man, as little as we esteem his poetry!" Old Izaac Walton better appreciated the poet, and the present age does justice to his quaint and fanciful, but thoughtful poetry. Michael Drayton, aged, 50, 1613, is engraved by Hole as a frontispiece to his works, 1619; and there is another print by Marshall, 1647, 8vo. According to Granger, "the late (the first) Lord Lansdowne had an original of him, which he highly valued. was supposed to be done by Peter Oliver." It John Hampden is engraved by Audran, in Peck's Life's of Milton. This is stated on the print to be from a picture in the possession of Sir Richard Ellis; but Granger says, "this gentleman is said to have bought an old painting at a stall and called it by his name. Mr. Hollis made particular enquiries for a genuine portrait, but could never find one." There is another by Vandergucht, and one by Houbraken, from a different pic ture. Lord Cobham at Stow, had a bust of John Hampden, with an inscription (which is given by Granger). A miniature of him was in the collection of the late Mr. Brett, and the Earl of St. Germains has a portrait of him which has been engraved. Does anybody know where the picture now is that is said to have been taken to Charles I. at the time of his trial? There is a print by Savery of Charles, in a highcrowned hat, as he appeared at his trial, and it is said to be by Van Dyck (who was dead some years before !) It was probably copied from a portrait of the King by Van Dyck, and the hat introduced by the engraver. In one of those odd collections of verses of all sorts, called Miscellaneous, where we have, besides the efforts of men, then or since famous, various fugitive" pieces curiously mixed up, as "Upon a beautiful Lady with Cataracts in both eyes -by a Gentleman who has an Impediment in his sleep"-" Hymn to Venus"-" On some snow that melted on a Lady's Breast" "The Passion of Sappho"- On the Death of a Lady's Cat," in short "Tales, Songs, Elegies, Satires, Encomiums, Well, in one of those odd jumbles, 7 has some 66 Thoughts occasioned F sight of an original painting of King C Ist, taken at the time of his tryal,”—ns ed to the Right Hon. George Clarke.2 of the Lords Commissioners of the A:ty-who appears to have owned the pr The verses begin : "Can this be He! Could Charles, the Good, the In solemn Anguish, and Majestick Woe!" After a deal of rubbish, the verses conclude This Sight shall damp the raging Ruffian's Breas Poetical Miscellanies-Ed. by Steele, V A picture that could do so much ought be available. But, seriously, such a picture taken at such a time, if faithfully rendered would be one of the most interesting of a the portraits of Charles. Who was it painte by? We do not remember any record of the King sitting for such a picture, and it most unlikely that he did so, yet it migh have been. If it was merely a portrait "made up" from previous portraits, or painted from memory, it would be worthless The writer's particular description of the pallor, neglect, grief, and despair, goes for nothing. He did not want the picture to enable him to write those lines, and indeed had the picture been before him, it might only "have put him out." Though it is described as an "original," it was very pos- | sibly the picture, evidently hashed up from Van Dyck, that was engraved by Faber. We are afraid, however, the original will be as difficult to find as the original manuscript *["A Man of Sorrows and acquainted with Grief!"] 1762. A very lively notice of this Lady and her admirer is given, with extracts from original letters of their time, by the late Lord Dover (then George Agar Ellis), in the Keepsake for 1831. Pope has some lines "On receiving from the Right Hon. Lady Frances Shirley a Standish and two Pens "-in which one of the Lady's admirers, supplanted by Chesterfield, is alluded to. The Lady, supposed to be speaking says- "But, friend, take heed when you attack, This L...... was Thomas Coke, Lord Lovell, afterwards Earl of Leicester-who had an affection for Lady Fanny Shirley. Sir Charles Hanbury Williams in that sparkling dramatic poem, called "Isabella, or the Morning," introduces him :-- "Lovell-the oddest character in town- It is a curious illustration of the way pictures are lost and found that the portrait of Pepys, taken in his hired Indian gown and with the music of his "Beauty retire," introduced in the picture by Hales, an account of which from his Diary is given elsewhere, was very nearly being lost to the world. It was included in a sale af pictures, described simply as the "portrait of a Musician." It might have been sold as such, and its identity altogether lost had not, fortunately, Mr. Peter Cunningham, learned in the literary and pictorial lore of the 17th and 18th centuries, seen it, known it, and bought it "for a mere song." He recorded his purchase at the time in a very interesting notice in the Athenæum. Among portraits wanted' should be mentioned that of Caxton, of whom it is very doubtful if there be an authentic one known. Ames in his " Topography" has a portrait * A plagiarism : "Lover, statesman, fiddler, and buffoon." Character of E. of Rochester.-Pope, POR We have elsewhere intimated, it is impossible now to make a collection of original pictures of great men or celebrated women, and those who seek to form such a "collection must be content with engravings; but of these it is advisable to get the best, those copied direct from the original; and the best impressions of these copies that can be procured. A copy from a copy of a picture is generally worthless, and a copy which attempts to "improve" the original is in a worse case. We have seen copies of hard, illcolored, dark, and somewhat cracked and patched originals, that have been so softened, and polished, and flounced, and furbelowed that it were a sin to call them the likeness of anything human, or anything but a fiction of waxwork and drapery. There was character, thought, and humanity in the despised original, nothing but vapid inanity in the copy. And it is not only unknown painters who have done this. Some who should have known better have been guilty of this deception. It has been often remarked though it is not always true, that painters paint themselves in their works. This is true of some. Bartolozzi in engraving made everything Bartolozzi, and the Holbein heads which he copied have more of the prettiness of the conscious dancing-master than of the sturdy old painter who forgot himself in his devotion to his art. What are the requisites to a fine portrait? It is not sufficient to have the features merely exactly copied, as in a plaster cast from the face; for in that case, the waxwork figures some of us have seen in Madame Tussaud's Exhibition would be at least as fine as a picture by Van Dyck, or a statute by Foley or Marochetti. Until lately it was held by portrait painters that a "broad" style, in which individual peculiarities should be sacrificed to a "general" effect, was essential; but now the PreRaphaelite school would lead us into the extreme of the contrary. The perfect style would be to unite the two. With the utmost accuracy as to features and peculiarities, the general character should be seized, and the picture should look as well near as distant. But besides this, the features and expression should be given at their best or most characteristic moment. The subtleties of expression are so refined that the painter, to excel, must "hold," as it has been stated, "the compasses in the eye," whilst the variation of the features under different modes of the mind or physical changes, are so great that we may actually measure with the calip. ers or a foot-rule differences-the extraordinary artist will see the more subtle and evanescent effects of momentary expression, and will give them on the canvass, not by neglecting to "finish the parts," but by uniting that finish to the general finish. (To be Continued.) BOOKS WANTED. SANDERSON, JOHN.-Biography of the Signers to the Declaration of Independence. Vols. 1 and 5. 8vo. Philadelphia Pomeroy, 1873. AMERICAN BIBLIOPOLIST.-For Vol. 1, No. 3, and Vol. 4. No. 36, fifty cents will be given. For Vol. 1, Nos. 1, 4 and 12, 25 cents. And for Vol. 5, Nos. 61, 62, 10 cents will be given. DWIGHT, J. S. -Selected Minor Poems of Goethe and Schiller. Translated with Notes. 12mo. Boston, 1839. Wanted by J. 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