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well as its pleasures, (and there is nothing unmixed in this world,) the pains are no sooner over than they are forgotten, while the pleasures live long in

. Nor is it surely without another advantage. If life bed short, not so to many of us are its days and its hours. When the blood slumbers in the veins, how often do we wish 5 that the earth would turn 6 faster on its axis, and that the sun would rise and set before it does ;7 and, to escape from the weight of time, how many follies, how many crimes are committed !9 Men rush on 10 danger, and even on" death. Intrigue, play, foreign and domestic broil, such are their resources; and, when these things fail,12 they destroy themselves.

Now,13 in travelling, we multiply events; and innocently.14 We set out, as it were, on our adventures, 15 and many are those that occur to us, morning, noon, and night16 The day we come to a place which we have long heard and read of 17—and in Italy we do so 18 continually—it is an era in our lives,19 and from that moment the very name calls

1 Unmixed, qui soit sans mélange—? over, passées—3 be, est—4 not 80, etc....... its hours, pour beaucoup d'entre nous ses jours et ses heures ne le sont pas—5 how often do we wish, combien de fois ne nous arrive-t-il pas de souhaiter—6 would turn, tournât --before it does, plus tôt qu'il ne le fait—8 to escape from, pour échapper à-9 are committed, ne se commet-il pas !-10 rush on, courent tête baissée dans— 11 on, à—12 when those things fail, quand ces ressources viennent à leur manquer, now, mais— 14 and innocently, et cela sans que ce soit notre fait—15 we set out, as it were, on our adventures, nous partons, pour ainsi dire, en quêté d'aventures—16 and night, et au soir_11 which we have long heard and read of, dont nous avons depuis long-temps entendu parler et que nous avons rencontré dans nos lectures-18 we do so, c'est ce que nous faisons--19 it is an era in our lives, ce jour-là fait époque dans notre vie.

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up? a picture. How delightfully, too,does the knowledge flow in upon us, and how fast ! 4 Would he who sat in a corner of his library, poring over books and maps, learn more or so much in the times as he who, with his eyes and his heart? open, is receiving impressions all day long8 from the things' themselves ? How accurately do they arrange themselves in our memory-towns, rivers, mountains; and in what living colours 10 do we recall the dresses, manners, and customs of the people !11 Our sight is the noblest of all our senses. It 12 fills the mind with most 13 ideas, converses with its objects at the greatest distance, and continues longest in action 14 without being tired. Our sight is on the alert 15 when we travel; and its exercise is 16 then so delightful, that we forget the profit in the pleasure.

Like a river, that gathers, that refines as it runs, 17 like a spring that takes its course through 18 some rich vein of mineral, we improve, and 19 imperceptibly-not in the head only, but in 20 the heart. Our prejudices leave us one by one.21 Seas and mountains are no longer our boundaries. We learn to

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1 The very name calls up, le nom seul du lieu évoque– how delightfully, too, et avec quel charme—3 does the knowledge flow in upon Us, le savoir nous inonde— how fast, avec quelle rapidité— would he who sat......poring over ......learn more or so much in the time, un homme assis......les yeux collés sur......en apprendrait-il plus ou même autant dans le même temps–6 as he who, que celui qui— with his eyes and his heart, les yeux et le cour—8 all day long, toute la journée - things, objets-—10 in what living colours, sous quelles vives couleurs 11 the people, les peuples—12 it, c'est celui qui—13* with most, du plus grand nombre de—12 continues in action, fonctionne—15 on the alert, sur le qui-vive—16 its exercise is, l'exercice en est_17 that gathers, that refines as it runs, qui grossit et s'épure dans son cours 18 that takes its course through, qui parcourt 19 and, et cela—20 not in......only, but in, non-seulement à ......mais aussi à_21 one by one, un à un.

love, and esteem, and admire beyond them.' Our benevolence extends itself with our knowledge. And must we not return better citizens than we went ?? For the more we become acquainted with the institutions of other countries, the more highly must we value our own.

SAMUEL ROGERS, Italy.

WHERE PRE-RAPHAELITISM FAILS.

No magnificence of surface-colouring will make up, in my eyes, for5 wilful ugliness of form. I say that nature is beautiful; and therefore nature cannot have been trulyo copied, or the general effect would have been beautiful also. I never found out the fallacy till the other day when looking at a portrait by one of them (the pre-Raphaelites). The woman for whom it was meant' was standing by my side, young and lovely; the portrait hung there, neither young nor lovely, but a wrinkled caricature twenty years older than the model.

“I surely know the portrait you mean,-Lady D—s.10

“Yes. He had simply, under pretence of following nature, caricatured her into a woman twenty years older than she is.” 11

“But did you ever see a modern portrait which

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or, autrement- I never found out the fallacy till the other day when looking at, ce n'est que l'autre jour que cette erreur m'a frappé, en regardant- for whom it was meant, qu'il était censé représenter_10 Lady D

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more perfectly expressed character; which more completely fulfilled the requirements which you laid down” a few evenings since ?”3

‘Never; and that makes me all the more cross with the wilful mistake of it. He had painted every wrinkle."

Why not, if they were there?” “Because he had painted a face not) one twentieth the size of life.6 What right had he to cram into that small space all the marks which nature had spread over a far larger one ?”?

Why not, again, if he diminished the marks in proportion?

“Justo what neither he nor any man 10 could do without making them so small as to bell invisible, save under a microscope; and the result was,lo that he had caricatured every wrinkle, as his friend has 13 in those horrible knuckles of Shem's wife. Besides, I deny utterlylt your assertion that one is bound to paint what is there. On that very fallacy are they all making shipwreck.”15

“Not paint what is there? And you are the man who talks of art being highest when it copies 16 nature !

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1 Which ......expressed, qui exprimât_? which, etc.......laid down, qui fût plus parfaitement conforme aux règles que vous avez posées

a few evenings since, dans une des dernières soirées—4 and that, etc. ......of it, et cela ne fait que m'irriter davantage contre l'erreur qui y était commise, de parti pris—5 not, qui n'était pas—6 the size of life, de la grandeur naturelle—7 over a far larger one, sur un espace beau.. coup plus grand—8 why not, again, encore une fois, pourquoi pas9 just, mais c'est précisément-10 nor any man, ni personne- 11 without making them so small as to be, sans les rapetisser au point de les rendre

as his friend has, comme a fait son ami—14 I deny utterly, je m'inscris en faux contre-15 on that very fallacy, etc. ......shipwreck, c'est là l'écueil sur lequel ils vont tous se briser_16. you are the man who talks of art being highest, when it copies, et c'est vous qui venez nous dire que l'art s'élève en copiant.

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“Exactly; and therefore you must paint, not what is there, but what you see there. They forget that human beings are men with two eyes,

and not daguerreotype lenses with one eye, and so are contriving and striving? to introduce into their pictures the very 3 defect of the daguerreotype which the stereoscope is required to correct."

"I comprehend. They forget that the double vision of our two eyes gives a softness, and indistinctness, and roundness to every outline.”5

"Exactly so;6 and therefore, while for distant landscapes, motionless, and already softened by atmosphere, the daguerreotype is invaluable, (I shall do nothing else this summer but work at it,)8 yet for taking portraits, in any true sense, it will always be useless, not only for the reason I just gave, 10 but for another one which the pre-Raphaelites have forgotten."

“Because all the features cannot be in focus at once ?"

“Oh no, I am not speaking of that. Art, for aught I know,' may overcome that ; 12 for it is a mere defect in the instrument. What I mean is this :13 it 14 tries to represent as still what never yet was 15 still for 16 the thousandth part of a second

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Therefore, c'est pour cela que— and so are contriving and striving, et ils sont là, qui se battent les flancs—3 the very, précisément ce4 which the stereoscope is required to, que l'on demande au stéréoscope de~5 gives a softness, and indistinctness, and roundness to every outline, adoucit et arrondit chaque contour, qui se trouve ainsi moins fortement accusé_6 exactly so, c'est cela même-7 and therefore, et voilà pourquoi -- but work at it, que d'y travailler-9 in any true sense, dans la vraie acception du mot—10 I just gave, que je viens de donner_11 for aught I know, si je ne me trompe—12 may overcome that, peut obvier à cet inconvénient_13 what I inean is this, voici ce que je veux dire-14 it, le daguerréotype--15 what never yet was, ce qui n'a jamais été—16 for, pendant.

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