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aXameiclBes of Xenophon , lay way of makeweight . In reference to breeding , all we think it necessary to observe is , that Henry the Second was the first of our moharchs who made himself conspicuous in this department of a sportsman ' s vocation . Contemporary annalists say that he was " particularly curious in his hounds that they should be fleet , and not only welltongued but consonotis . " This last epithet refers to a quality now not only littleesteemed , but almost extinct , namely , the deep musical tongue of the old English bloodhound : — Soflewed , so sanded , and their Leads so hung With ears that swept away the morning dew , Slow in pursuit ; Jbtit matcli'd ia mouth like bells , Each under each . ¦ :
Such is the picture drawn by a master hand . In Shakspeare rural days of home , in a great hunting country like Warwickshire , the excitement of the chase afoot must have served as one grateful safety-valve for the ardent enthusiasm of his master mind . From the above and other collateral authorities we are taught that " sandy coats , though now unusual , were almost the rule in English packs of three centuries since ; and also that they valued u second-rate hound at about twenty pounds : — Saws ' t tbou not , toy , how Silver made it good At the hedge corner in the coldest fault ? I would not lose the dog for twenty pound . In our more profuse age the late Lord Middleton gave Mr . Osbaldiston two thousand guineas for-ten couples of hounds out of his kennel ; and wl \ en blindness unhappily compelled Mr . Folgambe to lay aside the scarlet in 1845 , Ins pack was sold for three thousand guineas .
From the practice of crossing greyhounds with the English bull-dog results a breed unapproachable in form and that quiet innate courage which the high greyhound should always possess , prefering death to a relinquishment of the chase . The first sportsman who adopted this method of cross breed was the famous Walpole , Hurl of Orfbrd , a nobleman intensely addicted to sylvan sports . Connected with the mention of his name and efforts in this behalf is an anecdote of very solemn import . His lordship , although in a very indifferent state of healtb , one day roue to tbe Swaffham Coursing Match to witness the performance of his favourite , Czarina , one of the first offsprings of this novel cross between the two races . She won the cup , and the moment afterwards the earl fell dead from his horse . Referring to his delicate state of health this was indeed " preferring death to therelinquishment of the chase . "
£ he Horse and Hound ' is an agreeable book , appropriate to the season , and maybe purchased by such as are not specially devoted to the pleasures of * ' the green hue and hunting . "
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THE HEIRS OF CHEVELEIGH . The Heirs of C'heveleigh . By Gervaise Abbott . 3 vols . ' LoDgman and Co . A KEvivAi . of melodrama , is presented in The Heirs of'Cheveleigh . The novel contains all the old elements—villany incomparable , perfidious plots , innocence striving against fraud , the pure and beautiful circumvented by loathsome attorneys-at-law , and a magnificent English estate gambled for by a sort of "bloody-handed Palmer of Rugeley in . the dull depths of a German castle . Mr . Gervaise Abbott , however , Las fallen into an error in attempting to rehabilitate the Hadclifle idea . His story , at first commonplace , becomes ultimately ghastly , and the principal interest excited belongs to death-beds , with the average of foaming mouths and distorted eyes , and to hideous conspiracies concocted between a solicitor in league with the infernal beings and a hateful mother , m . ore like a corpse-candle than a human existence—being pale , flickering , and tallowy—said scheme having for its object the luring and destruction of a certain Dinah , with splendid expectations . Dinah—otherwise Lucy—is the heiress of the piece , with twenty thousand a year- —and Mr . Harcourt—dependent upon her life and sanity . Now her widowed mother is for the time lady of Cheveleigh , with the rents thereunto appertaining , and a particular lurcher , a legally constituted member of the learned profession , envying tha surroundings—as spiritualists woul < l say—of the Cheveleigh Liily , determines to become—like Love at Carlisle—the Lord of All . Accordingly , the male heir being throttled by something which we surmise to have been a . quinsy , the unprotected young lady is besieged by the man Butlcx ' , who marries her mamma , and being thus in possession , ties the arms and legs of Lucy , places her recumbent upon a couch , immures her in a German castle , drives off her lover , and then , while the criminal feminine parent who has allowed him his own way consoles her conscience bj- drinking , Butler elaborates his last dread design , lie unfastens Miss Lucy ' s wrists and ankles , he cuts the collar off" her neclc with a razor , and then he leaves the razor withiu her reacFi . How little does he calculate upon the unerring aim of vengeance and justice I At that very moment champions are on the way . He returns to liucy ' s chamber , to make Mse of the razor , and finds the place empty . Iluneamunea has ilown . Then he searches the vaults , loses his way , is left in the dark , falls exhausted and terrified upon the ground , and is finally punished for his crimes by a legion of Hanoverian rats . They fix upon his vitals ; they polish his bones ; they carry bits of him into their secret haunts , they roll his skull about the floor , fighting for it , and mx obese ruifinn of a rat licks up the last splash of his brain . Mr . Gervaise Abbott revels in this horrible burlesque of tragedy ; but whatever readers pursue the windings of his romance so far , will inevitably be shocked when they reach the scene of the gnawed" attorney ' s skull , so that they will refrain , we think , from asking what becomes of Lucy after her hairbreadth escape from Mr . Butler ' s razor .
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PUBLICATIONS AND REPLICATIONS . John CaascWs Art Treasures Exhibition . Containing En » ravin"S of the Principid Masterpieces of the English , Dutch , Flemish , French , and German behools . With Biographical Sketches of the Painters . ( L . Kent and Co . ) - — -liie biographical and critical contents of this ample volume appear to have been the work of several rapid hands . The » sketches" and " notices "
are slight in texture , and in tone elaborately common-place . That which bestows real merit upon the publication is the series of engravings from the pictures of the best-masters in the English , Dutch , Flemish , French , and German schools . Not a single engraving from an Italian painter is presented in the whole exhibition ; but so far as the selection goes , it serves to familiarize in a popular manner the style and subjects of the great artists . In most instances , we regret to say ,-the illustrations have been executed so coarsely and roughly , that all the delicate 'details ' ' lost , the groups confused , and the human outlines blurred and broken . Of some utility to a particular class of students , as an introduction or incentive to the study of art-Listpry , the work is , nevertheless , too crude and superficial to be accepted as a popular educator .
A Manual of Photographic Manipulation , treating ofthe ^ Application of the Art , and its Various Applications to Nature . By liuke Price . ( Churchill . )—Professional as well as amateur photographers will find in this volume the entirety of the instructions necessary to their art . It is a clear and systematic manual , rendering even the difficulties of the subject simple , by a method of distinct and illustrative explanation . Mr . Price has made an important addition to the library of photographic handbooks . The Butterfly Vivaritim , or Insect Home . By H . Noel Humphreys . ( William Lay . )—This is a book about butterflies and moths , emblazoned with the gold , green , vermilion , and blue of their backs and wings , contrasted against grass colours and the tints of hedges and the pools they fringe—the autlior and the artist having worked with one hand to produce equivalent pages and pictures . Mr . Humphreys sets forth , for the benefit of parlour
naturalists , both young and old , the processes of a new method of observing the metamorphoses of certain curious and heautiful insects , adding a popular description of their habits and instincts , with suggestions for the successful study of entomology by means of a special vivarium . Eight coloured engravings glitter with the radiance of the Peacock , the White and the Blue Butterliy , lull-winged ox in chrysalis , and with the splendour of the Privet-Hawk Moth , the Puss Moth , the Lobster Moth , the Glowworm , and the Lady-Bird ; and with the aid of all this richness and brilliance , added to chapters of pleasant natural history , the book is made very interesting . ¦ .- ; .. . , ' . ';•' ¦ ¦ ¦ ¦ - . ¦ / . ¦'¦ -. ' .. ¦ ¦ . ¦ ¦ " ¦ '; . .. ' . ' ' .: ¦ ¦ . ¦ . . ' '; Mr . Bentley has issued in his series of two-shilling volumes an edition . o £ The Cardinal , a novel , by Archibald Bpyd—a story in the Dunias style , full of movement , romance , and adventure .
We reserve for careful notice another of Mr . Bentley ' s publications , The Ladies of' liever Hollow , a tale of English country life , in two volumes , by the author of " Mary Powell , " whose English pastoral scenes are seldom less than perfect in their truth and-simplicity .
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THE ROYAL ACADEMY . ( third notice . ) The painters have fairly out-tasked their critics this year ; if indeed they have not succeeded in doing so for a number of . years past . Even the few writers on art who study art , and who make it their business to know something about a picture before they pretend to speak of its merits and faults , are strangely idle , in ii t'me of artistic activity . It would he difficult to lay at their door any specific charge of V hypercritieism "—not at any time a common sin , though much reprehended—with respect to the exhibition of the Royal Academy or the other picture-galleries now open . When , in commenting on Maclise ' s wrestling scene , from . 4 s You Like It , two seasons ago , Mr . Ruskin showed that , amongst many instances of bad painting , the embroidery on the hem of the Duke ' s robe did not follow truly with its lines the folds of the stuff , he was angrily ridiculed by critics who are for their own part \ ery much above taking- the trouble to discover that a circular pattern on drapery does not present segments of circles as a result of inequality of surface . Now , a painter is bound , in our judgment , to paint what he has before him . If he paints it wrong-, no matter how insignificant the object , ho is liable to as much censure as if he failed in the most important point of his work . Indeed , ho is far more to be blamed for carelessness in little tilings , which are within Ins scope , than for failure in great things , which may possibly lie beyond it . A rnnn ' who will not paint correctly a tennisball is open to severer criticism than is lie who cannot jiut a nose straight upon a face , or keep a pair of eyes from squinting . There is no subject on which it seems allowable for men to write more vaguely than the subject of art . Why , it would indeed be difficult to say ; for there is no subject which demands greater carefulness of judgment and accuracy of terms . But to such an extent is the Imp-hazard system of art-criticism practised and tolerated , tliat the utmost divergence among critics will not excite any astonishment ; and indeed , after reading that " this exhibition is dccidedHy above tlie average in merit , " people will turn to another newspaper in anticipation of finding the statement flatly contradicted . So with single pictures ; which are oiten described as belonging to the highest order , and , at the same time , as being full of gross faults , without one redeeming trace of goodness . We should have thought it impossible that there could have been a question of Mr . Haht ' b " Athaliah ' s Dismay" ( 79 ) being a very bad example of "high art ; " but , though the majority of judges have so represented it , the picture has been also noticed in the most approved language of laudatory generalization . That Mr . ILvht can paint naturally , earnestly , and effectively , is manifest in his admirable portraits this year ; in particular , we would instance the fulllength likeness of his little Highness Toussoun Pacha , son of the Viceroy Said Pacha , and grandson of Muhubikt Ali ( 3 f > 8 ) . A brave little gentleman is Toussoun , who handles his sabre not as if it were a toy , and from whoso dark eyes flash forth a soul that is far above marbles . Goituow , Gkant , and Knight supply among them a score or bo of life-like portraits ; but as these are sure to be picked out from the catalogue , wo will draw attention to one or two others which might escape notice . Mr . II , O'Nkii . ' h portrait of his brother artist , Mr . John Piiii . t , ii » , A . H . A ., is , we arc informed , n most faithful likeness ; smriweenu well believe it to be so , because it is in other respects a faithful work of art . The portrait of Mra Livingston , by Mr . . ]' . Sant , though hasty and wanting in finish , acems right as fur as it goe 8 . In a moro careful though not so striking a manner , Mr . A . Uuuviklt lias painted Mr . Wimaam Coninoham , M . l \; nnd so simple is the -work that , praiseworthy as it is for
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No . 429 , June 12 , 1858 . ] THE Ii E A DEB . 571 — ¦ - ¦ ' " — ... ¦_—¦ . — . ¦¦¦ - ¦ . i — .. ¦— . _ —~_— - —— ' — ' *^
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Leader (1850-1860), June 12, 1858, page 571, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2246/page/19/
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