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 favorably 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 sometimes be met with, but the others appear to be lost.

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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 scarcely 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.

The

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. 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

labors. He is said to have worked regularly in painting portraits at least four hours a day. The rest of his time was devoted to studies and efforts to obtain mechanical excellence. Among his patrons were some who owned valuable pictures, and who readily gave the young artist permission to copy them. Among other copies which he executed at this time was one of the Transfiguration by Raphael. This was sent to the Society of Arts, but, owing to some informality, was inadmissible to the exhibition. The society, however, were so satisfied of its merits that they bestowed on the young artist their large silver palette and five guineas in cash.

During his stay in Bath he received some valuable lessons from Mr. Hoare, a crayon painter of exquisite taste, fancy, and feeling. Under the instruction of this gentleman he acquired considerable ability in the execution of crayon portraits. The extreme delicacy of his finish gave to his pictures a superior charm even at this early day, and he found no scarcity of sitters. His father took him on excursions to Oxford, Salisbury, and Weymouth, where he obtained ready occupation for his pencil, and finally he removed to London, imagining that, in a larger field, his son would have a better opportunity for exercising his abilities to advantage. It is probable, also, that Thomas's success with the Society of Arts had something to do with this determination. The resolution of this society is worthy of preservation. It is as follows: "Took into consideration the drawings of the Transfiguration, marked G., and opened the paper containing the name of the candidate, according to the directions of the society; and it appeared to the committee that the candidate was T. Lawrence, aged 13, 1783, in Alfred Street, Bath. The committee, having received satisfactory information that the production is entirely the work of the young man, resolved to recommend to the society to give the greater silver palette gilt and five guineas to Mr. T. Lawrence, as a token of the society's approbation of his abilities.”

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In London Thomas Lawrence pursued his profession with sucBesides portraits, he executed many drawings, which were finished with such exquisite lightness and grace that the smallest found a ready sale at half a guinea. Lawrence's first appearance as an exhibitor was at Somerset House in 1787, when he contributed seven pictures. The next year he removed into a fashionable neighborhood, and contributed six of his performances to