such marked ability that as an exponent of public opinion is second only to it. To return, then, to Mr. Dickens. In this paper, besides numerous 66 editorials," he published the series of communications known as "Pictures from Italy," the result of his sojourn in the sunny land. They are exceedingly light, and repay a hasty perusal, their greatest fault being, in point of fact, that they are too light even for the ephemeral columns of a newspaper. Considering that they came from the pen of Mr. Dickens, it is not saying too much to state plainly that they failed. This circumstance, combined with others of a pecuniary character, induced Mr. Dickens to relinquish the duties of the editor's chair. "The Pictures from Italy" were subsequently published in book. form, but they failed to attract general attention.

And here we will take the liberty of mentioning a work by Mr. Dickens which is not so widely known as it deserves to be. It has never been added to his complete works, although in its way it is undoubtedly one of the completest of them all. In 1844 a little book was published called "The Evenings of a Working-man, being the occupation of his scanty leisure, by John Overs; with a preface relating to the author by Charles Dickens." The story of this little volume is touching enough. John Overs was a working-man, a carpenter, who devoted his evenings to literary composition. He wrote to Dickens to ask him to assist him in obtaining a publisher. A correspondence took place, and an interview in which Dickens endeavored to dissuade John Overs from placing too much expectation on literary renown or profit. "He wrote to me," says Mr. Dickens, "as manly and as straightforward, but, withal, as modest a letter as ever I read in my life. He explained to me how limited his ambition was, soaring no higher than the establishment of his wife in some light business and the better education of his children. He set before me the difference of his evening and holiday studies, such as they were, and his having no better resource than an ale-house or a skittle-ground." The book was published with an introduction by Mr. Dickens. It accomplished its object, but it was incapable of bringing health to the blanched cheek of the poor artisan. John Overs is no more, and his book is forgotten, but Dickens's gentleness to this smitten laborer is surely worthy of remembrance.

"Dombey and Son" was the next work which came from the pen of Mr. Dickens, appearing in the usual monthly form, and consuming something more than a year and a half in publication.

The critics were divided concerning the merits of this work. Portions of it, such, for instance, as the passages relating to little Paul Dombey, were universally extolled. On the whole, however, it was regarded as something of a failure. The story found its way to the stage, and in all parts of the world the name of Captain Cuttle is famous.

Perhaps Dickens himself had a feeling that "Dombey" was not quite up to the usual standard, and this consciousness, added to the fact that Mr. Thackeray had just made his mark in "Vanity Fair," led to a very careful revision of his subsequent work, "David Copperfield." This work is universally accepted as one of Mr. Dickens's best, and is rendered doubly interesting by the knowledge that it is, to an extent at least, an autobiography. The whole story is wonderfully human, and paints the struggles of life, brought down absolutely to the moment in which we live and breathe, with a vividness which fairly illuminates the brain and floods the heart. The struggles of the poor boy-hero, surrounded by flinty-hearted relatives, the sympathy which he excites in the bosom of lowly fisher-folk, the wonderfully earnest story of the poor seduced girl, and that loveliest of all lovely creations, the rough yet delicate loyalty of the old fisherman for his lost niece, are so far beyond the efforts of the modern writer of fiction that they take us into a new world of emotion, and create an enjoyment which it may honestly be said belongs only to the contemplation of virtue. In a merely artistic point of view, it is the best written of Mr. Dickens's productions, and displays a prodigious command of the pure narrative style, peculiarly enjoyable when the author is describing his own modest efforts in literature. There are characters in the work which again give significance to modern society. There are few of us who do not know a Micawber, a modified Uriah Heap, a child-wife, an Agnes, or some other of the innumerable groupings which give dramatic vigor to its plot.

In 1840 Mr. Dickens issued the first number of his celebrated periodical known as "Household Words." It is, as our readers are aware, a large weekly serial, entirely free from advertisements, and filled with original matter. Nearly all the most prominent of the young English writers have contributed to its columns, and several of the number have acquired a style which compares favor ably with that of Mr. Dickens, especially Mr. Sala, a writer of very pleasant observation and great industry. It was in this publication that Mr. Dickens published his famous "Child's History

of England," a work avowedly intended for children, but containing so many vivid pictures of grand English events that it fascinates the most cultivated minds. A vast number of articles on topics of the day and a novel called "Hard Times" have also appeared in its columns from the same prolific pen. The undertaking is understood to be a very profitable one, and Mr. Dickens devotes much of his time to its conduct. The miscellaneous association with men of letters which the editorship of a journal involves probably suggested to Mr. Dickens the idea of the "Guild of Literature and Art,” which, in 1851, was projected under the joint auspices of himself and Sir Edward Lytton Bulwer. To assist in raising a fund for the objects of this charitable association, a series of amateur performances were given in London and elsewhere, the author of "The Caxtons" writing a new comedy for the occasion called "Not so bad as we seem.'

Mr. Dickens's latest works are "Bleak House" and "Little Dorritt," both of which are of such recent origin that additional remarks are unnecessary. We may add in this place that Mr. Dickens is the author of a "Life of Grimaldi, the Clown," and of an opera and a farce. The first of these neglected children may sometimes be met with, but the others appear to be lost.

In personal appearance, says a writer in the "Biographical Magazine," Mr. Dickens is prepossessing; his figure small but well made, his look intelligent, and his eye peculiarly quick, vivid, and expressive. When he enters a room he appears to take a complete catalogue and estimate of the furniture and people at a glance. His powers of penetration are remarkable, and his facility of description we all know is equally extraordinary. In private Boz talks much or little, according to the sympathy he has with the company. His conversation is, as might be expected, easy, flowing, and genial; he hates argument, and never talks for effect. He excels in telling a story, which he does in general with humorous exaggerations. He is a great admirer of Tennyson's poetry and of Maclise's pictures. His house in Devonshire Terrace is adorned with pictures of the best living artists, and every corner shows the influence of taste and wealth. His library is extensive, and in the literature of his country, in which few are better read, very well selected. He is, or rather was, very active and fond of dancing, his favorite dance being Sir Roger de Coverly. He has also a remarkable passion (which is shared by Macaulay) for midnight wandering in a city's streets.

SIR THOMAS LAWRENCE.

THIS celebrated painter was born in 1769, and was the youngest of a family of sixteen children. His father, although a man of some cultivation, and originally educated to the law, was an innkeeper at Bristol (where Thomas was born), and made a miserable living. His success, indeed, was so very limited, that in a short time he abandoned business and repaired to Devizes. Mr. Lawrence was, in some respects, a very remarkable man. His mind always appears to have been occupied with matters out of his business, and not in it. One of his most remarkable passions was for poetry, which he not only wrote, but spouted with great gusto. He would sometimes walk into the parlor of his hotel, and insist that all the guests should leave off their affairs while he recited a poem for their better edification. Poetry, under certain conditions of life, is delightful, but, thrust down the unwilling throat in this abrupt manner, it loses all its charm, and becomes a serious bore. It is not at all remarkable that his customers deserted him for a` more tranquil hostelry.

Thomas was a prodigy from his earliest years. He is thus de

scribed by an "eye-witness" in Barrington's Miscellanies (1781). After speaking of the early musical talent exhibited by the Earl of Mornington, he proceeds: "As I have mentioned so many other proofs of early genius in children, I can not here pass unnoticed Master Lawrence, son of an innkeeper at Devizes, in Wiltshire. This boy is now (1780) nearly ten years and a half old, but at the age of nine, without the most distant instruction from any one, he was capable of copying historical subjects in a masterly style, and also succeeded amazingly in compositions of his own, particularly that of Peter denying Christ. In about seven minutes he scarce

ly ever failed of drawing a strong likeness of any person present, which had generally much freedom and grace, if the subject permitted. He is likewise an excellent reader of blank verse, and will immediately convince any one that he both understands and feels the striking passages of Milton and Shakspeare." Mr. Lawrence was, of course, enormously proud of his youthful son, and never neglected an opportunity of bringing him out before his friends to recite a poem. At the age of six Thomas was sent to school, where, however, he only remained for a couple of years. This, with the exception of a few lessons in Latin and French which he received some time after, was all the schooling he ever received. His early proficiency in drawing belonged entirely to innate talent. So remarkable was it, that one gentleman of wealth volunteered to maintain him in Italy, if he would repair to that country to study. But one of his father's queer whims interfered with the operation of this plan. He was afraid that study in the schools would cramp and restrain the development of his son's native genius. He became so absurd on this subject that he would not even allow Thomas to take lessons from resident masters.

Mr. Lawrence failed in business in Devizes, as he had done in Bristol, and probably from the same cause. He now removed to Bath, a fashionable watering-place, where people who think they are sick drink very nasty water and believe they are well. The reputation of young Thomas had preceded him, and much curiosity was displayed to witness his productions. Mr. Lawrence saw that something profitable might be made out of this, and he was right. Thomas took portraits at a guinea apiece, and had so many sitters that he raised the price to a guinea and a half. He conducted this business with complete success for a period of six years, during that long time supporting his father and family by his unassisted