Isola would have retained in a greater degree our admiration, excited by many fine traits in her character, had she rejected Harry Cavendish. A pure, loftyminded woman, such as Isola is intended to be, would never, could never have been betrayed into the contemplation of a marriage de convenance. As it is, however, the author suffers us to console ourselves with the reflection that there is on both sides something to forget in the past. Both have swerved slightly in their allegiance, and are thus rendered equal. The husband cannot contemplate with the same remorseful feelings his affection for Florence Wilmington, and his consequent faithlessness for a time to Isola, as he would have done had she remained in that perfect and strict seclusion from participation in the world's feelings, which we conceive that, at the period of her first separation from Ranthorpe, she intends to adopt. We have been engaged hitherto with the hero and heroine, and have scarcely therefore permitted ourselves full space to speak of the remaining characters. Some of them are original and bold conceptions, pourtrayed we feel from life. We almost fancy that we recognise their very originals amongst the limits of our own circle. Harry Cavendish, dissipated and idle as he is pourtrayed at the commencement, is nevertheless a person whom we are disposed at once to like from the charming frankness and openness of his character, and that sort of instinctive love of virtue which is only sufficient at first to keep him from the commission of glaring sin, yet is developed afterwards as he grows in years, until at last it enables him to rise above the petty pleasures of sense, and find delight in the discharge of the nobler duties belonging to the condition of man in society. The scene in which he figures after the murder, and the determination he evinces to track the true culprit, the novel and admirable manner in which he sets to work, are most skilfully pourtrayed; and we never in fact remember to have perused in any novel for years passages of greater vigour, and possessing greater vitality, if we may so speak, than all those connected with the murder and its consequences. If there be a dash of improbability, it lies in the escape of the murderer, and the manner in which it is effected. A powerful interest is here awakened in the fate of the suspected assassin, who is no other than our hero Ranthorpe. But how he is saved from his impending fate, our readers must learn for themselves. The author excels no less in those parts where he touches upon domestic scenes, and the interior economy of those homes where all outwardly seems but peace and happiness. The graphic little episode con

nected with Florence, the flirt, and her husband, in which he remains lingering in the room determined to read a letter she is writing, and she as resolved that he shall not see it, is really admirable. This we should, did our limits permit, be inclined to extract. Our author is again at home describing the struggles of Ranthorpe as a dramatist to obtain a hearing for his play; indeed, it would be difficult to say in describing which kind of life he best succeeds. The conviction, however, impressed upon our mind, on rising from the perusal of the work is, that its author possesses in him the germs necessary to make a great and powerful writer of fiction. He will most undoubtedly succeed, if such be his aim, bearing in mind the recollection that to have done well is not to do well. It will be necessary to sustain the reputation once gained, and not only to sustain, but make it spread and enlarge. And this can only be done by bestowing upon each several production the same care, the same amount of reflection and patient investigation of the peculiarities of the human character, as the author of

66

Ranthorpe" gives evidence of having now done. We have felt inclined to enlarge our critique to a greater length than we are accustomed to, because of the interesting nature of the work on which we are engaged in pronouncing judgment. We have seldom perused a novel possessing deeper interest for a reflecting mind than "Ranthorpe." Every one will read it, almost all will admire, and its success is therefore in a measure secured. To our own circle of readers, we can only say that if they have not already done so, they must procure the book, as they will infallibly derive more gratification from this one volume than from a dozen or two of others lately published of a kind we could mention.

Notes of the Month.

USE OF FLOWERS.

There is nothing in the whole paraphernalia of a lady's ball, opera, or dinnerdress, about which we are more fastidious than her bouquet, since there is nothing which imparts a greater finish, if we may use the term, to the whole.

We love flowers; and no splendid jewel, no coronet of pearl, no diamond tiara, ever conferred on a woman's head a finer charm than that bestowed by a few natural flowers carelessly dispersed amongst clustering chesnut curls, or jetty braids of hair. We could wish it were more the fashion to resort to these ornaments, fresh from the hand of nature, laden with

choicest perfume, which no art can emulate, and displaying a bloom and glow unrivalled by all the united efforts of the most exquisite artistes, beautiful as their productions often are. These remarks have, however, been suggested by some specimens lately submitted to us of a new style of bouquet, either for the hand, the hair, or the bosom, invented by Mons. Ragonot. They are really surprisingly beautiful in their effect. The flowers are arranged with such regularity, the colours of all harmonise so well, the united perfume is so delicious, that one cannot fain to admire the taste of the inventor. The principal novelty, however, of this style of bouquet consists in the fact that, instead of fading, as most of them do, the instant they are exposed to the confined atmosphere of a ball-room or theatre, they preserve their freshness unimpaired during the whole evening. The secret of their preservation lies, of course, with Mous. Ragonot, but on examination we discovered each leaf to be actually threaded, as it were, upon a wire, which is connected again with a stalk or branch. But the whole is so delicately contrived that so far from betraying the mechanism which supports it, we seem to gaze upon a nosegay which had sprung into existence of itself as it were. We trust that the bouquets will meet with the patronage they deserve, since the idea does infinite credit to the taste and imagination of the inventor, Mons. Ragonot.

PERSIAN PAINTING.

We have just made another visit to the studio of Mr. T. R. King, of Islington, the inventor of a new and highly interesting style of painting; and as we are frequently asked what is meant by "Persian Painting," we think it right to lay before our readers some of the observations we made. Mr. King's invention is one of the greatest importance to those who wish to embody their ideas on canvas or paper; he has succeeded in simplifying the art of colouring to such a degree, that any one with a taste for the art, seeing him produce one of his beautiful pictures, can have no difficulty in reproducing a fac simile. His paintings in this style possess all the depth of oil, with the clearness, brilliancy, and transparent peculiarity of water colours, without the dirt and disagreeable smell of the one, and the difficulty of execution inseparable from both. Some of the subjects we said were of large dimensions, others so small as to be enclosed in lockets and brooches; and the perfect success which is manifest in both extremes, proved to us that Mr. King's invention is not only adapted to large works when effect only is required, but is capable of the most minute and elaborate finish.

In short, the Persian Painting secures that which in art has long been a desideratum, viz., breadth of light and shadow with perfect smoothness. We saw also many specimens which had been produced by Mr. King's pupils of great merit, which fairly convinced us that he could in three lessons teach the art of colouring fairly and legitimately without any mechanical process. Before we went we had our doubts on this point, but after seeing what has been done by those who have been under his instruction, we can no longer retain our scepticism. As we have not space to go into more lengthy description, we can only refer our readers to Mr. King himself, who, we have no doubt, will be happy to give them every information on the subject.

MADAME TUSSAUD.

Pope Pius IX.-Madame Tussaud is, almost without exception, the most indefatigable manager we remember. No sooner does any person come before the public, and engage its attention, than she instantly gives us a representation of the man. The curiosity of the whole civilised world is at present excited by the conduct of Pope Pius, and all enlightened men are looking forward with anxiety to the_ultimate result of his reforms. For ages Rome has groaned beneath a terrible ecclesiastical tyranny, and few have been the moments of enlightenment. Now, however, a brighter era appears to be opening, and we sincerely hope that we may not be disappointed in the character of the new reformer. The movement has commenced, which, if judiciously supported, may ultimately place Italy in its right position, and enable her to rank in the scale of nations. Every reform must tend to weaken the withering influence of Austria. These remarks have been suggested by a visit to Madame Tussaud's exhibition, which is certainly one of the most interesting in the metropolis. The figure which particularly interested us was Pope Pius; his face exhibits much of his character; there is so much ingenuousness and firmness expressed in his countenance-he almost looks himself. His dress is of the most magnificent description. The lace drapery is of the most exquisite quality; indeed, his whole appearance is striking, and cannot fail to arrest the attention of the visitors. The best time to visit the exhibition is in the evening, when the brilliancy of the lights sheds a lustre round the figures, and shows to advantage the noble dimensions of the vast hall. Those who have often visited the exhibition will agree with us, that every time there is something to interest, some feature which we did not before observe, or something new to attract our attention.

A Story of Reval, 166

297

Astley's Theatre, 76, 279

Azores, Lava Cultivation of, 309

Bard's Imagery, the, 338

Barnard Castle, 157

Bath Fifty Years Ago, by William Wise,

250

Battle of Life, by Charles Dickens, 53
Battle of Seminara, by Acletos, 374
Belfast Ladies' Association for the Relief
of Irish Destitution, 277
Bell's Comedy of Temper, 351

Bells of the New Year, the, by Fanny E.
Lacy, 53

Better Times, by Frances Brown, 92
Birmingham Parliamentary Society, 67
Birmingham Polytechnic Institution, 68
Birmingham Mercantile and Literary In-
stitute, 214

Black Prince, Tomb of, by Stuart Farqu-
harson, D.C.L., 254

Black Prophet, 269

Blind Man's Banquet, the, 118

Book of the Dead, a Legend of All Hal-
lows Eve, 267

Borneo, or Kalamantan, 341

Boulogne-sur-Mer, by Capt. H. B., 384
Brunelli's Model of Jerusalem, 342
Burials in Towns, 71

fic Institution, 213

Charter of the Society of British Artists,

277

Christmas Books and New Year's Gifts :

"Battle of Life," by Charles Dickens, 53
"The Fireside," by P. B. St. John, 55
"Partners for Life," by Camilla Toul-
min, 57

"Christmas in the Olden Time," by John
Mills, 58

"The Musical Almanac," 58
"Christmas Carols," 58

Chronicles of the Fleet, by Charles Row-
croft, 61

Cochrane, Lord (now Lord Dundonald)
Sketch of his Services, 399
Cogers' Hall, 150

College of Preceptors, 69
Colossal Candelabrum, 214

Concerning Sir Hugh Asham's Disbelief
in Ghosts, and what it led to, by Ed-
mund Ollier:

Chap. 1. The Plot, 257

2. The Summer House, and what
was seen there during the
night, 259

3. A Retrospect, 328

Counsels to Young Men, 65

Fireside, the, by P. B. St. John, 55
Fortunes made by Advertising, 277
Fountain of Arethusa, 297
French Embroidery, 68
Fruit-Gatherers, by Fanny E. Lacy, 247

General Kalerges, Memoir of, 46

Gossip about Patent Medicines, Old and
New:

Sketch 1. Empirical Remedies of our
Forefathers, 187

Sketch 2. Quackery in the Seventeenth
and Eighteenth Centuries,

263

Great Fire at Manilla, 342

Habakkuk Sallenbacha, or the Merchant
of Jericho, 27, 97
Haymarket Theatre, 76, 276
Her Majesty's Theatre, 215, 279
Hewlett's Life and Writings, 254
High Nosed Jews and Flat-Nosed Franks,

281

History of Philosophy, the, 36

Hope, Duty of, by J. A. Heraud, 172
Horse and his Rider, by R. Springfield, 143
Hours of Thought, by J. S. Hardy, 338
Human Teeth, 65

Idolatry of the Voice, 345

Illustrated Musical Almanac, 58

Irish Famine, Evils and Benefits of, 235
Italian Opera, the, 153

Japan, latest from, 341

Jenny Lind; or, the Idolatry of the Voice,

345

Jerusalem, model of, 342

Judith and Holofernes, by F. E. Lacy, 224

King's Persian Painting, 214

King Charles I, by Arthur Gurney, 332
King's Highway, the, by G.P.R.James, 145

Lady's Guide to Epistolary Correspon-
dence, by Mrs. Maxwell, 65
Lament of Andromache over the Dead
Body of Hector, 319
Languages of the Dyaks, 341
Latest from Japan, 341

Lava Agriculture of the Azores, 309
Lawyer's Complaint, the, by Sir J. M., 243
Lays and Songs of Rome, 147

Lilly Dawson, Story of, by Mrs. Crowe,

270

269

Great Oyer of Poisoning, by And. Amos,
62, 140

Literary, Scientific, and Educational Re-
sources of English Towns.-No. 1. Bir-
mingham, 215