ctor is a rising man,
And may become a bishop. He goes light.
The curate ever hath a loaded back.
He may be called yeoman of the church
That sweating does his work, and drudges on
While lives the hopeful rector at his ease.

* * * * *

CHARACTER OF GEORGE THE FOURTH.

In the third and concluding volume of the _Life and Reign of George
IV_., (a portion of Dr. Lardner's _Cabinet Library_,) we find the
following summary of the earthly career of the late King--shaded with
some admixture of severity, but, altogether, to be commended for the
manliness and unflinching spirit in which it is written. Our
contemporary biography sadly lacks vigorous and plain-speaking summaries
of character.

"In the events and achievements which give interest and lustre to his
regency and reign, George IV. had personally no share. He was but
contemporary with them. To the progress of science, of literature, of
legislation, he was a stranger. The jealous limitations of the regal
power,--the independence, enterprise, and social advancement of the
nation, would account and afford excuse for this: but were he absolute
as Louis XIV.,--obeyed and imitated with the same implicit
servility,--the higher purposes of intellectual being were beyond his
range. With the fine arts his relations were more close and personal.
The progress of architecture was sudden and astonishing, during the
epoch which will bear his name. London, before his accession to the
executive power, was a rich, populous, elegantly built capital, but
without a due proportion of prominent structures characterized by
architectural grandeur, beauty, or curiosity. In a few years magnificent
lines and masses of building were begun and completed; but they were
mainly the growth of wealth, vanity, speculation, and peace. Where his
influence was directly felt it proved unfortunate. He lavished millions
in creating vicious models, and fantastic styles of architecture, and
brought into fashion artists without capacity or taste. There was not in
his kingdom a more discerning judge of painting; but he had no
imagination for the higher class of art. He preferred the exquisite and
humorous realities of the Dutch painters to the poetic or historic
schools of Italy; and, though a studious collector, he gave no great
impulse to native talent. In music he had both taste and skill: he
encouraged an art which formed one of his enjoyments; and if his
patro