in the Royal collection in France. This
astronomer erected the dial at Corpus Christi, Oxford College, in 1550.
After thirty years' residence in England, he had scarce learned to
speak the language, and his Majesty asking him how that happened, he
replied, "I beseech your highness to pardon me; what can a man learn in
only thirty years?" The latter half of this memorable sentence may
remind the reader of Sir Isaac Newton; and perhaps the study of
astronomy does naturally produce such a feeling in the reflective mind.

HOLBEIN'S PORTRAITS OF SIR THOMAS MORE AND FAMILY.

Holbein painted the portraits of the Chancellor and family; and no less
than six different pictures of this subject are attributed to his hand;
but of these Walpole thinks only two to possess good evidences of
originality. One of these was in Deloo's collection, and after his death
was purchased by Mr. Roper, More's grandson. Another was in the Palazzo
Delfino at Venice, where it was long on sale, the price first set being
L1500; but the King of Poland purchased it about 1750, for near L400.
The coloring of this work is beautiful beyond description, and the
carnations have that bloom so peculiar to Holbein, who touched his works
until not a touch remained discernible. Walpole says, "It was evidently
designed for a small altar-piece to a chapel; in the middle on a throne
sits the Virgin and child; on one side kneels an elderly gentleman with
two sons, one of them a naked infant opposite kneeling are his wife and
daughters."

There is recorded a bon-mot of Sir Thomas on the birth of his son. He
had three daughters, but his wife was impatient for a son: at last they
had one, but not much above an idiot--"you have prayed so long for a
boy," said the Chancellor, "that now we have got one who I believe will
be a boy as long as he lives!"

SIR JOHN VANBRUGH AND HIS CRITICS.

This eminent English architect, who flourished about the commencement of
the 18th century, had to contend with the wits of the age. They waged no
war against him as a wit, for he was not inferior; but as an architect,
he was the object of their keenest derision, particularly for his
celebrated work of the stupendous palace of Blenheim, erected for the
Duke of Marlborough in accordance with the vote of a grateful nation.
Swift was a satirist, therefore no true critic; and his disparagement of
Blenheim arose from party-feeling. Pope was more decisive, and by the
harmony of his numbers