LITEEATUEE AND THE FINE AET9. 399 



Robert Chambers has generously paid over to Mrs. Begg, the surviving sister of 

 the poet Burns, the sum of £200 ; being the first profits derived from his Life and 

 edition of the Works of the poet. 



A SHAKSPEARIAN EPITAPH. 



According to a recent correspondent of the Athenamin, there is an epitaph in 

 Tongue Church, Shropshire, ascribed in positive terms to Shakspeare, by William 

 Dugdale, in his Visitation Book. It is on Sir Thomas Stanley, who died about 

 1600:— 



" Not monumental stone preserves our fame.. 

 Nor sky-aspiring pyramids our name. 

 The memory of him for whom this stands 

 Shall outlive marble and defacer's hands. 

 When all to time's consumption shall be given, 

 Stanley, for whom this stands, shall stand in heaven." 



Reynolds' sketch books. 



AmoDg the various art-treasures accruing to this continent, the Athenaeum thus 

 comments on one acquisition in terms that seem to indicate our neighbours in the 

 States have borne off from the dispersion of the Rogers' collection, only " an 

 empty oyster shell ! " Its interest, however, is considerable when regarded 

 biographieally, whatever be its actual artistic value, and on this account we may 

 refer to it now that it is to be at so accessible a distance as New York. 



" Sir Joshua Reynolds used to regret he had not enjoyed the advantages of an 

 academical education in his youth, and always felt that he was unable to draw. 

 'The difficulties he laboured under are very apparent in three curious little books 

 recently sold at the Rogers' sale. Two of them were the sketch-books Reynolds 

 used in Italy, and contain notes and sketches of some of the most celebrated pic- 

 tures and works of art, together with records of dates, places, travelling expenses, 

 and frequent memoranda of colour. They were purchased by Rogers at the sale of 

 the painter's effects, and are now ou their way to America, where they can only be 

 valued as having been the actual property of our great painter. Many of the pages, 

 containing merely lead-pencil outlines, display such weak and uncertain drawing 

 as a child would produce, rather than the cotes of an experienced artist. Where 

 broad shadow occurs the power of Reynolds may be seen. He worked in masses, 

 not lines, and it is curious, where he was confined to the latter, to observe how 

 he proceeded, adding one line upon the other until he arrived at something like his 

 intention. He floundered, and was anything but academic. These peculiarities, 

 however, were a part of the man, and never thoroughly overcome. In studying 

 the individual artist they form an inseparable part of his character, and afford 

 an insight into his mind. By these books we observe what pictures, scenes, and 

 objects he thought most worthy of treasuring in his memory, and therefore it is 

 to be regretted that they have passed so far from us into private bands where 

 they become mere curiosities. He frequently designed and completed his com- 

 position on one and the same canvas, so that the masterly brush strokes at last 

 concealed the wavering penciling! of the beginning. Such weaknesses are not 

 discreditable to Reynolds; and it would be a pity for those who are jealous for 

 his fame to anxiously endeavor to conceal them, since we know that by labour 

 and perseverance these difficulties were at last overcome. He rarely quitted a 

 subject till nothing more was to be desired." 



