Whose beauty was as brief.
We congratulate the editor and the public on the past success of the Amulet, especially as it proves that a pious feeling co-exists with a taste for refined amusement, and that advantageously. There is nothing austere in any page of the Amulet, nor anything so frivolous and light as to be objectionable; but it steers in the medium, and consequently must be acceptable to every well-regulated mind. Indeed, many of the pieces in the present volume may be read and re-read with increased advantage; whilst two only are unequal to the names attached to them.
THE GEM.
Edited by Thomas Hood, Esq.
The present is the first year of the Gem, which, as a work of art or literature, fully comes within the import of its title. It is likewise the first appearance of Mr. Hood as the editor of an "annual," who, with becoming diffidence, appears to rely on the "literary giants" of his muster-roll, rather than on his individual talent. Notwithstanding such an editorship must have resembled the perplexity of Sinbad in the Valley of Diamonds, Mr. Hood's volume is almost unexceptionably good, whatever he may have rejected; and one of the best, if not the best, article in the whole work, has been contributed by the editor himself. Associated as Mr. Hood's name is with "whim and oddity," we, however, looked for more quips, quirks, and quiddities than he has given us, which we should have hailed as specially suited to the approaching festive season, and from their contrast with the contents of similar works, as more likely to attract by their novelty and humour.
The embellishments of the Gem, fifteen in number, have been selected by A. Cooper, Esq. R.A. The Death of Keeldar is a beautiful composition by Mr. Cooper, and is worthy of association with Sir Walter Scott's pathetic ballad. The Widow, by S. Davenport, from a picture by R. Leslie, R.A. is one of the most touching prints we have yet seen, and every one is capable of estimating its beauties, since its expression will be sure to fasten on the affections of the beholder. May Talbot, by J.C. Edwards, from a painting by A. Cooper, is admirable in design and execution. Of the Temptation on the Mount, engraved by W.R. Smith, after Martin, we have spoken in our accompanying Number; but as often as we look at the plate, we discover new beauties. It is a just idea of "all the kingdoms of the earth;" the distant effect is excellent, and the "exceeding high mountain" is ably represented. The faces in the Painter's Study are decidedly superior to the rest of the print. The Fisherman's Daughter, from a painting by Bone, is pleasing; and Venice, with the Embarkation of the Doge, is a stirring scene of pageantry and triumph.
Among the poetry is the Painter's Song, a pleasing composition, by Barry Cornwall, who has also The Victim, a dramatic sketch of twenty pages. Stanzas by Horace Smith, Esq. are a pleasant satire upon the little vanities of great people. We give the Dream of Eugene Aram in full, although it consists of nearly two pages of small type.:—