guage as they did of his, they were constrained to, make signs to one another: still they were happy and pleased. Night came on before he was aware of its approach, and he was again conducted to his chamber and waited upon, as on the previous day. During his slumber the little man appeared again, and with an earnest expression touched him on the forehead with his staff, and said, Thoughtless young man, remember my warnings, and flee; quit this palace as soon as morning dawns.' Before he was awake to full consciousness the slaves came and tended him in the bath as heretofore, and led him into the great hall. He was soon again engaged, though somewhat unwillingly, in the sports and exercises of the young men, and they knew so well how to carry him on by their new inventions, that this day also passed like the former, without his having thought of the nightly apparition. During the night the little grey-headed man was present with an angry mien, and struck Nazareddin somewhat sharply on the forehead with his staff: Unhappy one," said he, thou wouldst work thine own ruin; thou deservest, then, that I should withdraw my hand from thee; I warn thee for the last time, quit this palace before sunrise.'

"This dream was firmly imprinted upon his mind when he awoke, and he firmly resolved to leave the palace before his usual companions assembled. But this he could not accomplish: his clothes were removed by the slaves who tended him, and new ones were brought to him every morning when he awoke. He immediately called to them, and they appeared at his summons, apparently wonder-struck to see him awake so early. Although he was on this occasion earlier than usual, he found his companions already assembled. They were practising with their bows, and asked him to shoot with them again for a wager. He wished to make them understand that he was ready to take his departure; but they put into his hand a bow and arrows, thereby informing him that he must shoot. Now,' thought he, I will shoot this once, and then hasten out to find my horse.' He looked round for the mark, but saw none. At last he discovered in the middle of the steel cupola a small red transparent spot. He then turned to his companions to indicate that he would hit this red spot, fixed the arrow on the bow-string, and took his aim. But he did not observe what intense fright had taken possession of his companions: they all stood apparently benumbed, and all the blood had disappeared from their faces. As the first ray of the rising sun streamed through the hall, he raised his bow and shot the arrow upward. He had aimed well: the red spot was pierced, and the arrow had passed through. At the same moment was heard a frightful reverberating noise, which continually increased; and he saw on all sides the different parts of the cupola loosening from one another and falling in a mass. Nazareddin thought he should be buried under the fragments of the palace; but the whole building had fallen into ruins, and the parts had disappeared entirely, and he found himself standing on a wide plain, on which thorny underwood and nettles grew in abundance. Before he had looked around and recovered from his fright, there stood before him a large man, of middle height, with curly black hair, and a long dark beard, clothed in a long brown trailing robe, and girded with a broad white girdle, on which were wrought some wonderful red characters-snakes, misshapen birds, with the limbs of men and animals, angles, and circles. His features were deformed with rage, his eyes gleamed with wrath, and doubling his fist he approached Nazareddin with these words: Miserable

worm, ungrateful dog, is this the recompence for my hospitality which I have shown thee in my palace by the hands of my serving genii? Dost thou know what thou hast done to me? Thou hast robbed me of the fruit of years of hope; thou hast brought down by thine arrow the talisman of the king of the genii, the rose-coloured diamond which hung in the cupola of the palace: of this I must be deprived for twenty years-such is the will of fate for twenty years it must remain as the keystone to the cupola of my palace; all strangers who may enter it during this period I am bound to entertain by my genii, and to afford them pleasure. Only after the lapse of twenty long years can it be serviceable to me, and that too provided none of the guests who may enter my palace have laid hands on this mighty talisman. I was very, very near the mark, and thou hast thrown me back again.'

64

The rage of the magician and his words had oppressed Nazareddin with a most deadly fright; still a ray of hope burst upon him when he heard of the rose-coloured diamond as being the talisman of the king of the genii. That,' said he, is the talisman of my ring.'

"As soon as the magician, by this time almost suffocated with rage, had ceased, Rightly,' answered Nazareddin, have I blasted thy hopes: thou didst never come justly in possession of the talisman, because it is mine.'

"What!' screamed the magician, dost thou venture to oppose thyself to Muhuli Kanki, who is even feared in the kingdom of the genii? Well, let us see what thou canst do. Thou wilt lay claim to the talisman: good; I will be on my guard.'

"With these words he seized Nazareddin by the nape of the neck, as children carry a kitten, and murmured three words; immediately he mounted with him, and carried him off through the air. Nazareddin did not know how long his aerial passage might have lasted, as he lost his sight and hearing; indeed, all his senses were bewildered. When he recovered himself he was stretched on the sea coast, and Muhuli Kanki, the magician, was again standing before him. Here I leave thee to thy fate,' said the magician; 'speak not about the talisman; thou wilt not easily from this spot regain the distant country in which I am about to erect my new palace. But caution cannot be of harm; accordingly I have something still left for thee.' At these words he took a red feather up which was on the ground before him, murmured two words, drew a pointed dagger out of his girdle, scratched the skin of Nazareddin's forehead before he was aware of it, and stuck the feather to him by the quill. At the moment of the feather's insertion he felt an entire change come over him. He wished to stretch out his arms to the magician, but extended a pair of red and green feathered wings, and instead of a deep manly voice, a jarring scream saluted his ears. 'Now,' said the magician, tauntingly, now go and contest the talisman with me; thou shalt live and die on this desert island a parrot.'

"After this speech he rose from the ground, soared into the air, and disappeared from the eyes of the wonderstruck Nazareddin."

ST. PATRICK'S EVE; by Charles Lever.Chapman and Hall).-There is no novelty in the construction of this work; it is the old story of the evils of absenteeism developed in a tale of Irish peasant life. Nevertheless, it is written in Mr. Lever's best style, and as until evils are removed they cannot be too often brought into

notice, we hail it with great satisfaction. There is much truth in this little volume, much pathos too, and no small share of quiet humour. The scene of "the pilgrimage" is rich indeed. The illustrations by Phiz are admirable throughout.

SKETCHES OF LIFE AND CHARACTER, TAKEN AT THE POLICE COURT; by George Hodder, Reporter to the Morning Herald. (Sherwood and Bowyer, Strand.)—The very title of this book will convey some idea of its contents, and we can do little more than say it is a very clever compilation of scenes which have fallen under the author's observation. He justly says, in the preface, that—

"Society, like a landscape, has its lights and shadows-its sunshine and gloom; the author has therefore not confined his attention exclusively to ludicrous accidents and offences,' but has, in several instances, detailed events calculated to excite the sympathies or the indignation of the reader. His chief aim, however, has been to put the reader in good humour, by placing before him a variety of scenes and incidents of every-day life, which, while they serve to illustrate the manners of one class, the failings of another, and the vicissitudes to which all men are liable, may also, it is hoped, stimulate inquiry into the present anomalous state of society in this vast metropolis."

The illustrations, by Kenny Meadows, Leech, Hine, &c., are admirable; and the work-almost entirely confined to pictures of what is called "low life"-is a perfect exemplar of the adage, that truth is stranger than fiction."

THE PHYSIOLOGY OF THE HUMAN VOICE; by F. Romer.-(Leader and Cock, and Smith and Co.)-This work is a treatise on the natural powers of the vocal organ, pointing out the difference between the speaking and singing quality of tone, and giving laws for the proper production of the musical voice, from its lowest to its highest pitch. It is a book which ought to be not only in the hands, but in the mind of every vocalist, more especially of amateurs, who not being in the atmosphere, so to speak, of correction and criticism, more especially need such a Mentor as this. Although it is a physiological work, which touches on, and sometimes goes deeply into the distinct sciences of anatomy, acoustics, and music; the style is so lucid, that with a little attention the very ignorant on such subjects must find themselves instructed by it.

STEILL'S PICTORIAL SPELLING AND READING ASSISTANT. Part II.-(Steill, Paternoster Row.)-A most worthy continuation of Part I., and a work which ought to be included in every school library. It is a book something between a spelling-book and a dictionary, but presenting for the young advantages over both. Terms used in science and art are explained in a manner certain to reach the understandings of children, and to make an impression on their minds; and constant opportunities are taken of offering what one is apt to call out-of-the-way bits of intate later studies. The "pictures" too, attract formation; but which, acquired early, vastly facilithe juvenile.

THE LONDON MEDICAL DIRECTORY. (Churchill.)-A most useful work, which not only gives the names and addresses of the medical fraternity of the metropolis, but a list of the medical works they have written, and the degrees they have taken; thus affording a most valuable reference; as, at a glance, we may discover who are most distinguished in the different branches of the profession.

THE SMUGGLER; a Tale by G. P. R. James, Esq., author of "Darnley," "De L'Orme," &c. (Smith, Elder & Co.)-In reading one of James's novels, we always think of the sapient advice given by Goldsmith, in the "Vicar of Wakefield," on the subject of criticism; namely, to say "the picture would have been better if the painter had taken more pains." The marks of careless haste are so evident on all James's latter works, that it is with a feeling of regret we ever take them up; regret none the less because the hand of a master-of one who, if he would, could do great things-is evident throughout. His early novels were works of genius; now we find little else than books produced by the trick, the habit of composition. Of course, they are better worth reading than the elaborate productions of inferior minds; but this is feeble praise, when he might do so much better. The first volume of "The Smuggler" is decidedly tame, and full of endless descriptions and tedious repetitions; the plot thickens as we proceed, and the story becomes interesting, although we cannot feel that there is an incident which the novelreader has not met with before, or a character with which he is not on the most intimate terms.

CATTERMOLE'S PORTFOLIO. We were favoured with a sight of these original drawings a few weeks since-just too late for any allusion to be made to them in last number; but we hope there is still time for us to draw our readers' attention to these remarkable productions of a distinguished artist. The advantage of the lithotint is that it gives the painter an opportunity of producing a fac-simile of his work, which common engravings, executed

by inferior hands, can scarcely be called; and the subjects of the present series, to be completed in two parts, are of a class peculiarly acceptable to Mr. Cattermole's admirers, displaying as they do the rich imagination of the artist. "Bothwell waiting for the Regent Murray,' "Salvator Rosa among the Brigands," The Dragon Slayer," and "The Knight's Departure," are more especially in his own distinguished style of excellence. The size of the drawings are seventeen inches by twelve, and

the manner of publication is one which renders them available either for binding or framing, as well as for the portfolio. Although not yet prepared for the public, we cannot refrain from mentioning the really grand Shakspere creations which adorn the walls of the room in which the lithotint drawings are shown (at 25, Bernersstreet). Few indeed are the painters who should dare approach Macbeth, Lear, Hamlet; but Mr. Cattermole is one, and we look with great interest to the time when the half-finished pictures now hanging on his wall will become known to the public in their complete excellence. In the adjoining room we were shown some beautiful pictures, the property of Mr. Hewett, of Leamington.

THE COLOSSEUM.

For many years the Colosseum in the Regent's Park was one of the most familiar objects to the London sight-seer, and one of the most attractive to "country cousins" on visiting the metropolis; but there came changes-it fell somewhat into disrepute, and finally it was closed. Now, however, it has arisen a very phoenix from its ashes; and from the taste, skill, and perseverance which have been displayed in the renovation and improvements which have taken place, it deserves the warm patronage of the public. It is quite impossible, in a brief notice like ours, to convey any just impression of the wonderful illusions of art to which the spectator lends himself; we must refer our readers to the exhibition itself, or, at any rate, to the catalogue from which we shall presently make an extract or two. The Glyptotheca, or Museum of Sculpture, contains works from the studios of the most eminent sculptors, and is fitted up in a style of the richest, yet purest taste; the Swiss Cottage, with the mountain torrent rushing over the rocks, is not, that we are aware, materially altered, but forms, as before, one of the most attractive divisions of the exhibition. The admirable and wonderful panorama of London, executed by Mr. E. T. Parris, has been renovated by him, and cheats the senses as cleverly as ever; but the novelties are the Stalactite Caverns, and the panorama of London by Night. Of the latter, we agree "that it is next to impossible that any person can lean over the balustrade for five or six minutes, and mark the fleecy clouds sailing steadily along, lighted as they come within the influence of the halo-encircled moon, which has just emerged from the smoke of the great city, and then fading from sight, or occasionally obscuring the stars that twinkle here and there in the apparently illimitable space-we say, it is

AMUSEMENTS

HER MAJESTY'S THEATRE. Donizetti's Linda di Chamouni has been revived with great success, and Don Pasquale has shared no small proportion of the public favour during the past month.

next to impossible they can, after such contemplation, recall themselves immediately to the conviction that the scene before them is but an illusion. Add to this, the reflection of the innumerable lights upon the bridges of the river, and that of the moon, as the flow of the tide occasionally causes the ripple to catch for a moment, again to be lost as speedily, the silvery beams of the rising luminary-the brilliancy of the shops in Cheapside and on Ludgate Hill-the coloured lights of the chemists in all directionsthe flaring naked gas in the open stalls and markets-the cold pale moonlight on the windows of Christchurch Hospital, and other high or isolated buildings-and nothing short of reality can equal the amazing coup d'œil before us. When the visitor is assured that this immense picture has no support from the wall, on which the day view is painted behind it-that it has to be erected and illuminated every evening, after the closing of the morning exhibition, the mechanical difficulties surmounted must excite his wonder as much as the perfection of the illusion will command his admiration.

"The entrance to the Stalactite Cave is by a wooden door, as at Adelsberg. The long gallery is passed through, and you enter the vestibule,' as Mr. Russell terms it-the large rugged unequal grotto,' from which you behold, branching in every direction, the apparently interminable succession of caverns, lighted by the uncouth chandeliers,' single candles, or wood fires, kindled by the peasantry for the celebration of their annual festival, and which, glancing upon the spars and dropping crystals of the cavern, produce a scene of splendour as true to nature as it is indescribably magnificent. The caverns at Adelsberg extend six miles underground!-they have been explored to that distance, and their actual extent is yet unknown. The visitor to our cavern will observe the faint twinkling of lights at distances the most remote from which such lights could be discernedabove, through the countless arches, formed in the sparry roof, the eye seeks in vain to ascertain the altitude of the still ascending columns and pinnacles. The illusion of height and distance is complete, and the deep, cold, clear lake' (formed by the waters of the river Poick, which flows right across the cavern, and, having reached the opposite wall of this immense vault, again dives into the bowels of the earth'), reflecting the gorgeous scene, and fading away through the blue mist into impenetrable darkness, terminates a series of magical effects, as unparalleled in the efforts of art as the wonderful work from which they are copied is unequalled in nature."

MONTH.

In the ballet department the fascinating Carlotta Grisi has made her début for the season, in the highly popular and admired ballet of Esmeralda. The Viennoise children have been re-engaged, and one of the great attractions at this house is