tween £8000 and £9000 sterling. The writer discovered the skeletons of those who had been ART. "Pompadour, ton crayon divin, "From no other pencil but thine, Pompadour, should thy portrait be given; We should have from a hand fair as heaven." er; he made sketches for illustrated papers, and gradually became a self-taught artist. The war found him at Baltimore, whence he wandered South, and was engaged as draughtsman on the staff of one of the Southern generals. He made a bust of Stonewall Jackson from a mask which he took from the dead face; and when the monument was put up to competition by the Southern government, the young German artist won the prize. But even then he had to find means for executing his work, and for this he ran a ship laden with cotton through the blockade, and brought it to Europe, where the sale of the cotton gave him the funds required. The monument represents the general on horseback; a fine Arabian steed from Stuttgart serving as a model for the horse."-Art Journal. Nuremberg, according to a statement in the Builder, "promises a monument to Stonewall Jackson. The way in which Nuremberg has Art in Paris-Something like an apotheosis of come to promise it is rather curious. A young Delacroix notified the last month of the past man from Nuremberg, named Volk, emigrated to year. A considerable collection of the works America as a journeyman cooper. After arrivof that great master was exhibited in the extening there his early passion for Art grew strongsive saloons of the Boulevard des Italiens, and two appropriate tributes have been further paid therein to his merits and his memory. One of these was in the form of a lecture given by the veteran Dumas, who happened to have enjoyed the intimate friendship of the painter, and who, in rich strain of colloquy, rather than less formal and ungenial disquisition, pictured forth his vigorous and various peculiarities of character. So greatly was this outpouring of the author of Monte Christo relished, that its repetition became expedient. The other tribute took the form of a réunion of artists at a dinner in the same quarter, under the presidency of the well-known critic, Theophile Gautier. This also passed off effectively. The reputation, however, of Delacroix now rests, not upon the eulogistic advocacy of friends, but upon the verdict which the present and the future will mete out to the canvases which crowded the walls of that locale where these two scenes took place.-Apropos of French Art, and the modest self-sufficiency of its adherents, it is amusing, to say the least, to find in one of the favorite publications devoted to it-in a notice of one of your London sales of native works of Art-an expression of surprise at the high prices which some dozen pictures realized, amounting altogether to 210,300 francs, or be A group, consisting of statues of the Counts D' Egmont and De Horn, has just been inaugurated in the great square at Brussels. The ministers of the interior and of foreign affairs, with the municipal councils and several thousand spectators, were present, and an address appropriate to the occasion was delivered by the burgomaster. The monument consists of a pedestal, forming a fountain, surmounted by a group representing the two victims of the Duke of Alva. Count Egmont embraces Count Horn with his left arm, and the attitude of both is expressive of firmness and resignation. On the lower part of the pedestal is the following inscription, in French and Flemish, on an unburnished gold ground: "To Counts Egmont and Horn, condemned by an unjust sentence of the Duke of Alva, and beheaded on this spot on the 5th of June, 1568." The Dublin Exhibition.-Active exertions are being made in various quarters, official and photographic, to secure an unusually creditable display of photographic art at the Dublin International Exhibition, which is to be opened in May, 1865. The committee intrusted with the management of this department announce the fine art claims of photography as thoroughly recognized, and describe a system of classification very superior to that adopted by the Commissioners of 1862. The Charivari publishes a wood-cut, in which 1864 is giving instructions to 1865, both represented under the guise of young women. In front of them is to be seen a tremendously fat Prussian soldier, walking about with great selfcomplacency. If that customer," says 1864, "should call for anything be sure not to serve him, for ever since I have been here he has done nothing but help himself." -The Edinburgh statue of Prof. John Wilson, executed in bronze by Mr. Steel, is described as a most beautiful work of art. It will probably be inaugurated on the same day as the marble statue of Allan Ramsay, by the same sculptor, the site of the first being in East Princess-street Garden, corresponding to the site of the latter in West Garden. Potsdam.-A copy, in marble, of "The Angel of the Resurrection," in the church of St. Maria da Gloria, at Rome, has been placed over the vault containing the body of Frederick William IV., King of Prussia, in Friedenskirche. The copy was executed by Tenerani, of Rome. VARIETIES. Shakspeare and Musical Composers. Shakspeare's relation to music forms the subject of an essay in the Vienna Recensionen, from which we extract the following items: Instrumental music is found in connection with Shakspeare's works in the dead march (act i., scene 1) of "Henry IV.;" further, in the "Midsummer Night's Dream" and "Tempest;" in "Henry VIII" (act i., scene 1) and "As You Like It" (act v., scene 4.) No less frequently does vocal music occur. Witness the songs of Ophelia, the duet between Guiderius and Arviragus in "Cymbeline," the song in "Much Ado About Nothing," those in "As You Like It," the duet in "The Merchant of Venice," (act iii., scene 2,) etc. That Shakspearian pieces have been used as librettos for operas is well known, for example: "Romeo and Juliet," by Zingarelli, Vaccai, and Bellini; "Othello," by Rossini; Macbeth," by Chelard, Verdi, and Taubert; "The Merry Wives of Windsor," by Nicolai, Balfe, ("Falstaff,") Adam, and previously by Salieri ("Falstaff o le trè burle";) “Coriolanus," by Nicolini; “ Hamlet," by Buzzola (even as a ballet!); "The Tempest," by Reichardt, Zumstæg, Jullien, Sullivan. Besides these, there were composed "musics" to "Macbeth" by Locke (1657;) and choruses to the same by Gallus. Arne (1750) wrote music to "The Merchant of Venice" and "Tempest," Mendelssohn to "Midsummer Night's Dream," Taubert to the "Tempest," Tausch and André to "As You Like It." Of orchestral works founded on Shakspeare we mention "Romeo and Juliet," a dramatic symphony, by H. Berlioz; overtures to the same by Steibelt and Ilinski. There are overtures to “Hamlet” by Gade, Liszt, and Joachim, and a march by Pierson. To the "Tempest" overtures have been written by Rietz, Hager, and Vierling, to Macbeth" by Spohr and Pearsall, for "King Lear" by Berlioz, for "Julius Cæsar" by Schumann, for the "Two Gentlemen of Verona" by Street, for "King John" by Radecke, for "Coriolanus" by B. A. Weber, (Beethoven's overture of the same title was intended for Collins's piece,) for "Othello" by C. Müller, etc. Entr'actes and "battlemusic" to several of the pieces were done by Emil Titl, and Kuhlau, finally, denominated an overture "William Shakspeare."-The Reader. Chinese Visiting Cards.-They pay visits in China just as the thing is done in Europe; and, when they do not find the person at home to whom the visit is made, they leave a card. The use of these cards among the Chinese dates back, it is said, for more than a thousand years, and it would appear that our European fashion, in that respect, is taken from the Celestial Empire: only the size of these articles with us has much diminished from its original proportions. Thus, the Chinese use a sheet of paper, in the middle of which is written the name, surname, and so on, of the holder, with his rank appended; and this sheet is augmented or diminished in size according to the importance of the person visited, or to the respect with which the visitor desires to address him. Also, the color of his card varies according to circumstances connected with the position of its owner. Thus, one of the principal persons attached to our expedition-now in the country-has forwarded to us a visiting card left at his door by a mandarin, on the eve of his departure. It is a roll of paper of a reddish purple tint, and of a size big enough, with other cards of a similar character, to be adopted for the purposes of papering a room. Penmanship.-Babbitt & Wilt, Principals of Miami Commercial College, Ohio, have published the system of Penmanship which is used in that institution, and known as the "Babbitonian." It consists of a chart and ninety copies, illustrated by sixty fine wood-cuts. It seems to be well adapted to the purposes of self-instruction, and could be used with advantage in schools. Photographic Art.-There is a marked difference in the artistic skill and taste with which photographers copy the human face and form. Some operators seem to make anything but good portraits. Without making comparisons, we wish to invite attention to the admirable skill with which Jordan & Co., No. 229 Greenwich-street, New-York, bring out into life-like expression the lineaments of the human face and features. We are not informed if they make the portraits capable of talking, but some of them look as if they were about to open their lips. We recommend to our friends to make trial and proof of the skill of Jordan & Co. in copying their faces. Dublin University Magazine. ABOUT this unique and delightful being there has been plenty written in a loving, but official way. His ways and manner of life have been woven for us into a piece, and as we go over it carefully we find but few threads dropped. Some of these, and of very small importance indeed, may be thought worth while picking up. Anything, surely, will be welcome that helps, even in a small way, to bring us in contact with this engaging As we might fancy ourselves in his room after his death, taking up his inkstand his pen-the book he last read, with the leaf turned down-the folios; "my midnight darlings," he called them, half pathetically-"huge armfuls"-even his forsworn pipe, (and with what reverence and delicacy we would lay our hands on such relics); so we might relish these little "odds and ends," gathered up out of by-ways and out of cornersNEW SERIES-VOL. I., No. 5. Old Series Com little shreds and patches of no great quality beyond having a reference to this arch-essayist, and most delightful man. For a writer so unique in his kind, where the species, as he himself said of a book, is the whole genus, surprisingly little has been said. Yet he might be studied over and over again-lectured and commented on by the hour and by the volume. It is pleasant to think that one so nice and dainty in palate as he was about the "dressing" of books-so sensitive and epicurean as regards typography, paper, and editions, should, in his own works, have been gratified by all the little elegances of typography. To be a dandy, or petit maitre, in such things is very pardonable; and there is a fond and delicate homage in the offering of fine type, broad margin, and toned paper, to a writer that we love, almost akin to the flowers and draperies with which the altar of a patron saint is dressed. Charles Lamb would have looked down the line of his own books with fond admiration. They harmonize prettily. 33 |