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"My dear young lady--Miss Brooke--Dorothea!" he said, pressing her hand between his hands, "this is a happiness greater than I had ever imagined to be in reserve for me. That I should ever meet with a mind and person so rich in the mingled graces which could render marriage desirable, was far indeed from my conception. You have all--nay, more than all--those qualities which I have ever regarded as the characteristic excellences of womanhood. The great charm of your sex is its capability of an ardent self-sacrificing affection, and herein we see its fitness to round and complete the existence of our own. Hitherto I have known few pleasures save of the severer kind: my satisfactions have been those of the solitary student. I have been little disposed to gather flowers that would wither in my hand, but now I shall pluck them with eagerness, to place them in your bosom."

The whole academic tendency of modern painting in Germany and Austria for the past fifty years has not been favorable to the best kind of pictorial art. There is a disposition on the part of artists to tell stories, to encroach upon the sentiment of literature, to paint with a dry brush in harsh unsympathetic colors, to ignore relations of light-and-shade, and to slur beauties of form. The subject seems to count for more than the truth of representation, or the individuality of view. From time to time artists of much ability have appeared, but these form an exception rather than a rule. The men to-day who are the great artists of Germany are less followers of the German tradition than individuals each working in a style peculiar to himself. A few only of them call for mention. Menzel (1815-1905) is easily first, a painter of group pictures, a good colorist, and a powerful pen-and-ink draughtsman; Lenbach (1836-1904), a forceful portraitist; Uhde (1848-), a portrayer of scriptural scenes in modern costumes with much sincerity, good color, and light; Leibl (1844-1900), an artist with something of the Holbein touch and realism; Thoma, a Frankfort painter of decorative friezes and panels; Liebermann, Gotthardt Kuehl, Franz Stuck, Max Klinger, Greiner, Truebner, Bartels, Keller.

AFFECTED dispatch is one of the most dangerous things to business that can be. It is like that, which the physicians call predigestion, or hasty digestion; which is sure to fill the body full of crudities, and secret seeds of diseases. Therefore measure not dispatch, by the times of sitting, but by the advancement of the business. And as in races it is not the large stride or high lift that makes the speed; so in business, the keeping close to the matter, and not taking of it too much at once, procureth dispatch. It is the care of some, only to come off speedily for the time; or to contrive some false periods of business, because they may seem men of dispatch. But it is one thing, to abbreviate by contracting, another by cutting off . And business so handled, at several sittings or meetings, goeth commonly backward and forward in an unsteady manner. I knew a wise man that had it for a byword, when he saw men hasten to a conclusion, Stay a little, that we may make an end the sooner.

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