proved a fresh source of pleasure and satisfaction to the blind man.

Thus, in spite of his affliction, was the early application and industry of Francis Hüber rewarded in this world.

Devoted as he was to the study of bees, he yet found time, even to a very late period of his life, to store his mind from other sources of knowledge. He was, indeed, remarkable for being a man of varied as well as deep acquirement; and to his science he added the better part, too, of a religious and thankful heart.

The earnest study of the insect creation, and more especially his favourite branch of it, could, indeed, scarcely fail to lead him into deep reflection on the striking evidences of design in the All-wise Creator, who has so admirably adapted to its end the smallest organ of the busy bee, or the tiniest petal of the humblest flower.

There is a book, who runs may read,
Which Heavenly truth imparts;
And all the lore its scholars need,
Pure eyes, and Christian hearts.

The works of God above, below,
Within us, and around,

Are pages in that book, to show

How God himself is found.

A long and a peaceful life was permitted to the blind naturalist, unalloyed, too, by any decay of bodily strength or mental power. Conversing with the friends around him, as usual, within two days of his death, and even corresponding with the absent, who valued and enjoyed his friendship, Francis Hüber expired in his daughter's arms, on the 22nd of December 1831, in the eighty-first year of his age.

INIGO JONES.

'GREAT ENDS FROM SMALL BEGINNINGS.'

THERE

HERE resided, towards the latter end of the sixteenth century, in the city of London, and close to the old cathedral of St. Paul's, an honest respectable citizen, by trade a clothmaker, by name Ignatius Jones.

A kindly well-intentioned good man; although a strict Roman Catholic, he gained the good-will of all, fulfilled his duties, and strove to bring up his children, a son and a daughter, properly, and in the fear of God.

The son, as he grew up, was a source of very great anxiety to his father. His religion prevented him from sending the youthful Inigo to either Oxford or Cambridge; yet, being a man superior to his social position, he appreciated the advantages of education, and desired to have him taught both Greek and Latin.

He, therefore, placed him under the guidance of their old confessor; for, in the sixteenth century, the clergy were the usual instructors of youth, and, among the Roman Catholics, were, indeed, the only preceptors to be had.

Father Simon found Inigo apt, and quick in learning the classics. He was also particularly fond of geometry and mathematics; but the teacher's satisfaction at his pupil's progress was marred by one never-ceasing cause of complaint.

'Your son,' said the poor preceptor to Jones's parents, hath parts, and an excellent memory; but on every book he sketches buildings, animals, nay, even figures; and I ask you if such idle habits are favourable to acquiring the tongues?'

Ignatius, however, did not altogether share Father Simon's sentiments on this subject. He saw the lad had uncommon talent for drawing; and seriously reflected how such a taste might be turned to good account in Inigo's future career.

Ignatius, so little can we foresee the future, had probably no higher ambition at that time, than that Inigo should rise in an honest trade; not dreaming that his son's taste for drawing would immortalise his name, and add a lustre to his country's fame, by English genius and English architecture.

A few years later, however, we find Inigo apprenticed to a joiner or carpenter, on Ludgate Hill East, who was in a large way of business, and employed by all the noblemen about court.

Inigo worked diligently at this craft for three or four years, and associated with other lads of his own age, liked his own calling, and gave satisfaction to his employer.

He retained, however, the old fancy for drawing. The auger and the measure had not supplanted the pencil and the paint-brush; and every leisure hour or holiday was eagerly seized upon, to be filled up by

copying pictures, or drawing studies from the workshop; while the praises his performances elicited from his companions, were, perhaps, among his most remembered early triumphs, and, perchance, sweeter to his vanity (ever a distinguishing trait in his character) than the later plaudits of his king or country. They were the first heralds of his dawning reputation. 'One day, the sun streaming through the narrow window of the workshop, and lighting up the room, an incident took place that in an instant turned the current of his destiny.

His employer had received a command from William, Earl of Pembroke, to make him a cabinet.

Some delay occurring in the completion of the order, Lord Pembroke sent word that he might like some change in the design, and that he would come and see the cabinet himself, so as to judge of the effect of the proposed alteration.

His message had come on the day we are speaking of; Inigo and his companions were busily engaged in fixing a richly carved door in its proper place, while, in the hurry and confusion, Inigo's easel, at which he had been painting the preceding day, was left in a corner of the room.

On it was standing one of his first original landscapes from nature. The song and the jest went round, each lad taking part in some merry glee to lighten their labour, when Lord Pembroke arrived, and was ushered into the shop.

In those days, before Cromwell had revolutionised the whole country, rank claimed and obtained respect from all classes beneath it.

The apprentices fell back, while the tall and stately

nobleman gave his orders to their master. Lord Pembroke had just called for his coach, when his observant eye fell and rested on Inigo's easel. How quickly the latter's heart rose and fell, and how crimson he became at the idea even of such a wellLord

known judge of art criticising his picture! Pembroke went up to it, and immediately enquired the name of the artist. Great seemed his surprise, when Inigo's master, calling him forward, introduced a slight lad, about twenty years of age, as the painter.

'Dost thou love art?' enquired Lord Pembroke kindly; be not ashamed, lad, of thy good picture; it doth verily shame the pictures of many of our courtier painters.'

'Doth he love his painting? Ay, by my troth, an' it please your lordship, that he doth,' replied the joiner, seeing Inigo too confused to speak; but the lad hath little time or means to be well instructed.'

'If he really loveth his art, We, ourselves, will be his patron, and give him such teaching by able artists, as will gain him profit,' rejoined Lord Pembroke; then, summoning his coach and attendants, he commanded Inigo to accompany him home, and bring his picture with him. His career is now begun. His foot is planted on the first step of the ladder of fortune. To gain the highest point, the young carpenter's apprentice has but to do his best." Genius and industry, with hope to cheer him onwards, have brought him so far; will they be his companions still upon the road to fame?

Under this nobleman's generous patronage, Inigo abode in Lord Pembroke's house for several years.