to be Hobbima's by description alone-which can scarcely be said of the works of any other artist in this class.
BERCHEM, from the merit of many of his works, claims a particular notice in this sketch of the Flemish landscape-painters; but there is nothing in his style sufficiently exclusive and characteristic to admit of description. His pictures are characteristic enough to be instantly known, but not to be distinctly made known to others. This arises from his style being not in any degree original and his own, but made up of the qualities of several others. He joins, in a very pleasing and tasteful manner, the delicate pencilling of Both, the smoothness of Wouvermans, and the truthand precision of Ruysdael; and there is an airy elegance in his composition which no one has equalled who has confined himself (as Berchem did) to familiar scenery, and almost the lowest class of country life.-There are five pictures by Ruysdael in this collection, and as many by Berchem. Among those by the former, 145 is a good specimen of his exquisite skill in depicting a waterfall; and 159 is very rich, natural, and fine. Among the Berchems, if I recollect rightly, 164 is the best and most characteristic example. Having concluded my notice of the Flemish landscape painters, I must now pause, and resume my subject in another article.
SONG FOR A SWISS FESTIVAL ON THE ANNIVERSARY OF AN ANCIENT BATTLE.
Look on the white Alps 'round! -If yet they gird a land
Where Freedom's voice and step are found,
Forget ye not the band
Of dauntless men, our sires, who fell
Here, in the rocky battle-dell!
If yet, the wilds among,
Our silent hearts may burn,
When the deep mountain-horn hath rung, And home our steps may turn ; Home! Home !-if still that name be dear, Praise to the men who perish'd here!
Look on the white Alps 'round! Up to their shining snows
That day the savage-rolling sound, The sound of battle, rose! Their caves prolong'd the trumpet's blast, Their dark pines trembled, as it pass'd.
They saw the princely crest,
They saw the knightly spear,
The banner and the mail-clad breast,
Borne down and trampled here!
They saw!-and glorying there they stand, Eternal records to the land!
Praise to the mountain-born, The brethren of the glen! By them no steel-array was worn, They stood as peasant-men! They left the vineyard and the field, To break an Empire's lance and shield.
FAREWELL then, loved and lovely one, And welcome pain or sorrow now, For thou canst smile, and smile upon A blighted heart, a burning brow. I deem'd not one so fair and bright Could be like hail in summer skies, Which scarcely leaves the world of light But all its purer essence dies.
I send one sigh before we part, And bless it, as it is the last: But, oh! it breathes not from my heart- 'Tis but the memory of the past. In future, should some sunny beam Come flitting o'er my gloomy way, I'll say "tis like my early dream,' And weep not when it fades away.
SONNET FROM BENEDETTO MENZINI. "Dianzi io piantai un ramoscel d'alloro."
I PLANTED in my youth a laurel-bough, My humble prayer to Phoebus offering, That by his fostering care the tree might grow, And shade and shelter to the poet bring:- That Zephyr might his kindly warmth bestow, And gently fan it with his golden wing; And that the icy North might vainly blow, And have no power to blight its blossoming. Full slow indeed beneath that fostering care I see my tender plant its branches rear,
Midst trees of loftier height, and nobler name.
But yet I grieve not at its slow uprise ;
His is no easy task, no common prize,
Who justly wins and wears the wreath of fame.
AND shall true love indeed be thus requited For all its lengthen'd war of hope and fear? Is this the thought that cheer'd the lonely year, The meed of faith so firm, so fondly plighted? What mildew or what canker-worm hath blighted The harvest of my joys in its full ear;
When sunshine smiled on all around-and near Hope with her sickle stood and smiled delighted? Now I can stand secure, and laugh at Fate,
For she hath dealt from out her deadly bow The sharpest of her arrows-and the last. Why should I court her smiles, or fear her hate, When she hath spent her malice?-now I know, The bitterness of death itself is past!
ABUSE of words, on the, 186. Actor's meditations, 343. Agreeability-a country Christmas, 168. Alaric the Visigoth, the dirge of, 64. Album, the Houndsditch, No. I. 160 -No. II. 250-No. III. 452. Aldermen, court of, at Fishmongers'- hall, 53.
Amalfi, his lines to an hour-glass, 112. Amethyst, sonnet on, 134.
Amusements of the studious, 49-not addicted to literary amusements, ib.- dancing recommended, 50-music, 51-the table, 52.
Ancients, on the repasts of the, 501. Angerstein, Mr. his gallery of pictures,
71-his Rembrandts, 72-Raising of Lazarus by Piombo, 76-his Claudes,
Annus Mirabilis, or a Parthian glance at 1822, 21.
Ante and post-nuptial journal, 330. Antiquity and Posterity, 135. April, the first of, 308.
Arcachon in the Landes, 66-La Teste, 67-chapel of St. Thomas Iliricus, 68 -miraculous vision, 69. Artists, Irish, on, 385-character of establishment for, in Dublin, ib. 386 -anecdote or two illustrative of, 387 -management and characteristics of the Dublin Society, 386, 387-pro- jected academy, 390. Astronomical Alderman, 119. Avernus, 212.
Bachelor, letter from a bashful, 54. Bard's, the, song to his daughter, 139. Barry the painter, 338.
Barry Cornwall's new poems, review of, 383.
Beautiful in Music, the principles of the, 297. 401. 554.
Bembo, sonnet of, 58.
Bird's release at the grave, the, 532. Blenheim, gallery of pictures at, 445. Blindman's buff, 46. Bolivar, Simon, sketch of the political career of, 4-his marriage, 5-joins Miranda, ib.-defeats Monteverde, 6 -divests himself of his authority, 7— defeats the royalists at Bocachica, 8- is defeated at Araguita, 9—takes Santa
Fè de Bogota, 9-drives the enemy from Margarita, 10-Bolivar beats Morillo, 11-is chosen supreme di- rector of Venezuela,ib.--beats La Torre, 12-takes Calobozo, 13-battle of Calobozo, 15-First Columbian con- gress, ib. Bonaparte, his own memoirs, 79-Las Cases' Journal relative to,79-remarks on misrepresentations respecting, 80— account of Las Cases, 81-Napoleon's situation at Rochefort, 82-miserable aspect of St. Helena, 87-bad accom- modations, ib.-family of Napoleon, 89-his early days, 90-takes Toulon, 92-his first campaigns, 93-origin of the charge of poisoning his soldiers, 94-conversations of, 280-remarks on Fox, ib.-his ideas of defending France, 283-his council of state, 284 his literary criticisms, 288-his con- duct to a servant who wished to kill the governor, 547-his astonishment at the English poor-rates, 549-the French prisons, 550-the Caliph sys- tem of police, 552. Bore's box, 416.
Bowl of liberty, Greek song of, 337. British Galleries of Art, No. 1. 71-II. 97. -III. 290-IV. 345-V. 445-VI. 568.
Cabriolets, the new, 492.
Campan, Memoirs of Madame, 457. Campbell, T. lines by, on Admiral Campbell, 32-Spanish patriot's song by, 491-song by, ib. Canova, the studio of, 28.
Cid, Songs of the, No. I. 307-No. II. 376-No. III. 378.
Classics and Romantics, on the, 522. Colds, coughs, and catarrhal com- plaints, 359-on mode of treating, ib. 360-clothing, 361-letter to the phy- sician, 363.
Comus, Milton's, 222. Constantinople, lines
Cornwall, Barry, his new poems, 383. Country Christmas, 168.
Court of Aldermen at Fishmongers'-hall,
Daintie Pastorals, 561. David, 444.
Death of friends, on the, 205-reflec- tions on, ib.-first sight of, in youth, 206, 207-of an old friend, 208. Delavigne, M. Casimir, review of his Nouvelles Messéniennes, 164-ex- tracts from his writings, 165, 166, 167. Dinner Company to let, 150. Dirge of Alaric the Visigoth, 64. Diver, the, 540. Dramatic travels, 379.
Dreaming, Table Talk, No. VI. 244— remarks on a passage of Gall's, 244, 246-whether the soul thinks always, 247-impressions in dreams, 248. Dublin, state of parties in, 261-Mar-
quis Wellesley's early conduct in taking the government, 262-account of Mr. Blake, his secretary, 262, 263-the civic banquet, ib.-Mr. Plunket's ap- pointment to the attorney-generalship, 264-the patronage of Ireland as ex- clusive as ever, ib.-Mr. O'Connel's letter, 265-Dr. Magee, 266-Sir H. Lees and Mr. Hayes, 267-pre- sentation of address, 268, 269-the marquis's reply, 270-the anger of the Orange faction, 271-trial of the Orange rioters, 272.
Dulwich college, pictures at, 568.
Gold Goblin, or the Lepreghaun, 230. Graduation day, Edinburgh, 254. Great man of the family, the, 465. Greek song, 337.
Grimm's Ghost-uncle and nephew, 38 -letter XI. 199-XII. 365.
Hampton Court, gallery of pictures at, 290.
Handkerchief, the, 468.
Harry Halter the highwayman, 173. Heaven and Earth, review of Lord Byron's, 353.
Hebe Hoggins, her literary society, 160 -sonnet to a flea, 162-second letter from, 250-evening, an elegy of, 251 -third letter from, 452-forgetful Cupid, 453-the smoky chimney, ib. Hour-glass, the, lines to, from Amalfi, 112. I
Invocation, an, 117. Irish artists, 385. Italy to Spain, 514.
Memoirs of Napoleon and Las Cases' Journal, review of, 79.
of Madame Campan, 457.
Menzini, sonnet of, 576. Milton's Comus, 222-Pope's plagiarisms from, ib.-its origin and design, 223 -exquisite character, 224-object to promote virtue, 225-unsatisfactory nature of masques, 226-passage omitted in Comus, ib.-personifica- tions in, 227-noble object of Milton in his poetry, 228. Minstrel, the, 344. Misenum, 212.
Modern Pilgrimages, No. VIII. the studio of Canova, 28-No. IX. the tomb of Virgil, Misenum, Avernus, &c. 212. Morelli, lines on, 152. Mouse turned hermit, 158. Music, on, No. I. 297-the Greek and Turkish, 299-Handel, 300-music of birds, 301, 302-rhythm, 304, 305, 306-No. II. 401, melody, 405 -variations, 411-time, 412-No. III. words proper to be set to, 554-effect of music on the mind, 556-musical language, ib.-kinds of poetry best suited for, 560.
Musical wives, 113. Myrta, lines to, 204.
mist, 118-the astronomical alder- man, 119-on an amethyst presented by Lelia, 134-the bard's song to his daughter, 139-on Kosciusko, 149– on Morelli, 152-the mouse turned hermit, 158-the white rose, 172— Turpin and the bishop, 174-bache- lor's fare, 176-exchange no robbery, 190-Constantinople, 198-to Myrta, 204-Southdown mutton, 210-the skeleton dance, 215-plain preaching, 229-evening, an elegy, 251-the farewell to the dead, 260-sonnet, from Zappi, 278-songs of the Cid, No. 1. the Cid's death-bed, 308-II. the Cid's funeral procession, 376-III. the Cid's rising, 378-patent brown stout, 319-York kidney potatoes, 320 -the prophecy of Constantine, 326— stanzas, 332-Greek song, 337-the Upas in Mary bone-lane, 343-an actor's meditations, ib.-the minstrel, 344-Greek song, the voice of Scio, 352-to the south wind, 419-stage wedlock, 427-Dr. Gall, 428-the voice of spring, 439-David, 444— sonnet from Petrarch, 451-forgetful Cupid, 453-the smoky chimney, ib. -night, 456-the handkerchief, 468 -the jester condemned to death, 469 -Spanish patriot's song, 491-song, ib.-Greek song, the shade of Theseus, 496-St. James's Park, 507-the news- paper, 508-Italy to Spain, 514-the statue of a funeral genius, 521-the bird's release at the grave, 532-the diver, from the German, 540-to a fountain, 553-daintie pastorals, 561- the flower that feels not spring, 567- song for a Swiss festival, 575-song, 576-sonnet, ib.-ditto, ib. Poison for the rats, 41. Printed by mistake, 529. Projects and Projectors, 120. Prophecy of Constantine, 326. Puns and Punsters, on, 33.
Recollections of a Student, 205. Repasts of the Ancients, on the, 501. Rose, the white, 172.
Saurin (Mr.), sketch of, 124—his descent, 125-regularity in business, 125- military career, 126-driven into the Orange faction, 127-his shrewish spi- rit on irritation, 129-his removal from office, 130-his personal appearance, 131-an excellent advocate, 133. Schweitzkoffer (Mr.), account of his poetry, 162. 252. Shade of Theseus, 496.
Shakspeare's Poems, remarks on, 470. Skeleton dance, the, 215.
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