INDEX NAMES AND SUBJECTS IN THE TWENTIETH VOLUME, Affections of man before the Fall, 248 Afliction, 120 America, intolerance in, 75 mental thraldom in, 72 American Indian, anecdote of an, 98 ingenuity of au, 160 Anecdote, singular, 139 of Serjeant Glanvil, 189 situation of the ear in, 157 Apsley House, description of, 135 Artesian wells, 236 Arts, Fine, brief History of the, No. IV. Barrow, extracts from, 131, 152, 190 Battles of red and black ants, 243 influence of religion, 152 Benevolence and sensibility, 192 Bennett, extracts from, 134, 189, 195 Berkeley, extracts from, 157, 182 Birds, position of, at roost, 227 Ear, situation of the, in animals, 157 Easy Lessons in Chess, I., 91-II., 133-III., 164—IV., 203—V., 247 Rural, for the Months, 39, 79, Education, true religion inseparable Effects, beneficial, of labour, 54 Elizabeth, Princess, letter of, 235 English household management, 190 Enjoyment of natural beauties. 150 Excellence of the Christian profes- Exercise of mind and body, 190 Expectation, 31 External Senses, Philosophy of the, Fashions, idle, 139 Feather, mechanism of a, 221 Fine Arts, brief History of the, IV., Flax, nature and cultivation of, 31 Floating bridge over the Hamoaze, 60 Fraxinella, remarkable property of the, Funeral ceremonies of the ancient Furness Abbey, Lancashire, 161 Gold and iron, a comparison, 207 Good-meaner and the hypocrite, 120 Gratitude and ingratitude, 119 Greenhouses, indoor, 100 Hair harvest in France, 158 Hale, Sir Matthew, Memoir of, I., 29 extracts from, 181 Capt. Basil, observation by, 70 Hamoaze, floating bridge over the, 60 Hanse Towns of Germany, 33, 73, 113 Hemaus, Mrs., extract from, 103 Hemp, nature and cultivation of, 15 Historical notice of Rugby School, I., Home, unspeakable blessedness of a Hudson, scene on the bauks of the, Hullah's adaptation of Wilhem's Icelandic Sketches, I., 9-II., 25- Improved Method of Soldering Me- Indian, American, anecdote of an, 98 village, contagion in an, 184 of the moon upon plants and Insect, the cochineal, 219, 240 Insignificance of man, an infidel Intelligence and virtue the only basis Irish Manners and Customs Sketches of, I., 5-II., 20-111., 55-IV., 95-V., 108-VI, 151—VII., 177 Iron and gold, a comparison, 207 Isthmus of Panama, proposed route January, rural economy for the mouth Javanese Sketches, I.. 201-II., 225— Labour, beneficial effects of, 54 Latimer, Bishop, observation of, 297 Learned eyes and understandings, 70 Management, English household, 190 Manners and Customs, Irish, 5, 20, Meditation on the Scriptures, 230 Melrose Abbey, lines on revisiting, 29 Memoir of Sir T. S. Raffles, I., 188— Mental thraldom in America, 72 - deficiency, ignorance of, 240 Misuse of the term "Nature," 190' Montaigne, extracts from, 150, 155, 181 Months, rural economy for the, 89 97, Moon, motion of the, 198 question of its influence on the More, Hannah, extract from, 182 origin of the term, as applied Multiple stars, 239 Natural beauties, enjoyment of, 150 misuse of the term, 190 Nights, Summer, in Norway, 239 North American Indians, the, 59 Norway, Summer nights in, 239, Pacific, proposed route to the, 231 Penny-postage and commercial tele Perfections of animals, 208 196 Philosophy of the External Senses, Photometer, or light-measurer, Pipes, manufacture of tobacco, 111 Planet Saturn, motion of the, 227 Plants and animals, has the Moon any Plymouth, floating bridge at, 60 Pocket-book, lines inserted in a, 228 Position of birds at roost, 227 Potter, Dr., extracts from, 27, 54, 59 Princess Elizabeth, letter of, 235 Promise without performance, 107 Proposed route across the Isthmus of Sinful customs, breaking of, 189 of Irish Manners and Cuts. Spare Minutes, I., 35-11, 64-III., Stars, double and multiple, 239 chess, 133, ear, Illustrations of early block books, spe- Chess, 92, 93, 133, 164, 165, 203, 204, 205 grafting, 116, 148, 149 197 the photometer, 196, the vibration of strings, of voltaic electricity, Java, scenery of 201 Koonoor pass, in the Neilgherry hills, Lubeck, entrance to, 73 Machinery for ropemaking, 52, 53 the common, varieties of, Metals, improved method of soldering, Monuments by Chantrey, 17, 67 National costume of Iceland, 57 the, 153 Nest of the redbreast, 77 Ornamental fountain, 192 Warburton, Bishop, extracts from, Warning well taken, 70 Warwick, Arthur, Spare Minutes by, Watson, Bishop, remark by, 227 Wellington, Duke of, residences of Wells, springs, and fountains, 191, 235 Whately, Archbishop, on conscience, 96 Whittier, poem by, 184 Wickliffe's body, burning of. 114 Wilhem's Method of Teaching Sing. Wilkie and his Works, 1,, 2-II., 30- III.. 90 Wolfe, extract, from, 99 Working in metals. 59 Wotton, Sir Henry, extracts from, 31, We have to thank many of our Correspondents for their friendly suggestions. Some of these we shall avail ourselves of,-others SIR DAVID WILKIE AND HIS WORKS. SINCE the sudden and lamented death of Sir David From the time of Hogarth no artist has so effectually appealed to the understanding and sympathies of the people as Wilkie. In the most essential particulars, the style of art is the same with both artists. In Wilkie's productions we find great variety, refinement, and acuteness in the observation of what is characteristic in nature, and the treatment of many of his subjects is strikingly dramatic. Hogarth has all this, and much more, which not only renders him distinct from, but raises him greatly above, the modern artist. Wilkie does not seem to have possessed the power of producing moral dramas in whole series of pictures, but contents himself with the representation of one single effective scene. Dr. Waagen says year his By the time Wilkie had attained his fifteenth love for art and his skill in the use of his pencil were such that his father and friends agreed that both deserved cultivation. The young artist was therefore sent to Edinburgh, where he was regularly entered a student Mr. John Graham. of the Trustees' Academy, then under the direction of formed for the encouragement of design in manufactures, This Institution was originally but Mr. Graham, in extending its objects to the culture of the fine arts, was allowed to propose certain prizesubjects for competition. One of these subjects was a scene in Macbeth; and Wilkie obtained the second prize, the first being awarded to a gentleman named Thomson. Wilkie always entertained a grateful remembrance of Graham's kindness and preserved in his house at Kensington an engraving from a picture by this his first master. At Edinburgh, Wilkie numbered among his and successful follower in his footsteps, and John Burnet, fellow-students William Allan, the present academician, much to promote the reputations both of the artist and whose engravings of Wilkie's pictures have done so the engraver. At this early period of his life our artist gave some promise of his after excellence. first productions was an "Inside of a Public-House;" another, "Pitlassie Fair." It was at Pitlassie that he saw his " Blind Fiddler" conducted from booth to booth, and thus were suggested to him the leading features of seen a picture by Ostade, but yet both of these early that admirable picture. Wilkie at this time had never One of his "If I might compare Hogarth with Swift, in his biting satire, with which he contemplates mankind only on the dark side, and takes special delight in representing them in a state of the most profound corruption, of the most fright ful misery, I find in Wilkie a close affinity with his celebrated country inan, Sir Walter Scott. Both have in common that genuine refined delineation of character which extends to the minutest particulars. In the soul of both there is more love than contempt of man. Both afford us the most soothing views of the quiet genial happiness which is sometimes found in the narrow circle of domestie life, and understand how with masterly skill, by the mix-productions, as Graham assures us, are in the style of ture of delicate traits of good-natured humour, to heighten the drama of such scenes; and if, as poets should be able to do both in language and colours, they show us man in his manifold weaknesses, errors, afflictions, and distresses, yet their humour is of such a kind that it never revolts our feelings. Wilkie is especially to be commended, that in such seenes as the Distress for Rent he never falls into cari cature, as has often happened to Hogarth, but with all the energy of expression, remains within the bounds of truth. that great master; the breadth, character, and expression were admirable. One of his early works was a public sign in the town of Cupar; but it has been taken down and carefully preserved as one of the early productions of a man whose works belong to the world. The usual period of study at the Trustees' Academy longer (as did Burnet and others), and in the year 1804 was two years; but Wilkie remained there two years came to London, with the genius and the ambition of an artist. Alone and without patronage, we need not won Sir David Wilkie was the son of the Rev. David Wilkie, the minister of Cults, near Cupar, in Fife, author of a work called Theory of Interest, Simple and Com-der that, even with his remarkable powers, his path was pound, derived from first Principles, and applied to Annuities of all Descriptions. David was born about the year 1785, in the manse, or minister's house, formerly celebrated as the retreat of the murderers of Archbishop Sharpe. Sir David always spoke of his father with the strongest affection, and when his talents had procured him both fame and reward, he erected monument to his memory, from the hand of his friend, Sir Francis Chantrey, who we regret to say has recently finished his course. When and by what means Wilkie acquired a love for art we have not heard: it is, however, most probable that he was born an artist, and that the use of his pencil became as it were, an instinet of his nature, as soon as he could hold one. An anecdote has been related which illustrates his early love for character. cr We happened some time ago to be living near Canterbury, (says the narrator) when we were accosted by a northcountry peasant, a wandering gardener, from the county of Fife, who took a paper from his pocket-book, and desired us to read it. This was a certificate of character written by the Rev. Mr. Wilkie, of Cults, in Fife, setting forth that the bearer was sober and so forth. "I have heard," said the Scot, "that the minister has a son in London, who has grown a great man. I wonder which of his sons it can be." "It is David," we answered, "and a far-famed man he is." "David!" he exclaimed, "what, wee curly-headed David? wha would have thought that now? And what is he great for, can ye tell me?" "For painting," we replied. "Painting!" the man of Fife turned up his eyes; difficult and uncertain. But whatever be the powers of a man, provided he be resolutely industrious he will not fail to meet encouragement of some kind. Wilkie provided himself with a few of the results of his skill and industry, and one of his first attempts to dispose of his productions was an application to a picture-dealer in Great Portland Street,- a man who had been companion of the intemperate George Morland, and one of his biographers. Wilkie took with him some panels wrapped in a silk handkerchief, and humbly requested to submit them for inspection. The son of the picture dealer was taking care of the shop while his father was smoking his pipe in a back parlour. This man overhearing Wilkie's statement that he had some pictures for sale, bawled out, "Has he brought a George Morland?an Ibbetson ?-a Rathbone?a De Loutherbourg ?" and receiving negatives to these queries, said that the artist need not trouble himself to untie his bundle. Thus the graphie gems of our artist were then despised by those men who two years later" to obtain what the small silk handkerchief contained would have gladly selected several of the painted panels, and covered their dimensions with golden eoin!" Towards the end of 1806 Wilkie, being very short of money, sent some of his paintings to Andrews, a pictureframe maker at Charing-Cross, to sell. One of them, the original Blind Fiddler, stood long in the window; a circumstance which, in the present state of our feelings, we find it difficult to account for. At last, Mr. Stuart, of the Morning Post Newspaper, who had often stopped to admire it, was seen doing so by an old acquaintance, who recommended him to purchase it as a work of merit. He went into the shop and inquired the price. It was five guineas. He concluded the purchase, and told Andrews to put the picture into a frame, In the spring of 1807, some friends being at dinner with Mr. Stuart, Mr. Wordsworth the poet mentioned a new artist of unusual and singular merit, who had made his appearance, and described Wilkie's picture, the first he exhibited at the Royal Academy, and which had excited great attention, Mr. Stuart then produced the picture he had purchased of Andrews; and the poet. expressed his firm belief that it was by Wilkie. Mr. Stuart afterwards visited the exhibition at the Royal Academy, examined Wilkie's picture, and had no doubt that the one purchased by him was by the same hand. Guided by the catalogue he proceeded immediately to Mr. Wilkie, then residing in Upper Norton Street, whom he found painting the subject of "the Blind Fiddler" over again: the size was rather larger; the background something different; and two new figures were introduced into the composition. He proposed to Wilkie to paint a picture for him; but the artist declined, stating that he was busily engaged to paint for Lord Mulgrave, and that his design was then to earn fame, not money. He added that the picture possessed by Mr. Stuart was one of his latest productions, and was glad it had fallen into such good hands. Several years afterwards, Mr. Stuart being at dinner with Sir George Beaumont in Grosvenor Square, Sir George said to him, "So, Mr, Stuart, I find you have the original of my picture, the Blind Fiddler,' About seven years ago Mr, Stuart met Sir David Wilkie in company at Mr. Rennie's, in Chesham Place, and entered into conversation with him respecting this picture. He recollected all the circumstances, and added that Andrews knew well who he was, and where to find him, though he had told Mr. Stuart the contrary, when that gentleman expressed a wish to have another picture by the same artist, A few years ago Sir D. Wilkie called on Mr. Stuart, and reviewed his picture, the original « Blind Fiddler," KISSING IN RUSSIA. THIS is the national salute-in universal vogue from remote antiquity, rather a greeting than a caress-derived equally from religious feeling and from oriental custom. Fathers and sons kiss-old generals with rusty moustachios kisswhole regiments kiss. The Emperor kisses his officers. On a reviewing day there are almost as many kisses as shots exchanged. If a Lilliputian corps de cadets have earned the Imperial approval, the Imperial salute is bestowed upon the head boy, who passes it on with a hearty report to his neighbour, he in his turn to the next, and so on, till he has been delegated through the whole juvenile body. If the Emperor reprimand an officer unjustly, the sign of restoration to favour as well as the best atonement is a kiss. One of the bridges in Petersburgh is to this day called Potzalui Most, or Bridge of Kisses (not of Sighs), in commemoration of Peter the Great, who, having in a fit of passion unjustly degraded an officer in face of his whole regiment, kissed the poor man in the same open way upon the next publie occasion on this very bridge. On a holiday, or jour de fete, the young and delicate mistress of a house will not only kiss all her maid servants, but all her men servants too, and, as I have mentioned before, if the gentleman venture not above her hand, she will stoop, and kiss his cheek. As for the Russian father of a family, his affection knows no bound; if he leave his cabinet d'affaires ten times in the course of the morning, and enter his lady's saloon above, he kisses all his family when he enters, and again when he leaves the room; sometimes indeed, so mechanically, that, forgetting whether he has done it or not, he ges a second round to make all sure. To judge also from the number of salutes, the matrimonial bond in these high circles must be one of uninterrupted felicity-a gentleman reely enters or leaves the room without kissing his wife either on forehead, cheek, or hand.-4 Residence on the Shores of the Baltic. countries. SNOW-STORMS, I. THE snow-storms of England are seldom so dangerous, and perhaps we may say so grand, as those of mountainous We are not, therefore, so forcibly impressed by these phenomena as Highlanders and the inhabitants of Alpine countries; and, indeed, unless we attend to the recorded instances of celebrated snow-storms in Scotland and other countries, we can form but a faint idea of the subject. It may be interesting to notice briefly some of the most formidable of these phenomena, with which the northern parts of our island have been visited. The shepherds of Scotland hand down from father to son the terrors of the "Thirteen Drifty Days," a term applied to a period when Scotland was visited by a fearful snow-storm, in the year 1660: indeed, it is said that even now, the mention of this period to an old shepherd, on a stormy winter's night, seldom fails to him on his knees before that Being who alone can impress his mind with religious awe, and often sets avert such another calamity. For thirteen days and the ground was covered with frozen snow when it comnights the falling and drifting of the snow never abated: menced, and during all the time of its continuance, the sheep were without food. The shepherds had the pain of seeing their poor helpless flocks die off, without having the power to shield them either from cold or from hunger. About the fifth day of the storm, the younger sheep became sleepy and torpid, which was generally followed by death in the course of a few hours, or, if exposed to the cutting wind, they were sometimes deprived of life almost immediately after the torpor commenced. By the tenth day of the storm, so many sheep had died, that the shepherds began to build up large semicircular walls of the frozen dead bodies, in order to afford some sort of shelter for the sheep which still remained alive. But these poor helpless creatures began by this time to suffer so much from want of food, that they tore one another's wool with their teeth. At the termination of the storm, on the thirteenth day, there were many farms on which not a single sheep was left alive. Misshapen walls of dead bodies, surrounding a central knot of other sheep, also dead, was the sight which in too many instances met the eye of the ruined shepherd or farmer. On those farms which were situated in the glens between mountains, many of the sheep survived the storm, but their constitutions suffered so In severely, that few ultimately recovered, Nine-tenths of all the sheep in the south of Scotland are supposed to have perished by this snow-storm. the pastoral district of Eskdale Muir, out of twenty thousand sheep, only forty young wethers and five old ewes were preserved. Many of the farms were $O utterly ruined, as to become tenantless and valueless for several years. About sixty or seventy years after this event, one single day of snow was so extraordinarily severe, that upwards of twenty thousand sheep, as well as some of the shepherds, were destroyed. An anecdote has been related, in connexion with this storm, which shows the degree of attention with which the Scottish shepherds notice the appearances of the sky. The day in question was the 27th of March: it was Monday, and on the previous day the weather was remarked to be unusually warm. A party of peasants, going home from Yarrow church on Sunday evening, saw a shepherd who had collected all his sheep by the side of a wood. Knowing that he was a religious man, and unaccustomed to collect his sheep in that manner on the Sabbath, they asked him his motive, to which he replied, that he had noticed certain appearances in the sky which led him to conclude that a snow-storm was approaching. All the villagers laughed at him; but he bore their jokes goodhumouredly, and provided for the safety of his sheep. The fatal storm occurred on the following day, and this |