This is sheer fustian. The drama is all very well in its way; but the circumstance that the "legitimate drama," a phrase of scarcely any meaning, constantly in the mouths of the Syncretics, has been declining for years, and is no longer considered a school of instruction but the reverse, is abundant proof that the theatre does not share with the pulpit the teaching of mankind, or of womankind either; and that Mr Jones, led away by his morbid enthusiasm for dramatic writings and representations, has entirely over-estimated its uses, its purposes, and its influences. Can Mr Jones shut his eyes to the fact, that while the theatre manifestly decays, art, science, and literature flourish, and public morals are in a more improved state than they have been for many years in this country? Away, then, with the cant of the drama being a teacher of mankind, and away with the absurdity of comparing its ministrations with those of the pulpit.

Mr Jones is the author of four tragedies, besides this one, the scene of which is laid partly at Carthage, and partly at Rome. He has chosen for his present effort a striking personage in Roman History, whose unshaken patriotism and unshrinking fortitude afford fine scope for delineation. The subject is sustained throughout with much dramatic skill, and no inconsiderable effect. The interest, however, lags terribly in the earlier scenes, and the piece would certainly be better adapted for stage representation if it commenced with the third scene of the first act, and if some of the subsequent parts were considerably curtailed.

Reflexions upon the Corn Laws. By JAMES H. RENNY. London:

Smith, Elder, & Co.

So much has been said and written on the Corn Laws, that one would think nothing new could now be brought forward by way either of argument or illustration. It is a question, however, of infinite extent, and admits of almost unlimited discussion. In this ably and temperately written pamphlet, Mr Renny makes a variety of sound and judicious observations on the arguments that have been adduced both for and against the existing laws. He is of opinion that the present pernicious system of banking in England is the primary cause of all the evils under which the nation has been suffering of late years; and as he establishes all his positions by unanswerable references to figures and other sure data, he has, we think, clearly and satisfactorily shown the disastrous effects which any change in the Corn Laws must inevitably have on the trade, manufactures, and agriculture of the country, and particularly on the condition of the working classes. We give the following extract as a specimen of the way in which Mr Renny treats the subject :—

"They [the political economists] propose to us to reduce our scale of money value, in order that our manufacturers may be enabled to enter into competition with foreign producers in their own markets, if they will permit it; but they blind our eyes to the fact, that this reduction will seriously diminish our home trade, and in a greater ratio than any increased export to the Continent which we can reasonably expect; besides diminishing also our powers of competition with foreign producers in the general markets of the world. For, granting that we imported corn of the value of three millions sterling each year by the sale abroad of our manufactures; and that, in consequence, there was an average fall of 10s. a quarter in the prices of all sorts of grain here; then that would be twentyseven to thirty millions sterling less to be expended in our home markets for the manufacturing products, or for the returns of such part of them as had been exported; it would be a less quantity of their products purchased, unless their whole prices were reduced to the extent of these twenty-seven or thirty millions sterling, and which could not be effected: because they are in good part the produce of machinery; and because

our taxation would be collected out of a much reduced money income, and its pressure proportionally increased, and, therefore, the labourer's wages would be required to be increased according to the enhanced cost of his subsistence, consequent upon the proportionally higher taxes raised upon it. The government would then take a larger share than at present, out of the annual sale price of the products of our national industry; the same number of mouths would have to be fed then as now; and, therefore, there would be less left to purchase the manufacturer's products.

"And let it be considered that this would be no mere transfer of income from one class of persons in the country to another, from the landlords to the public annuitants and government servants; for the incomes of the former come to them after the full payment of all labour and return for capital required in producing them, and are employed to set in motion further productive labour in the country; whilst the increased incomes of the latter, or rather the increased command which they would acquire, with the same money sum, of the necessaries, conveniences, and luxuries of life beyond what they now have, is so much taken out of the sale price of the produce of labour, and on diminution of the full payment of labour, and therefore acts as a discouragement to production. The increased demand of the few could not compensate for the loss of the demand of the many.

"If carried into full extent, the proposal of the economist is to destroy that species of property, which has placed us in the high position which we hold in the scale of nations, and to enrich other countries at our expense, merely for the purpose of enabling our manufacturers to get a share of the wealth, or of the surplus produce of other countries, beyond the repayment of the labour and return for capital employed on their soils, which they get here by exchanging their goods against the landlord's rent. It is a proposal to destroy that species of property in this country which affords a provision for the great body of non-producers, to break the bonds which now hold society together, and, in the destructions of our institutions, to bring the whole people down to one common lot of comparative indigence.

"The whole confusion of ideas upon the subject arises from our confounding man's work with that of his Maker."-" Labour employed in aiding the operations of nature obtains a produce beyond what will repay all the labour given; and we do not exchange a manufacture, or man's work, the produce of ten days' labour, against corn, the work of his Maker, the produce of ten days' labour; but we exchange a manufacture of a value equivalent to the cost of the subsistence of a man for ten days against a quantity of corn of a value equivalent to the cost of the subsistence of a man for ten days; and there remains a surplus of corn the produce of the ten days' labour on the soil, which we hold to be the chief source of the increase of wealth in a nation.

"The proposition of the economist is to exchange abroad the produce of ten days of man's work, against ten days' produce of the work of his Maker; and, if such a barter could be made, it would signify little whether the corn which we require were grown in England or Poland-except that, in the latter case, we should be dependent upon Poland for an absolute requisite here, whilst what we give in return is not absolutely required in that country.'

Mr Renny's pamphlet will be read with advantage both by the advocates and opponents of the Corn Laws.

Stories for the Young. By Mrs LECKIE, Authoress of the "Village School." Edinburgh Printing and Publishing Company. London: Smith, Elder, & Co. 1841.

THE Authoress of this cheap and elegant little book is, we believe, a sister of the celebrated Francis Horner. The stories are written in a pleasing and simple style, and are well calculated fo furnish both instruction and entertainment to youthful readers. While they engage the attention, they cannot fail to improve the mind. Perhaps the most interesting narrative in the collection is that of the "Chimney-Sweeper," which we would gladly have transferred to our pages, as a specimen of the contents, had space permitted. The volume will form an appropriate and acceptable gift-book for the young, and we heartily recommend it as deserving of a prominent place among the choice little books of the Juvenile Library,

A Hand-Book for the Churches. Addressed to the Children of the Kingdom. By A LABOURER FOR PEACE. Edinburgh Printing and Publishing Company. Pp. 191.

ANY attempt to reconcile differences, and to strike at the roots of any of the prevailing forms of religious bigotry and prejudice, must command our approbation and support. There is much urgent need, both in the Establishments of England and Scotland, and among the Dissenting churches, for individual and united efforts to allay the dissensions and heal the breaches which wound and distract the Church of God, bring indelible reproach upon the name of Christ, and grieve deeply the Spirit of God in the members of the body. This little work is designed for this end. It is divided into five parts, and points out the orign of mistakes respecting The Church; the identification of the Church; its members, its ministers, and its sins. We think, if the writer had been a little less argumentative in her style, her views, facts, and principles, with which we in the main agree, would have come home with more effect, for, in matters of religion, we object to anything which appears like special pleading. The truth is too weighty to need it, and if it does not convince, ratiocination, or even the complexion of it, seems to derogate from the simple majesty of God's unerring word. We heartily recommend this little work to Tractarian and anti-Tractarian, Dissenter and Churchman, Presbyterian and Episcopalian, as it cannot but tend to moderate the Sectarian zeal of each, and to correct the one-sided views of all.

The Popular Scotish Biography, being Lives of Eminent Natives of Scotland. Parts III. and IV. Edinburgh Printing Co.

In a former notice which we gave of this work, we took occasion to commend it, on account not only of the importance of the plan, but the judicious manner in which it is executed. We are happy to say, that the third and fourth parts, which now lie before us, do not contradict the eulogy we bestowed on the first and second, or belie the hopes we had formed of its continuation. There is still the same spirit of careful research, combined with condensation of matter, and distinctness and simplicity of style; and after a careful survey, we find that no Scotsman, whether of ancient or modern date, has been omitted, who has in any way merited a niche in the temple of fame. We trust that, on this account, the Biography will become, as it well deserves to be, a general favourite with those who belong to a country of which they are justly and proverbially proud.

FINE ARTS.

Portrait of Her Majesty the Queen. Painted by W. C. Ross, A.R.A, Engraved by F. BACON. London: Colnaghi and Puckle. 1841. THIS is the best likeness of any portrait of the Queen which has yet appeared. It is from the unrivalled miniature, painted by command of her Majesty by Mr Ross. We have had an opportunity of seeing the miniature itself, and can testify that the talented engraver, Mr F. Bacon, has thoroughly caught the spirit, character, and expression of the original. The whole details of this admirable engraving are executed with remarkable

distinctness. Even the oval miniature of Prince Albert, in the bracelet on the right arm of the Queen, small as it is, has been finished with a delicacy and precision unequalled. This portrait altogether produces an effect at once agreeable and impressive; and Mr Bacon has engraved it with his usual masterly skill, freedom, and spirit. The likeness is, as we have said, most truthfully rendered, and while all who have seen the Queen will at once recognise its fidelity, to those who have not yet had that pleasure, this fine engraving will show the exact lineaments of our beloved Sovereign; and thus seem to convey, in the most finished form, the veritable features of Queen Victoria to all her loyal subjects throughout the land.

ACROGRAPHY.

In our first number, we gave a short description of a new invention in art by M. Shönberg of London, entitled Acrography, or engraving in relief; and we now present our readers with a few specimens of the art itself; that they may form some idea of a process which is calculated to produce a revolution in the method and in the price of book illustrations.

Very few not connected with the trade are aware, that the pictorial illustration of a work is attended with considerable difficulty and much expense. The cheapest and simplest mode has hitherto been that of wood engraving, which, though undoubtedly possessing many advantages of its own, involves no small degree of trouble and cost, especially where the subjects represented happen to be numerous. Except in London,

Paris, and Berlin, and perhaps Edinburgh on a limited scale, there are scarcely any good wood-cut engravers to be found anywhere; and many a provincial printing office feels the want of supplying its publications, whether periodical, ephemeral, or casual, with an illustration, unless ordered and obtained in time from the metropolis. In most country towns, which possess no lack of talented artists of every other kind, even the most trifling subject cannot be cut on wood, owing to the non-residence of the requisite engraver; nay, a simple mathematical diagram, with a few letters of reference, cannot easily be procured in the country; and as the provincial printer or publisher is in consequence compelled to apply to a metropolitan establishment, where experienced workmen are engaged, he is thus subjected to much delay, inconvenience, and expense. In many instances the parties are obliged to have recourse to a more expensive mode of illustration, for the sake of having the drawing engraved, and the printing done on the spot, and to save time.

The new method of engraving which M. Shönberg has introduced combines the advantages of lithography in point of design, and those of wood engraving in point of printing, with the farther benefits of facility and economy, wherever locality and circumstances require its use. This important invention has received the favourable notice of the public press. We have had frequent opportunities of examining at M. Shönberg's establishment sets of plates preparing for publications, which amply prove its great superiority over wood-cut engraving, or any other of the modes now in practice for illustrating books, where the plates are printed along with the text; both on account of its cheapness, expedition, facility, and beauty of execution; and as it serves materially to advance the art of designing, it is deserving of being associated with xylography, and must become an indispensable branch of the pictorial book trade. It possesses one feature of no small interest in the eyes of those who are fond of passing their leisure hours in artistical employments, namely, it is capable of affording occupation, both agreeable and lucrative, to non-professional individuals.

The specimens annexed to our present number are mostly taken from the illustrations of the Spectator, now in course of publication by Effingham Wilson. The blocks are of metal, the impressions being printed along with the type, in the same manner as are those of engravings on wood; and the original design, once approved of by the artist, is preserved entire, both in point of detail and ensemble. Much depends on the designer, as the drawing on the block is his own work, and the acrographer adheres strictly to the design which he receives. Much also depends on the printer, for he

must be careful in distributing the ink, and in giving sufficient pressure, in order to bring up the lines properly.

We hope that no illiberal feeling on the part of professional men will interfere with the progress of this valuable invention. It is difficult to prevail on persons who have long been accustomed to one particular style to adopt any new improvement, or to have recourse to a different method from that to which they have been habituated; but once the wet spunge is passed over the word "prejudice," it will be found to be all the better for publisher, engraver, and printer. The simplicity, cheapness, beauty, and precision of the acrographical art, cannot fail to recommend it strongly to all who have any connexion with illustrated works.

EXHIBITION OF STATUARY AT EDINBURGH.

THE Scotish Metropolis can boast of exclusively possessing an Exhibition connected with the Fine Arts, unique in itself, and an extraordinary specimen of individual talent and industry. This is Mr Robert Forrest's collection of Statuary on the Calton Hill, consisting of figures, groups, and equestrian statues, all the production of that artist, and an amazing effort of mental energy, considering that Mr Forrest is yet in the very prime of life. No site could be more appropriate for this Exhibition. Occupying the inclosed area of the unfinished National Monument, at the base of its magnificent pillars, which crown the monument-studded Acropolis of Edinburgh, the spacious hall fitted up for the Statuary harmonizes with the structures in the vicinity, while the surrounding scenery and the splendid views which the Calton Hill commands, combine to render Mr Forrest's Exhibition uncommonly attractive both to the citizens and to strangers.

Before describing this Exhibition of Statuary, it is necessary, in the first place, to introduce the Artist. Mr Forrest is a native of the parish of Carluke in Lanarkshire. His genius for Statuary seems to have been first excited by seeing specimens of the art at Maudlie Castle, Douglas Castle, and various other seats of the nobility and gentry within his native county, and in the spirit of enthusiasm he constructed a small studio in a sequestered and romantic spot on the banks of the Clyde, where he commenced his first efforts by cutting small figures of the human form and of animals. He continued thus employing himself during several years of his youth until 1817, when the artist was accidentally discovered in this retreat by Colonel Gordon of the Lanarkshire Militia, then on a shooting excursion, and the gallant Colonel was so struck with the merits of Mr Forrest's efforts, that he purchased a small figure of Bacchus, which was the first pecuniary encouragement the sculptor received. A similar figure was cut for one of Colonel Gordon's friends. The first full-sized human figure made by Mr Forrest was that of a Highland chief six feet high, in complete costume, for Mr Robertson of Hallcraig, and placed by that gentleman in front of his mansion. Our artist now removed his studio to a quarry near Orchard, a few miles below Lanark, and here he cut several historical figures, such as Old Norval, Sir John Falstaff, and Rob Roy. He was next employed on a statue of the renowned Sir William Wallace for the town of Lanark, which was the first public work he achieved, and the Scotish hero will now be seen by the visitors of that ancient burgh placed in a niche of the steeple of the parish church fronting the principal street, in Roman costume, seven and a half feet high. The next subjects Mr Forrest chose were for the development of the passions of the human mind, and these were Simon and Bauldy from Allan Ramsay's Gentle Shepherd, and Tam o'Shanter and Souter Johnnie from Burns. Tam o'Shanter was the only one of these figures which Mr Forrest was enabled to finish, having been engaged to cut, according to Chantrey's design, the colossal figure of Lord Melville which crowns the splendid pillar erected by subscription to the memory of that Nobleman in St Andrew's Square, Edinburgh. This induced the gentlemen who formed the Committee for the erection of the monument to John Knox in the Necropolis of Glasgow, overlooking the Cathedral, to employ Mr Forrest to model and cut the colossal figure of the great Reformer, in a Geneva cloak or gown, with a Bible in his right hand, which he finished to the entire satisfaction of the Committee. This was followed by the statue erected in the same Necropolis to the memory of William M'Gavin, Esq. the author of a well-known controversial publication, entitled "The Protestant." Mr Forrest cut this statue, which is admitted to be an accurate likeness of Mr M'Gavin, in 1835. This was followed by other works, among which may be mentioned a beautiful statue of Sir Walter Scott, done in 1840 for a family in Kent.