caused her lover, fall back with agonizing | early period; and is said to have exhibited his power upon herself. In the morning, she weeps for the pain she must cause- -in the evening, for that which she has caused. And this is not all; every day M. and Madame de Crivelin behold their child sinking beneath the unequal combat she sustains against herself against her love against the misery she causes, and that which she feels within her own heart. This morn

first fondness for his calling on the occasion of a print which the servant had given him, to keep him quiet. Thus early initiated, he found materials for his purpose in his father's house. He drew, read, and resolved; and, Reynolds' "Discourses" attracting his attention, he became, before he was eighteen years of age, an enthusiast in high Art, whose first word was Raphael, and his second, Michael Angelo.

Thus irrevocably a painter, he left for London, on the 14th of May, 1804; and entered his name as a student of the Royal Academy. His skill and attention were soon noticed. Prince Hoare introduced him to Fuseli-an introduction which had something to do, per

ing, when the physician called, he found her suffering under a violent attack of fever, and there, now she is ill. This is nothing in the eyes of the world-a mere nervous indisposition, which, in a few days, will have altogether disappeared; and the Cri-haps, with the after errors and eccentricities velins are no less a happy family. And you, you, the very first, you must stamp your feet, and beat the walls with your fists, because the pleasures of these happy people importune, and afflict you. Do you desire their pleasures, young man? Oh! at this very moment, how willingly would they exchange their rich apartments, their sumptuous equipages, and their millions, for your garret, your umbrella, and your eighteen hundred francs a year!"

MR. B. R. HAYDON.

BENJAMIN ROBERT HAYDON, forty years a wanderer in the wilderness of high Art, fell by his own hand, in his own painting-room, on Monday last. His health is said to have been good, but his mind had been unsettled for some time past; and his pecuniary affairs, from the failure of his recent exhibition, very much embarrassed. Something was done, it appears, to relieve the pressing nature of his necessities, as soon as they were known; and the generous aid afforded by Sir Robert Peel (and at such a time) will be remembered, to his honor, whenever the history of Mr. Haydon's life is written at any length, or the Calamities of Artists shall be taken as a subject for some later D'Israeli to describe.

of his character and style. Fuseli was fearless and outspoken-and Haydon became the same; Fuseli in painting was violent in action and exaggerated in expression-and Haydon was, at once, his admiring imitator. Thus injuriously misled, he never recovered from the false worship of his early faith; but, through the whole course of a long and active career, mistook Fuseli's exaggeration of attitude and drawing for the tranquil grandeur of Michael Angelo and Raphael.

He was in his twenty-first year, when he sent, in 1807, his first work to the Royal Academy Exhibition. The title alone will show the daring of the lad-" Joseph and Mary resting with our Saviour, after a Day's Journey on the road to Egypt." Anastasius Hope became the purchaser; and thus urged on by the reputation acquired by his first work, he stripped for a greater effort, and lay by for a year to vindicate the predilection of his friends. Nor was his next work, his "Dentatus," an unworthy effort at such a time. The story was well told-the drawing, in parts, good-and Lord Mulgrave (a patron of the Arts) had bought it while it was as yet raw upon the painter's easel.

His next great work was the picture of "Christ's Entry into Jerusalem,”—begun in 1814, and shown to the public, for the first time, in 1820, in an exhibition of his own in Bond-street. He was proud of this picture,and perhaps with reason; though the circumMr. Haydon was born on the 26th January, stance of its remaining upon his hands may 1786, at Plymouth, where his father was a have inspired his spoken predilections in its bookseller of good reputation. He was edu- favor. He re-exhibited it in 1829,-and with cated at Plymouth Grammar School; and some pomp of description in the catalogue. afterwards removed to Plympton, where his "It has not been nursed," he says, "in warm education was completed in the same gram- galleries and fine lights; but has been lying mar school in which Sir Joshua Reynolds ac- about in dust and darkness, in cellars and quired all the scholastic knowledge he ever warehouses, for eight years; and yet every received. Haydon, in after-life, was fond of one will admit its color is uninjured and the referring to this circumstance; nor unwilling, surface uncracked. The reason is, the only indeed, to have it said, that his father, who vehicle used was fine linseed oil, unmixed drew a little himself, had given him the Scrip- with any other material; and no juice or vartural name in the thought that, as Plympton nish of any description has been put on its had sent a Sir Joshua into the world, Ply-surface. I never varnished but two picturesmouth might send her Sir Benjamin, to follow.

The boy evinced a love for Art at a very

Romeo and Juliet' and 'Dentatus'-and they both are cracked.' Three of the heads in this picture will attract attention-Wordsworth,

Hazlitt, and Keats; an odd combination,but all Haydon's doings differed from those of other people.

Still undaunted in his pursuits-and with the large picture of Christ upon his handshe began a second, "Christ in the Garden," and a third in the same high walk, called "Christ rejected." Contests of all kinds were welcome to his nature; and he engaged in a controversy about the Elgin Marbles--wrote with spirit and vehemence--attracted attention, and lost friends. He now (May 1821) married. New difficulties beset him; and people became afraid to employ a painter so turbulent in spirit, and so monstrous in the size of the canvas he selected for his pictures. His debts increasing, he became an inmate, for a time, of the King's Bench Prison. Here, he was a witness of the celebrated Mock Election which took place there in July, 1827;--and, struck with the picturesque character of the scene, he embodied it on canvas, and found a purchaser for it, at 500 guineas, in King George IV. He had friends to assist him, at this time; and, once more at ease, he began a picture of" Eucles"--a subscription being set on foot to take it off his hands by a public raffle. Sir Walter Scott interested himself in the subscription; and mentions, in his Diary, that he had sat to Haydon for his portrait. "He is certainly a clever fellow," he says, "but too enthusiastic,--which distress seems to have cured in some degree. His wife, a pretty woman, looked happy to see me-and that is something. Yet it was very little I could do to help them."

least four copies-one for Sir Robert Peel, a second for the Duke of Devonshire, a third for the Duke of Sutherland, and the fourth for we forget whom. This is a suggestive picture; coarse in its execution, but well conceived. It has been engraved,-and was popular as an engraving; but a second picture of the same character, "The Duke on the Field of Waterloo," was a poor companion. His last works were "Curtius leaping into the Gulf," Uriel and Satan,"-and the pictures which formed his recent Exhibition at the Egyptian Hall. He had been working at a picture of "Alfred and the Trial by Jury," on the morning of his death.

Haydon's history is a sad lesson; and, properly told, will be of greater service to artists than his pictures can. He was too much of an enthusiast-too haughty-too vain-and too much like poor James Barry, to succeed. His treatment of Sir George Beaumont was foolish in the extreme. Beaumont had given him a commission for a picture from "Macbeth" of a certain size, and for a certain position in his room. Haydon, then a young man, accepted the commission, with thanks,--and began a picture three time the size appointed. Remonstrance was ineffectual. Genius knew no fetters--and wonders were to be wrought When the work was done, great was Haydon's astonishment at finding that Beaumont was not delighted with him for exceeding his commission, and painting a picture for which his patron had no room. But peace to his faults! With more of care and less of enthusiasm, he might have achieved a reputation less likely to The success of the "Mock Election"-the be impaired than the fame he fancied he had work, he tells us, of four months--justified an- won from a future generation competent to unother attempt in the same line; and he com- derstand the solid principles of his style. Formenced a second picture, called "Chairing gotten, however, he cannot be. His "Lecthe Members-a scene from the Mock Elec-tures" will assist in securing his name; and tion." This he exhibited at the Bazaar in if they are found insufficient, Wordsworth has Bond-street, in 1829; and found a purchaser, helped him to an immortality :—

at 300 guineas, in Mr. Francis, of Exeter. Another picture of the same period was his "Pharaoh dismissing Moses, at the dead of the night, after the Passover"--bought, we believe, by Mr. Hunter, an East India merchant, for the sum of 500 guineas. "I gave, when very young," he has been heard to say, "early indications of a spirit inimical to the supremacy of portrait:"but, his wants increasing, with his family, he took to portraitpainting for a time, and advertised his price for a whole-length to be 150 guineas. People refused to sit, however; and his additions to the portrait branch of his art were few or none. The Great Banquet at Guildhall, at the passing of the Reform Bill, was the next subject of magnitude that engaged Mr. Haydon's attention. He brooded over it for a long period of time-and made a sad jumble of a scene in itself a jumble. The perspective, we remember, was very bad. Another picture of the period was his "Napoleon musing at St. Helena ;"* of which he painted, we believe, at

* Published in the Eclectic Magazine.

To B. R. Haydon, Esq.

High is our calling, Friend! Creative Art
(Whether the instrument of words she use,
Or pencil pregnant with ethereal hues)
Demands the service of a mind and heart,
Though sensitive, yet in their weaker part
Heroically fashioned-to infuse
While the whole world seems adverse to desert.
Faith in the whispers of the lonely Muse,
And oh! when Nature sinks, as oft she may,
Through long-lived pressure of obscure distress,
Still to be strenuous for the bright reward,
And in the soul admit of no decay,
Brook no continuance of weak-mindedness-
Great is the glory, for the strife is hard!

Athenæum.

BOOK-KEEPING -A friend who has suffered

largely by lending books, begs us to state that the reason people never return borrowed books is,

that it is so much easier to retain the volumes than what is in them.

Call forth in man his noblest powers ;-
Therefore I hold my head erect,
And, amid life's severest hours,
Stand steadfast in my self-respect.

I thank thee, God, that I must toil!
Yon ermined slave of 1neage high,
The game-law lord who owns the soil
Is not so free a man as I!

He wears the fetters of his clan;

Are sweeter and softer, and mingle so well
With all the clear echoes of mountain and dell,
That they seem to my sense earth's true music
to be:

Wealth, birth, and rank have hedged him in; Oh! a Steed and the Desert for me!

I heed but this, that I am MAN,

And to the great in mind akin!