tude of the Apollo, pursuing with intense eye the arrow they had discharged from the bow. The Italians pronounced West to be no longer a barbarian. To introduce himself as a painter he begged Lord Grantham's permission to take his portrait, which was placed in Crespigni's gallery, and the name of the artist kept secret. The painting attracted universal admiration, and when Mengs, one of the most distinguished artists then in Rome, had learned that the portrait was the work of West, he said to him-'Young man, you have no occasion to come to Rome to learn to paint.' This incident of West and Lord Grantham's portrait was the subject of general remark at Rome, and found its way to Allen, one of West's early friends in Philadelphia, while he was at dinner with Governor Hamilton. Allen immediately expressed his design of aiding West to travel throughout Italy and Europe, and the excellent Governor begged to share the honor of patronizing a young genius who was likely to reflect so much honor on his native state and country; and soon after, when West went to his bankers at Leghorn to take up the last ten pounds which he had brought with him from America, one of the partners opened a letter and said, 'I am instructed to give you unlimited credit; you will have the goodness to ask for any sum you please.'

West now visited Florence, Bologna, and Venice, after which he returned to Rome and painted some beautiful copies of the works of the great masters of the age. On the 20th of June, 1763, West arrived in London, and found some of his Philadelphia friends in that city. He became acquainted with the eminent men of England, and was fired with a noble ambition to compete with them in the rivalry of genius. Subsequently he determined to remain there, and sent to Philadelphia for a young lady to whom he had been attached before his Italian travels, and on her arrival they were married in the church of St. Martins. West speedily became a favorite with King George the III. but never succeeded to the confidence and friendship of George the IV. In painting the death of General Wolfe, he introduced English costume- —a great, and at that time adventurous improvement, as previously all historical

paintings had been clothed in Grecian and Roman costume, under the idea of preserving a classical style. We have not space to follow West farther in his successful career. He was the second President of the Royal Academy. The number of his paintings were more than four hundred, mostly on historical and scriptural subjects. His life was so regular, that to describe a single day was to describe the movements of years. He rose early and studied late. When he lost royal favor by the death of the king, he successfully ap pealed to public patronage and found himself sustained. But old age was coming upon him--and, after losing his well beloved wife on the 6th of December, 1817, he died, in tranquillity and peace on the 11th of March, 1820, in the 82d year of his age. Noblemen, ambassadors and academicians were his pallbearers, and there were sixty coaches in the splendid funeral procession. He was buried in St. Paul's cathedral. Death on the Pale Horse is considered his most powerful painting. He attempted some of the most astonishing subjectsthe Resurrection-the Descent of the Holy Ghost, and seemed to exhaust heaven and hell in his daring search for subjects; but it may not be unjust to say that his power of execution did not equal the boldness of his conceptions.

HISTORICAL SKETCHES, No. II.

SAYBROOK.

Written for the Monthly Repository, and Library of Entertaining Knowledge. The town of this name, situated on the western bank of the Connecticut river where it flows into Long Island Sound, presents many associations of high interest to the mind. Saybrook is the most ancient town in the state of Connecticut. It was settled under the royal grant to Lords Say, Seal, and Brook, and derives its name from two of the noble proprietors. The first set. tlement was made in the year 1634, by George Fen. wick, Esq. and the Rev. Thomas Peters. A church was among one of the first things established by the Pioneers of Connecticut; and the first vote which that church recorded, was one which declared that they

were and would be for ever independent of Lords Bi shops. Through its lay officers, the Saybrook church. proceeded to ordain and set apart for the ministry as their pastor the Rev. Thomas Peters, considering this ordination espiscopal, although Peters had been silenced in England.

Opposition to high church dignitaries, seems to have been one of the earliest features in the ecclesiastical polity of Connecticut. The form of church government first adopted, bore a modified resemblance to the church of England, retaining some of the rituals, prayers and creeds; but time and jealousies, and ruptures with the mother country, obliterated, one by one, the Episcopal forms of worship, and a large proportion of the Connec ticut churches settled down at length, on the Saybrook platform, under Congregational banners.

Few

But Saybrook has other associations than those connected with its ecclesiastical history. The rounded bank which stretches down until it meets the hungry waves of the sound, is deeply indented with ditch and fosse, and trenches, that tell a tale of other years. dwellings now are seen along that shore, yet a large burying ground, strangely populous like a city of death, spreads its silent streets on the highest range of the strand-a melancholy memorial of departed population. The principal village now is at the distance of miles from the spot where the fathers of Connecticut threw up their first dwellings.

The Rev. Mr. Peters established a school soon after the settlement of the town, which soon became popular, and the savants of young Connecticut gave it the appellation of Schola Illustris. In the year 1700 or 1701, during the life time of Peters's children, this school received incorporation under the name of Yale College, but although this plant of renown first rooted there, it was not destined to spread its broad shadow over the pilgrim soil of Saybrook; it was removed to New Haven about the year 1717. Yet the musing traveller cannot see without emotions of melancholy, the spot where Yale had its glorious beginning. A few scattering blocks of granite that once formed a part of the edifice covered with the moss of a century, are

strewn around, and an unhoused cellar yawns where ence in the sounding halls of learning the academic tread was lofty and loud. The grave yard and the site of an ancient church are near that of the college. The monuments are numerous, arranged in solemn order, and bear many appropriate epitaphs to the honor of the truly dignified fathers and mothers of Connecticut. On one stone the following strikingly impressive line seems to struggle with the sluggish moss which has gathered upon its face in storm and sunshine:-" Here pride is calmed and death is life!"

But an object of more melancholy interest perhaps than even the populous field of graves, is the wreck of a monument nearer the sea. It is that of Lady Say; built of red free-stone, it has but illy withstood the tooth of time. The worm which gnaws the marble urns of the Acropolis, the storied slabs of Westminster Abbey, and the thrones of kings, has eaten away the form and stateliness of this monument, sacred to female worth and beauty. It is a popular legend of the neighbourhood that the large Griswold estate on the opposite side of the river was bequeathed to the family who now possess it on the sole condition, that they were to watch over and keep the monument to Lady Say in an erect position. This trust has been observed-but, alas, the firm earth itself has passed away, and made it necessary more than once during the lapse of two centuries to move the monument farther up from the encroaching jaws of the ravenous sea. There it now stands a wreck of what it was-the shade of a monument, itself in need of monumental sympathy.

'YOUNG LADIES' GARLAND.

FEMALE EDUCATION.

BY A LADY.

To the perfect formation of the female character I think it highly necessary, while engaged in a course of studies calculated to inform the understanding and mature the judgment, occasionally to relax the mind and amuse ourselves by reading works of a lighter cast, and

acquiring those accomplishments which though not considered valuable attainments, tend to soften the heart, elevate the affections, and polish the manners. Such are poetry, music, &c.

Poetry is truly the language of the soul. The usual style of poetical composition is best calculated to express the feelings and affections of the heart, which are the sources of all our dearest pleasures; and when those "words that breathe and burn" are tuned to notes of sweetest melody, it thrills through the heart with feelings of exquisite delight, and every chord vibrates to the magic strain.

It brings to mind the loved pleasures of our infancy, when the tear that trembled in the eye sparkled for a moment and was as quickly dispelled by the sunshine of innocent joy. It reminds us of friends we then loved and lost for ever-the sweet remembrance of pleasures that are past steal over the mind like the airy visions of a blissful dream, and every worldly care is soothed to rest by their mild and pensive power. While under the influence of those feelings the mind is drawn off from the hopes and fears connected with this life, the heart holds communion with itself and perceives more clearly the emptiness and vanity of all earthly objects, and ardently longs after those things which alone can satis fy the immortal soul of man.

There are sympathies and feelings inherent in our natures which cannot be awakened but by some congeniality of sound or sentiment, consequently the person devoid of all taste for poetry and music is unconscious of many of those pleasurable sensations which flow from. the most refined feelings of our nature.

Who, that has felt the soul-subduing power of harmony, but feels it enlarge and elevate the affections—who, that hath lingered to catch its last dying fall, has not felt the luxury of that sensibility which responds with tears of rapture to the strains.

Who, that is conversant with the smoothly flowing numbers of Campbell, or the still more natural and touching strains of Burns, but finds there expressed the thoughts and feelings of their hearts,—and while reading the severe but just criticisms of the poetic Cowper,