leted heads and waistless figures 'à la Grecque' of 1789 and 1790. He has been styled the 'Berlin Hogarth.' There is much virtue in the qualifying epithet, and probably Chodowiecki himself would scarcely have courted a comparison. That he was wholly uninfluenced by the great artist whom his own best critic, Lichtenberg, so finely and acutely expounded, is unlikely; and no doubt there are superficial resemblances between them. Both were pictorial moralists, both were delineators of manners, both etched or engraved their own works, both were humorists and satirists. But in the satire of Chodowiecki one seeks in vain for that Juvenalian vigour, that ‘sæva indignatio' of power which one finds in Hogarth; and the German's pictorial raillery rather resembles the milder method of Horace,—such a Horace as one might suppose translated by Voss or Cowper. Moreover, in tragic grip, in imagination, in evolution, he is surely infinitely below Hogarth. On the other hand, he has what Hogarth lacks, a quality of grace, combined with a subtle sense of the naïveté of childhood, a refined appreciation of feminine beauty, which Hogarth only rarely shows. His humour, too, always genial and kindly, is unquestionable. Something of this, something also of the fertility of his invention, and the perspicuity of his compositions, will readily be gathered from any chance assemblage of his works; but his power of suggesting character in figures of minute dimensions, his wonderful precision of execution and command of his material, can only be studied adequately in carefully chosen impressions. In his life he was freely copied and pirated; and of late years a cheap set of facsimile reproductions of a certain number of his designs has been published by Messrs. Mitscher and Röstell of Berlin. But the veritable Chodowiecki is Chodowiecki engraved by himself. In the British Museum, in five elephant folios, is a magnificent collection of his plates for his drawings, which are said to be even more numerous, the student must resort to the Berlin Academy. With Engelmann's excellent catalogue in hand, however, he will find more than enough to delight him in the quiet Print Room at Bloomsbury. : LADY MARY COKE. WHEN, in Scott's 'Heart of Mid Lothian,' Jeanie Deans, having obtained her sister's pardon, repairs to Argyll House, in order to go northward with the ducal establishment, she is formally presented by John, Duke of Argyll and Greenwich, to his Duchess and her daughters. The only member of the family who takes any prominent part in the interview is a lively young lady of twelve, who 'chaffs' her noble father about Sheriffmuir with considerable vivacity, and gets her hair pulled for her pains. The young lady referred to grew up to be Lady Mary Coke, a part of whose letters and very curious journal was privately printed not long ago in three bulky volumes. How she looked as a girl, Sir Walter does not tell us; but her portrait at six and thirty by Allan Ramsay, a copy of which is to be found at the beginning of volume the first, gives an excellent idea of what she became in later life.' It 1 The original picture is in the possession of Lord Bute at Mountstuart. There is a fine mezzotint of it by McArdell. From a passage in Lady Mary's 'Journal' for shows us a graceful figure dressed in a white satin that would have delighted Terburg, and leaning upon such a tall theorbo as you may see in the cases at South Kensington. It is in fact taller than she is herself; and she is not small. On the contrary, she must have been what that eminent connoisseur, Mrs. Colonel James in 'Amelia,’ would have described as a very fine Person of a Woman.' She has an elegant shape and a beautiful neck and arm, and, in the picture, might very easily pass for a beauty. But her complexion, which in her old age grew cadaverous, was always of a dead white; and the absence of well-defined brows is said to have lent a certain fierceness to her dark eyes. One can, however, conceive that, with her fair hair and stately carriage, she must have looked extremely well in the travelling costume of pea-green and silver in which Horace Walpole met her at Amiens, and with which she subsequently astonished the sober burghers of Nuremberg and Aix. Until a year or two ago, Lady Mary Coke was little more than a wandering name. Scott's reference to her as a girl, and a few passages in Walpole's Letters,' Swinburne's 'Courts of Europe,' January, 1771, it appears that the prints were sometimes coloured by hand. and the like, made up the sum of the record. Then, in 1863, was printed privately the admirable account, by Lord Bute's youngest daughter, Lady Louisa Stuart, of John, Duke of Argyll, and his family. Lady Louisa Stuart was one of those writers whose silence is a positive misfortune to the literature of the Memoir. Living to a great age, for she died in 1851 at ninety-four, she had accumulated a store of memories, and she had inspected life with the keenest perceptions and with unusual advantages of position. But like Lord Chesterfield, the Duke of Nivernais, and some others of the ancien régime, she had an old-world prejudice against the undignified publicities of type, and her literary performances consist mainly of manuscript statements, prepared for her relatives, concerning persons or occurrences which had come within her cognizance. It was she who wrote the introduction to Lord Wharncliffe's edition of the letters of her grandmother, Lady Mary Wortley Montagu—an introduction which sparkles with unpublished eighteenth-century anecdote of the most brilliant character, and she contributed many of the more interesting notes to the Selwyn Correspondence. Several epistles from her pen are included in the recently ssued edition of Scott's letters; and her account |