_we are on no account to expect that fine things should descend to
us_--our taste, if possible, must be made to ascend to them. The same
learned writer recommends to us _even to feign a relish, till we find a
relish come; and feel, that what began in fiction, terminates in
reality_. If there be in our art anything of that agreement or compact,
such as I apprehend there is in music, with which the critic is
necessarily required previously to be acquainted, in order to form a
correct judgment: the comparison with this art will illustrate what I
have said on these points, and tend to show the probability, we may say
the certainty, that men are not born with a relish for those arts in
their most refined state, which as they cannot understand, they cannot
be impressed with their effects. This great style of Michael Angelo is
as far removed from the simple representation of the common objects of
nature, as the most refined Italian music is from the inartificial notes
of nature, from whence they both profess to originate. But without such
a supposed compact, we may be very confident that the highest state of
refinement in either of those arts will not be relished without a long
and industrious attention.
In pursuing this great art, it must be acknowledged that we labour under
greater difficulties than those who were born in the age of its
discovery, and whose minds from their infancy were habituated to this
style; who learned it as language, as their mother tongue. They had no
mean taste to unlearn; they needed no persuasive discourse to allure
them to a favourable reception of it, no abstruse investigation of its
principles to convince them of the great latent truths on which it is
founded. We are constrained, in these latter days, to have recourse to a
sort of grammar and dictionary, as the only means of recovering a dead
language. It was by them learned by rote, and perhaps better learned
that way than by precept.
The style of Michael Angelo, which I have compared to language, and
which may, poetically speaking, be called the language of the gods, now
no longer exists, as it did in the fifteenth century; yet, with the aid
of diligence, we may in a great measure supply the deficiency which I
mentioned--of not having his works so perpetually before our eyes--by
having recourse to casts from his models and designs in sculpture; to
drawings or even copies of those drawings; to prints, which, however ill
executed, still convey something by which this taste may be formed, and
a relish may be fixed and established in our minds for this grand style
of invention. Some examples of this kind we have in the Academy; and I
sincerely wish there were more, that the younger students might in their
first nourishment imbibe this taste; whilst others, though settled in
the practice of the commonplace style of painters, might infuse, by this
means, a grandeur into their works.
I shall now make some remarks on the course which I think most proper to
be pursued in such a study. I wish you not to go so much to the
derivative streams, as to the fountain-head; though the copies are not
to be neglected; because they may give you hints in what manner you may
copy, and how the genius of one man may be made to fit the peculiar
manner of another.
To recover this lost taste, I would recommend young artists to study the
works of Michael Angelo, as he himself did the works of the ancient
sculptors; he began, when a child, a copy of a mutilated Satyr’s head,
and finished in his model what was wanting in the original. In the same
manner, the first exercise that I would recommend to the young artist
when he first attempts invention is to select every figure, if possible,
from the inventions of Michael Angelo. If such borrowed figures will not
bend to his purpose, and he is constrained to make a change to supply a
figure himself, that figure will necessarily be in the same style with
the rest; and his taste will by this means be naturally initiated, and
nursed in the lap of grandeur. He will sooner perceive what constitutes
this grand style by one practical trial than by a thousand speculations,
and he will in some sort procure to himself that advantage which in
these later ages has been denied him, the advantage of having the
greatest of artists for his master and instructor.
The next lesson should be, to change the purpose of the figures without
changing the attitude, as Tintoret has done with the Samson of Michael
Angelo. Instead of the figure which Samson bestrides, he has placed an
eagle under him; and instead of the jaw-bone, thunder and lightning in
his right hand; and thus it becomes a Jupiter. Titian, in the same
manner, has taken the figure which represents God dividing the light
from the darkness in the vault of the Capella Sestina, and has
introduced it in the famous Battle of Cadore, so much celebrated by
Vasari; and, extraordinary as it may seem, it is here converted to a
general falling from his horse. A real judge who should look at this
picture would immediately pronounce the attitude of that figure to be in
a greater style than any other figure of the composition. These two
instances may be sufficient, though many more might be given in their
works, as well as in those of other great artists.
When the student has been habituated to this grand conception of the
art, when the relish for this style is established, makes a part of
himself, and is woven into his mind, he will, by this time, have got a
power of selecting from whatever occurs in nature that is grand, and
corresponds with that taste which he has now acquired; and will pass
over whatever is commonplace and insipid. He may then bring to the mart
such works of his own proper invention as may enrich and increase the
general stock of invention in our art.
I am confident of the truth and propriety of the advice which I have
recommended; at the same time I am aware, how much by this advice I have
laid myself open to the sarcasms of those critics who imagine our art to
be a matter of inspiration. But I should be sorry it should appear even
to myself that I wanted that courage which I have recommended to the
students in another way: equal courage perhaps is required in the
adviser and the advised; they both must equally dare and bid defiance to
narrow criticism and vulgar opinion.
That the art has been in a gradual state of decline, from the age of
Michael Angelo to the present, must be acknowledged; and we may
reasonably impute this declension to the same cause to which the ancient
critics and philosophers have imputed the corruption of eloquence.
Indeed the same causes are likely at all times and in all ages to
produce the same effects: indolence,--not taking the same pains as our
great predecessors took,--desiring to find a shorter way,--are the
general imputed causes. The words of Petronius[28] are very remarkable.
After opposing the natural chaste beauty of the eloquence of former ages
to the strained inflated style then in fashion, “Neither,” says he, “has
the art in painting had a better fate, after the boldness of the
Egyptians had found out a compendious way to execute so great an art.”
By _compendious_, I understand him to mean a mode of painting, such as
has infected the style of the later painters of Italy and France;
commonplace, without thought, and with as little trouble, working as by
a receipt; in contradistinction to that style for which even a relish
cannot be acquired without care and long attention, and most certainly
the power of executing cannot be obtained without the most laborious
application.
I have endeavoured to stimulate the ambition of artists to tread in this
great path of glory, and, as well as I can, have pointed out the track
which leads to it, and have at the same time told them the price at
which it may be obtained. It is an ancient saying that labour is the
price which the gods have set upon everything valuable.
The great artist who has been so much the subject of the present
discourse was distinguished even from his infancy for his indefatigable
diligence; and this was continued through his whole life, till prevented
by extreme old age. The poorest of men, as he observed himself, did not
labour from necessity, more than he did from choice. Indeed, from all
the circumstances related of his life, he appears not to have had the
least conception that his art was to be acquired by any other means than
great labour; and yet he, of all men that ever lived, might make the
greatest pretensions to the efficacy of native genius and inspiration. I
have no doubt that he would have thought it no disgrace, that it should
be said of him, as he himself said of Raffaelle, that he did not possess
his art from nature, but by long study.[29] He was conscious that the
great excellence to which he arrived was gained by dint of labour, and
was unwilling to have it thought that any transcendent skill, however
natural its effects might seem, could be purchased at a cheaper price
than he had paid for it. This seems to have been the true drift of his
observation. We cannot suppose it made with any intention of
depreciating the genius of Raffaelle, of whom he always spoke, as
Condivi says, with the greatest respect: though they were rivals, no
such illiberality existed between them; and Raffaelle on his part
entertained the greatest veneration for Michael Angelo, as appears from
the speech which is recorded of him, that he congratulated himself, and
thanked God, that he was born in the same age with that painter.
If the high esteem and veneration, in which Michael Angelo has been held
by all nations and in all ages, should be put to the account of
prejudice, it must still be granted that those prejudices could not have
been entertained without a cause: the ground of our prejudice then
becomes the source of our admiration. But from whatever it proceeds, or
whatever it is called, it will not, I hope, be thought presumptuous in
me to appear in the train, I cannot say of his imitators, but of his
admirers. I have taken another course, one more suited to my abilities,
and to the taste of the times in which I live. Yet however unequal I
feel myself to that attempt, were I now to begin the world again, I
would tread in the steps of that great master: to kiss the hem of his
garment, to catch the slightest of his perfections, would be glory and
distinction enough for an ambitious man.
I feel a self-congratulation in knowing myself capable of such
sensations as he intended to excite. I reflect, not without vanity, that
these discourses bear testimony of my admiration of that truly divine
man; and I should desire that the last words which I should pronounce in
this Academy, and from this place, might be the name of--Michael
Angelo.[30]
THE END OF THE DISCOURSES.
PRINTED IN GREAT BRITAIN BY RICHARD CLAY & SONS, LIMITED,
BUNGAY, SUFFOLK.
* * * * *
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Abbott’s Rollo at Work, etc., 275
Addison’s Spectator, 164-167
Æschylus’ Lyrical Dramas, 62
Æsop’s and Other Fables, 657
Aimard’s The Indian Scout, 428
Ainsworth’s Tower of London, 400
“ Old St. Paul’s, 522
“ Windsor Castle, 709
“ The Admirable Crichton, 804
A’Kempis’ Imitation of Christ, 484
Alcott’s Little Women, and Good Wives, 248
“ Little Men, 512
Alpine Club. Peaks, Passes and Glaciers, 778
Andersen’s Fairy Tales, 4
Anglo-Saxon Poetry, 794
Anson’s Voyages, 510
Aristophanes’ The Acharnians, etc., 344
“ The Frogs, etc., 516
Aristotle’s Nicomachean Ethics, 547
“ Politics, 605
Arnold’s (Matthew) Essays, 115
“ Poems, 334
“ Study of Celtic Literature, etc., 458
Augustine’s (Saint) Confessions, 200
Aurelius’ (Marcus) Golden Book, 9
Austen’s (Jane) Sense and Sensibility, 21
“ Pride and Prejudice, 22
“ Mansfield Park, 23
“ Emma, 24
“ Northanger Abbey, and Persuasion, 25
Bacon’s Essays, 10
“ Advancement of Learning, 719
Bagehot’s Literary Studies, 520, 521
Baker’s (Sir S. W.) Cast up by the Sea, 539
Ballantyne’s Coral Island, 245
“ Martin Rattler, 246
“ Ungava, 276
Balzac’s Wild Ass’s Skin, 26
“ Eugénie Grandet, 169
“ Old Goriot, 170
“ Atheist’s Mass, etc., 229
“ Christ in Flanders, etc., 284
“ The Chouans, 285
“ Quest of the Absolute, 286
“ Cat and Racket, etc., 349
“ Catherine de Medici, 419
“ Cousin Pons, 463
“ The Country Doctor, 530
“ Rise and Fall of César Birotteau, 596
“ Lost Illusions, 656
“ The Country Parson, 686
“ Ursule Mirouët, 733
Barbusse’s Under Fire, 798
Barca’s (Mme. C. de la) Life in Mexico, 664
Bates’ Naturalist on the Amazons, 446
Beaumont and Fletcher’s Select Plays, 506
Beaumont’s (Mary) Joan Seaton, 597
Bede’s Ecclesiastical History, etc., 479
Belt’s The Naturalist in Nicaragua, 561
Berkeley’s (Bishop) Principles of Human Knowledge, New
Theory of Vision, etc., 483
Berlioz (Hector), Life of, 602
Binns’ Life of Abraham Lincoln, 783
Björnson’s Plays, 625, 696
Blackmore’s Lorna Doone, 304
“ Springhaven, 350
Blackwell’s Pioneer Work for Women, 667
Blake’s Poems and Prophecies, 792
Boehme’s The Signature of All Things, etc., 569
Bonaventura’s The Little Flowers, The Life of St. Francis, etc., 485
Borrow’s Wild Wales, 49
“ Lavengro, 119
“ Romany Rye, 120
“ Bible in Spain, 151
“ Gypsies in Spain, 697
Boswell’s Life of Johnson, 1, 2
“ Tour in the Hebrides, etc., 387
Boult’s Asgard and Norse Heroes, 689
Boyle’s The Sceptical Chymist, 559
Bright’s (John) Speeches, 252
Brontë’s (A.) The Tenant of Wildfell Hall, 685
Brontë’s (C.) Jane Eyre, 287
“ Shirley, 288
“ Villette, 351
“ The Professor, 417
Brontë’s (E.) Wuthering Heights, 243
Brooke’s (Stopford A.) Theology in the English Poets, 493
Brown’s (Dr. John) Rab and His Friends, etc., 116
Browne’s (Frances) Grannie’s Wonderful Chair, 112
Browne’s (Sir Thos.) Religio Medici, etc., 92
Browning’s Poems, 1833-1844, 41
“ “ 1844-1864, 42
“ The Ring and the Book, 502
Buchanan’s Life and Adventures of Audubon, 601
Bulfinch’s The Age of Fable, 472
“ Legends of Charlemagne, 556
Bunyan’s Pilgrim’s Progress, 204
Burke’s American Speeches and Letters, 340
“ Reflections on the French Revolution, etc., 460
Burnet’s History of His Own Times, 85
Burney’s Evelina, 352
Burns’ Poems and Songs, 94
Burrell’s Volume of Heroic Verse, 574
Burton’s East Africa, 500
Butler’s Analogy of Religion, 90
Buxton’s Memoirs, 773
Byron’s Complete Poetical and Dramatic Works, 486-488
Cæsar’s Gallic War, etc., 702
Canton’s Child’s Book of Saints, 61
Canton’s Invisible Playmate, etc., 566
Carlyle’s French Revolution, 31, 32
“ Letters, etc., of Cromwell, 266-268
“ Sartor Resartus, 278
“ Past and Present, 608
“ Essays, 703, 704
Cellini’s Autobiography, 51
Cervantes’ Don Quixote, 385, 386
Chaucer’s Canterbury Tales, 307
Chrétien de Troyes’ Eric and Enid, 698
Cibber’s Apology for his Life, 668
Cicero’s Select Letters and Orations, 345
Clarke’s Tales from Chaucer, 537
“ Shakespeare’s Heroines, 109-111
Cobbett’s Rural Rides, 638, 639
Coleridge’s Biographia, 11
“ Golden Book, 43
“ Lectures on Shakespeare, 162
Collins’ Woman in White, 464
Collodi’s Pinocchio, 538
Converse’s Long Will, 328
Cook’s Voyages, 99
Cooper’s The Deerslayer, 77
“ The Pathfinder, 78
“ Last of the Mohicans, 79
“ The Pioneer, 171
“ The Prairie, 172
Cousin’s Biographical Dictionary of English Literature, 449
Cowper’s Letters, 774
Cox’s Tales of Ancient Greece, 721
Craik’s Manual of English Literature, 346
Craik (Mrs.). _See_ Mulock.
Creasy’s Fifteen Decisive Battles, 300
Crèvecœur’s Letters from an American Farmer, 640
Curtis’s Prue and I, and Lotus, 418
Dana’s Two Years Before the Mast, 588
Dante’s Divine Comedy, 308
Darwin’s Voyage of the Beagle, 104
Dasent’s The Story of Burnt Njal, 558
Daudet’s Tartarin of Tarascon, 423
Defoe’s Robinson Crusoe, 59
“ Captain Singleton, 74
“ Memoirs of a Cavalier, 283
“ Journal of Plague, 289
De Joinville’s Memoirs of the Crusades, 333
Demosthenes’ Select Orations, 546
Dennis’ Cities and Cemeteries of Etruria, 183, 184
De Quincey’s Lake Poets, 163
“ Opium-Eater, 223
“ English Mail Coach, etc., 609
De Retz (Cardinal), Memoirs of, 735, 736
Descartes’ Discourse on Method, 570
Dickens’ Barnaby Rudge, 76
“ Tale of Two Cities, 102
“ Old Curiosity Shop, 173
“ Oliver Twist, 233
“ Great Expectations, 234
“ Pickwick Papers, 235
“ Bleak House, 236
“ Sketches by Boz, 237
“ Nicholas Nickleby, 238
“ Christmas Books, 239
“ Dombey & Son, 240
“ Martin Chuzzlewit, 241
“ David Copperfield, 242
“ American Notes, 290
“ Child’s History of England, 291
“ Hard Times, 292
“ Little Dorrit, 293
“ Our Mutual Friend, 294
“ Christmas Stories, 414
“ Uncommercial Traveller, 536
“ Edwin Drood, 725
“ Reprinted Pieces, 744
Disraeli’s Coningsby, 535
Dixon’s Fairy Tales from Arabian Nights, 249
Dodge’s Hans Brinker, or the Silver Skates, 620
Dostoieffsky’s Crime and Punishment, 501
“ The House of the Dead, or Prison Life in Siberia, 533
“ Letters from the Underworld, etc., 654
“ The Idiot, 682
“ Poor Folk, and The Gambler, 711
“ The Brothers Karamazov, 802, 803
Dowden’s Life of R. Browning, 701
Dryden’s Dramatic Essays, 568
Dufferin’s Letters from High Latitudes, 499
Dumas’ The Three Musketeers, 81
“ The Black Tulip, 174
“ Twenty Years After, 175
“ Marguerite de Valois, 326
“ The Count of Monte Cristo, 393, 394
“ The Forty-Five, 420
“ Chicot the Jester, 421
“ Vicomte de Bragelonne, 593-595
“ Le Chevalier de Maison Rouge, 614
Duruy’s History of France, 737, 738
Edgar’s Cressy and Poictiers, 17
“ Runnymede and Lincoln Fair, 320
“ Heroes of England, 471
Edgeworth’s Castle Rackrent, etc., 410
Edwardes’ Dictionary of Non-Classical Mythology, 632
Eliot’s Adam Bede, 27
“ Silas Marner, 121
“ Romola, 231
“ Mill on the Floss, 325
“ Felix Holt, 353
“ Scenes of Clerical Life, 468
Elyot’s Gouernour, 227
Emerson’s Essays, 12
“ Representative Men, 279
“ Nature, Conduct of Life, etc., 322
“ Society and Solitude, etc., 567
“ Poems, 715
Epictetus’ Moral Discourses, etc., 404
Erckmann-Chatrian’s The Conscript and Waterloo, 354
“ Story of a Peasant, 706, 707
Euripides’ Plays, 63, 271
Evelyn’s Diary, 220, 221
Ewing’s (Mrs.) Mrs. Overtheway’s Remembrances, and other Stories, 730
“ Jackanapes, Daddy Darwin’s Dovecot, and The Story
of a Short Life, 731
Faraday’s Experimental Researches in Electricity, 576
Fielding’s Tom Jones, 355, 356
“ Joseph Andrews, 467
Finlay’s Byzantine Empire, 33
“ Greece under the Romans, 185
Fletcher’s (Beaumont and) Select Plays, 506
Ford’s Gatherings from Spain, 152
Forster’s Life of Dickens, 781, 782
Fox’s Journal, 754
Fox’s Selected Speeches, 759
Franklin’s Journey to Polar Sea, 447
Freeman’s Old English History for Children, 540
Froissart’s Chronicles, 57
Froude’s Short Studies, 13, 705
“ Henry VIII., 372-374
“ Edward VI., 375
“ Mary Tudor, 477
“ History of Queen Elizabeth’s Reign, 583-587
“ Life of Benjamin Disraeli, Lord Beaconsfield, 666
Galt’s Annals of the Parish, 427
Galton’s Inquiries into Human Faculty, 263
Gaskell’s Cranford, 83
“ Charlotte Brontë, 318
“ Sylvia’s Lovers, 524
“ Mary Barton, 598
“ Cousin Phillis, etc., 615
“ North and South, 680
Gatty’s Parables from Nature, 158
Geoffrey of Monmouth’s Histories of the Kings of Britain, 577
George’s Progress and Poverty, 560
Gibbon’s Roman Empire, 434-436, 474-476
“ Autobiography, 511
Gilfillan’s Literary Portraits, 348
Giraldus Cambrensis, 272
Gleig’s Life of Wellington, 341
“ The Subaltern, 708
Goethe’s Faust (Parts I. and II.), 335
“ Wilhelm Meister, 599, 600
Gogol’s Dead Souls, 726
“ Taras Bulba, 740
Goldsmith’s Vicar of Wakefield, 295
“ Poems and Plays, 415
Gorki’s Through Russia, 741
Gosse’s Restoration Plays, 604
Gotthelf’s Ulric the Farm Servant, 228
Gray’s Poems and Letters, 628
Green’s Short History of the English People, 727, 728
The cloth edition is in 2 vols. or 1 vol.
All other editions are in 1 vol.
Grimms’ Fairy Tales, 56
Grote’s History of Greece, 186-197
Guest’s (Lady) Mabinogion, 97
Hahnemann’s The Organon of the Rational Art of Healing, 663
Hakluyt’s Voyages, 264, 265, 313, 314, 338, 339, 388, 389
Hallam’s Constitutional History, 621-623
Hamilton’s The Federalist, 519
Harte’s Luck of Roaring Camp, 681
Harvey’s Circulation of Blood, 262
Hawthorne’s Wonder Book, 5
“ The Scarlet Letter, 122
“ House of Seven Gables, 176
“ The Marble Faun, 424
“ Twice Told Tales, 531
“ Blithedale Romance, 592
Hazlitt’s Shakespeare’s Characters, 65
“ Table Talk, 321
“ Lectures, 411
“ Spirit of the Age and Lectures on English Poets, 459
Hebbel’s Plays, 694
Helps’ (Sir Arthur) Life of Columbus, 332
Herbert’s Temple, 309
Herodotus (Rawlinson’s), 405, 406
Herrick’s Hesperides, 310
Hobbes’ Leviathan, 691
Holinshed’s Chronicle, 800
Holmes’ Life of Mozart, 564
Holmes’ (O. W.) Autocrat, 66
“ Professor, 67
“ Poet, 68
Homer’s Iliad, 453
“ Odyssey, 454
Hooker’s Ecclesiastical Polity, 201, 202
Horace’s Complete Poetical Works, 515
Houghton’s Life and Letters of Keats, 801
Hughes’ Tom Brown’s Schooldays, 58
Hugo’s (Victor) Les Misérables, 363, 364
“ Notre Dame, 422
“ Toilers of the Sea, 509
Hume’s Treatise of Human Nature, etc., 548, 549
Hutchinson’s (Col.) Memoirs, 317
Hutchinson’s (W. M. L.) Muses’ Pageant, 581, 606, 671
Huxley’s Man’s Place in Nature, 47
“ Select Lectures and Lay Sermons, 498
Ibsen’s The Doll’s House, etc., 494
“ Ghosts, etc., 552
“ Pretenders, Pillars of Society, etc., 659
“ Brand, 716
“ Lady Inger, etc., 729
“ Peer Gynt, 747
Ingelow’s Mopsa the Fairy, 619
Ingram’s Anglo-Saxon Chronicle, 624
Irving’s Sketch Book, 117
“ Conquest of Granada, 478
“ Life of Mahomet, 513
James’ (G. P. R.) Richelieu, 357
James (Wm.), Selections from, 739
Johnson’s (Dr.) Lives of the Poets, 770-771
Johnson’s (R. B.) Book of English Ballads, 572
Jonson’s (Ben) Plays, 489, 490
Josephus’ Wars of the Jews, 712
Kalidasa’s Shakuntala, 629
Keats’ Poems, 101
Keble’s Christian Year, 690
King’s Life of Mazzini, 562
Kinglake’s Eothen, 337
Kingsley’s (Chas.) Westward Ho! 20
“ Heroes, 113
“ Hypatia, 230
“ Water Babies and Glaucus, 277
“ Hereward the Wake, 296
“ Alton Locke, 462
“ Yeast, 611
“ Madam How and Lady Why, 777
“ Poems, 793
Kingsley’s (Henry) Ravenshoe, 28
“ Geoffrey Hamlyn, 416
Kingston’s Peter the Whaler, 6
“ Three Midshipmen, 7
Lamb’s Tales from Shakespeare, 8
“ Essays of Elia, 14
“ Letters, 342, 343
Lane’s Modern Egyptians, 315
Langland’s Piers Plowman, 571
Latimer’s Sermons, 40
Law’s Serious Call, 91
Layamon’s (Wace and) Arthurian Chronicles, 578
Lear (and others), A Book of Nonsense, 806
Le Sage’s Gil Blas, 437, 438
Leslie’s Memoirs of John Constable, 563
Lever’s Harry Lorrequer, 177
Lewes’ Life of Goethe, 269
Lincoln’s Speeches, etc., 206
Livy’s History of Rome, 603, 669, 670, 749, 755, 756
Locke’s Civil Government, 751
Lockhart’s Life of Napoleon, 3
“ Life of Scott, 55
“ Burns, 156
Longfellow’s Poems, 382
Lönnrott’s Kalevala, 259, 260
Lover’s Handy Andy, 178
Lowell’s Among My Books, 607
Lucretius: Of the Nature of Things, 750
Lützow’s History of Bohemia, 432
Lyell’s Antiquity of Man, 700
Lytton’s Harold, 15
“ Last of the Barons, 18
“ Last Days of Pompeii, 80
“ Pilgrims of the Rhine, 390
“ Rienzi, 532
Macaulay’s England, 34-36
“ Essays, 225, 226
“ Speeches on Politics, etc., 399
“ Miscellaneous Essays, 439
MacDonald’s Sir Gibbie, 678
“ Phantastes, 732
Machiavelli’s Prince, 280
“ Florence, 376
Maine’s Ancient Law, 734
Malory’s Le Morte D’Arthur, 45, 46
Malthus on the Principles of Population, 692, 693
Manning’s Sir Thomas More, 19
“ Mary Powell, and Deborah’s Diary, 324
Marcus Aurelius’ Golden Book, 9
Marlowe’s Plays and Poems, 383
Marryat’s Mr. Midshipman Easy, 82
“ Little Savage, 159
“ Masterman Ready, 160
“ Peter Simple, 232
“ Children of New Forest, 247
“ Percival Keene, 358
“ Settlers in Canada, 370
“ King’s Own, 580
Marryat’s Jacob Faithful, 618
Martineau’s Feats on the Fjords, 429
Martinengo-Cesaresco’s Folk-Lore and Other Essays, 673
Maurice’s Kingdom of Christ, 146, 147
Mazzini’s Duties of Man, etc., 224
Melville’s Moby Dick, 178
“ Typee, 180
“ Omoo, 297
Merivale’s History of Rome, 433
Mignet’s French Revolution, 713