The Sun.
London, England, 1864-08-12 00:00:00

ISSUE DEPARTMENT.

Notes issued £26,574,3551

Government Debt 411,015,100
Other Securities .. 3,634,900
Gold Coin & Bullion 11,924,3G5
Silver Bullion

X26,574,385'

X 26,574,365

DANHING D
Proprietors' Capi-
tal £14.553,000
Rest
Public Deposits (in-
cluding Exche-
quer, Savings'
Banks, Commis-
mis sioners of Na-
tional Debt, and
Dividend Ac-

EPARTBISINT.
Government Seen-

rities (including
Dead Wei,ghtAn-

nutty) v £11,0;7,095
Other. Securities 21,108,551
Notes
Gold and Silver 685,560
Coln

counts) 4.963,22
Other Deposits 14,419,766
Seven Day and
other Bills 530,674

138,114,01

1 £38,114,931
r. MILLER, Chief Caehicr.

Aug. 11, 1861.

RECENT ADDITIONS TO THE NATIONAL POR-
TRAIT GALLERY.—A picture of no ordinary
interest has just been secured by the directors of the
National Portrait Gallery. It is the portrait of S. T.
Coleridge, painted by the American artist, Washington
Allston, considered by Wandsworth and other friends of
the poet the most satisfacrory likeness that ever was painted
of him. An engraving was executed from this picture by
Mr Samuel Cousins a few years ago. Tho portrait was
painted at Bristol in 181 A, for Mr Joshua Wade, when
Coleridge was in the 42d year of his age. The artist's own
testimony, given in a letter to Prof. Henry Reed, of Phila-
delphia, is deserving of consideration. He says, "So far
as I can judge of my own production, the likeness
is a true
one, but it is Coleridge in repose, and, ehough no. unstirred
by the perpetual ground-swell of his ever-working jute'.
lect, and shadowing forth something of the deep philoso-
pher, it is not the Coleridge in his highest mood, the poetio
state. When in that state, no face I ever saw was like to
his ; it seemed almost spirit made visible, without a shadow
of the visible upon it. Could I have then fixed it on canvas!
But it wss beyond the reach of my art." WashingtonAllston
died jime 9, 1843, and was buried by torchlight in the
cemetery of Mount Auburn, Boston. A good impression
of the portrait of Shakspere, by Martin Droeshout, from
the title-page of the Folio Edition of 1623, has also been
added to the national collection. It undoubtedly stands
foremost among the known portraits of the bard ; and the
copy thus recently secured possesses some additional interest
in being the prototype from which sevorat effective photo-
graphic copies were taken, both on the scale of the original,
and in the reduced form as seen in Mr Lionel Booth's re-
print of the first folio edition. The sum of twenty guineas
was paid for it.-24thenattns.

THE LANGUAGE OF COLOURS.—T he phalansterian
school, Fourier's disciples, are the most precise end
positive in their opinions. They hold that violet is analo..
gous to friendship, blue to love, as suggested by blue eyes
and the azure sky. A bunch of violets would, therefore,
tell a lady's suitor that friendship is all ho has a right is
expect. Yellow is paternity or maternity ; it is the
' yellow ray of the spectrum which causes the germ to shoot.
Red figures ambition (vide the planet Mars); the spirit
of rivalry; green, the love of change, fickleness,
but also work ; orange, enthusiasm ; white, urdty, uni-
versality ; black, favouritism, the influence exerted by an
individual. Certain persons have the gift of fascinating
all who approach them ; and black, which absorbs all the
rays of the spectrum, is the reverse of white, which com-
bines them in one. Besides the seven primitive colours,
grey indicates poverty; brown, prudery; pink,
modesty;
silver-grey (semi-white), feeble love ; lilac (semi-violet),
feeble friendship ; palm pink, false shame, &e.—Dickees
"Ale the Year Round."