52 TheAnglo-African Magazine.

The New Yorker Staats Zeitung forJanuary 22nd, 1853. from which this lf

table is copied, adds a hundred andseven thousand for the German enii- vgration to Baltimore and New Orleans, ^and about two hundred thousand for 11

the emigration of previous years, mak- 11

ing the entire German population, ar- rrivecl, at 900 thousand: allowing 48 t'per cent, for their increase during thefourteen years, and we have one mil- ylion two hundred and sixty thousand £as the entire German migration of the 1;second quarter of the 19th century. c

Tiie increase of this migration has ®been gradual, until within the last tthree years, when it has increased at sthe rate of thirty thousand per annum. 3and from being only one-half as many, chas in the last year, actually out-num- j

bered the Irish immigration. <And it is but reasonable to expect c

that in the next ten years, or perhaps tlonger, it will go on increasing ; for j

while the whole home population oftIreland is but six millions, that of Ger- jmany is nearly fifty millions.

The vitality of the German emigrants greater than that of the Irish. These.atter, enfeebled by starvation andivhiskey at home, seek employmentlere on railroads, running throughmalarious districts from Maine to Pa-aama, and their stalwart looking, butreally feeble frames fall an easy preyto the fevers which they contract.

In the city of New York, twenty-fiveyears ago, an acre or two surroundingSt. Patrick's Cathedral afforded ampleburying room for the whole Irish Cath-olic population. Since then, a tenacre field in Eleventh-streethas beentwice filled up, tightly packed, by thesame population, and within threeyears, eighty acres have been boughton Long Island by Bishop Ilnghes,and a ferry especially established, call-ed Bishop Hughes' Ferry, to carryover the Irish dead to this new ceme-try, at which several priests are en-gaged from morning till night, recitingthe last sad ceremonies over the de-parted sons of Erin.

To be Continued.

Hfnt-lweritait fitto iailtnr,BY ETIIOP.

NUMBER I.

I always bad a penchant for pictures.From a chit of a boy till now, my lovefor beautiful, or quaint old pictureshas been unquenched.

If an ever abiding love for anybranch of Art is indicative of a fitnessto pursue it, then I should have beena painter. Even when so small as tobe almost imperceptible, I used toclimb up, by the aid of a stool, to mymother's mantle piece, take down theold family almanac and study its pic-tures with a greater relish than ever afat alderman partook of a good dinnerincluding a bountiful supply of thechoicest wines. All this however, ne-ver made me a painter. Fate marked

out a rougher, sterner destiny for me.But the habit of rambling in searchof, and bunting up curious, old, or rareand beautiful pictures, is as strong asever.

It was in one of these rambles, thatI stumbled over the Afric-AmericanPicture Gallery, which has since be-come one of my dearest retreats where-in to spend many an otherwise wearyhour, with profit and pleasure

The collection is quite numerous,having been sought from every quar-ter of the American continent, andsome from abroad; and though asa Gallery of Art, if not highly merito-rious, still from its wide range of sub-jects and the ingenuity with which

Afrio-American Picture Gallery. 53

many of tliem are presented, it must, sito the lover and curious in sucli mat- aters, afford much for amusement, and tlto the careful observer and the thinker vmuch that is valuable and interesting, o

In style and excellence these pic- btures vary according to the fancy or isskill of the artist. Some are finely ex- Iecuted, while others are mere rough tsketches. Some are in oil, some inwater colors, and India Ink shadings, ta few statues, statuettes, and a few iCrayons and Pencilings possessing a ihigh degree of merit; others are mere scharcoal sketches and of little worth 1beyond the subjects they portray. c

But without pursuing this general toutline further, let the reader, with me tenter into this almost unknown Gal- <lery. Well, here we are, and looking ]aboutus. s

The first thing noticeable, is the un- :studied arrangement of these pictures. !They seem rather to have been put upout of the way, many of them, thanhung for any effect.

The walls are spacious, and containample room for more, and, in manyinstances, better paintings ; and manyniches yet vacant for busts and statues;and just here, let me make an humblepetition in behalf of this our newly dis-covered Gallery.—It is that generousartists, will, at their convenience, havethe goodness to paint an occasionalpicture, or chisel a statue or bust, andwe will be sure to assign it to its ap-propriate place. But let us take asurvey, and speak only of what strikesus most forcibly in our present mood.

PICTURE NUMBER 1. THE SLAVE SHIP.

This picture hangs near the entrance,on the south side of the Gallery, andin rather an unfavorable light.

The view is of course Jamestownharbor, Virginia, in 1609, and lias allthe wild surroundings of that portion ofour country at that period ; the artisthaving been faithful even to everyshrub, crag and nook. Off in the moor-ing lays the slave ship, Dutch-modeledand ugly, even hideous to look upon,as a slave-ship ought to be. On the '

shore is a group of emaciated Afri-cans, heavily manacled, the first slavesthat ever trod the American continent;,while in the fierce and angry watersof the bay, which seem to meet theblack and dismal and storm-clad sky,is seen a small boat containinganotherlot of these human beings, just nearingthe shore.

If the artist's general conception of, this picture maybe regarded a success,• in its details, beyond all question, thisi is its crowningpoint. The small boat) struck by, and contending with a hugel breaker, is so near the shore that you

can behold, and startle as you behold,1 the emaciated and death-like faces of} the unfortunate victims, and the liide-- ous countenances of their captors; and>' high and above all, perched upon the

stern, with foot, tail and horns, and- the chief insignias of his office, is hisi. Satanic Majesty, gloating over the? whole scene.3 "What is more truthful than that the

devil is ever the firm friend and com-n panion of the slave ship?

PICTURE NUMBER 2.—TIIE FIRST AND TI1H

LAST COLORED EDITOR.

This small, but neat picture hangson the north side of the gallery ; andthough simple in its details, is so wellexecuted that it has much attractedme.

The Last Colored Editor, cpiite ayoung man, with a finely formed headand ample brow—thoughtful^earnest,resolute—sits in chair editorial, withthe first number of the Freedom'sJournal, the first journal ever editedby, and devoted to the cause of thecolored man in America, held in onehand and outspread before him, whilethe other, as though expressive of hisresolve, is firmly clenched.

Surrounding him are piles of all the'

journals edited by colored men from. the commencement up till the present,

among which the Freedom's Journal,Colored American, People's Press,North Star, and Frederick Douglas's

, paper are the more prominent. Thei' First Editor is represented as a vener-

5+ The, Analo-African Mar/azine.

able old man, with whitened locksand placid face, leaning on a staff, andunperceived by the Last Editor, islooking intently over his shoulder onthe outspread journal.

It is his own first editorial, and thefirst ever penned and published by acolored man in America. The sceneis the linking together of our oncescarcely hopeful past with the nowbright present.

PICTURE HO. 3—THE FIRST MARTYR OF

THE REVOLUTION.

This is a head of Attucks. It maynot be generally known, and it maynot be particularly desirable that thepublic should know, that the FirstMartyr of the American Revolutionwas a colored man ; that the first bo-som that was bared to the blast ofwar was black; the first blood thatdrenched the path-way which led upto American liberty, was from theveins of a colored man.

And yet such is the fact; and the ar-tist lias done a service in the executionof this head. It hangs at the northeast end of the Gallery, and is a finelikeness of a bold, vigorous man,—just such, as would be likely to heada revolution to throw off oppression.May the name of Attucks and thefacts connected therewith never per-ish.

PICTURE NO. 4. SUNSET IN ABBEOIOTTA.

This is a fine painting. The land-scape is rich, varied, beautiful. Thesky has all the warmth of hue andsoftness of tint, and all that gorgeous-ness (changing seemingly with everyinstant,) for which an African sky isso much noted. ISTo rainbow with us,in its full splendor, is so variegated orso wide in its range of colors.

The last touches of the artist's pen-cil has made the glow of the comingevening to softly spread itself overhere and there a dusky inhabitant re-clining upon the banks of an unrip-pled lake. The effect is fine, and the

whole scene is so charming that onecould almost wish to be there.

PICTURES 5 AND 6. THE UNDER GROUND

RAILROAD.

In these two pictures the artist iscertainly quite up to our idea. Theyare of large size and represent boththe Southern and Northern portionsof that mysterious road. They hangbeside each other on the south side ofthe Gallery and are marked A and B.I would suggest, that B be changedover to the north wall, as a more ap-propriate place. Picture A, or thesouth view represents a dark roadleading through a darker forest, alongwhich is seen merely some twentypairs of fine stalwart human feet andlegs—male and female—of all sizes,hurrying northward. Every muscleand limb indicates firmness and reso-lution.

The scene is night-time, and far dis-tant through the forest is faintly seenthe north star—small but bright andunfailing, and to the fugitive, unerr-ing.

Picture B on the north view con-sists of some twenty bold heads andfine robust faces, each of which is litup with a joy no pen can portray, andnothing but the pencil of the mastercould, have reached. The exclama-tion of each must be ' we have foundit!!!'

In the foreground is a lake and theback ground is a Canadian forest,through which here and there youcan perceive a small rustic cottage.Both of these pictures sustain wellthat air of mystery which envelopesthe Under Ground Rail Road.

In the first view we have but thefeet and legs ; indicating the mysteri-ous manner in which those feet andlegs move bodies towards freedom, orpass along that undefined and undefi-nable Road that leads to liberty.

There is another thought. Thehead, the recognized seat of the mind,is useless to the slave, or, if of serviceto him, this thinking apparatus is not

Trifles. 55his own ; it belongs to his owner;hence he , makes use of his feet andlegs, 01* the physical machinery ; whilein the second view, at the northernend of this (indefinable Road, where

liberty is, the head or mental part ispresented to view. The slave,—thechattel,—the thing is a man.

(To be Continued.)

trifles.BY MARY A. S. GARY.

1 Tall oaks from little acorns grow.'

Words, actions, events, and circum-stances become important or trivial inproportion to the relations they sustain,or to the accidents of time and purposeinseparable from their real significance.

Greater prominence is sometimes giv-en to a word because of the source fromwhence it emanates, and things themost common-place become magnifiedinto, or assume great proportions ; andevents small in themselves, become theindex to the most stupendous results.

A mustard seed planted by skilfulhands germinates,and in time becomesa beautiful flowering plant; in an afterstage of its growth, the husbandmangathers in a valuable yield, which istransferred to the man of business, whoin turn, disposes of a share to his neigh-bor ; thus a commercial transaction iscommenced, ships are put into requisi-tion, and trade, in all its intricate rela-tions, receives an impulsion,—but amustard seed in the beginning, whocould have calculated the importanceof the article mustard in the commer-cial world ?

Commerce, the great regulator of hu-man speculative affairs, is but a com-pendium of little inventions, contri-vances and results, directed by human .

skill and forethought, and gravitating i

each toward the other by the certainlaws of human relations and economicaffinities.

An arrow directed by the skilfulJonathan to a certain point, thoughwithout meaning to the casual observer,

lias become a messenger of infiniteinterest to the Christian world, all Ju-dea is involved in the issue, and theGentile nations shall gather comfort andconsolation from the interpretation ofits position : from David shall comethe Emanuel, who shall reign in right-eousness forever and forever more, anda trifle no greater than an arrow shallproclaim the matter.

Since the occurrence of that thrilljng-soul-stirring event, we multiply the in>tervening years by hundreds and thou"sands, every one of which, could we butbecome acquainted with its history, hashidden away among its fast recedingarcana, the little though multifarioushints upon which our present civiliza-tion rears its magnificent superstruct-ure; and the equally trifling sugges-tions, which gave form and consistencyto present social, civil and religiousgrievances.

Now and then are expressive wordsin certain relations; they become vol-umes in their relation to trifles. Then,was and is the meager beginning ofevery endeavor ; now, its perfect orelaborate fulfilment as the case maybe. Though' comparisons' are odious inmost cases, they are not so when appli-ed to trifles.

Then, men gave to God the husks offaith, and trust, and homage, in roughlyhewn altars, whereon were offered upthe holy sacrifice ; now, upon the sametrifle, is poured out marvelous wealth,and domes, and spires, and gaudy piles,

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