There is, however, and always will be, a marvellous interest for all sorts and conditions of men in things unseen. The

undiscovered country which lies before us will ever keep keen the desire to rend the veil which hides the future from our view. Matter is so cold and dead, and earth so dull and hopeless without the certainty of immortality, that the soul is ever seeking to go out of its present location to find a new colony where the skies are brighter, and all the heart loves more abiding. We want to know, therefore, for a certainty, if a man be a man for ever? If the spark of life being once kindled is never again to be extinguished; to determine, indeed, what it is that lives and what that dies. Unfortunately all our sciences deal only with dead matter. The anatomist and physiologist dissect only the dead; the chemist cannot analyze anything that is living. Hence we cannot lay hold of life, and have little or no knowledge of it. And then also there is a presence in nature which we can by no means put by. It is felt by all, and gives the consciousness of immortality

Footfalls on the Boundary of Another World. By ROBERT DALE OWEN. Philadelphia. 1860.

There is a great mass of matter, collected with care and reasoned upon with consummate ability, to show that ghosts have not only been seen, but also heard and felt; but perhaps the most remarkable portion of the book is that which relates to the ghosts, or doubles, of the living. People who are not acquainted with this class of literature will find it difficult to form a conception of what "doubles" are, without some case in illustration. The following is, therefore, given as affording a specimen of this class of phenomena. It is merely necessary in introducing it to remark that it is no story founded upon hearsay, all the facts of the case having been amply verified. "THE RESCUE

Scottish family of that name, was born, in humble circumstances, about the close of the last century, at Torbay, in the south of England, and there bred up to a seafaring life.

"Mr. Robert Bruce, originally descended from some branch of

"When about thirty years of age, to wit, in the year 1828, he was first mate on a bark trading between Liverpool and St John's. New Brunswick.

six weeks out, and having neared the eastern portion of the Banks of Newfoundland, the captain and mate had been on deck at noon, taking an observation of the sun; after which they both descended to calculate their day's work.

"On one of her voyages bound westward, being then some five or

"The cabin, a small one, was immediately at the stern of the vessel, and the short stairway descending to it ran athwart-ships. Immediately opposite to this stairway, just beyond a small square were two doors, close to each other, the one opening aft into the landing, was the mate's state room; and from that landing there cabin, the other fronting the stairway into the state room. The desk in the state room was in the forward part of it, close to the door; so that any one sitting at it and looking over his shoulder could see into the cabin.

"The mate, absorbed in his calculation, which did not result as