PREFACE.

THE third volume of THE BIJOU does not, it is presumed, require any propitiatory observations to secure the reader's favour; for the extensive patronage with which its predecessors have been honoured justify the hope that, if it possesses only equal merit, its success will be equally complete.

Success ought, however, to produce a corresponding increase of exertion; and, in assuming that this volume is superior to the first, or second, the Publisher trusts that he is not guilty of improper vanity, as he only institutes a comparison between productions for each of which he is responsible; but, were he to challenge for it a preeminent place over its beautiful competitors, he is aware he should exceed his province, and appear in a very ungraceful light. Disclaiming then both from principle and feeling, the slightest desire to add to THE BIJOU's reputation,

at the expense of its rivals, he refers to its embellishments and pages as its pretensions to a distinguished position in the annual race for public favour, with that confidence which arises from the consciousness that he has done his utmost to deserve it.

The embellishments of the present volume consist, among others, of engravings from three pictures by Sir Thomas Lawrence, two of which derive their claims to attention, not merely as almost unrivalled works of art, but from that interest which Beauty and Majesty inspire. On the portrait of MRS. ARBUTHNOT it is not necessary to speak, for it carries with it a certain passport; and though, from different feelings, the striking likeness of OUR AUGUST SovEREIGN is still more sure of a grateful reception, the Publisher cannot refrain from expressing the pride he feels, that THE BIJOU should be the first of the Annuals which has had the honour of presenting an engraving, that must be welcome to every loyal heart in the British Empire.

The loan of that valuable picture is a new proof of the kindness which Sir Thomas Lawrence has uniformly shown to this work; and the Publisher again assures him of his gratitude and respect.

Another royal portrait in this volume possesses a melancholy, but unfading interest; for who can bring to mind the story of LADY JANE GREY and not rejoice that an authentic likeness forms an embellish

ment of the Gage d'Amour, or Gage d'Amitié which he presents to her, who, in beauty and virtue, he fondly believes, is not inferior to that admirable personage?

THE AFRICAN DAUGHTER is engraved from a painting by the lamented Bonington, an artist "who died too soon," but whose untimely fate gives an interest to his productions, to which few can be insensible, even if their intrinsic merits did not render them independent of adventitious aid. For the loan of this painting the publisher is indebted to E. V. Utterson, Esq., and for which he respectfully thanks him.

The venerable Stothard has, it will he seen, again exercised his imagination and his pencil in the service of THE BIJOU, and has proved that genius cannot be weakened or impaired by age.

Though the last mentioned, one of the most pleasing, engravings is THE BAG PIPER, by the Walter Scott of painters-Mr. Wilkie. This delightful picture, for the use of which he is indebted to the kindness of Sir Francis Freeling, Bart. is too well known to require comment; and it is hoped that the plate will be as general a favourite as the original.

Each of the embellishments having been noticed, it remains to speak of the literary part of the volume; but here a difficulty occurs, which is perhaps peculiar

to THE BIJOU for this year, namely, that many of the articles cannot be recommended to the reader upon his faith in the names of the writers, as, it has hap-. pened, from causes which it is not requisite to explain, that several of the contributors have written with the express condition that their names should be withheld.

This statement must not, however, be taken in an unqualified sense, or be deemed invidious to the many veterans in literary honours, who have favoured THE BIJOU with new proofs of their talents.

A description of himself by the late Ugo Foscolo, cannot be passed over in silence, as it is a singular memorial of one whose talents were only exceeded by his errors.

To detain the reader longer from the rich feast prepared for him, would be as irksome as the long grace of the Puritans; but gratitude is too powerful a feeling not to find utterance, even at the cost of the patience of those who have inspired it; and the Publisher cannot dismiss the third volume of a work, the expense and labour of producing which are so extraordinary that it could not have appeared after the first year but for unusual public patronage, without earnestly and respectfully thanking that public for its protection. If in this volume the number of the plates be somewhat less than in the former, he submits that the difference is more than compensated by their