in the great centre of political aristocracy, what men respect is the practical, not the ideal. Just suffer me to draw two pictures of my own. Clarence Glyndon returns to England; he marries a lady of fortune equal to his own, of friends and parentage that advance rational ambition. Clarence Glyndon, thus a wealthy and respectable man, of good talents, of bustling energies then concentrated, enters into practical life. He has a house at which he can receive those whose acquaintance is both advantage and honour; he has leisure which he can devote to useful studies; his reputation, built on a solid base, grows in men's mouths. He attaches himself to a party; he enters political life; and new connections serve to promote his objects. At the age of five - and - forty, what, in all probability, may Clarence Glyndon be? Since you are ambitious, I leave that question for you to decide! Now turn to the other picture. Clarence Glyndon returns to England with a wife who can bring him no money, unless he lets her out on the stage; so handsome, that every one asks who she is, and every one hears — the celebrated singer, Pisani. Clarence Glyndon shuts himself up to grind colours and paint pictures in the grand historical school, which nobody buys. There is even a prejudice against him, as not having studied in the Academy — as being an amateur. Who is Mr Clarence Glyndon? Oh! the celebrated Pisani's husband! What else? Oh! he exhibits those large pictures. Poor man! they have merit in their way; but Teniers and Watteau are more convenient, and almost as cheap. Clarence
