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degree of application to be required from such persons should be regulated by the vigour of their constitutions; but it is to be remembered that all school education is sedentary, passive, and depressing; unless it be dancing, which is as injurious by its excessive exercise, as writing or drawing by their unhealthy postures.

On this part of the subject, perhaps, it may be better to lay down general principles than to enter too minutely upon particular directions; for the varying shades of disease are so extensive, that were it impossible to lay down rules applicable to each particular case; therefore, generally, it may be observed, that as young persons recede from the healthy standard their mental exertions should be suspended or abridged, and their active amusements increased. A bathing-place, where warm and vapour baths are to be found, should be resorted to, and some physician of character consulted, for this is the time to save! Negligence will reduce the drooping to a state of deplorable imbecility, by degrees assuming the form and character of obsinate disease.

When a young creature, hitherto healthy, is found to lose spirits and activity without any manifest pain; her long sittings in a chilling school-room, her long fastings, and perhaps scanty fare at the table of a mercenary seminary, her droning walks with a

ghastly procession, should be canvassed with a suspicious jealousy. Her bowels will be found torpid, her skin chilly, ber feet cold, her stomach out of order; the vital energies are impaired; nature is every where obstructed; she must be instanly attended to, she must not be allowed to remain where she is, lest she sink into apathy and langour, gradually becoming a prey to morbid sensibility and positive disease. Such was the poor creature whose portrait we have exhibited in the first page of this essay, whose early habits rendered her helpless to berself, and useless to society. We have, however, promised to shew how the constitution may be renovated, and the morbid sensibility destroyed; to which, we hope, the subject of another essay will not be found irrelevant.

But to this insidious decay of health, consumption not unfrequently supervenes to bear the unhappy victim to the grave-And is there no hand to stay the progress of this destructive foe to youth and beauty, this gigantic minister of death, who mocks all medicine while with awful sweep he bears off sixty thousand annually from among the living of this country? Can we not find a sanctuary where he may not abide?-Let us indulge in the expectation, and give publicity to our idea in the last series of these essays. (To be continued.)

CHANGE OF CERTAIN EXPRESSIONS,

AMONGST THE BON TON AT PARIS, SINCE THE REVOLUTION, DEFENDED.

cause, in fact, there is nothing sure, but what we have in our possession.

FORMERLY in their assertions they said, || By mine honour-in honour-upon my konour. It must be confessed there might be some sense Formerly, in order to know who we had to in making use of these words, apropos over a deal with, we made use of a periphrase; as, bottle, the art of making use of an old thing|| May I take the liberty of asking who I have the often creates a novelty; the refinement of hon r of speaking to? In this the change is taste even goes so far as to lend, if I may so con iderable, and proceeds from the most exexpress myself, an exotic kind of air to these quisite sensibility; what was then asked immorsels of elocution, in making us pronounce, mediately, is not now asked till after several By mine honour-upon my honour. However, occurrences have taken place; and reduces they have now given place to the simple word, itself into two words. A charming accomsurely Are you coming?" Surely." Do|| plished woman, distinguishes, attracts,-reyou love me?" Surely." Will you marry me?" || ceives an elegant and charming man; they Surely. This has more brevity. The expression are pleased with each other; they adore made use of here approaches as near as pos- each other; and prove they do so:-an undue sible to the contraction of the thought or hour surprises them together; they must part sentiment. No one is ignorant that the old unless they have the face to brave the sarcasmg expressions meant nothing at all; but in of fools and calumniators. making use of the new one, we at least avoid all! I shall see you again, to-morrow! the appearance of committing ourselves, be- Dear friend! apropos, your name ?"-Observe

"Farewell, my

for it!" That is simple, inconsequent, and disobliges no one: besides, note attaches itself by a bewitching and almost sentimental ana

that the suppression of more words proves a delicacy of the organs excessively interesting, and delicacy is the soul of thought and sentiment. Nothing, consequently, can be clearer.logy to the ideas of sol fu, to singing, quaverThe good folks of the middling class, even six months ago, had not left off the expressions of settling an account-discharging a debt-Notwithstanding the authority of the present ton, such old abuses would still exist. These accounts were sometimes styled memoires, but these pretended memoires are at an end; they signify nothing. Who wishes to make use of that disobliging word, memoire, which supposes the seller should remember the credit he has given? Or that the buyer should forget what he owes? They have now wisely substituted the light and fugitive word of note: "You will be pleased to cast an eye over my note."-"Send in your note when I ask you

ing. All belongs, at present, and it cannot be denied, to the fine arts, which we love and cherish, and which are the delight of our lives. To discharge a debt, or settle an account has something in it so mercantile and mercenary, that it cannot accord with a liberal mind. To settle an account is absurd; since the reciprocity of kindness is the sweetest bond of refiued society. We have all current accounts one towards another as to paying ready money, that is old French; the favourites of the ton scarce know how to apply it; even to their own revenues, their pensions, and what they owe to public amusements,

FINE ARTS.

MR. WEST'S PICTURE OF CHRIST HEALING IN THE TEMPLE.

THIS noble composition which has excited such general attention, is now placed in the Gallery of the British Institution in PallMali.

The subject is Christ Healing in the Temple To represent with suitable dignity and propriety a subject of this kind; to depict the vast variety of character collected together in this stupendous and miraculous scene; to exhibit the human figure in those various modes of misery and suffering, which flesh is born an heir to; in a word, to combine into one composition the dispersed miracles of our Lord, in healing the lame, giving eyes to the blind, and ears to the deaf, secmed to require nothing less than the experience of half a century in the Art of Painting, a deep insight into the human character, and a perspicuity and precision of mind, which belong to no other professor of the art but Mr. West.

In the composition now before us, Mr. West has brought together, and seemingly rallied for one great effort, all the energies of his genius and the acquirements of his mind, as they have been exercised, both in labour and observation, near fifty years of his life. He has amply succeeded, and produced a picture which will do honour to his country, and raise the Arts to their highest point of elevation.

The scene of this picture is laid in a colonnade of the Temple,-Christ is raised above the crowd upon a small eminence. He is ac companied by his Apostles, and behind him are groupes of the Scribes and Pharisees, watching, even in his miracles, for matter to accuse him.

There are three principal groupes of sufferers: behind are various characters-women passing through the Temple with baskets of doves, for merchandise; and much of the magnificence of the sacred edifice is shewn in the perspective.

The centre groupe is that of a man, wrapt up in the appendages of disease, pallid, and wasted by distemper. He is supported by two slaves, and, with a countenance in which hope is finely expressed shining through sickness, he is presented to our Lord. The feebleness of his figure-his incurableness (if we may so express it) otherwise than by a miracle, is finely depicted. The slave, who principally supports his master, is a character admirably conceived, and the manner in which it has been treated is perfectly new, and reflects high credit upon Mr. West's knowledge of human nature. This slave appears wholly unmoved by the scene of suffering around him; without sentiment or passion; and seemingly incapable

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