An excellent German critic says of the preface to Lamartine's History of the Restoration, that it is as coquettish as everything in the historic way that has come from Lamartine's pen of late years. He coquets with the conflict of his own understanding and sentiments. His heart still beats for the ancient dynasty; his mind decides for the republic—a very serious state of things, not only for a statesman, who is called to share in the immediate development of affairs, and who can never arrive at unity of action, as long as feeling and reflection impel him to different courses, but also for the historian. Lamartine, says the writer, is a remarkable example of that mixture which is often found among the French, of fantastic sentimentality, and frivolous, superficial reflection. He is especially remarkable, because he has converted this mixture, of which in most cases, the person is unconscious, into a sort of system, and justifies it accordingly. The understanding says Yes, the heart says No, but both speak vivaciously and clearly, showing that he has them both in a high degree. This consoles him for the want of harmony between the two; he never thinks that in such harmony the reality of both consists.
Robert Prutz, the well-known German historian, has just made his appearance as a novelist with a romance in three parts, called Das Engelchen (The Little Angel). A large portion of it has been previously published in the Deutsche Allgemeine Zeitung, where it has excited a profound interest. From the author's previous achievements as a lyric and dramatic poet, his success in this new sphere is only what was to be expected. The Little Angel is a novel of modern society.
Zwrei Monate in Paris (Two Months in Paris), by Adolphe Stahr, is published by Schulze in Oldenburg. Lest our readers should infer from the name of the author that this is a political work of solid character, we subjoin the following remark by a German reviewer, "Written in a light, easy, careless vein, this work helps to augment the already colossal pile of books relating to Paris, but is by no means such as we should have expected from the representative of the Prussian revolution. Nay, it has been already surpassed by two recent and similar productions—the one by a lady, a little art-criticism, a little literature, a few theatrical items, a bal mabille, a visit to Heine, and the sketch of a meeting of workmen, with their songs, all written in that tolerably piquant, lively style, with which we have however of late been surfeited, form a book, agreeable enough, it is true, but not such as we should, in these earnest, serious times, have expected from such a writer." The American reader may however draw a very different conclusion from that of this "earnest and serious reviewer."
The last lesson usually taken by the student of ancient art is that in gems—cameos, intaglios, and the like—a fact the more surprising since nine-tenths of the spirit of classic life and beauty is thus extant in miniature. The Venus di Medicis and the Apollo Belvidere, the Parthenon and the Temple of the Winds—every variety of mosaic, and half-obliterated scrap of fresco are familiar to the dilettante, ere he reflects over the incredible grace, beauty, and spirit displayed in the exquisite design of nearly every classic gem. Those, however, who have learned to appreciate this department of ancient art, will welcome the appearance of Kohler's Gesammelte Schriften, (and the collected essays of H. K. E. Kohler), forming the best work known on this subject. In it we find, treated in a masterly manner, all the intricate methods of judging of ancient gems with modern inscriptions, gems of an uncertain era, and modern imitations of ancient cutting. The "darker side" of the work consists of violent and unmerited attacks on rival writers. Published by Leopold Vossin, Leipzig.
Among the cheapest and most attractive books for children which we have met with are the recently published Munich Bilderbücher, or picture-books, consisting of thin folios of all manner of neatly-designed fancies, many of them by eminent artists. They contain fairy tales, humorous sketches, historical illustrations, and a vast number of pictures in the well-known Slovenly Peter style, but far more attractive. Many are colored, and the publisher has judiciously printed a number on thick, parchment-like paper, well adapted to withstand the wear and tear of the nursery.