to be taken integrally in preference to the larger sums. Such were the conditions of the loan. The result was, that the sum subscribed in France in nine days, from the 3d to the 11th of January, amounted to 2 milliards 175 millions of francs, or 87 millions of pounds sterling, on the whole of which a deposit of 10 per cent, or 8,700,000l. was immediately paid. Of this enormous sum, $3,000,000 of rentes were taken at 3 per cent, and 18,000,000 at 4). The number of persons subscribing was 177,000; of whom 126,000 subscribed in the departments for 777,000,000 of capital, and 51,000 in Paris for 1,398,000,000 of capital. England subscribed for about 150,000,000, and the Continental States for about as much between them. As the sum subscribed was fully four times the whole amount of the loan, it became necessary to decline three-fourths of these demands, and it was found that the small subscriptions for less than 500 francs rentes amount to $36,000,000. Some reduction had, therefore, still to be made on these sums, and the large subscribers were altogether excluded. At Tarbes, in the south of France, out of 100,000 fr. received as deposits, two-thirds of the payments were made in old French and Spanish coins, which had long disappeared from circulation, and must have been hoarded. for many years. A more striking proof of confidence in the Government on the part of the lower classes could not be afforded. At. Orleans, a countryman presented himself to M. de Noury, the receiver, with a bag containing 1000 fr., and, throwing it on the table said, "That is for the Emperor." "You mean for the loan," said M. de Noury. "Not at all," replied the countryman, "it is for the Emperor; I wish to assist him in carrying on the war against that Nicholas. I lend him my money, and I am sure he will return it to me safely." "Will you have 3 per cents, or 41?" was the next: question. To which the answer was, "I know nothing about per: cents, I tell you it is for the Emperor. Take my 1000 fr., give me a receipt, and that is enough." This is not by any means a solitary. instance; a great number of the peasantry, particularly in the southern and western departments of France, being fully impressed with the idea that they were lending their money to the Emperor himself, and not to the State. On the 29th January, 1853, the Emperor was married to Eugénie-Marie de Guzman, comtesse de Téba, born 5th May, 1826. On the 16th of April, 1855, accompanied by the Empress, he once more landed in England, on a visit, to the British court; when the Queen, on the 18th of the same month, invested his Imperial Majesty with the insignia of a Knight of the Garter. Shortly after his return an unsuccessful attempt was made to assassinate him by an Italian named Pianori.

FRITH, WILLIAM POWELL, R.A., Painter, was born at Harrogate, in Yorkshire, in 1820, and is the son of an innkeeper in that town. One of the most able and original of the painters of tableaux de genre of the English School. Shakspere, Scott, Don Quixote, the "Spectator," Goldsmith, have been the sources whence he has drawn his subjects:-sources almost identical with those of

Mr. Leshe. But where the latter tends to poetry and subtilty, the yanger painter is characterised by humour and vigour; although, indeed, his art does not lack refinement. Mr. Frith's progress to fame ad prosperity has been rapid. In 1840 he first exhibited a picture he Royal Academy-one which gave earnest of skill and powerValvolio before the Countess Olivia." Others followed of steadily gressive merit: The Parting Interview of Leicester and his

tess Amy (1841); scene from the "Vicar of Wakefield,”— My Wife would bid both stand up to see which was the tallest' EL); scene from the "Merry Wives of Windsor,"- Mistress e. Mr. Ford, Page, Slender, and Falstaff' (1843); "John Anox and Mary Queen of Scots" (1844); from the "Vicar of skeld, The Squire describing some passages in his Town In 1845 his "Village Pastor," from Goldsmith, attracted aneral rotice to his name. It became a favourite, and won for him Associateship from the Academy. To it succeeded, in 1846, a mpanion picture, "The Return from Labour," and a scene from

Life'

Bourgeois Gentilhomme." In the Exhibition of 1847, one to the excellence of which the then "rising men" were noticed as atributing in so marked a manner, his “English Merry-making a Hundred Years Ago" won golden opinions from all who saw 2. raising him far higher in repute than he had stood before. E each succeeding year, at the Academy, his chief picture has been me of the leading features of the Exhibition: that of 1848, " An Old Iman accused of having Bewitched a Peasant-Girl, in the time of Ames I. the "Coming of Age" (1849); "Sancho tells a Tale to Duke and Duchess to prove Don Quixote at the bottom of the Table" (1850); “Hogarth at Calais" (1851); " Pope makes Love Lady Mary Wortley Montagu" (1852). In 1853 Mr. Frith was ted R. A. Some of the subjects which accompanied the above es, illustrating the life and manners of bygone generations, re marked by claims even more genuine in some respects,-by phie reality, unforced humour. Among these may be instanced at laughable and simple piece of dramatic action, "Sir Roger de verley and the Spectator" (1848); a "Stage-coach Adventure in

Fie! a Soldier and afeard!" exhibited in 1849; " HoneyRed introduces the Bailiffs as his Friends" (1850). Very genuine d excellent art is also apparent in Mr. Frith's occasional small ports. In nearly all the pictures here enumerated, the painter shrinks facing the real life of his own day; from that which Hogarth in his day, and what in a far humbler way, within narrower limits, e, Webster, and Collins, have done in theirs. The willingness is shown, nor the ability, to cope with every-day subjects; to wrest familiar and commonplace to a painter's purpose. Enamoured the picturesque, on his canvas, costume and "effect" dispute the and with reality and nature. In the popular favourite of the Exhibition of 1854," Life at the Seaside," an attempt was made, triumphantly, in a more legitimate and fruitful field:-to pense with the antiquary, to hold the mirror up to nature, hout borrowing disguises from the masquerade.

FROST, WILLIAM EDWARD, Painter, was born at Wands worth, in Surrey, in 1810. Having received an education suited to a artistical career, he was introduced, at the age of fifteen, to Mr. Ety and by his advice placed at Mr. Sass's academy in Bloomsbur which he attended for three years; also studying at the Brite Museum. In 1829 he was admitted a student of the Royal Ac demy, and commenced his career as a portrait painter; in t course of the next fourteen years painting upwards of three hun dred portraits. Aspiring to higher success, he became, in 182/ a competitor for the gold medal of the Academy,- the subje being Prometheus Bound,"-and won the prize. In the com petition at Westminster Hall of 1843 he gained a prize (in th third class, of 1007.) for his well-drawn and graceful cartoon. "Un alarmed by Fauns." In the same year, an Art-Union prizehold selected his "Christ crowned with Thorns" from the Royal As demy. The turning-point in Mr. Frost's career had arrive Portrait-painting was abandoned. Pictures in the exclusive cla for which this painter is now known, followed, and found res purchasers: a Bacchanalian Dance," "Nymphs Dancing," (b 1844); "Sabrina" (1845), since engraved by the Art-Union; "Di and Actæon” (1846). The last was recognised as an advance! every previous effort, and secured for him his election as Associate the Academy that same year. In 1847, "Una and the Wa Nymphs" was purchased by Her Majesty. The "Euphrosyne the succeeding year, commissioned by Mr. Bicknell, also attra the notice of royalty, and procured for him a command to painti principal group for the Queen. His principal subsequent pictu have been the “ Disarming of Cupid," painted for Prince Albe “Andromedia” (both 1850); "Wood Nymphs," and "Hyli (1851): - May Morning" (1852); "Chastity" (1854). Spen and Milton, in their minor poems, have throughout been sources whence Mr. Frost has drawn suggestions, allegorical literal, for his "graceful wreaths, so to speak, of fair and delig forms." No living artist has been an equally indefatigable stud of the living model, and within the walls of the Academy. twenty-six years,-during the long period of his devotion to trait painting for a maintenance, and during that which succee of freedom and high repute,-he has remained uniformly cons to that study.

G.

GAGERN, BARON HEINRICH VON, some time First nister of the Regent of the German empire, and leader of Gotha or Constitutional party in Germany, was born in 1799. was son of a small proprietor, and received his early education

military school; he then entered the University of Göttingen, and fterwards studied at Jena and Heidelberg. At this last seat of larning he took a most prominent part in the Burschenschaftenatnion of societies intended to uphold, against the attacks of the merous governments, the freedom of university life, and to foster a Gemman spirit in the place of the narrow disposition which was then leading students of the same states to form themselves into petry exclusive associations. On leaving Heidelberg he entered the service of the Grand Duke of Hesse-Darmstadt, as Comptroller the Ministry of the Interior, and shortly afterwards became private retary to Grolman, then Minister of the Interior. His principles ving too liberal for this responsible post, he was compelled to ign it, after having filled it only a few months. The best

of Gagern's life has been spent in endeavouring to prote the principles of free government in the smaller states of Germany. When the German Parliament was convoked at Frank

E us.

he was elected its first president. On the 7th of January, 49, he thus stated his views and principles:-" The popuSuns of the different states of Germany have determined to rise a body politic of power, after a long interval of division into ball fractions. They believe that a close union, by which the rat national interests of commerce and foreign policy shall find proper expression, to be the best and only safeguard of their lity. Now, the principal requisite for a union of this kind is ality of interests, language, and civilisation. This equality exbetween all parts of Germany, and several of the provinces Austria would, no doubt, be willing to join them, and we should glad to have such an accession of strength. But these provinces As the Austrians say, and as the events of the last few months iently show, indissolubly united with the rest of the Austrian pre, in which 25,000,000 inhabitants have nothing in common These German provinces of Austria cannot belong to a manie empire, in which we expect to unite all the material res of all the countries belonging to it into one political focus. they did, Austria would give up her own unity as a European polial power. Therefore, let Austria be our ally, and let us unite ander a strong central power, which shall leave all self-government interior matters, but shall at the same time unite us as one body wards our foreign neighbours. Such a central government must Prussian if it is to have sufficient strength, and it must be peranently settled in one dynasty, if it is not to endanger the ality of the states which now exist." After many discussions, the German National Assembly passed, on the 28th of March, 1849, a esolution confirming the constitution of Germany on this basis, and decreeing the imperial crown to the King of Prussia. A depution, headed by Mr. Simson, repaired to Berlin, to convey the resotion of the Assembly to that personage. They were received with Battering but cautious words; the king affected to recognise in their message "the wishes of the German nation," but in the end told them that only the princes of Germany could dispose of such a

dignity as the imperial crown, and therefore he could not receive it at their hands. This answer struck the death-blow to Gagern's German policy. He was for a while deceived, with many othe good Constitutionalists, by the King of Prussia's scheme for uniting Prussia, Saxony, Hanover, Baden, and Hesse-Cassel, in a ming confederation, within which representative government might b enjoyed, but upon the betrayal of his party by the court of Berli Gagern retired from public life.

GARTNER, FRIED. VON, Chief Surveyor and Director the Royal Academy of Fine Arts at Münich, was born at Coblen in 1792. He studied in Münich, Paris, England, and Italy. I 1820 he was appointed Professor of Architecture in the Münie Academy, and having passed some time as a practical artist. 1822 became Director of the Royal Porcelain Manufactory. Fro 1829 onward, he has had a considerable share in the princip buildings erected in Münich, where he has occupied the first ranki an architect, since the withdrawal of Klenze. The Ludwig churd which he designed in 1829, indicates very clearly the direction his style; a revival of the rounded arch, with a perfectly free tre ment of the ornamentation. The only thing to be regretted is certain hardness and want of unity in the composition, which also observable in his Institute for the Blind and the new Universi building; though these edifices are by no means deficient in a ri and picturesque effect. By far the most important of Gärtne works is the new library, which is one of the most remarkable modern structures, for the simple magnificence of its façade, if t for the regularity of its arrangement. He also furnished the desi for the royal palace at Athens, where he accompanied the King Bavaria in 1836, and re-opened the quarries of Pentelieus, whi had been forgotten since the time of Hadrian. Among the mis works of Gärtner are the "Restoration of the Isar-Gate," "T Arcades at Kissingen," and the "Porch of the Theatine Churcht at Münich. The restoration of the cathedrals at Regensburg Bamberg were executed chiefly under his direction. Upon departure of Cornelius from Münich, Gärtner received the appoin ment of Director of the Academy of Arts.

GAVARNI, M., a popular illustrator of French manners society, was educated as an engineer, but, while executing drawin of machinery and scientific diagrams, used to cover the margins his books and plans with sketches of heads and figures, until graceful and the grotesque superseded segments and diameter M. Gavarni is extensively known by his vivid scenes of Paris life, in the "Charivari;" but his higher works are his illustration of the tales of Hoffman, and the Canon Schmidt, his seems Parisian life in "Keepsake and Picturesque Annual;" and sketches in "La Police Correctionelle;" besides the many siologies" which have derived most of their character from

Ph