not on his back. It is a brewer's man and horse supplying his customers. We saw one of the stables where these monstrous horses are at home. Each has his name painted on japanned tin, like a lawyer's sign, and stuck up over his manger. The names of all the horses bought the same year begin with the same letter of the alphabet, that the proprietors may know how long they have had any horse in their service. These horses cost about 300 dollars apiece, are in fine case, and drink no beer. Our guide made a point of telling us that these horses were kept and well fed when unable to work. If he could have said as much of the people whose money went to buy hay for them, and palaces and splendour for their owners, it would have been still more to the credit of the latter.

Such is a hasty look through the fourth brewery in London, one which is ancient, conservative, and behind the age, in its means of stupefying the people. What must that vast pile be which looks down upon the Thames, where three million dollars' worth of beer are turned out every year, or about 400,000 barrels ! Is St. Paul's or any other church likely to draw mankind heavenward as fast and as far as that establishment of Barclay and Co. will pull them in the opposite direction ?-American Paper.

THE OUTCAST CHILDREN'S CRY.

BY MARY HOWITT.

EAUTIFUL the children's faces,

Spite of all that mars and sears;
To the inmost heart appealing,
Calling forth love's tenderest feeling,
Steeping all the soul in tears.

Eloquent the children's faces

Poverty's lean look, which saith-
Save us! save us! woe surrounds us;
Little knowledge sore confounds us;
Life is but a lingering death!

Give us light amidst our darkness;
Let us know the good from ill:
Hate us not for all our blindness ;'
Save us-lead us-shew us kindness;

You can make us what you will!

We are willing-we are ready;

We would learn if you would teach:
We have hearts that yearn towards duty,
We have minds alive to beauty,

Souls that any heights can reach !

Raise us by your Christian knowledge;
Consecrate to man our powers:
Let us take our proper station—
We, the rising generation,

Let us stamp the age as ours!

We shall be whate'er ye make us:
Make us wise, and make us good!
Make us strong for time of trial,
Teach us temperance, self-denial,
Patience, kindness, fortitude!

Train us! try us! Days slide onward-
We can ne'er be young again!
Save us! save from our undoing;
Save from ignorance and ruin;
Make us worthy to be MEN!
Send us to our weeping mothers,
Angel-stamp'd in heart and brow!
We may be our fathers' teachers;
We may be the mightiest preachers
In the day that dawneth now!
Such the children's mute appealing:
All my inmost soul was stirr'd,
And my heart was bow'd with sadness-

When a cry, like summer gladness,

Said "The children's prayer is heard!"

Shakspere's Portraits Phrenologically considered. -The July number of "Pitman's Popular Lecturer and Reader" (price 2d.) will contain an original and valuable Paper (illustrated) on this interesting subject, by E. T. CRAIG.

London: FRED. PITMAN, 20, Paternoster Row, E.C.
Printed by J. WARD, Dewsbury.

Popular Lecturer and Reader.

Edited by HENRY PITMAN, Manchester.

SHAKSPERE.

From a Photograph of the Buft in Stratford Church. 19.-JULY.

194

Shakspere and Art.

HE GENIUS of SHAKSPERE is a marvel to the many, while the thoughtful recall his wisdom and revere his memory. It is proposed to embody this admiration of his countrymen in a tangible artistic memorial. His sculptured form will thus become history cut in stone, telling future ages of the spirit and intelligence of the people at the Ter-centenary of his birthday. A monument to the memory of Shakspere will confer honour on the nation, rather than extend the fame of the bard. But a statue that gives no truthful indication of the "form and stature” of the poet as he lived, would prove a source of disappointment and indifference in the future.

A faithful copy of the head of a man of genius is his most reliable biography,-indicating as it does, in bold and graphic outlines, the character the Creator hath impressed upon the noble yet delicate instrument of thought-the brain. It tells in a few brief lines the story of his life, his racial parentage, his emotional proclivities, and the bias of his mental powers. Hence, portraiture affords universal gratification, and physiognomy becomes a captivating study; while both acquire increased interest and greater practical utility, when the relations between organisation and character are fully understood. Which, therefore, among the many portraits of Shakspere, is the genuine likeness of the bard, is a subject of great interest, worthy of investigation, and, if possible, of discovery.

The question respecting the genuineness of the portraits of Shakspere as likenesses, has long remained vague and unsatisfactory. The pedigrees of several have been given, but no satisfactory examination of the portraits has hitherto been published; and as the only way to arrive at a sound conclusion was by comparing them with each other, in their facial and cranial contour, in accordance with established principles, an exhibition of Shakspere's Portraits and pictures, to be held in the town of Stratford during the Ter-centenary Festival of the poet's birthday, was advocated in the local press. The suggestion was approved, and a number of portraits and pictures were lent by various noblemen and gentlemen for the purpose: the

*

*By the writer, in the "Stratford Herald," June 11 and 22, 1863.

whole were very judiciously arranged under the superintendence of Mr. Hogarth, of the Haymarket; and constituted one of the most interesting features of the festival at Stratford-on-Avon. This collection of Shakspere portraits, which had never before been exhibited together, was both unique and suggestive, leading to results of higher importance than could possibly be anticipated; for careful and repeated examinations and comparisons of the portraits with the bust and mask taken after death, led to the conclusion that a genuine portrait of Shakspere exists; and moreover, that several of the portraits have emanated from one characteristic source.

Some of the best authenticated portraits are the productions of inferior artists; others are disputed; while several are frauds and impositions. It is therefore desirable to ascertain, as far as practicable, which portrait approximates the nearest to the " counterpart presentment" of the poet; and the light of modern science will enable us to arrive at a nearer point of truth and exactness than has hitherto been possible.

It is only within the present century that the discovery has been made a discovery which modern artists only could apply that special characteristics are connected with particular portions of the head, and that mental greatness mainly depends on the size, form, and condition or quality of the brain. There is also a correspondence between the thorax and the abdomen, and the brain. We seldom find that a large anterior lobe and narrow base of the brain are combined with large lungs and a large abdomen; and we as rarely see that a large base and small anterior lobe are combined with small lungs and a small abdomen. There is, therefore, a language, so to speak, pervading the whole corporeal frame of man, which bears a relation to the size, form, and condition of the brain; while every part of the visible surface expresses the quality as well as the quantity of the mental power that pervades and animates it. Biographic portraiture, therefore, requires a knowledge of anatomy, physiology, phrenology, and ethnic physiognomy, as well as of art to perceive, delineate, and preserve the true, distinct, racial, and special type; and also to estimate the relationship in form between the body, the brain, and the moral and mental character and capability of a man of mark or talent.