Byron, great pains have been bestowed: there is an expression of thought in the sweet little face, not common to childhood, and deeply affecting. The face of the little girl (now a young lady of seventeen) possesses beauty of the kind which grows as we gaze upon it. This portrait is in Part IV., which contains two charming vignettes;-the Coliseum from the Orto Farnesa, and view of the Wengen Alps, by HULMANDELL; in which bare pine trees, log-houses, felled timber, peasants and cattle, and "Alps on Alps," tell that intelligible story which gives a pic ture its stirring vital interest. Cintra forms one of the most delightful views of the series. In delineating that

variegated maze of mount and glen,

and glancing scimitars. Noble action, and majestic repose, are the grand elements of this splendid specimen of Turner's pencil. Santa Maura possesses nearly the same character as the view on the Hellespont. The stretch of mountains rising sheer from the water, is hard and stiff; the bridge not unlike the jagged edge of a small saw; but the foreground is rich and pictorial. The Piazzetta of St. Mark's Place, Venice, in this number of the illustrations, is an effective picture in its own style. It is by Prout. There is a distant view of the churches beyond the Lagune. The enriched surface of the pillars, and the fret-work of that old artist Time, are spiritedly engraved. Ithaca and Delphi are interesting subjects. In the latter the rocky gulf is boldly given;

have here

The horrid crags, by toppling convent crowned,
The cork-trees hoar, that clothe the shaggy steep,
The mountain-moss, by scorching skies embrowned,
The sunken glen, whose sunless shrubs must weep,
The tender azure of the unruffled deep,
The orange tints that gild the greenest bough, ́
The torrents that from cliff to valley leap,
The vine on high, the willow branch below,
Mixed in one mighty scene, with varied beauty
glow.

The Mosque of St. Sophia, from the Bosphorus, is a superb architectural subject, but too stiffly and precisely given to inspire that feeling of the majestic for which we seek in views of this nature. The water and the vessels lighten and relieve the view. Mafra, a stately and magnificent edifice, is more interesting to the architect than the lover of painting, who may turn to the Castle of Chillon a fresh life-like portrait of a place, with which all the readers of Byron are familiar. The "massy waters of Lake Leman are holding their troubled coil around its foundations, heaving and pitching the boats, as if they were about to descend to the dark dungeon vaults over which they are rocking. Part V., which is the most splendid in the series, contains two drawings from the magic pencil of Turner. One a lovely vignette, of which the subject is the Church of Santa Maria Della Spina at Pisa,-Italian groups in boats in the foreground; and towers, and turrets, and enriched buildings, springing from the water, like the creations of enchantment. This, decidedly, is the most brilliant vignette of the whole, yet brilliant is not the term. The Hellespont Sestos and Abydos, is a clear, truth-telling picture. The Acropolis is another master-piece of Turner ;-sunset behind the dark temple-crowned mountain, and ruinclad steeps rising boldly from the wide plain, over which parties of Turkish troops are careering, with flying banners

stiff.

The Sixth Part of the illustrations abound in beauty. There are four home views; three of them by Westall,-Newstead Abbey the Old Fountain at Newstead; and Hucknall Church. These, the two first especially, are charming unpretending pictures. The foliage in the Old Fountain, and the ivy embowering the windows of the Abbey are delicately handled. Lochin-y-gair, the second, is a true Highland landscape; groups of deer scattered over a rough heath in the foreground, with a few broad-topped pinetrees; a castle smoke rising peacefully in the middle distance, and the vale opening on a view of wild and dreary Scottish mountains. Malta, though the artist is Turner, does not steer clear of the pasteboard hardness of surface and outline, inseparable from a view of rows of houses. Cadiz, by Colonel Batty, though otherwise a fine picture, is liable to the same insuperable objection. The Maid of Saragossa, an imaginary portrait, we presume, is not taken "in her softer hour." It is, however, a fine, unexaggerated, dark, female countenance; expressive of strength of character, but of no passion. Lady Byron's picture is in this number. From an incidental, but it may be an incorrect source, we learn that her ladyship sat on purpose for this portrait, that her picture might go among the other embellishments of this edition of her husband's works. Apart from the knowledge of the fact, that this is the portrait of the wife of Byron, of a lady mixed up with so many calamities and mysteries, there is nothing noticeable in the countenance, one way or another. It is a neutral physiognomy; the face of a person likely to hold on the even tenor of her way, if once fairly set out upon it; of a quiet, calm, unpretending woman, without one strik

totypes. There is dogmatism in our first opinion. Though this splendid creature may not be our Flora, she may be many a man's Flora; and though this is not our Mysie Happer, we never saw a fairer.

THE ALBUM WREATH.-A weekly periodical intended for ladies and young persons, consisting of original poetry, select sentences, and so forth; printed on tinted paper, with blank pages, and Medallion borders, for appropriate illustrations and sketches. It is too cheap. Luxuries in printing, as in every other art, must be paid for. The design is better than the execution, which is not very effective, nor can be at such price. Some of the verses are pretty.

MAJOR'S CABINET GALLERY OF PICTURES, No. I., WITH Critical and Historical Descriptions, by ALLAN CUNNINGHAM. The plan of this publication is excellent. It is to give in monthly numbers a series of pictures from the finest specimens of paintings, by the old and modern masters, which are to be found in the public or private galleries of Britain. Nor is there any law, we presume, to limit the selections to pictures within the four seas. There is no reason why transcripts of the beauties of the Italian galleries may not be brought to our own fire-sides. Mr. Major's first number contains three prints, Bacchus and Ariadne, by TITIAN, from the National Gallery. Christ in the Sepulchre, by GUERCINO, and the Market Cart, a charming English composition by GAINSBOROUGH. These pictures, fair transcripts of the valuable originals, may be brought to any table in the three kingdoms, at the cost of half-a-crown; and

along with them a rare Cicerone, Mr. Allan Cunningham, telling us their story, and the history of their makers, and how to look at them. The printed illustrations of this number make sixteen pages of ele gant letter-press. It is like the prints with which it is stitched up, of supersplendid volume. royal size, and will, with them, make a Is it judicious in the expositor to tantalize provincials with his eloquent eulogium on the colouring of the original TITIAN? Do not his just criticisms on the GUERCINO intimate that this is not the sort of subject for a popular selection? The GAINSBOROUGH will please every body. Of it the illustrator says, "The picture before us is one of singular truth, airiness, and beauty; all is homebred about it. The stamp of Old England is impressed upon it every where." Those late agreeable works of Mr. Allan Cunningham's-his somewhat embellished LIVES OF BRITISH PAINTERS have given him ease, fulness, and facility in handling this subject; but besides his ability in this department, we are certain he could give professional people most useful hints in making a popular selection from the best paintings, for English purchasers. Mr. Major deserves praise for his attempt; and is safely entitled to our best wishes for his success, since nothing short of continuing to combine the same degree of talent and beauty, with cheapness, can, now-a-days ensure prosperity to his work.

PYNE'S POCKET SKETCHING COMPANION.-Many of these little sketches possess character, spirit, and freedom. Those in No. I. are capital. Our cheapness in prints will soon be, if it be not already, as wonderful as in needles, pins, and cottons. We shall beat the globe, which some of our first publishers have already challenged.

EVERY body says, and consequently, every body believes, that the palmy days of the Drama are for ever gone, and its glory utterly shadowed; the fact, waiving its melancholy attire, is interesting were it only for speculation's sake; as there stands not, perhaps, out of Euclid, a prettier problem for solution, than an inquiry into the causes of the present degraded state of theatricals. We are not about to work it, but will content ourselves with simply naming, for the edification of the thoughtless, a few of those which have been enumerated. Ingenuity is ever most fertile, where uncertainty prevails, and accordingly this lamentable consequence has been severally ascribed to the frown

of fashion,-to the capricious disfavour of the press,-the straightened purses of pleasure-hunters,-the misguidance of managerial monarchs,-public apathy,monopolies,-the absence of general talent, as well among histrionic artisans, as in dramatic composition, and a crowd of minor suppositions, any one of all which, were sufficient to have wrought, in a greater or less degree, to the sore prejudice of the acted drama. Now fashion may have done much, but fashion, though a leader, is itself led; managerial influences may have accomplished much, for they are as omnipotent as they have been, allegedly deleterious; but (to pass by the other attributed reasons as of less

comparative force) much more in the opinion of many whose thoughts are worth the having, has been effected by the hearty, unqualified, and concurrent censure in which the press has, for some years past, indulged. If there be one power of easier achievement, and of more general exercise than another, it is the power to find fault; and that disposition is of prescriptive right, exhibited upon all fitting occasions by the critics of this favoured land, in a peculiar degree, for grumbling is the birthright of every Englishman. Undeniably one unceasing growl, most untowardly for the dynasty of the drama, has issued from the sensorial throats of our literary guardians, the primum mobile of which it were now difficult to discover. All our scribes, it is quite certain, have long concurred, with most felicitous unanimity, in smothering it under the cumuli of their rancorous hostility. Fierce as fightingcocks in their general inter-enmity, they have united in accordant fraternity to pour upon it the phials of their aggregated wrath, or to use it in commonality, as the waste-pipe for the escape of their unlovely humours;-that there has been fair reason for much of this acerbity, no one can doubt, and no one can doubt, moreover, that it has necessarily increased the evil it sought to redress.

The continued strain of this unrelenting vituperation could not fail ultimately to induce a corresponding tone among those who were its warmest supporters; and the public, a sad weak-minded monster, enjoying a grunt to the full as well as his betters, rose of course en masse and followed in the merciless desecration, till at length every seventeen-year-old frequenter of the two shilling galleries began to babble forth second hand iterations, touching the decline of the drama and the pervertion of its legitimate objects, with as much confident flippancy as any learned Theban of them all.

The public, however, still cherishes towards the drama feelings of greater fondness than he cares to avow, or has shrewdness to suspect. He loves a play to his

very soul, (let him consult his conscience,) and though he jauntily turn his countenance contemptuously from it, his latent attachment is firm and faithful, and its interests are still dear to him. Much as it is decried, few subjects are more attractive; and, had he common penetration, he would see that the vivid eagerness he unconsciously manifests for all kinds of theatric intelligence, (which, because he clothes his thoughts in hard and unpleasant words, he fancies he despises,) betrays but his unconquered regards.

It is partly on account of the univer sality of this feeling, denied as it may be, partly because our purpose is not altogether unsolicited, and partly from reasons which are not the less cogent for being unmentioned, that we have come to the intention of directing our profundity towards the drama, and those of its collateral branches which form the source, if not of amusement, of animadversion to thankless multitudes. We have therefore invested ourselves with all proper parental attributes, and shall straightway exercise our important functions, by watching over its doings, directing its steps, pointing out the course of duty, and, so far as our authority shall extend, enforceing its fulfilment. Publicity is a mighty incentive to good behaviour, and we shall record its advancement to, or retrogression (if further be possible) from the propriety of excellence with even-handed impartiality, lamenting for the error of its ways; in its well-doing rejoicing.

As our remarks will be based upon as much liberality as is consistent with truth in its nudest state, and an indifferently fair share of comparative honesty, we shall be sore wounded if our sagacity do not supply such a monthly commentary as shall at least show our desire to serve the interests thus taken under the wings of our protection, and prove to the outermost ends of the earth, the rigorous equity of our decisions, tempered, as they ever are, with clemency in this, as in all other matters, submitted to our decretal judgment.

THE only publications that have reached us for notice this month are three vocal sacred quartetts, composed by the late C. W. Bannister, and edited by his son Mr. H. J. Bannister, who has added to each a separate piano-forte accompaniment. The late Mr. Bannister's compositions are, we believe, much esteemed by the dissenting congregations in England. The quartetts before us, entitled Nebo, Shirley, and Consummation, are well con

structed compositions, in the anthem style The subjects are simple and melodious; and the harmony is uniformly accurate and effective. Although not, perhaps, exactly calculated to gratify the scientific amateur, these compositions well deserve the extensive circulation they have obtained. They are the productions of a tasteful and well-informed musician, and are well fitted to inspire devotional feeling.

BIRTHS.

At 15, Drummond Place, on the 23d August, Mrs William Douglas, of a daughter.

At 37, Great King Street, on the 23d August, Mrs Archibald Boyd, of a son.

At 10S, Lauriston Place, on the 23d August, Mrs MacLachlan, of a daughter.

The Lady Sussex Lennox of a still-born child. At 32, Howard Place, on the 25th August, Mrs William Napier, of a daughter.

On the 24th August, The Lady Garvagh of a son. At Tanfield, on the 11th August, Mrs Rennie of a daughter,

At the Marquis of Northampton's, Castle Ashley, on the 29th August, the Baroness de Normann, of a son.

At 7, Athol Crescent, on the 30th August, Mrs Hugh Dunlop, of a son.

At 50, Cumberland Street, on the 28th August, Mrs MacPherson, of a daughter.

At Gloucester Place, London, on the 27th Au gust, the Lady of the Hon. Frederick Talmash, of a daughter,

At Blackett Place, on the 29th August, Mrs Turnbull, of a son.

At Minto Street, Newington, on the 1st September, Mrs Spittal, of a son.

At 14, Shandwick Place, on the 31st August, Mrs Dauney of a daughter.

At 14, Atholl Crescent, on the 20th August, Mrs Graham, of a daughter.

At 18, Charlotte Square, on the 24th August, Mrs Robertson, of a daughter.

At 15, Drummond Place, on the 23d August, Mis. William Douglas, of a daughter.

At 37, Great King Street, on the 23d August, Mrs Archibald Boyd, of a son.

At Mellerstain, on the 20th August, the Lady of George Baillie, Esq., junior, of Jerriswood, of

a son.

At 16, Atholl Cresent, on the 28th August, Mrs Cadell, of a daughter.

At Worton Hall, on the 28th August, the Right Hon. Lady Louth, of a son and heir.

At Auchlyne House, on the 22d August, the Lady of George Andrew Campbell, Esq., of a daughter.

At Jedburgh, on the 4th September, Mrs Brown, wife of Bailie Brown, of a son.

At Coldstream, on the 26th August, the Lady of Thomas Fair, Esq., of Buenos Ayres, of a son. At Montrose, on the 18th August, Mrs Lillie, wife of the Rev. James Lillie, of a son.

At Horsleyhill, on the 29th August, Mrs Douglas, of a son.

At 29, Great King Street, on the 2d September, Mrs M. N. Macdonald, of a son.

At 36, Melville Street, 24th August, Mrs Thomas Riddell, of a son.

At 11, St. John Street, on the 2d September, Mrs Yule, of a son.

At Legerwood Manse, on the 10th September, Mrs. Cupples, of a son.

At Kirkaldy, on the 22d August, Mrs Stocks of Abden, of a daughter,

At 31, St Andrews Square, on the 29th August, Mrs George Law, of a daughter.

At West End Lodge, Thames Ditton, on the 1st September, the Lady of Francis Horsley, Esq., of a daughter.

At Morrison's Place, Piershill, the Lady of Henry Robert Addison, Esq., 2d Dragoon Guards,

of a son.

At Pitfour Castle, on the 6th September, Mrs. Richardson, of a daughter.

At Stevenson, near Haddington, on the 8th VOL. II.

September, the Lady of Sir John Gordon Sinclair, of a daughter.

At Grove House, Brompton, on the 7th September, the widow of Mr. David Blackie, W.S., of a daughter.

At 4, Heriot Row, on the 12th September, the Lady of James Robert Hart, Esq., of Drumcross Hall, of a son and heir.

At Bighouse, on the 9th September, the Lady of Major M'Kay of a daughter.

At Aberdeen, on the 6th September, Mrs Alexander Jopp, of a daughter.

At Old Windsor, on the 11th September, the Hon. Mrs Every, of a daughter.

At 30, Clarence Street, on the 9th September, the Lady of Captain James Buchanan, Honourable East India Company's Service, of a daughter.

At 62, Hanover Street, on the 9th September, the Lady of Francis Hamilton, Esq., W S of a daughter

At Runcorne, Cheshire, on the 31st August, the Lady of the Rev. Edward Allan, of a son

At Limecraigs, near Campbleton, on the 11th September, Mrs Stewart of Glenbuckie, of a daughter.

At Claremont Crescent, on the 16th September, Mrs Stone, of a daughter.

At 26, Charlotte Square, on the 17th September, the Lady of Colonel Pittman, C. B., and of the East India Company's Service, of a son.

At Springhall, on the 16th September, the Lady of George Forbes, Esq., of a daughter.

At Glasgow, on the 16th September, the Lady of John Fleming, Esq., Clermont, of a son.

At Camberwell Grove, on the 11th September, the Lady of the Rev. Henry Melville, of a son. At Minsteed Lodge, on the 9th September, Lady Catherine Buckley, of a daughter.

At Fairfield, Somerset, the Lady of Sir Peregrine Palmer Palmer Acland, Bart, of a daugh

ter

At Stamford Hill, on the 12th September, the Lady of J. A. Droop, Esq., of a son.

At Charterhouse Square, London, on the 12th September, the Lady of the Rev. William Goode, of a daughter, still-born.

At Park Street, London, on the 6th September, the Lady Elizabeth Trefuses, of a daughter.

On the 31st August, the Lady of J. D. Alex. ander, Esq., M. P. of a daughter.

At Gifford's Hall, Suffolk, the Lady of Patrick Mannock, Esq, of a son.

At Brockwell Hall, Surrey, on the 31st August, the Lady of Joshua Blackburn, Esq. of a son. At Fleet Street, London, on the Ist instant, the Lady of S. F. T. Wilde, Esq. of a son.

MARRIAGES.

At Ludgate Lodge, Ratho, on 31st August, Wil. liam Hutcheson, Esq. surgeon, South Queensferry, to Isabella, youngest daughter of the late John Hooper, Esq.

At London, Arthur W. Torrens, son of the late Major-General Sir H. Torrens, Adjutant-General, to Maria Jane, daughter of the late General Mur. ray.

At London, on 18th August, the Hon. Henry Howard, eldest son of Lord Howard of Effingham, to Eliza, only daughter of General Sir Gordon Drummond, G. C. B.

At St. George's, Hanover Square, London, on the 21st August, F. Murray, Esq., son of the late General Murray, to Catharine Elizabeth, daughter of Lady Caroline Dundas.

At Weymouth, on 22d August, John Muir Mackenzie, Esq. younger of Delvin, to Sophia

I