66 it that we have now-a-days so many fine things of a worldly kind, and nothing but what is cold and indifferent of a spiritual? (and he repeated some German songs.) I cannot agree with those who despise music, as do all dreamers and mystics." . . I will ask the prince to devote this money to the establishment of a musical academy." (April, 1541.) On the 4th of October, 1530, he writes to Ludovic Senfel, a musician of the court of Bavaria, to ask him to set the In pace in id ipsum to music: "The love of music overpowers my fear of being refused, when you shall see a name which, no doubt, you hate. Tis same love also gives me the hope that my letters will involve you in no disagreeables. Who could reproach you on their account, even were he a Turk? . . After theology, no art can be compared with music." LUTHER'S JOYS OF SUMMER IN THE BOSOM OF HIS FAMILY, AND HIS ORDINARY DINNER-GUESTS. THE artist here presents to us Luther's summer pleasures in the circle of his family; and at the same time calls attention to those habitual guests at his table, to whom (as indicated by the young man who is writing behind Luther) we owe the noting down of his table-talk. LUTHER SINGING AT HOME. A garden-scene could not indeed be omitted in a series of pictures, memorials of the man whose heart ever opened in the free air, in the sight and enjoyment of nature; who gladly observed and admired the creation with his pious, thoughtful, and poetical eye. garden-seeds for him: "If Satan and his imps rave and roar, I shall laugh at him, and admire and enjoy, to the Creator's praise, God's blessings in the gardens." He writes to Spalatin in 1526: "I have planted my garden and built a well, both with success. Come to me, and thou shalt He wrote to a friend who procured be crowned with roses and lilies!" "If I live, I shall become a gardener," | sidered the wisdom, might, and goodness "The of God even in the smallest flower! We are at present in the dawn of a future life; for we begin to recover the knowledge of creatures which we had lost through Adam's fall. In his creatures we recognize the power of his he once said, while in this humor. word; how great that is!-He said, and beautiful still. when the old world shall it was so!" His profoundly contemplative mind, in its heartfelt enjoyment of nature, looked upon creation as the divine symbolic expression of the Invisible and Highest. He compared the Bible, for instance, to a beautiful forest," in which there is no tree at which my hand has not knocked." Again, he said on a fine spring day (1541) to Justus Jonas, in that tone of mind of mingled melancholy and undefined longing, which sometimes overpowers us amid the joys of spring: "If there were neither sin nor death, we might be satisfied with this paradise. But all shall be more have been renewed, and a new spring shall open and remain forever." LUTHER'S WINTER PLEASURES. UPON the pleasures of summer follow those of winter, the Christmas festival; and the garden which now delights Luther's eyes are his children, whom he looked upon as God's greatest blessing. He expressed this one day to his friend Justus Jonas, who admired the branch of a cherrytree which hung over the table: "Why do you not consider this still more in your children, the fruits of your body, and who are more beautiful and noble creatures of LUTHER'S WINTER PLEASURES. God than the fruits of any other tree? In them is shown the almighty power, wisdom, and art of God, who has made them out of nothing." The crossbow with which the eldest boy shoots at the apples of the Christmas-tree reminds us of a letter which Luther wrote in 1530, from Coburg, to his son, then four years old; and in which he told him of "the gay beautiful garden; the many children; the apples and pears; the fine little horses with golden bridles and silver saddles; the fifes, cymbals, and grand silver crossbows." Melancthon is occupied with the little bowman, while "Aunt Lena" looks at a book with the younger boy; and the eldest girl, Magdalen, rejoices in a doll representing the angel of the Christmas festival— as if she had felt a presentiment of soon becoming an angel herself. This hint of the artist prepares us for the solemn nature of the next picture. Luther's finest traits are those known in his domestic life. He valued woman and home. "Had I been seized with a fatal illness, I should have wished to summon some pious maid to my death-bed, and wed her, presenting her with two silver goblets as a wedding-gift and morrow's present, (morgengabe,) in order to show how I honored marriage. No one will ever have to repent rising early and marrying young. It is no more possible to do without a wife than without eating and drinking. Conceived, nourished, borne within the body of woman, our flesh is mainly hers, and it is impossible for us ever to separate wholly from her. Had I wished to make love, I should have taken thirteen years ago to Ave Schonfelden, who is now the wife of Doctor Basilius, the Prussian physician. At that time I did not love my Catherine, whom I suspected of being proud and haughty; but it was God's will; it was his will that I should take pity on her; and I have cause, God be praised, to be satisfied." "The greatest grace God can bestow is to have a good and pious husband, with whom you may live in peace, to whom you can trust everything, even your body and your life, and by whom you have little children. Catherine, thou hast a good and pious husband, who loves thee; thou art an emperess. Thanks be to God!" WE THE HOOD MEMORIAL. E give a representation of a testimonial, raised by public subscription, to the memory of Thomas Hood, in Kensal-green Cemetery, England, after a lapse of nine years from the distinguished poet's death. The Memorial is an appropriate and tasteful composition by Noble. It consists of a large bronze bust of the poet, elevated on a pedestal of polished red granite; the whole twelve feet high. In front of the bust (which is pronounced an excellent likeness, and has been modeled from authentic portraits) are placed three wreaths (in bronze), formed of the laurel, the myrtle, and the immortelle. On a slab beneath the bust appears Hood's simple self-inscribed epitaph :— 6 "He sang the Song of the Shirt.'” Upon the projecting front of the pedestal is carved this inscription : "In Memory of THOMAS HOOD. Born 23d May, 1798; died, 3d May, 1845. Erected by Public Subscription, A. D. 1854." Beneath, at the base of the pedestal, a lyre and comic mask (of bronze) are flung together-suggesting the mingled pathos and humor in every page of Hood's writings. The most attractive portions of the Memorial, and those in which the sculptor's ability has been most fully developed, are the medallions inserted in the sides of the pedestal. These are oval in form, and illustrate Hood's fine poems, "The Bridge of Sighs" and "The Dream of Eugene Aram." In the first-named composition, the poor victim of deluded hope and love is seen just raised from the watery grave, into which she had rushed headlong to escape from the pangs of cureless remorse and shame, and the consequent "burning insanity" which had rendered life insupportable : "Mad from life's history, |