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THE COURT. -..--




LITERATURE AND THE ARTS. THE people of Stafford are at last making an effort to erect a memorial of some sort to their old towns- man and benefactor, Isaak Walton. A statue is spoken of, and endeavours are being made to hook subscribers. THE project of obtaining a duplicate of the Calcutta statue of Lord Hardinge for London has failed; the requisite funds were not forthcoming. TWENTY-SIX new statues, intended for the fagade of the Cathedral of Milan, are being exhibited in the court of the archbishop's palace of that city. They are executed in GandogHa marble, and by Milanese sculptors. One half of these statues at least are described as being masterpieces. St. Astero, by Bernascomi is considered the best. PERHAPS there never was a period when good sterling educational works were more appreciated than the present. In last'week's advertisements we notice the 388th edition of "Hamilton's Modern Instruc- tionsfor the Pianoforte." The great popularity of this work is, of course, shown in its circulation, and when we come to analyse its merits, we are bound to observe that the author has won a lasting reputa- tion by contributing to the supply of the intellectual needs of children. It is well known that Hamilton was eminently qualified for the compilation of such a work, not only from his varied acquirements, large resources, and accurate knowledge, but still more from the logical method which prevailed in all he did. His mature judgment always truly dictated what exactly, according to the pupil's previous knowledge, ought to be said; and his large didactic experience and tact in' elucidation always suggested the best method of say- ing it. We are, therefore, glad to find that his other works, which have been previously introduced, are now brought out in cheap editions, such as Hamilton's Catechisms" (Miniature Course of the Theory of Music and Composition), comprising Thorough Bass and Har- mony Counterpoint, Melody, and Comliosition Double Counterpoint and Fugue—Writing for an Orchestra, and Playing from Score—Musical Ideas, their Nature, Invention, and Exposition, &c.; and we have no doubt the public will be obliged to the enterprising music publishers, Messrs. R. Cocks and Co., of Now Burlington-street, for bringing forward such valuable acquisitions to knowledge. THE South Kensington Museum has just acquired, by purchase, a bas-relief in marble, representing the Virgin and Child, very admirably carved and full of the sweetness and somewhat archaic grace of the school of Donatello if not by the master himself, this has certainly, says the Athenwum, been produced under his inspiration. The same establishment has obtained a life-size head, in marble, much resembling that of the statue of David by Michael Angelo, which is remarkably beautiful and perfect in preservation. The surface, which is intact, indicates the teaching and system of a noble school, decidedly that of the master named, if it be not produced by his own hand. SOME strange and exceedingly interesting statements have been laid before the Academy of Science, by M. Luca, respecting the bread discovered in Pompeii. It will be remembered that in August, 1862, in continuing the excavations there, the house of a baker was dis- covered, and in the oven were eighty-one loaves. The weight of them somewhat varied, but their shapes were all circular, most of them measuring twenty centimetres round, and raised at the edges. They were so arranged that divisions starting from a centre something like a star, divided them into eight lines. Though this bread has been just the same as if it had been hermetically sealed, the alteration in it is curious. The outside is nearly black, but in the centre it has much the appearance of ordinary bread; the crust is hard and close; the crumb sparkles very much. The quantity of water it still contains has been proved, but when the surface of the bread was passed the variations were great. The hydrogen and oxygen have diminished to a very large extent. What the effect of air will be on this bread is a question that will soon decide itself. It is to be hoped it will not cause it to crumble to powder. THE ladies of Worcestershire having subscribed amongst themselves for a local present for the Princess of Wales, a set of Worcester china vases was determined upon, and the articles have recently been completed at the Worcester Royal Porcelain Works. There are three vases, the centre one being sixteen inches high, and the two others twelve inches high, without the pedestals. The colour of the ground is a rich Royal blue, which throws out the vhite enamel subjects in high relief, and forms a rich basis for the burnished and chased gold with which the handles and lines are decorated. The form of the vases is strictly classic, and was designed specially for the work. The subjects chosen for the decorations are peculiarly happy. On the two side vases are painted Paris and Venus, taken from Flaxman's illustrations to Homer's "Iliad." Paris is awarding to Venus the golden apple-the prize of beauty. The centre vase is decorated with a subject from Flaxman's outlines to iEschylus, the figures con- sisting of the charming group, Venus attended by Harmony and surrounded by Cupids, in illustration of the lines- Round thee where'er thou lead'st the way, Joyful the frolic Cupids rove." The reverse of the vase is decorated with a head Of Hymen, supported by Amorini with flaming torches. The various details of the vase are very elegant- Amorini, classic heads, and classic borders in gold, being introduced with great taste. IT has recently been related that the porter of M. Ingr&s' house at Paris was pestered by all old woman, who for days continued calling, and asking to see the celebrated artist of "La Stratonice." "Next time she comes show her in," said M. Ingres. The following morning she was admitted to the painter's studio, and Ingres saw before him a bundle of rags. You don't know me, sir," said the old woman, in a broken voice. No, madame," replied M. Ingres, after closely ex- amining his visitor. "I believe you," she said. "Oh, I am much changed since you painted my portrait." "I painted your portrait! what, IP" cried the artist. Yes; and at that time I was young, I was beautiful, and I was worshipped! Ah, you see I do not speak of yesterday," and the old woman sighed. And to what period must I go back to re- call who you are P" "To the year 1806." "In 1806!" repeated Ingres. "Yes; I am the same person that was then called 'La belle Zelie.' I have eaten off golden plates, engraved with my own iuitials; and now—I have not a bone to pick from off my earthenware dish. Years came, and misery and poverty with them. Of all my rich possessions but one remains, my portrait, that the Marquis de —— gave you the order to paint." The poor "woman named an Italian diplomate who filled a post of importance at the Court of the Great Napoleon. "Buy my portrait, sir," said the wretched old woman I will give it you for what you like, only save me from starving, for I am at that point. God, who hears me and knows what I suffer, knows that I am telling you the truth." Touched with pity, M. Ingres told her to send him the portrait. It was ex- posed in his salon, and soon bought by an amateur artist, M. Cet, for 15,000 fr., which money was paid over to St. Perine, for the old Zelie to pass quietly and peacefully away, having comfort and care to the last. The picture is now in M. Cet's gallery, and is called "La Dame de 1806."