the premises. And inasmuch as students at large are decidedly deficient in information on so exclusively a student subject, a report of first impressions may not be out of place.

As we stood under the old arch-way entrance, it occurred to us, to be sure, that we have no friends among those who lie in the student plot. No fresh mound-heap has been thrown up there for years. And we, therefore, have no immediate interest in the spot or its tenant monuments. But, as common children of one Alma Mater, it is our pride and boast to claim a connection with "the great men who have been here before us;" and, in like manner, men who have died here, have left hallowed memories for all of us, tho' we knew them not. Whoever, too, has been bunked away in old South Middle, as we have, shut up in the gloomy center of that jolly old building-how many a jolly exterior has a black, hollow heart!-away from sunlight and comfort, sick and alonecan draw near that student burying ground with something like sympathy for the poor fellows who must have gone thro' just such experience, before their classmates carried them out to that other more lonely spot.

So thinking, we turned to the right of the entrance, and making our way along a quiet walk where dancing shadows give life and animation even to the home of the dead, came upon the object of our search. The spot is easily recognized. First, by the general air of dilapidation and neglect which hangs around it, in strong contrast to the tidy freshness of neighboring lots. And, secondly, by the classical modelling of the monuments. Mathematical cubes are capped with cinereal urns, one or two sarcophagi surmount Professors graves, and nondescript marbles support ancient vestal lamps in which the soul-flame of immortality keeps steadily burning. Dwarfed moss-sprigs cling to the crumbling old stones as the thoughts and affections of scattered classmates cling to the memory of the long crumbled dust underneath; and the tall, precocious grass, even now in the spring-time of vegetation, droops its sorrowing head over the resting place of the youthful dead.

Where crowded classmates once stood, where strong men once wept, as the minister's voice consigned to earth all that was left of a hopeful, buoyant comrade, where "in the hush that followed the prayer," hearts were chilled and the life-blood curdled by the dull rattle of the coffin-how different the scene now! The stump of an old willow does the weeping, two or three tattered lilac bushes

stand around as mourners, while a couple of ragged ash trees cast a poor apology for kindly shade, upon the graves.

Walking through the enclosure, we could not but notice the style of inscriptions used-a style characteristic of young men and students. Among twenty-five tombstones, not one contains a verse from scripture and only one, a paraphrase. While the brilliancy of the dead man's career in this life is mentioned in almost every instance, a future is referred to but three times, Stereotyped expressions of "regard," "esteem,” respect and admiration" greet you at every turn, frequently assuring posterity that the deceased was "endowed with a fine understanding, which he had assiduously and successfully cultivated," or--done into Latin-"alta mente præditus, eruditione omnigena imbutus, urbanitate suavissima;" while, in not a single case, is a student spoken of as a Christian--as religiously disposed --or as an exerciser of Christian influence among his associates.

Now, it cannot but have been that some few of those who are buried there were known for other than head-qualities, or even than heart-qualities-if by this latter expression we mean something more than a merely sociable, jolly, rollicking disposition. Of twenty-five death-scenes at such long intervals, there must have been some, where Christianity gave hope to the dying, and consolation to the mourning. And why not say so? Surely the dead man must have wished it. And were we his friend, we should rest content with nothing else. Monumental inscriptions serye no useful end whatever, unless they give important information to a stranger, or recall true life-traits to a friend. Now, the most obvious and only really important question which comes to mind, as one looks at a grave, is: "how is it with his soul?" The stranger asks it, the friend asks it; and if nothing is said to this point, all might have been left unsaid. Where brevity is an object, let the inscription be striking, inspiring, suggestive of great thoughts. If there is any hope that "all is well with his soul," why, let us know it, rather than put into large capitals, as the sole inscription, such an abominably milk-andwater flourish as, this monument was erected by his classmates as a token of te gard and affection."

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We characterized the style of inscriptions as peculiar to young men and students. Of young men, because, engrossed in such a life as we here lead, knowing almost nothing of sorrow, nothing of weariness of the world, nothing of heart-sickness and self-dissatisfaction-but strong in the vigour of youth, and confident of a bright

future--we are prone to overlook the dying man's only consolation, and to record only those traits which made him companionable. And, as students, we are naturally worshippers of intellect. We come to college to cultivate mind, we guage men by a mindstandard, and, even on the tomb stone, take pains to settle, first of all a man's claim to talent and mental strength-to record his success as a student. This decided, we consider, next, the sociality in his composition.

Now, when an individual erects a monument and writes inscriptions, he can speak his own feelings-if a true heart-friendship has grown up between the dead and his historian, the latter knows how to delineate the strong points in his character, whereby he learnt to appreciate him--can speak forcibly about the heart, from the heart.

But no one man has more than two or three such friends; one hundred cannot possibly stand in any such relation to him, even when so closely drawn together as here in college.

And, consequently, when Common Councils, like class meetings, erect a monument and undertake to draw a character, the resultant is insipid and superficial; inscriptions on public monuments, put there by public bodies, always are superficial. As classmates, we all fight together in mind contests, and, thus learning each others mental powers, can speak of them with a prospect of doing justice. But, when the same common council classmeetings speak of heartqualities, they invariably measure a man by his rollicking jollity— the true depth of his character never is reached. "Easyman," perhaps, receives his due, because being all things and the same thing to all men, anybody and everybody can describe him equally well. But Easyman's" fate in this respect, is peculiar.

The young man, therefore, is swallowed up in the student; and christianity being lost sight of in intellect-worship, not a cross nor other symbol of christian worship--not one verse from scripturecan be found in the college burial ground. While even our heartnatures, so highly cultivated by college friendships, are inadequately drawn, because class-meetings and class-committees attempt the task, rather than resign it to a near friend.

B. N. H.

Memorabilia Valensia.

College Church.

FIFTY-THREE students were admitted to church membership, in the College Chapel at the last communion. There is a prospect from the applications, that quite a number will join at the next. The number mentioned is larger in proportion to the congregation, than that lately received into H. W. Beecher's church, and forms an encouraging comment upon the working of the Great Revival in our College world.

The Art Exhibition.

The Art Exhibition, which was announced in our last number, is now open to the public. It consists of a large number of very choice works, many of which have been loaned to the committee by private individuals. The collection includes one hundred and fifty oil paintings, a few in water colors, some excellent pencil sketches, and a few pieces of statuary. Almost every school of art is represented by originals or copies. Among the works of the old masters, we may particularly mention, original paintings attributed to Murillo, Lud. Carracci, Carlo Dolce, Salvator Rosa, the school of Raphael, school of Guido, Schedone, and Teniers, and choice copies of Murillo, Titian, Raphael, Carlo Dolce, Andrea del Sarto, Guido, Claude Lorraine and others.

Among modern Artists, Americans are naturally the most fully represented. There are works by Copley, Stuart, Trumbull, Allston, Cole, Durand, Morse, Huntington, White, Cropsey, Kensett, Rossiter, Doughty, Wall, Glass, Brown, Lang, Champney, Durrie, Hart, Church, Elliott, Sulley, Innes, Weir, Tait, and many others.

Among the European Artists we may mention Stanfield, Westall, Cooper, Landseer, Achenbach, Meyer, Humbert, Koekoek, Melchior, Fire' Müller, and others. Our present limits do not permit us to extend the list. The lack of a printed catalogue, which is now felt, will soon be remedied, and we shall then be able to make more extended comments.

It is clear that we are now enjoying, as a college community, rare opportunities for studying the Fine Arts, and it is greatly to be hoped that an appreciation of the labors of the committee will be shown, not by the purchase of tickets merely, but by that careful examination of the gallery which its merits demand. We are informed that the lecturers in the course, which has been announced are Prof. G. W. Greene, of New York, Prof. A. D. White, of Michigan, D. G. Mitchell, Esq., of New Haven, Hon. H. C. Deming, of Hartford,; and possibly, President Woolsey and Prof. Silliman, Jr.

Professor Salisbury's opening discourse was given on Wednesday afternoon, June 23. The subject was Michael Angelo.

Wooden Spoon Exhibition.

The Wooden Spoon Exhibition of the Class of 1859, took place at Brewster's Hall, Tuesday evening, June 15th, in the presence of the nobility and beauty of New Haven. All who have attended previous Spoon Exhibitions, and some who have attended for the last ten years, declare this superior to all that have preceded it. The music was by the Germania Orchestra of Boston. The "Spoon," beautifully carved and of rosewood, was presented in behalf of the Class by J. H. Twichell to H. M. Boies. Besides the colloquies and the songs the programme was as follows:

LATIN SALUTATORY,

HIGH ORATION-Student Life in Yale,..

POEM-The Battle of Life,...

ORATION-Power of Silence,.

C. H. BOARDMAN.
G. H. COFFEY.
H. E. HAYWARD.

.F. J. JONES.

PHILOSOPHICAL ORATION—Universal Gravitation,....E. T. FAIRBANKS. PRESENTATION,..

.J. H. TWICHELL.

RECEPTION,.

H. M. BOIES.

Presentation.

Wednesday morning the Class of 1858 were presented to the President. After the Poem by E. C. Porter, and the Oration by G. P. Andrews, a hundred voices sent up the Parting Ode, composed by I. Riley, to the tune, "Auld Lang Syne."

At three o'clock P. M. the class gathered in front of old South Middle, exposed to the arrows of many a pair of eyes keeping anxious watch at the windows. In spite of the mirth-exciting class histories, sadness was the ruling emotion. It gradually grew upon the songs until just before the parting handgrasp, they could sing, with the spirit and the understanding, the chorus (we quote it) of their last song-a song which initiates a new tune (“Das Abschied," of the Halle Students,) into the society of Yalensian songs.

"Classmates let the tears that flow,

Warmed by friendship's sunny glow,
Into flowery memories grow."

Pow-Wow.

In the evening, the Pow-wow, by which Freshmen are self-initiated into Sophomorescence," came off with more than usual brilliancy-as to torches, transparencies et caetera.

"Vivat classis nobilis,

Sexaginta una;

Classis hominum bonorum,

Classis fortium virorum,

Minime jejuna."