three-quarters the same kind of merit as the "Rosalie" and the "Roman Lady." This most lovely picture struck me more the second time I saw it than the first; the hand holding the cross, painted with exceeding truth and delicacy. In the posses. sion of Mr. Eliot, mayor of Boston.

"Lorenzo and Jessica," a small picture. The two figures seated on a bank in front, her hand lies in his; I never saw anything better felt than the action and expression of those hands!-one could see they were thrilling to the finger ends. The dark purple sky above; the last gleam of daylight along the horizon-no moon. In the possession of Mr. Jackson, of Boston. For this exquisite little picture Allston received 600 dollars.

"The Evening Hymn." A young girl seated amid ruins. She is on a bank, and her feet hang over a subterranean arch, within which, in the deep shadow, is dimly descried the fragment of a huge torso; she is singing her vesper hymn to the Virgin; the expression of devotion and tenderness in the head of the girl, and of deep repose in the whole conception, very beautiful; there is a gleam of golden sunset thrown across the foreground of the picture, which has an extraordinary effect. In the possession of Mr. Dutton.

"Saul and the Witch of Endor," beautifully painted, but I did not like the conception; in this

instance. the genius of Salvator had rebuked and overpowered that of Allston. In the possession of Colonel Perkins, of Boston.

At Boston I saw, likewise, several fine landscapes, some of Italian and some of American scenery.

At New York.

"Rebecca at the Well." In the

rossession of M. Van Schaick.

At Philadelphia. Life on Touching the

"The Dead Man restored to Bones of the Prophet Elisha”

(2 Kings xiii. 20). The scene is the interior of a mountain cavern, into which the dead man has been let down by two slaves, one of whom is at the head, the other at the feet of the body; other figures above; life-size. This picture has some magnificent points, and much general grandeur, without anything exaggerated or intrusive, which is the fine characteristic of Allston's compositions (those I have seen at least). The best part of the picture is the dead man extended in front, in whose form and expression the sickly dawn of returning life is very admirable and fearful. The drawing in the feet and hands extremely fine. The bones of the prophet are just revealed behind, in a sort of faint phosphoric light emitted by them. Several figures above in the background, in various attitudes of horror, fear, amazement. I suppose the female figure fainting to be the wife or mother of the man. The picture is 13 feet by 11.

"Spa

I heard much of a picture I did not seelatro's Vision of the Bloody Hand," from Mrs. Radcliffe's "Italian." It is now in the possession of Mr. Ball, of Charleston.

Thus far the written memoranda at the time. I saw several other pictures, of which there was not time to note any particular description, but all bearing more or less the impress of mind, of power, and of grace.

When I heard of Allston's death it was not with regret or pain, but rather with a start, a shudder, as when a light, which, though distant, is yet present, is suddenly withdrawn. It seemed to me, that in him America had lost her third great man. What Washington was as a statesman, Channing as a moralist-that was Allston as an artist.

ADELAIDE KEMBLE:

AND THE LYRICAL DRAMA IN 1841.

Writen to accompany a series of full-length Drawings executed by Mr. John Hayter, for the Marquess of Titchfield, representIng Miss Kemble in all the characters in which she had appeared, and the most striking passages of each.

AUGUST, 1848.

How often we have had cause to regret that the histrionic art, of all the fine arts the most intense in its immediate effect, should be, of all others, the most transient in its result!-and the only memorials it can leave behind, at best, so imperfect and so unsatisfactory! When those who have attained distinguished celebrity in this department of art retire from the stage, it is the most mournful of all departures for those who disappear, and for those who are left behind; for there is no other bond between the public and its idol than this unlimited sympathy of mutual presence. ADELAIDE KEMBLE exists to us no more. She has retired within the sacred precincts of domestic life, whither those who made her the subject of public homage, or public criticism, will not presume to follow her, except with silent blessing, heartfelt good-wishes, and grateful thoughts for remembered pleasure, mingled, perhaps, with some

regrets, to waken up whenever her name is heard, -as heard it will be. Her short career as a dramatic artist, has become a part of the history. of our country's Drama;—as such, it must be recorded;—as such, it will be the subject hereafter of comparison-of reference. Those who imagine that when the distinguished artist, whose life and destinies have in a manner mingled with our own, is withdrawn from our sight, sympathy and memory are extinguished, commit a great mistake. Without entering here into the question of its expediency or inexpediency, public or private,— since it is a necessity,-since the record must and will live,—it had better live in a form that is dignified by its instructiveness and its truth, than in a form degraded by levity and untruth; and therefore it is that this sketch, which was at first intended to be strictly private, is here allowed a place that a name and a fame, familiar to the many, might be rescued from vulgar and ephemeral criticism, and take—as far as this inadequate tribute may avail-the place they deserve to hold in our memory.

When Johnson said of Garrick, that "his death had eclipsed the gayety of nations," he expressed a simple fact, which yet was only a part of the whole truth. Not gayety only, not merely the amusement of an idle hour, have we owed to the great artist, -more especially the great vocal and lyrical artist, but that blessed relief from the pressure of this working-day world; that genial warming