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The Asiatic Journal seems duller than usual, probably from no longer having Mr Buckingham to squabble with, to whose interesting miscellany it must have been linked in holy wedlock-at least, if we may judge by their mutual inveteracy.

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La Belle Assemblée comes graceful and pensive, “like the visions a saint hath of heaven in his dreams," to "shut the scene.' The present Number is graced by a portrait of no less a personage than the new king of France, who looks a jolly and portly fellow. The fair lady, whose image, according to prescriptive usage, occupies the seat of honour, is placed vis-à-vis to his majesty, and ogles him most perseveringly. The fair representatives of the monthly fashions are still blooming in immortal youth.

The Journal of the Royal Institution of Great Britain.
No. I. October. London. John Murray. 1830.
The Edinburgh New Philosophical Journal. No. XVIII.
October. Edinburgh. Adam Black, 1830.
The North of England Medical and Surgical Journal.
No. I. London. Whittaker. 1830.

next communication of interest is that entitled, Additions to the Natural History of British Animals, by Dr Coldstream; which reflects high credit on his assiduity, and gives us additional reason to anticipate that, by a continuation of his exertions, he will materially enrich that department of science to which he has already devoted his attention. Professor Olensted's account of the phenomena of Hail-storms, Charles Von Reumer's contribution to Biblical Geography, and the Baron de Brunken's memoir on the Imperial Forest of Bialoweza, are valuable communications, and will be read with interest. Dr Allen Thomson's essay on the Developement of the Vascular System in Vertebrated Animals, next claims attention. It formed the subject of his inaugural dissertation on taking his degree of doctor of medicine at the University of Edinburgh, during the last session. While he

displays much critical acumen in referring to the works of former physiologists, he presents us with the results of his own experiments, which appear to have been very numerous, and conducted with much care. He traces the devebirds, and mammalia, from its most simple to its most comlopement of the heart through the different classes of fishes, plex structure-from the moment when its first rudiments become visible under the magnifying glass to the period when its organization becomes complete; and he further illustrates his very perspicuous account by referring to drawings which have been executed by himself, and place the whole matter in a most clear and intelligible light. The whole essay is highly creditable to the author; but we cannot take leave of it without expressing our regret, that, according to the new regulations of the University, graduates are no longer under the necessity of publishing their inaugural dissertations; for it is not to be expected that they will devote so much attention to them, knowing that, as manuscripts, their circulation must be very limited, and that they are read to be laid aside, and laid aside only to be forgotten. If the Senatus Academicus require every candidate for a medical degree to present a thesis, more importance would be attached to it ; and the consequence of the apathy to which we refer is, that the present is the only inaugural dissertation we have seen this year, possessing information in any way worthy of being introduced into any standard work of science. After the essay of Dr A. Thomson, we find a short communication by Mr Stark, on changes in the colour of fishes. He confined minnows in a white basin, from which he excluded the light, and on examining them the following morning, found, that the former colours of the back had faded; that the bright bars on the sides had nearly disappeared; and the belly had become almost white. exposing the vessel to light again, the fish regained their original colours; and on again replacing it in the dark, they became of a pale sand colour. Similar experiments were repeated with the stickle-back, loche, and perch, all of which showed, that when confined in a dark vessel, the colours of the fish assumed much the colour of the vessel; when transferred into a white basin, they lost in a short time their characteristic markings, and became of a pale sandy colour;—hence, these observations illustrate the principle, that fish possess the faculty of accom

THE first of these works is a young stranger, and therefore requires a formal introduction. The Royal Institution was established under a charter granted by George III. in the year 1800; it was afterwards enlarged and confirmed by an act of parliament in 1810. Its objects are to diffuse the knowledge and facilitate the introduction of useful inventions. It maintains a theatre for public lectures; a laboratory; a copious library; and a museum, containing a mineralogical collection, chiefly composed of British specimens. Weekly meetings of the members and their friends are held in the library on Friday evenings, during the season, assuming rather the unembarrassing freedom of a conversazione, than the formal character of a session. The periodical which we now introduce to the reader's acquaintance, is published by the Managers of the Institution, in conformity to a by-law, ordaining them to publish at regular intervals, journals containing reports of committees, original communications, abstracts of the transactions of learned societies at home and abroad, and notices of new discoveries. The managers have added to these subjects, notices of new scientific publications; announcing that, when these describe any novel or interesting experiments, they shall be repeated by the Professor to whose department they appertain. The Journal is to be published quarterly. We have received the present Number at too late a period of the week to do more than superficially glance at its contents. They appear, however, every way worthy of the auspices under which they appear. We shall continue to watch with interest the successive appearances of this important publication. Among the most interesting communications in the present Number of the Edinburgh Philosophical Journal, we may notice the biographical memoir of Claude Louis Richard, by Baron Cuvier. This, although a brief, is an interesting sketch of this celebrated botanist, who shared the common fate of men of genius, in having to contend with much adverse fortune, from which his dis-modating their colours to the ground, or bottom, of the position assumed a sombre colouring, that reflected its own gloom on the commonest incidents of life. His ardent love of nature, and more especially his devotion to botanical pursuits, became manifest at a very early age; and, had his intercourse with the world been less chequered by disappointment, every department of natural history would have been more benefited by his investi. gations; but he has only left behind him a few works, barely sufficient to excite our regret that he did not accomplish more, and to warrant the hope "that his son, who was educated in his school, and embued with his doctrines, will not only implement his filial duty, by publishing his works, but will extend and add to them what may still be wanting for their completion." The

On

waters in which they reside. The notice which follows this communication, on the nervous system of the crustacea, is interesting; but the subject has already been fully discussed. Geologists will read with pleasure the sketch of the lacustrine basins of Baza and Alhama, and the essay of Hoffman on valleys of elevation. Having taken this coup d'œil into the contents of this Number of the New Philosophical Journal, we close it with satisfaction, seeing that the present able editor continues to conduct the work most judiciously; and we have only to await its successive quarterly appearance, to find each Number arrive, like a richly-freighted vessel, laden with fresh stores of valuable scientific knowledge.

We recommend to the attention of our medical readers,

the first Number of the North of England Medical and Surgical Journal; the main object of which publication is, to present the profession with a view of the progress of medical science in the northern counties of England, which, possessing a dense population, and a number of hospitals, must evidently afford a very wide field for accumulating observations that may extend the boundaries of medical knowledge. The talents of the editors of this journal, the celebrity of those who have already favoured them with valuable communications, and, above all, the independent and liberal tone with which it has been commenced, induce us to augur favourably of its success.

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MISCELLANEOUS LITERATURE.

FINE ARTS.

THE SUPPLICANTS OF ÆSCHYLUS, AND
MACDONALD'S NEW STATUE.

Macdonald has given us, in the work he has just completed, an additional proof of the mastery he has obtained, not only over the form, but the spirit, of ancient sculpture. In what regards external form alone, we are inclined to regard it as his masterpiece. It is the ideal of the female figure-simple, harmonious, perfect. And he has breathed an expression of moral and intellectual life into this form, which inexpressibly enhances its value. The figure sinks upon one knee-the trunk of the figure rather bent for ward—the right arm declining upon the thigh of the leg which props her up, as if the olive branch had just slid from her hand-the left extended as towards the altarthe face slightly turned up, as if to catch the lineaments of the god. There is simplicity, earnestness, and modesty, in every line of the figure. Viewed from every side, it presents a beautifully arranged whole, and with every change of position, the spectator discovers new beauties. Our readers are all of them acquainted with Mr Macdonald's talents as a poetical composer. We have no inclination to over-rate the merits of his fugitive verses. They are merely the amusement of his leisure, hours the productions of one who is no professed poet. But we appeal to all who are capable of judging, whether they have ever read a line of his writing, which is not characterised by thought and sentiment. deep, enthusiastic feeling of organic and intellectual beauty we find expressed in his statuary, with the steady hand of one, who, by long study, has become a master in his vocation.

21

ETTY'S JUDITH.

The same

THE idea of this figure seems to have been suggested to the artist by a passage in the Supplicants (IxTds) of Eschylus. The story of the drama is the escape of the daughters of Danaus from the sons of Egyptus. The plot (if plot it can be called) is extremely simple. The chorus of the Danaidæ open the business of the play with an invocation to Jupiter, from which we learn that they have fled from the low shores of the Nile to avoid a forced intermarriage with their cousins. Their designs and feelings are more fully evolved in the course of a conversation with their father, and an old man who attends them. The king of the Argives approaches, and the Our readers are aware that this splendid work, as exscared females cluster, by the advice of their guardians, hibited by the Scottish Academy in 1829, and purchased round the altar of Mercury. They claim the protection by that body, forms the centre piece to two others, reof the monarch, who, after some hesitation, moved by presenting different periods of the story. One of the their entreaties, departs to ascertain the inclinations of wings, exhibited this year in London, has just arrived in his subjects. The award of the popular assembly is fa- Edinburgh. It represents Judith issuing from the tent, vourable, and the king returns in time to rescue the Sup-carrying the head of Holofernes. She is passing from plicants from the grasp of a herald, who, regardless of the sanctity of the altar, was dragging them to the Egyptian fleet. The piece closes with a choral song, in which the station and duties of women in society are beautifully indicated, and confidence in the divine government inculcated.

The reader will easily perceive, from this analysis, that the Supplicants can scarcely be called a play, in our acceptation of the word. It is a spectacle, in which a tradition is sought to be realised to the spectators by the united forces of music, declamation, and the presence of -human beings, representing, in dress and deportment, the characters of the piece. But the interest of the drama does not arise from a succession of complicated incident, or from the expression of passion excited by the situation of the heroines, or from characteristic portraits. None of the characters are individualised. The story is evolved by the aid of narrative exclusively. The strongest bursts of passion are of that kind which charm us in the opera by the aid of musical enunciation and accompaniment, but which, in common dramatic representation, or in a book, would be felt inadequate to the occasion. The great charm of the work is the intense poetry with which it adorns the doctrine of female chastity. It is one great hymn in honour of that virtue. We cannot read it, without feeling the majestic delicacy of the true female character. "The charm is wound up," when old Danaus, in contemplating their future fate, shows, in a few words, how compatible is the preservation of this character with all the warmth of true love. We have been accustomed to regard this play as the first unclosing of the petals of the moral bud, which is treasured in every heart. When reading it, we feel that the early Greek dramatists were indeed the priests of their nation, and that the appropriate time for representing their works was indeed during the high festivals of the gods.

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beneath the canvass folds, with a stealthiness of pace
which almost makes us sensible of a deeper silence than
that of the lifeless, motionless surface before us, and while
she deposits the head in the hands of her attendant, she looks
back anxiously, but without one quiver of her nerves, upon
two guards, who, richly accoutred, slumber, leaning on
their spears. The handmaid is kneeling in the centre of
the picture, her hands grasp after the head, unaided by her
eyes, which are riveted upon her heroic mistress. Devoted
affection and admiration are legible in her countenance.
In the corner of the picture, opposite to Judith, beneath a
palm-tree, upon which he has hung his shield and sword,
is a recumbent slumbering warrior, with his back to the
spectator. In the background are the Assyrian tents,
beyond them the beleaguered city, and, closing all, the
mountains of Judea. A broad warm stream of light
issuing from the tent, falls upon the figure of Judith, the
anxious features of her attendant, the sinewy shoulders
of the sleeping warrior, and the palm, whose branches
are depending over him. The middle distance exhibits
that vague heaving of forms, like the shifting of chaotio
atoms, which announces the first approach of dawn; the
distant mountains are already whitened by the return-
ing day. The whole of the picture-its arrangement,
the expression of the different figures, the tone of colouring,
are deeply and truly felt. The few fruits and goblets
which appear in a corner of the tent, seem to have grown
pale when life deserted it. The muscular frames of the
sleeping warders, contrasted with the intense life of the
two Israelitish women, embody the superiority of mind
and passion over mere physical strength. The warm
light in the foreground is the expiring flash of perishing
luxury, contrasted with the cool grey approach of that
daylight which waxes and wanes, but never dies.
dim views of the hushed, but wide-spread camp, which
lies between the heroine and the battlements, upon which

The

her countrymen's watch-fires are blazing, raise to the Highest pitch the sublimity of her unshrinking deportment, of the more impassioned bearing of her maid, in which there is not one feeling of self. Viewed as a companion to the scene within the tent, the two pictures will be found to heighten and intensify each other. Enough of the tent is seen in this new one to show that we are still in the neighbourhood of that scene of high-wrought luxury and revel. The star which showe in through an opening upon the slumbering Holofernes, although paling before the coming morn, still stands over our heads. The locality is the same, but a few moments have passed, and its whole character has been changed. The transition from the voluptuous warmth of the tent, to the freshness of the morning, speaks feebly of the irrevocable lapse of time, when compared with the contrast between the features of the Assyrian chief glowing with life, and, though steeped in drunken slumber, yet instinct with sensitive expression ; and his pale, rigid, placid countenance lying in the hands of his murderess. If Etty prove as successful in the remaining compartment of his great work, as he has been in the two of which we are now speaking, he will produce a whole, of whose immortality there can be no doubt.

ERRONEOUS MANAGEMENT OF THE TRUSTEES
GALLERY OF SCULPTURE AND DRAWING
ACADEMY.

OUR late article upon this subject has elicited the following letter from Mr George Thomson, under-secretary to the Board of Trustees.

To the Editor of the Edinburgh Literary Journal. SIR,On my return from the country lately, I was informed that a violent attack on the Board of Trustees, and on myself individually, had appeared in your Journal last month, relative to the gallery of statues which the Board commissioned from France and Italy for the benefit of the students in their drawing academy.

Having read the paper, I feel myself called on to make some brief remarks on it, not because the proceedings of the Board stand in need of any vindication, but because some of the statements are greatly exaggerated, and some of them entirely destitute of foundation.

It is probably not generally known that the Board instituted their academy about 70 years since, with a view to the improvement of such young men as were occupied in the damask and other figured and ornamental manufactures; and that the privilege of attending it was gradually extended to carvers, engravers, architects, and artists in general; till, in consequence of the growing taste for the fine arts, the Board set about collecting, for the use of the students, the best casts from the antique statues, busts, and relievos that could be obtained, as models on which to form their taste; and by copying which, they might acquire a correct knowledge of the human figure, in all its variety of character, from the most perfect beauty and grace, through all the degrees of

Since the acquisition of that admirable collection, and its being placed in the elegant little gallery built for it, and for the accommodation of the students, the anxiety of students of painting and sculpture to be admitted to such advantageous means of improvement, free from expense, has not a little increased; and in order to prevent the places from being occupied unprofitably, specimens of drawing are required to be produced by each student along with his application, those whose specimens afford the greatest promise being invariably preferred; and the hours of meeting are from six to eight in the evening.

But you tell us that the gallery should be thrown open to artists and the public from nine to four, agreeably to the practice in Paris, Florence, Rome, and Dresden. There is very little comparison between the magnifi

ILLUSTRATIONS OF THE WINTER'S WREATH. As far as engraving goes, these plates are all that could be wished. They are clear and delicate, and possess as much strength as is compatible with the scale of magnitude upon which they are executed. Exclusive of the inscription plate, they are twelve in number. "An Eng-muscular exertion and heroic action. lish Flower," engraved by H. Robinson, from a miniature portrait by T. Hardgreaves, is worthy of her title; still we do not wish that any foreigner should take her for a fair and characteristic specimen of English beauty. She is merely one of those pretty flowers that gleam forth on the banks of life's highways and cross-paths over all our green isle. Fair she is, and worthy to be cherished, but England has nobler daughters." The Three Marys at the Tomb of Christ," is West all over. A man he was who understood rather than felt his art. He stands in the same relation to the Italian painters, that the philosophers of declining Rome did to their Grecian precursors. He has the elegant forms, the dignified bearing, but where is the glow of sentiment which gave richness and flexible grace to the whole?" Delos"-Come what will, Linton will be Linton still. This prophecy was spoken by Mer-cent galleries on the Continent and the small gallery of lin.—“ Interior of a Cathedral at Antwerp" gives as good an idea of the subject as a draughtsman can. More than half the charm of architecture is incommunicable by the pencil." Cologne on the Rhine;" transparent and beautiful as the reality." A Cottage Farm-Yard"-one of those pictures which show how the true painter can idealise the commonest subjects." La Huerfana de Leon" one of those beauties who shine forth from their morning garments like the silvery moon through a rent in some black cloud." The Deluge." We wish that one deluge would give another leave to subside: but the surges of the one trample with such haste upon those of another, that our prayer is fruitless." Saint Cecilia, attended by Angels," shows how far the engraver can go In producing the rich effects of mingling and contrasted textures." A Pass of the Abbruzzi;” good, but in a style of which we are somewhat sated."The Mother;" Just what was to have been expected from Westall."Dove-dale"--"hail England! true Queen of the West!" Climes we have known of more glowing beauty,-regions of more imposing grandeur; but for manly firmness, tempered by the delicacy of eternal youth, commend us to our own sovereign land. Our thanks are again due to the artists who twine the "Winter's Wreath," and we trust that the public gratitude will be expressed with due emphasia

the Board of Trustees; in which (owing to its limited size) the statues are ranged on both sides of the apartment, and thus would be liable to injury, if a number of persons were lounging daily among them; a danger to which the works of art abroad are not in the least exposed, placed, as they are, in galleries of some twenty times the extent of ours; marble, instead of Paris plaster ; and attended by keepers, with salaries paid by their go

vernments.

This is not the only obstacle to the gallery being thrown open to the public! the master of the academy has repeatedly stated the inconvenience which results from even a partial opening in the forenoon; he having found that when strangers were occasionally admitted, they generally shifted the small drawing tables of the students from the positions in which they are purposely left from night to night, opposite to the statues from which they are drawing; a circumstance that very much deranges the labour of the student, when he comes to resume his drawing.

In the next place, if the gallery were thrown open in the forenoon, the Board would be obliged to incur the expense of appointing a steady person to attend constantly in the room, to prevent, as far as in his power, any actidents to the statues.

But even if all these obstacles were overcome, there is

very great reason to doubt whether the artists, who you say want the opportunity of studying from the statues in the forenoon, would avail themselves of it, even if it were granted; and I shall presently state why it is to be doubted.

subjects: in the first place, of an alleged impossibility of making the gallery more accessible to the public; and in the second place, of himself and the keeper, Mr Smith. As we do not wish to mix up the question of the con duct of officers, with the more important one of the utility of an institution, we confine our remarks to the first of these topics. In our former article we hazarded no assertion which we cannot easily substantiate; but we are contented that our assertion and Mr Thomson's contradiction shall go forth to the world together, leaving to that tribunal the decision which of us is the more worthy of credit.

The Board, upon a recent application from a few of the artists, agreed, during the vacation of the academy, to open the gallery in the mornings, from seven to nine, to such of them and their brethren as might choose to attend for the purpose of drawing; and the keeper was directed to receive and attend them. Some of them have attended most regularly, but no more than two, three, or, at the most, five each morning; others of the applicants, disregarding the privilege which they asked and obtained, havement adopted by the Board, the first reason by which he not attended once!

May it not therefore reasonably be doubted, if the gallery were to be opened in the forenoon, whether the attendance would not be still less than in the mornings, simply because the forenoon is the time of professional business, which the artists in general must devote to their sitters and employers? I am quite convinced, from what I have seen, that there would be no such attendance of artists in the forenoon as to justify the Board in opening the gallery, and giving a salary to the person whose constant attendance would be requisite.

I trust I have shown to the satisfaction of every man of reflection and candour, that the privilege of general admission which you, or your anonymous friend, so unceremoniously demands, cannot be granted without manifest detriment to the great object of the institution, the school and farther, though it were granted, that it is extremely improbable that artists could give up their forenoons, in order to avail themselves of the privilege. And, with respect to the public, it is well known that they have access to the gallery every Saturday from eleven to three o'clock, upon getting an order from any of the members of the Board, or the directors of the Royal Institution, or from the Trustees' office.

I cannot permit myself to make remarks on any of your sarcasms relative to the management of the gallery, as they are nothing to the purpose. But as you have thought fit to make a bitter and pointed attack upon me individually, I feel myself called on to repel it. You say, "The public cannot see them (the statues) except on Saturdays; nor even then, but at the price of kicking their heels for hours in the lobby of the assistant-secretary, until the great man is at leisure to give them an order, and afterwards submitting to the petty impertinence of a spoiled domestic."

Now, sir, I appeal to all who ever called on me upon business of any kind, during my very long period of official service, and to every individual who has ever applied to me for an order to see the gallery, whether, in one single instance, any individual has been obliged to kick his heels in the lobby even for one minute, and whether the order was not instantly granted? This appeal is my answer to the above random and utterly groundless charge. And with regard to the keeper of the gallery, who is styled an impertinent spoiled domestic, I can say with truth, that I never knew a more civil, obliging, active, and dutiful officer; and I believe that all the students who have attended the academy ever since he became keeper, would readily confirm what I have said of him. I am proud of the gallery, because I had a large share in the exertions which were made for years in collecting the beautiful works that adorn it; and so far am I or any of us from wishing to restrict the access to it, that we would be happy if it could, with convenience to the establishment, and safety to the statues, be opened every day for the public gratification. I am, sir, your most obedient servant, G. THOMSON.

Trustees' Office, Edinburgh, 30th September, 1830.

As to Mr Thomson's defence of the system of manage

attempts to demonstrate the impossibility of throwing the gallery open to the public is:-that the Trustees' Gallery is not like those of Rome, Paris, &c., a collection of marbles, in spacious halls, with attendants feed by government. We have here no less than three incorrect assertions. The French Academy at Rome, and the gallery of Casts at Dresden (we could specify more), consist exclusively of plaster casts, and the locale is more crowded than that of the Trustees' Gallery. And as to attendants paid by government, the facts are simply thus: The Board of Trustees has at its disposal an annual revenue of £7235; of this sum, £3050 are expended for the encouragement of manufactures and the fisheries, and £1200 as a compensation to cashiered stampers. Out of the remaining £2985, there is paid annually £400 to the botanical garden, and £500 to the Royal Institution. The remainder is, we understand, swallowed up by the charges of management. The items charged in the Trustees' accounts, as expended upon their gallery and drawing academy, are £150 to a master; £60 to a keeper; and £25 to a porter. And all this is public money. The result is, that the gallery stands at least on the same footing with those of the Continent.

Mr Thomson's next argument against opening the gallery is, that when strangers have been admitted, inconveniencies have occasionally arisen from their fingering propensities. An occasional inconvenience ought not to stand in the way of a permanent good. But where were the keeper and porter? It was their business to have prevented its occurrence. The negligence of these officials can afford no just ground for shutting out the public from a sight of statues which have been purchased with the public money.

Mr Thomson next says, that if the gallery were thrown open, the Board would have to be at the expense of a "steady person" to look after the statues. Not being so well acquainted with the keeper as Mr Thom-. son, it is out of our power to say whether he is " a steady person" or not. But it is evident from the statement we have made above, that some person is paid for discharging the duty here spoken of; and that the Board has ample funds from which to add to his salary, should it be necessary to add to his labour.

Mr Thomson proceeds, "even if all these obstacles were overcome, there is very great reason to doubt whether the artists would avail themselves of the opportunity." He then tells us, that the Board having lately opened the gallery from seven to nine in the morning, only five artists, on an average, have attended; and adds, that were it open at another hour, it is not probable that they would give up their forenoons to avail themselves of the privilege. Try and see! There is nothing like the experimental philosophy. Our respected friend, by speaking thus of the forenoon, seems to labour under the erroneous impression that there are none but portrait painters in Edinburgh; and in the first part of his statement we fear he is (tant soit peu) disingenuous, The non-attendance of some of the applicants was caused (as we stated in our original article) by the niggardly and ungracious manner in which their request was acceded

Mr Thomson's somewhat lengthy epistle treats of two to. Besides, at this season there are comparatively few

of them in town. How will the hours from seven to nine in the morning answer during the winter months? Lastly, Mr Thomson tells us that the gallery is positively open to the public every Saturday, from eleven to three o'clock. By the grace of God, and the munificence of the Board of Trustees, the gallery is positivel open to inspection two hundred and eight hours in every year! Does Mr Thomson not perceive, that if the statues may be approached with impunity one day in seven, they may on the other six also? Stools are just as little liable to be pushed from their places on Monday as on Saturday. But in what manner is this astonishing liberality to be made available? A travelling artist or amateur, passing through Edinburgh, wishes to see the gallery. "Impossible, sir; this is Monday—you must wait till Saturday." A provision for which the hotel-keepers are certainly bound to be grateful. Then, in regard to residents in Edinburgh. We suspect that we ourselves do not stand very far ben in the good books of the Trustees. Yet we cannot get admission to the gallery without begging the favour from men who are all the while wishing us at the devil.

We thank Mr Thomson most heartily for his letter. A weak defence—such as his—is worth ten thousand arguments on our side. He has not advanced one plea which we had not, in our first article, put, by anticipation, in the mouths of his employers, and answered. He speaks, in his introduction, of statements on our part which are exaggerated and without foundation; but he has not pointed out one. This is our second discourse on the necessity of amending the management of the Trustees' Gallery, and we have more behind. We intend to take a peep some of these days at its younger brother, that promising bantling, the Royal Institution,

An' be it love, or be it slight,

I then can hae my will, I'll steal away, far out o' sight, An' greet, an' greet my fill.

REMEMBER ME!

REMEMBER me! though I no more may dwell
In peace and love, as in the years gone by;
And as ye breathe, sweet friends! your low farewell,
Oh! let me mark a tear in each fond eye!
Remember me !-'twill soothe the weary hours,
When we are sever'd by a wintry sea,

To feel, as dewdrops rest in ev'ning flowers,
In some dear hearts there live kind thoughts of me!
Remember me!—when on the mountains high
The fading sunset sheds his lingering hue,
Think how I loved the vales, the streams, the sky,
How oft I gazed on Nature's face with you!

Remember me !-whene'er the simplest strain
Of mournful music on the ear may break,
Though joy has bound ye in her golden chain,
Oh! pause, and bless the minstrel for my sake!
Remember me! it is my only prayer,-
Henceforth my gladness lives in memory;
Sweet friends! my soul is with ye everywhere:
That never leaves ye-Oh! remember me!
GERTRUDE

ORIGINAL POETRY.

ALLAN DHU A LOVE SONG.

By the Ettrick Shepherd.

I LIKE to see you, Allan Dhu,
I like wi' you to meet,
But dinna say to me you lo'e,

For that wad gar me greet.
I like to see you smile on me
Amang our maidens a',

But, oh! ae vow o' love frae you
I cou'dna stand ava.

Ay, ye may smile, but dinna speak;
I ken what ye've to say;

Sae, either haud your tongue sae sleek,
Or look another way;

For, should it be of love to me,
In manner soft and bland,
I wadna ye my face should see
For a' Breadalbin's land.

Oh! Allan Dhu, 'tis nought to you
Of love to gibe and jeer,

But little ken ye of the pang

A maiden's heart maun bear,
When a' on earth that she hauds dear,
The hope that makes her fain,

Comes plump at aince-Oh, me! the thought 'Maist turns my heart to stane!

No, Allan, no-I winna let

You speak a word the night;

Gang hame an' write a lang letter, For weel ye can indite.

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He sought her by the brook-a lonely lamb
Was cropping the green herbage close beside
A group of rushes, a grey willow wept
Over the bank, like one that heard the song
Of the clear waters murmuring away,
And melted into tears-She was not there.

He sought her on the heath-a breeze went o'er
Its purple blossom, and the fairy bells
Rung music; the brown moorcock summoned far
His harem with a solitary sound,

O'er the bleak waste. And then a film of stars
Rose up the limpid east-She was not there.

He sought her in the churchyard, even there,
Among the cold damp headstones: hemlocks grew,
Jealous of rancorous nettles-like old passions
Watching their dead-no shadow of herself!
The moon was reading a pale monument-
She slept below!

HIGHLAND REAPING.

THE reapers are out in the morning sun,
The early toils of the day begun ;
The aged sires of the village stand,
Toiling away with the youthful band;
With bended sickle they cut the corn,

Fresh with the dews of the laughing morn.

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