much novelty in the present Gem: the prints, prose, and poetry sparkle most characteristically, and are just such as the title of the work would lead one to expect to find in it; which is a rare merit among new books.

Friendship's Offering.

We believe the editor of the present volume to be Mr. Thomas Pringle, of whose taste and fitness for the task, we spoke in our "Spirit of the Annuals" for 1829. It contains five or six striking prose articles, and, we think, fewer poetical pieces than the former volume. Among the tales entitled to special mention, as evincing considerable talent and more than the ordinary interest of mere sketches—are Il Vesuviano, a Neapolitan Story—the Voyage Out, by Mrs. Bowdich—the Lover's Leap, a Highland Legend, by Leigh Ritchie—a tale of the White Bristol, (30 pages) from the powerful pen of Mr. Banim—the Fords of Callum, by the Ettrick Shepherd—Mourad and Euxabeet, a Persian Tale, by Mr. Fraser—and Whatever betide—for the right, a tale of Old London—the titles of which will give the reader some idea of the rich and varied contents of the prose department. The Outline of a Life, by Mr. Kennedy has all the "fitful fancy" of his earlier productions, but the piece selected by us for quotation, is

LUCIFER.

By J.A. St. John.³

In an ancient chronicle of Arezzo, which still remains in manuscript in the church of St. Angelo, in that city,⁴ there is found the very extraordinary story of the painter Spinello Aretino, to which Lanzi alludes briefly, in his History of Painting in Italy. No farther notice has, I believe, been taken of it by any other writer whatever, although it appears to me to be singularly well calculated to gratify or to excite the curiosity of those who love to pry into the mysteries of human nature, and to mark the strange avenues by which mortals sometimes approach the gates of death.

When Spinello first arrived at Arezzo, he took lodgings in the house of an artist, who, although he possessed no great share of genius, had contrived to amass considerable wealth. This artist was no other than Bernardo Daddi, whose son, also named Bernardo, afterwards became the pupil of Spinello, and almost eclipsed his father's reputation. Besides this son, Bernardo had several other children, and among the rest a daughter named Beatrice, then just verging upon womanhood. With this daughter it was to be expected that Spinello would immediately be in love; but our young artist had left behind him, in his native village, a charming girl, to whom he was in a manner betrothed; and he was the last man in the world to look upon another with a wandering heart. He, therefore, lived in the same house, and ate at the same table with Beatrice, without even discovering that she was beautiful; while they who merely caught a glance of her at church, or as she moved, like a vision, along the public walk, pretended to be consumed with passion.

Fathers, whether their children are beautiful or not, are often desirous of preserving an image of them during their golden age, when time, like the summer sun, is only ripening the fruit he will afterwards wither, and cause to drop from the bough. Bernardo was possessed by this desire; and as he never dreamed that any pencil in Arezzo, but his own, could reproduce upon canvass the lovely countenance of Beatrice, he spent, as from his opulence he could now afford to do, a considerable portion of his time in painting her portrait. The girl, however, who was not greatly addicted to meditation and could not read, for books had not then come into fashion, grew melancholy during these long sittings, and her father perceived it. At first no remedy presented itself. He endeavoured, indeed, to converse with her a little in his uncouth way; but he had not cultivated the art of talking, and quickly exhausted his topics. He next introduced his son Bernardo, the junior of Beatrice by one year, whose efforts at creating amusement, being constrained and unnatural, for he came against his will, were little more successful than his own. At length the idea of engaging the services of his lodger, with whom he had observed that Beatrice sometimes laughed and chatted of an evening, occurred to him, and he forthwith mentioned the subject to Spinello. The young man entertained a very strong affection for Bernardo, who, if he wanted genius, was far from being destitute of amiable and endearing qualities; and therefore, notwithstanding that he felt it would greatly interfere with his studies, and trench upon his time, he immediately determined to comply with the old man's desires.

The next morning saw Spinello installed in his new office. Beatrice was seated like a statue in an antique chair with her arms crossed upon her bosom, her eyes fixed upon vacancy, and her features screwed in spite of herself, into an expression of weariness and impatience. By degrees, however, as Spinello conversed with her, now of one trifle, then of another, her eyes involuntarily wandered to that portion of the room in which the young dialectician sat involved in shadow, and exerting all his eloquence and ingenuity to awaken her attention. The experiment succeeded. Spinello was entreated to be present the next day, the day following, and, in fact, every day, until the portrait was completed, or, at least, nearly so. He gazed, as I have said, upon the face of Beatrice, and would sometimes spend a moment in examining the inanimate representation of it, and in instituting a comparison between it and the original; until one day forgetting in his idolatry of loveliness the respect due to old age, he snatched the pencil from the hand of Bernardo, and with singular ardour and impatience exclaimed—"Let me finish it!" Without uttering a word, the old man, awed by the vehemence of his manner, yielded up the pencil; and Spinello proceeded, as if in a dream, to embody upon the canvass the idea of beauty which inhabited his soul.

Spinello, thus entrapped by his own enthusiasm, could do no other than proceed with the portrait. Though infinitely desirous not to wound the feelings of Daddi, he perceived at once that it would be necessary to recast the whole design of the piece to change the style of colouring—in a word, to paint a new picture. Daddi, who loved his child still more than his art, and wished to preserve and transmit to posterity a likeness of her, by whomsoever painted, was not offended, though he was a little hurt, by this freedom, and without murmur or objection allowed Spinello to accomplish his undertaking in whatever manner he pleased. The young man went to work with a satisfaction and alacrity he had never before experienced; and the image of Beatrice, passing into his soul, to be thence reflected, as from one mirror upon another, on the canvass, shed the light of Paradise over his fancy—as the musk-deer perfumes the thicket in which it slumbers.

Though this picture is greatly celebrated in Italy, and especially at Arezzo, I shall not pause to describe it minutely. Beatrice is represented as reclining, in a chaste and thoughtful attitude, on an antique couch at the foot of a pillar: flowers and flowering shrubs appear to shed their perfume around; and a spreading tree, with a vine loaded with grapes climbing up its trunk and branches, stretches over her. In the back ground the sky only, and a few dusky trees, appear. The design, it will be perceived is meagre enough, but the execution is incomparably beautiful; and it may be safely affirmed, that if immortality upon earth