The Sun.
London, England, 1863-10-23 00:00:00

A HAPPY FAMILY.

This habit of always styling Lindsay " yer Honour,"
was one of Milly Ryan's many peculiarities. As before
mentioned, her affection for him had been always mingled
with a degree of deference and humility which, under the
circumstances, was extraordinary. She attended him sedu-
lously, like a servant, and often against his will, though he
soon became so used to it that he made no remark upon the
matter. In this she insisted upon Lynch and Jarmy fol-
lowing her example, which the former always did willingly
enough, the latter with sulky and jealous reluctance, which
Increased from natural perverseness the more he observed
the deference of Lynch towards his illegitimate brother.
Dan Lynch availed himself of this to foster and encourage
ill feeling between them, which was no difficult task, Lind-
say having always viewed his brother with an indifference
which easily led to dislike. As for Jarmy Kavanagh,
strong young giant as he was, he regarded both his
grandmother and Lindsay in nearly the same way,
with mingled suspicion, awe, and doubt; while
Dan Lynch he hated and despised from his innermost
soul. In Rafferty's house alone he found comfort and con-
solation for the many slights, some real and others fancied,
that he received in his grandmother's house. He had often
thought and intended to leave it altogether, and labour for
his own support through the country, where ho had many
friends; but, just as he had made up his mind to do so, and
endure a fearful anathema from Milly Ryan, which he fore-
saw would inevitably attend any such declaration of inde-
pendence, both Lindsay and Lynch went over to London,
where the former was said to be pursuing some law studies,
under the tutelage of Mr. Bristowe. When they were gone,
Jarmy, who at all times was very useful to his grandmother,
now found their absence the greatest possible relief; his
life became happy all at once, he laboured and worked with
right good will, and earnestly, devoutly wishing he might
never again behold either of the absent faces. In this he
was doomed to disappointment, fur both returned after a few
months, to the joy of Milly Ryan, who declared with truth
that she had hardly enjoyed one night's "real sleep" till
she again beheld her favourite. The old disputes, heart-
burnings, and jealousies again woke up, however, and
blazed fierce as ever. Lynch had lost no opportunity in
setting his young master against Jaraty Kavanagh, whose
fiery temper continually threatened most desperate strife, in
which probably one life at least would have been lost, but
for the steady influence which the energy of Milly Ryan's
character maintained over spirits wild and intractable, in-
deed, yet not more so than her own. Lindsay himself had
always the appearance and manner of a man of mild and
gentle temper, and so he generally was ; but, as :Hilly often
repeated to Lynch, and to him alone, " There's none knows
his Honour and the real high spirit he has in him but my-
self—no one in all this world but myself."
With such elements, the stormy nature of the
plot may be imagined. Hardly a single character
invites our sympathy, and not a single chapter pre-
sents us with any redeeming incident. The episode
of Lady Annora adds nothing to the interest of the
work. Her character and her story are singularly
unattractive. The tale itself, as we have already
said, is of a peculiarly interesting nature, but the
interest is not pleasing, and the incidents are most
painful,

Ralph ; or, St. Sepulchre's and St. Stephen's. By
Arthur Arnold. Two vols. Tinsley.
From St. Sepulchre's to St. Stephen's the con 7
trast is sufficiently startling, but such are indeed
the opposite points of Ralph's history. His connec-
tion with St. Sepulchre's is, however, only acciden-
tal. The supposed son of an honest charwoman,
Mrs. Dixon, and her very dishonest husband, little
Ralph is taken by them to witness the execution of
a murderer, Tommy Cooper. Seated on Dixon's
shoulder, his attention is directed to the unhappy
culprit, and then, while his young heart is thrilling

with terrified emotions,Dixon cruelly tells him that
Tommy Cooper is his father. This supposed revela-
tion is full of horror to the sensitive child, and its
recollection casts a shadow over his future life. Of
course he is not the son of Cooper, nor of Dixon.
His real parentage is discovered, after a proper
amount of mystery. By a most improbable acci-
dent Ralph, wishing to take another name, takes
unconsciously his father's name, his own actual
patronymic ! Improbable though it is in many
points, the story is sufficiently interesting. Mr.
Baxter and Mr. Ireton are two very delightful in-
dividuals, whom one is gratified to meet with, al-
though only in a book ; and Julia Baxter, and Mrs.
Evelyn, and Lady Edith are very charming heroines.
The fatal accident that befalls Major Evelyn at the
moment of his attempted crime is very skilfully ar-
ranged, As a happy specimen of the author's style,
we may quote the following :

WOMAN'S MISSION.
Are there women who seek a higher mission than this
upon earth? It holds none higher. If they will, they
may be the guardian spirits, the ministering angels of man-
kind, standing between the base things of earth and the
shrouded glories of heaven. Their mission is to keep alive
upon earth that which proclaims it to be God's earth—
Livino charity—human love. It is for them to correct the
teaching of the head by the instincts of the heart ; to per-
petuate the noble, the good, and the beautiful upon earth,
lest those should sink into the dreary swamp of utilitari-
anism, The ideality of human love is the key-stone of human
happiness. There is no natural subjection of the woman to
the man; there is a perfect adaptation designed by a merci-
ful and all-wise Creator. For so has he, throughout all
His work, made harmony. " Like perfect music set to noble
words," man and woman are seen to best advantage in corn •
pany, and best fulfil their duty to their Maker by sharing
it with each other.

Such are the women whose graceful figures flit
across these pages. Blest with one of these for his
companion, we leave Ralph, after his very mo-
mentous career from the purlieus of Newgate to the
porch of St. Stephen's. Throughout his history,
thanks to the good education instilled by his faith-
ful early friends, he has steered clear of evil com-
panions and dangerous temptations ; and, maintain-
ing his own self-respect, has earned at last the re-
spect of all around him.

The Fine Arts Quarterly. No. 11. October.
Chapman and Hall.

In spite of the delays which have taken place in
the publication of this very elegant and elaborate
Quarterly Review of the Fine Arts, it may be con-
fidently stated that, as the Fine Arts Quarterly, it
has already established its position securely, con-
spicuously and with remarkable ability amongst
the very foremost of its contemporaries. The second
number—at last issued from the press, to be wel-
comed probably, all the more cordially, by reason
of the very delays above alluded to, among the im-
patient subscribers to this new periodical—fully
sustains the fair promise of the first. The initial
Volume is now, moreover, by the issue of this second
number, completed. 'We may judge, therefore, of
the work, already, as a substantive publication. We
may look to it, apart from the prospectus. We may
see how far the auguries put forth in that prospectus
are, at this moment, fulfilled, or, at any rate, in
process of fulfilment. A noble volume of 450 pages,
st volume admirably well edited throughout, by Mr.
Woodward, the Queen's Librarian, superbly pub.
lished upon delicately tinted paper, by the Messrs.
Chapman and Hall, with touches of the antique
about its typography, such casual touches as
the long s, the flourished et, and an occasional
ampisand—a volume of 450 imperial octavo pages,
comprising within it contributions from writers
upon art as able and of as much authority as Pro-
fessor Kingsley and Mr. Tom Taylor, as Dr.
Panizzi and Mr. Rosetti—a First Volume like this
already lies upon the table of the subscribers to the
Fine Arts Quarterly as a full and complete justifi-
cation of at any rate the bulk of the prospectus.
Not so very many years ago the explanatory excuse
now put forth in this second number of the Fine
Arts Quarterly, with a view to account reasonably
for some portion at least of the delays that have
occurred in its publication, would have been held
(and then it is true reasonably enough) to be about
the most whimsical that could by possibility have
been advanced to that end, 'whether by editor
or by publisher. The excuse being simply.—
" the unfavourable state of the weather !"
But how unfavourable ? Unfavourable—" for
printing the photographs of Poussin's Drawing !'
A folded drawing, which will be found between
page 272 and page 273, illustrative of Part I. of the
editor's able catalogue raisonnee of " The Drawings
of Nicholas Poussin in the Royal Collection." One
of the most attractive papers in this number for
October is Mr. Stephens' biographical and critical
notice of the late 'William Mulready, one of the
most illustrious of our Royal AcademiCians. In
this paper the superiority of Mulready over Wilkie
is unhesitatingly insisted upon. The great Scotch-
man is declared to have been wholly surpassed, as
an artist of the first genius, by the greater Irishman.
Mulready's whole career is here very charmingly
epitomised—from the date of his birth, on the Ist of
April, 1786, in Ennis, County Clare (his father and
mother being both of them Catholics), down to
the date of his death, more than seventy-
seven years afterwards, on the Ist of July,
1863, at the artist's house in Bayswater. The son
of the obscure Irish leather breeches maker, dying
then illustrious among the illustrious, at the very
top of his profession, first and foremost among
our Royal Academicians. At pp. 387 328 will be
found a wonderfully complete, and, therefore, a pe-
culiarly interesting list of the most important pic
tures by this great artist: with the year men-
tioned in which each was first exhibited, and the
initial of the exhibition of which they formed re-
spectively so important a part, often, beyond any
doubt of it, the most important ! From a glance
down this catalogue, the art student is reminded
that it was as far back as 1808 that Mulready
exhibited his first figure picture " The Rattle,"
and that it was so exhibited in 1808 at the
British Institution. In 1812 appeared " The
Mall." In 1813, " Punch." In 1815, " The Fight
Interrupted." In 1820, " The Wolf and the Lamb."
In 1822, The Convalescent." In 1824, "The
Widow." In 1827, " The Cannon." In 1829,
"Returning from the Hustings." In 1835, "The
Last In." In 1839, "Bob-cherry." And—crowning
all—in 1846, the finest of all the wonderful pictures
painted by William Mulready, that marvellous
"Choosing the 'Wedding Gown," from Oliver Gold-
smith's " Vicar of Wakefield." It is mentioned by
the writer as characteristic of Mulready's industry
and aptitude for all sorts of ingenious art drawings,
however humble of their kind, that not only was
all the furniture of his house in Bayswater made
after his own designs, but that nearly every
stick of it was manufactured by his own
hands. There is a lovely tribute in this second
number of the Fine Arts Quarterly to that
exquisite picture of " The Sisters of Charity "
nursing and tending the sick child in the Hotel
Dieu by Madame Henrietta Browne—a picture that
was the admiration of so many thousands as the
" Cynosure of neighbouring eyes," in the picture
galleries at the last Great Exhibition down at
South Kensington. The tribute coming het© from
the pen of one no less gifted as a writer upon, and
an appreciator of, Art than the it
ev.Charles
domprdehedrindsigvethseuprvreeysedoti
thein Artgs ley
Exhibitionsi
jedtti's cod Lod
season, would have been all the more agree-
Kir.
lt °8
able reading to us, bat for his intense
predilection for his own pet school of the
pre-
Rafaellites leading him hero actually in his
reference to the R )yal Academy Exhibition to
single out as the " bright particular star" of that
moderately notable display the one picture that to
every one bat the most infatuated admirers of the
oddest freaks of the undoubtedly great artistic
genius of Mr. Millais, was the especial hobgoblin of
the Exhibition—that "ghostly grin and ancient
raven" of a " Madeline" (from Keats's Eve of St.
Agnes) the ghost-like demoiselle sans merci (certainly
without mercy or pity upon any of her beholders)
who was shredding off her garments so very awk-
wardly in her moonlit bedchamber. There is, in an
earlier portion of the number, an elaborate criticism
or analysis, by Mr. Tom Taylor, of the Report of
the Commission on the Royal Academy—a paper of
itself sufficient, by its merits, to sustain the charac-
ter of the new publication as an art organ, rather,
we would say at once, as the art organ. For as
such, without doubt, the line Arts Quarterly may
now, without further hesitation; be regarded.

: ela
4.
'5,7,C, \ • s ' &
iglat - --,c,--,--,,,,- trnetir
, J ,----,„-,„„,, iv. ) i .
.c.,..,--- ,t.

THE QUEEN IN SCOTLAND.

BALMORAL, Oct. 21.
The Queen, accompanied by Prince and Princess
Louis of Hesse and Princess Louise, went yester-
day by the Forest to Alt-na-Guithasach, and drove
back in the evening.