did seem, in that sweet voice which reached the dying warrior’s heart, for he opened those eyes already partly glazed with the film of death, and if in them expression remained, it beamed on his afflicted wife.  Reason and strength too returned, but their dominion was momentary, for with one hand feebly grasping that of his wife, his other resting on the head of his dear boy, and his sunken eyes directed from the one to the other, the brave, the respected, the beloved St. Clair died!  He sank on the rough, uncouth couch, and with him the senseless form of his fond wife.  The stillness of the corpse scarcely surpassed that which for a time was reigning over the group assembled there; at length the brother gently raised the wretched widow from her sad resting-place; but the fair sufferer was released from all earthly pain; with her husband she could not live, but she indeed with him had died!  Their son, Edward St. Clair, is in existence, living with, and beloved by, his uncle, Albert Fitzalleyn,

THE PAINTER.

* * * * *

SPIRIT OF THE PUBLIC JOURNALS.

* * * * *

ROMEO COATES.

What was Kemble, Cooke, Kean, or Young, to the celebrated Diamond Coates, who, about twenty years since, shared with little Betty the admiration of the town?  Never shall I forget his representation of Lothario at the Haymarket Theatre, for his own pleasure, as he accurately termed it; and certainly the then rising fame of Liston was greatly endangered by his Barbadoes rival.  Never had Garrick or Kemble, in their best times, so largely excited the public attention and curiosity.  The very remotest nooks of the galleries were filled by fashion, while in a stage-box sat the performer’s notorious friend, the Baron Ferdinand Geramb.

Coates’s lean Quixotic form, being duly clothed in velvets and in silks, and his bonnet richly fraught with diamonds, (whence his appellation,) his entrance on the stage was greeted by such a general crowing, (in allusion to the large cocks, which as his crest adorned his harness,) that the angry and affronted Lothario drew his sword upon the audience, and actually challenged the rude and boisterous inhabitants of the galleries, seriatim, or en masse, to combat on the stage.  Solemn silence, as the consequence of mock fear, immediately succeeded.  The great actor, after the overture had ceased, amused himself for some time with the baron, ere he condescended to indulge the wishes of an anxiously expectant audience.  At length he commenced; his appeals to his heart were made by an application of the left hand so disproportionably lower than the “seat of life” has been supposed to be placed; his contracted pronunciation of the word “breach,” and other new readings and actings, kept the house in a right joyous humour, until the climax of all mirth was attained by the dying