THE INTERNATIONAL MAGAZINE

Of Literature, Art, and Science.

Vol. IV. NEW-YORK,      OCTOBER 1, 1851.      No. III.

Transcriber's Note: Minor typos have been corrected and footnotes moved to the end of the article. Table of contents has been created for the HTML version.

Contents

JOHN GODFREY SAXE.
GLASS OF BOHEMIA.
THE SANDWICH ISLANDS TO-DAY.
PHILIP PENDLETON COOKE.
DR. HUNTINGTON ON COPYRIGHT.
"THE SCIENCE OF DECEPTION."
ARTS AMONG THE AZTECS AND INDIANS.
ORIGINAL POEMS BY BARRY CORNWALL AND W. C. BENNETT.
A STORY WITHOUT A NAME.
MUSIC.
THE COUNT MONTE-LEONE.
CHAMOIS HUNTING.
VISIT TO THE ABERDEEN COMBWORKS.
A REMINISCENCE.
THE SHADOW OF MARGERY PASTON.
CLEOPATRA'S NEEDLE.
HISTORY AND CONDITION OF THE CHEAP POSTAGE SYSTEM.
OCTOBER.
MY NOVEL.
INTERNATIONAL COPYRIGHT.
A COUNTRY GENTLEMAN AT HOME.
THE FLYING ARTIST.
ART EXPRESSION.
THE MEETING OF THE VEGETARIANS.
AUTHORS AND BOOKS.
THE FINE ARTS.
HISTORICAL REVIEW OF THE MONTH.
SCIENTIFIC DISCOVERIES AND PROCEEDINGS OF LEARNED SOCIETIES.
RECENT DEATHS.
LADIES' LATE SUMMER FASHIONS.

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JOHN GODFREY SAXE.

Every catalogue of English poets embraces the name of Butler, though he was but the most unpoetical of satirists. If Hudibras is poetry there can be no difficulty in admitting to this distinction Trumbull's Progress of Dulness and McFingal, Snelling's Truth, a Gift for Scribblers, Halleck's Fanny, Osborn's Vision of Rubeta, Lowell's Fable for Critics, and some dozen other attempts in in this line, by Americans. The disease of the satiric muse in this country has been the spleen, and the reason why we have had so little of the healthful humorous rage, ideal and lyrical, of which the old masters gave us immortal examples, is, that those among us who have attempted this kind of composition have generally had far more to do with persons than with manners, have been influenced more by envy and malice than by a generous scorn of what is ludicrous and mean and criminal. The author of "Progress" has fallen into none of the prevailing sins; he is of the school of Horace, and has as little as he may to do with fools, while he holds up, unfolds, and whips, the follies of the day.

John G. Saxe was born in Highgate, Franklin county, Vermont, on the second day of June, 1816, His youth was passed in rural occupations until he was seventeen years of age, when he determined to study one of the liberal professions, and with this view entered the grammar school at St. Albans, and, after the usual preliminary course, the college at Middlebury, where he graduated bachelor of arts in the summer of

1839. He subsequently read law at Lockport in New-York and at St. Albans, and was admitted to the bar at the latter place in September, 1843, since which time he has been practising in the courts with more than the average success of young attorneys, and he is now a leading politician of the democratic party, the conductor of its local organ, the Burlington Sentinel, and District Attorney, by the grace of personal popularity—all other candidates on the same ticket having been defeated.

Mr. Saxe became known as an occasional contributor to the Knickerbocker Magazine, some eight or ten years ago. Among his pieces in that miscellany is one characteristically remarkable for a sympathetic fitness of phrase, entitled the Rhyme of the Rail, and beginning:

In this period he has thrown off scores of epigrams, &c., anonymously, besides the more ambitious performances acknowledged in the collection of his Poems, of which we have before us a third edition—showing that their quality is well appreciated—from the press of Ticknor & Co. The longest of these is Progress, first published in 1846. In skilful felicities of language and rhythm, general clear and sharp expression, and alternating touches of playful wit and vigorous sense, there is nothing so long that is so well sustained in the hundred and one books of American satire. In the beginning of it he says finely of our "glorious tongue:"

And then proceeds with a display of popular follies, and especially of those most grotesque and offensive, the sham philosophies by which it is attempted to regenerate society:

In the same vein we are treated with "novelties which disturb our peace," in literature, fashion, politics, religion, and morals; and every line is faultless in finish and in wit. The Proud Miss McBride, and The New Rape of the Lock, are in different veins, but abound in the same exquisite turns, agreeable images, and comic displays of wisdom. In the New Rape of the Lock:

At the wedding party all the aristocracy of the circle in which the Browns and Joneses were acquainted came together, and Miss Susan—

class="i2">Was really dreadfully shocking!

The Times, a poem read before the Boston Mercantile Library Association, in 1849, Carmen Lætum, recited last year at a meeting of the Alumni of Middlebury College, and New England Men, delivered before the literary societies of the New-York University a few weeks ago, are his other most elaborate productions, and they are all carefully finished and alike in their chief characteristics. His shorter pieces in a few instances have touches of sentiment, but this is not his forte; by the definition which limits poetry to rhythmical creations of beauty, Mr. Saxe can scarcely be called a poet of great excellence; his distinction is, that he is a wit, and that he has been eminently successful in giving to his wit a poetical expression.

As a judicious critic has said of him, "he unquestionably an artist, of a high order, in the narrow range which he has taken. His comical productions are beautifully finished. As they stand, they are terse, smooth, and fluent, and any one who has ever tried his hand at this species of composition, will readily appreciate the time, labor, and taste, which must have been expended, to jest so easily, in rhyme."

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GLASS OF BOHEMIA.

This beautiful article is manufactured in various places throughout Germany—most largely amid the very mountainous districts of Bohemia; some of the best, however, is made in Bavaria and sent to Bohemia, and thence exported. The materials from which the glass is formed consist chiefly of the same as those used in England; the manufacturers themselves seem to believe that there is no difference except in the proportions of the materials, and in the fuel, which is exclusively wood, and produces, by a little attention, a more constant and intense heat than can be produced by any coal; the feeding of the furnace with the latter material, they say, always creates a change in the temperature detrimental to the fluid above, and never sufficiently intense. The wooded mountains of Bohemia are entirely inhabited by a population whose industry, morals, hospitality, and kindliness of manners, do honor, not only to this rich and beautiful kingdom, but to the whole human race. They are pure Germans, not of Sclavish origin, and the German dialect alone is spoken. Unlike every other manufacturing district I have ever visited, they retain unimpaired all their rural and primitive virtues. Clean to a proverb, in their houses and persons, hospitable and amiable in their manners, simple in their habits, cheerful and devoted in their religion, they form perhaps, the happiest community in the world. In passing through the country, a stranger would never find out that he was in a manufacturing district, but might fancy himself in the green valleys of a partly pastoral, partly agricultural people. Thickly inhabited, the beautiful little cottages, clustered into villages, or scattered along the glens, or sides of the hills, are embowered with fruit trees, and encircled with shrubs and flowers, which each cottager cultivates with a zeal peculiar to his race; on every side rich fields of grain or pasture stretch out like a vast enamelled carpet between the hills, which are clothed in dense forest of spruce, fir, pine, and beech, filled with deer, roe, and capercalzie; they extend in every direction, far beyond the reach of the eye, one vast cloud of verdure. The fabriques or factories, are placed generally in the middle of one of these villages, the extent of which can only be known by going from house to house; so closely is each hid in its own fruit-bower, and so surrounded by shrubs and flowers, that the eye can only pick up the buildings by their blue smoke, or get a glimpse of them here and there as you advance; thus some of the villages are elongated to three miles, forming the most delicious walk along its grassy road, generally accompanied by a stream, always overhung by a profusion of wild flowers, the mountain-ash, and weeping birch; many of the former only to be found in our gardens. It has a very picturesque effect to see the inhabitants of these villages with their simple costume; and if it rains, their umbrellas, often of rich colors like their glass, scarlet, green, and deep crimson, with beautiful ruby, emerald, or turquoise handles; not such as a stranger might suppose a gaudy glass bauble, but rich and massive, and having all the appearance of the solid, gold, and gem-studded handles of the oriental weapons.

The fabrique is built like the rest of the cottages, and only differs from them in size, and the shape and height of its chimney, which emitting only wood smoke, has none of the dense sulphuric cloud which blackens and poisons the neighborhood of coal-fed factories: it is never that ostentatious building for whose magnitude and embellishments the public are obliged to pay, in the increased charges on its productions. The glass fabriques of Bohemia are all small, in fact only one large apartment, in the centre of which is the furnace, a circular structure divided into eight compartments containing the melted metal for as many colors; one man and a boy are stationed at the door of each compartment, the former to extract the fluid with his pipe, the latter to hold the wooden mould[1] in which the article is blown and shaped. The number of hands employed in an ordinary fabrique, are:—Eight men who work in the metal, take it from the fire, and blow it in the moulds; eight helps to hold the moulds, &c.; four to stir the metal, &c.; two breakers; four day laborers.

The best men are sometimes paid from eighteen to twenty shillings a week, and provide their own food, which is good; and as they require much nourishment from the exhausting effects of the heat, it consists of meat, vegetables, and a vast quantity of beer; those who are employed about the furnace especially, drink from twelve to fifteen quarts a day; it is a clear, bitter beverage, which they, in common with all the German race, like beyond every thing else, but it is of little strength; intoxication is almost unknown, and as a proof of their careful and excellent character, in one of the above-mentioned villages, three miles in length, a fire had not been known in the memory of the oldest inhabitants I questioned, though the houses from the ground to the roof are made entirely of wood.

The materials of which the glass is composed, as far as can be ascertained, and they seem to make no secret of it, appear to be the same as those in use in England; they say, they derive their perfection from their mode of mixing and burning the material. Thus the principal component parts are:—Sand; chalk; potash; brimstone; arsenic, mixed with various colors, regulated by the principal:—Uran oxide; cobalt oxide; coppré oxide; nickel oxide; chrom oxide; minium; tin oxide.

The gold used in ornamenting the glass is from the purest ducats, dissolved in strong acid (artz wasser), the oil with which the colors are mixed is of turpentine (harz öhl).

Nothing is done in most of the blowing fabriques but mixing the material, and coloring; and for cutting, polishing, &c., from three to six wheels are used—all the finishing goes on in the little cottages by which the furnace is surrounded, and with which the valleys and

sides of the hills are studded; here you find, within the contracted chambers of these small block-houses, if on the ground-flat, standing on an earthen[2] floor like our Highland cottages, an artist of the first ability, tracing the exquisite scrolls and flowers which we see in these beautiful works of art; and which are performed by men bearing all the appearance of simple cotters; but whose hand sweeps free and careless over the glass with the confidence and ease of an experienced artist; seldom being provided with more than two very ordinary looking brushes, a small one and another a size larger, and working frequently without any pattern, or indicating lines upon the glass they are painting; but perfect from habitude, the scrolls, and wreaths, and flowers, come out with the same facility as one traces a name upon the dewy pane of a window. Often the whole family are brought up from childhood in painting and in drawing on glass, and thus producing a race of hereditary artists; boys from thirteen and upwards are employed in the most delicate works in this genre of art. Each cottage where the painting and gilding go on, is provided with a small oven, into which the glass is put to bake in the colors, where it is kept for a day and allowed to cool down; the white figures and flowers, when they go into the oven, are of a dark chrome color, but come out pure white, as will be observed on examining any glass on which flowers of this color are painted; the gold, also, when laid on, is of a dead brown, and when burnt in, is polished, generally by women of the family. The gold in many instances is left unpolished, and only the stalks and fibres are burnished, which give an excellent effect. It is most interesting to go from one cottage to another; in one you are amazed by the exquisite paintings in gold, silver, and colors; in another, the cutting out all those beautiful leaf-work, lily, bell-flower, octagon, and star-shaped vases, which is done, not only by men, but by their children, girls and boys. In one cottage, I was particularly struck by a man, his two daughters, and son, sitting at as many wheels, cutting the most elaborate, but delicate, figures; shaping from the merely turned over bell vases, those beautiful varieties of lily and flower-indented lamps for suspension, and vessels for holding bouquets, tracing the scrolls, stalks, and fibres, with the same ease as the bare-footed wife and mother prepared their supper in the wooden bowl on the earth-floor behind them; for there was but one apartment for the fine arts, the nursery, and the kitchen, yet all was neatness, perfect cleanliness, and order; while on the long beam which formed the sill of the three mullion windows, was arranged a number of glass objects in the glorious colors of Bohemian art—ruby, emerald, topaz, chrysopras, turquoise; with pure crystals, which, richly cut, reflected, like a rainbow, the gems by which they are surrounded. In another cottage, in Steinchönau, I was much pleased with the designs which two young men were painting, both in gold, and colors; of which the former were scrolls of a very superior character, and the latter, flowers, butterflies, and insects. I questioned one of the men respecting the forms and characteristics of those he was painting, and which were beautiful illustrations of Natural History; when he brought me in, from a little bed-room, or rather closet, two boxes full of exquisitely preserved specimens of a great variety of native insects, which he had collected in his leisure hours, and arranged himself, to assist him in his painting. The copies were facsimiles of the originals, both as to colors and character. Among these insects I observed a beautiful miniature crawfish, not so large as a shrimp, a native, also, of the streams in his neighborhood. So identified had these productions of nature become with his imagination, that he was, at the moment I came in, painting some most correctly, without any specimen before him. It is impossible to express the feelings produced by these people, so simple, so industrious, and, above all, so modest. They could not refrain from surprise at the admiration their every-day productions created in us; and these simple artisans would with difficulty believe that their works were sought for, and thus valued, in all powerful and wealthy England, where they believe nothing is unknown, nothing imperfect, nothing impossible! One man whom I visited is an extraordinary genius, rarely to be met with; he has been driven by the force of that same genius, to seek abroad, in France and Bavaria (Munich), food for his mind, and has brought back with him several folio works of engravings from the best masters, from which he designs. Placing before him one of these works, a Raphael or a Rubens, he either copies the group, or composes from them to suit the form of his vase, which he thus embellishes with the most exquisite figures; his name is Charles Antoin Günther. He lives in a little block-house, as humble as the commonest of those above described, on the declivity of a brae, by a small stream, on which stand the little scattered village of Steinschönau. It is composed of only two apartments below, of which his work-room is one, and which is not above ten feet square, with just space enough to hold four little lathes for engraving glass, at one of which he works himself, while the others are occupied by three boys, the youngest twelve and a-half years old, the eldest fifteen! They all engrave beautifully, pieces laid before them by Günther, and which they follow with a faithfulness and spirit only to be believed on personal inspection. He was at work himself on a vase goblet, of the shape of the usual green hock-glass, but which might contain a bottle; it was lapis lazuli blue, enriched by a group of Bacchanalian Cupids and vine-leaves of his own composition, and worked with a spirit and freedom worthy of some of the masters by whose works he was surrounded. What struck me most, was one of those exquisite little figures of Raphael's, in his great picture of the "Madona del Sixto," in the Royal Gallery at Dresden. The cherub leaning on the parapet, with his chin resting on one hand, as he gazes on the Virgin; it is exquisitely drawn in pencil, a fac-simile, and pinned on the wooden wall of the engraver's cottage, immediately opposite his seat. I asked him how he first traced on the glass the subjects which he was to cut; he replied by taking up a plain glass without any figure or indication on its surface, and asking me what subject I should like engraved. On my replying that, being an old deer-stalker, I should be very well pleased with a stag; he immediately applied the wheel to the glass, and in five minutes by my watch, produced one of the most splendid, spirited animals I ever saw in the forest, and really worthy of Landseer; the stag is making a spring over some broken palings and rough foreground, and his action and parts can only be appreciated by those who have lived with the deer on the hill and watched them with the feelings of a hill-man, like Günther, who has had opportunities of seeing the deer in his own native woods, where they abound. I brought this glass away with me, though in itself but an inferior article; merely as a specimen of what I had seen done by this man in the space of five minutes, without a copy or any thing to guide him on the smooth surface of the goblet.

I send you sketches of the artist and his dwelling; and as the portrait exhibits, at the same time, his native costume, it will be the more interesting, and cannot fail to give a correct idea of the character of this Bohemian mountaineer.

The sketch of Günther's House will also afford an idea of these Bohemian artisans' dwellings, more so than any written description could do. I send you with it a drawing of another of these picturesque houses.

There are two classes of persons engaged, on a large scale, in the exportation of Bohemian glass—the fabricant and the collector; generally speaking, however, the latter is the direct exporter, and he also superintends the cutting, painting, and packing. The fabricant is more frequently engaged in furnishing the collector, and to a great extent, with the glass in its original and more simple forms as it comes from the furnace, and it is then cut and painted by the cottagers who surround the dwelling of the collector; so that many of these villages are entirely formed by the collector and his people. Others however, employed in the same way, cluster round the fabrique; but even their productions for the most part go to the collectors, who have their correspondents in America, Spain, Turkey, Greece, England, &c.

As might be expected, there is a considerable difference in the designs of different houses; some are much superior to others, both as to color and design. Those of Egermann, in Hyda, who has added many new and valuable discoveries in the art of making and coloring the glass, and Hoffman, in Prague, are the best I have visited, to which may be added Zahn, in Steinschönau, for whom Günter engraves. Egerman's establishment in Hyda, for cutting, painting, and engraving, is very considerable, and exhibits first-rate talent, which can only be appreciated by a personal inspection of his works; and the taste and judgment of Hoffman, in Prague, in his selections, the designs he gives, and the artists he employs, cannot be surpassed, if equalled, in Germany. He has entirely abandoned the modern school, and returned to the first principles of art,[3] and produces, both in form and decorations, subjects worthy of the ancient masters.

The glass villages are scattered all through the mountainous districts, whose ridges, and summits, and upper ranges are covered with a forest, which extends forty or fifty miles in length, by thirty broad; the fabriquants maintain that the finer glass cannot be brought to perfection but by wood heat, and hence, the glass fabriques are only to be found in these vast forests. One of the most interesting natural formations within this circle is the volcanic rock, called "Spirlingstein," which shoots up out of a little valley on the right bank of the Elbe crowned with a shattered mass of natural towers and turrets which it is difficult to believe, till closely examined, are not the ruins of one of those feudal holds crowning the summits of so many of the hills in Bohemia. Every village has its school, in which are to be found all the children too old for the nursery, and too young to be employed. Several I visited contained as many as three hundred; the specimens of their writing are beautiful, some quite like engraving; the eldest child, whose specimen I saw, was only thirteen; they sing most sweetly, and many accompanying themselves on the guitar, the schoolmaster being almost always a musician, and capable of playing two or three instruments. There is a church and good organ in each village, and a very good choir entirely composed of these villagers, all of whom play some instrument, and form the choir by turns, generally directed by the schoolmaster. Some of these amateur bands play exquisitely, as an idea may be formed by the families or communities who occasionally visit England, and who are often from a district such as I have described, and whose sole instruction has been that which they could pick up from each other in their hours of recreation. At the fabrique of A. Kittls-Erben of Kreibitz, while at dinner in the garden, and which was provided by the hospitality of the fabriquant, and in great profusion, with a variety of Hungarian and Bohemian wines, I observed a little girl of twelve years of age, who came into the bower with a guitar, and while I was looking round for the performer, the master of the fabrique lifted the little girl on a chair, and laid a music book before her, from which she played and sang a number of Bohemian songs with much taste and execution. All the instruction she ever had was from the schoolmaster, who taught her during the leisure hours of the scholars. She was an orphan, and brought up by the fabriquant. After dinner we walked up the valley to visit a fabrique of Chichorie; in the way I remarked a little cottage, like the rest, with its fruit-trees and garden, but which had, in addition to its projecting roof and windows filled with flowers, both in pots and Bohemian glass vases, verandahs in carved oak, the scroll-work of which was quite classic, and the execution admirable. While I stopped to examine this, the fabriquant who accompanied me remarked that the owners were makers of musical instruments. On inquiring of what kind, he replied a variety,—violins, accordions, and others. I was met at the door by a man whose appearance was that of a simple cottager, and his manners indicated all the simplicity of rural life. He was told that I wished to see some of his instruments, upon which he bowed, slightly elevated his shoulders, and replied, that he had nothing worth seeing, but would be happy to receive us, and showed us the way, with that natural kindness and politeness, which distinguish the peasants of this country. We followed him up a little carved-wood staircase, and he ushered us into a small, yet clean apartment, where, to my surprise, I found two rather large organs, sufficiently large for a moderate church; one was a peculiar instrument, a pan-harmomicon, invented by himself, with improvements and great facility and simplicity in tuning; it formed a concert of the single organ, brass horns, and kettle drums, having a double row of keys behind, so that the performer was masked by the instrument, which had a handsome front; the face of it could be removed to show the whole interior of the mechanical arrangement. A variety of other instruments were packed in different parts of the room, some of which were large and highly improved accordions, which, as well as the organ, are beautifully played by the brothers,[4] of whom there are three; their talent for music is extraordinary.

The church in this country is still the great patron of the arts. In every little chapel, however remote or small, (and in some of the minute villages in the mountains, they are not larger than an ordinary room,[5] though of a vast height in proportion to the length and breadth,) is found a good organ, and always well played. There is also an amateur choir attached to each. These chapels are decorated by paintings and frescoes, some of which are of considerable

merit. In the house of a priest, who officiates in one of them, I observed a "Crucifixion," without a frame, apparently quite newly painted, and, on inquiring, I found it was the work of an artist in Antwerp; that it had been bought by the glass-makers of the district, or rather obtained in exchange for some part of a cargo sent to that city, from which they had brought and presented it to their little chapel; it was valued at Antwerp, against the glass, at seven hundred florins ($150).

The little chapels in the glass districts are also beautifully decorated with colored glass, the rich ruby lamps suspended before the altars, with their ever-burning lamps, the clusters of prisms in the great centre chandelier, reflecting the ruby lights, and gold, and flowers, from the altar, are always—independent of any other feeling—subjects worthy the contemplation of the artist. All the vases for flowers which richly decorate the country churches are of native manufacture—ruby, emerald, topaz, chrysophras, turquoise, and crystal chalices, full of the rarest of those flowers which form so much the delight and pastime of the inhabitants to cultivate, shed their delicious perfume through their chapels, mingled with the incense which, renewed daily, at morning and evening service, fills the buildings with perpetual fragrance. Another great resource for the arts in this country, which is offered by the Church, is the sculpture of wood. I have often been surprised and confounded by seeing an exquisite Virgin, or Crucifixion, or figure of a patron or local saint, in some far out of the way chapel in the hills, or in some lonely shrine, and even in the niches on the exterior of these buildings: but on inquiry I found that these were often the works of the first artists! the foreman of some native Canova, or Max, whose health, impaired by inhaling the fine dust of the marble, was not obliged to work on till death put an end to his talent; but, before the disease had become incurable, forsook marble for oak, and reproduced in that material all the beauties of the original; and under the fostering wing of the Church recovered his health, and filled his native village church with works of the highest order. It is the same with artists, natives of larger towns; I do not speak of such works as are to be seen in Antwerp, and other cities of note—wonderful productions of rare art in carving, such as the figures which stand on each side of the numerous confessionals in the north transept of the glorious cathedral of the former, nearly as large as life, all emblematical of repentance and forgiveness, and other attributes of contrition and mercy; with many others of nearly, if not quite, the same merit, in the various churches with which this town abounds. These are the works of great masters whose celebrity is European; but to find in the wild and unknown districts of these mountains such works of art—to know there is a sure and safe means for the suffering artist to continue his work and regain his health, while he fills his country with fine objects of art, carved in wood, and which could never be obtained in any other way, is a blessed encouragement to talent, and a field for the arts which can only be appreciated by those who are relieved by it, or those who are dying for want of its protecting hand. Mr. Steel, in Edinburgh, the last time I had the happiness of visiting him in his studio, when he was engaged on that exquisite work the Scott statue, and which has since been placed within the monument erected to that illustrious man, told me he had, then, lately lost one or two of his best men from pulmonary complaint, brought on by inhaling the marble dust; that he had tried every means to counteract its effects, by providing the men with veils and masks, but to no purpose. His best man then at work upon this national masterpiece, was fast failing beneath the effects of the same cause, and is now probably laid with all his talent in the dust, lost to his country in the prime of life, when here such a man would soon be restored to health, while he reproduced his works in wood, and maintained himself and family in a comfortable and illustrious independence, enriching his country, and carrying the arts into the remote valleys of his native home.

Thus far we make use of a letter to the Art Journal. In the Great Exhibition we perceive that the glass of Bohemia has attracted much attention, not more for the grace and beauty of its forms than for the recent improvements which have been made in its colors. The principal agent for the sale of Bohemian Glass in the United States is Mr. Collamore, of 447 Broadway, in whose extensive establishment may be seen in particular all the varieties of those vases, and other mantel ornaments, of Bohemian Glass, which, to a great extent, are taking the place of porcelain fabrics, of the same description, in the more fashionably furnished houses. One of these vases we copy here from the Art Journal Catalogue of the Hyde Park Exhibition; others are of different forms, and of colors equalled in richness only in other manufactures of the same country.

Of other industrial pursuits in this class we shall give accounts hereafter.

interesting; for an office-seal, which would cost in the latter country, if cut on brass, from 5l. to 7l., costs here from 30s. to 2l. on steel! including a beautifully ornamented base, and polished Bohemian granite, porphyry or agate handle, three inches in length; and such coats of arms as would cost in England, on stone, from 10l. to 20l., can be had here for a third of that sum, and executed in the best style of the art.

Carving in ivory is equally good, and equally moderate. Pipes, also, of that beautiful material erroneously called Meerschaum, and of large dimensions, are carved either with a superb coat of arms or historical subjects, the prices of which vary according to the size of the pipe and number of figures, from 30s. to 2l.!

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THE SANDWICH ISLANDS TO-DAY.