of colours, made known to the British public in the translation of Mr. Eastlake; a skull to his studies in osteology. A tablet, with the inscription Antiquitati, refers to his writings on antiquarian subjects; an awkward expedient. We must confess we could have wished for a less prosaic method of allusion, nor would the omission of this homage altogether have given us much cause for regret. Beside the figure of Science recline the allegorical figures of dramatic and lyrical poetry; the former represented by a tragic mask and the staff of Comus, the latter by a lyre and cornucopia. To these two succeed the principal personages who figure in Goethe's dramatic, epic, domestic, and lyrical poems and romances, arranged in appropriate succession. The two processions meet on the reverse of the pedestal and are crowned by a Victory with laurels and wreaths of flowers. Nearest to the dramatic muse the side-relief to the left displays Faust, with the book in his hand, proclaiming his power over the unearthly demons, and Mephistopholes behind him. The Grecian drama is represented by Iphigenia, with Orestes and King Thoas. Further on the reverse come the representatives of his German national dramatic pieces, Egmont and Goetz von Berlichingen, with Tasso; the figure of the satyr recalls his satirical poems. Beside the lyric muse the lateral relief to the right shows us Dorothea led by Hermann Wilhelm Meister, with Mignon and the Harper in the Grove, and at the side, under poplar-trees, we behold the coffin of Werther.

On the reverse are four subjects indicative of the principles, or elements, that predominate in his different lyrical poems. The Erl-King, with a water-nymph of Nixe, to represent the German element; Prometheus for the antique; a Parsee with his mistress, for the Oriental; and the Bride of Corinth for the modern Greek. A Victory, with raised hands, holding wreaths, crowns the whole.

The place in which the monument is erected is eminently calculated to give it its full effect, being somewhat narrow, one hundred and sixty feet, and planted with trees before the houses; whilst in front and behind, the space expands considerably, thus limiting and forming a frame, as it were, at the sides, but allowing free access and a distant view to those points whence the statue presents itself to the eye to the greatest advantage.

In conclusion, that we may not altogether lose caste with those readers, if such should honour us with their perusal, who imagine that a writer is nothing if not critical, we may observe, with all due respect to the artist, that the hands are perhaps too heavy, one of the thighs too massive, the right arm, from the folding of the drapery, appears too short, and that the drapery itself, in some parts, is too rounded and somewhat unfinished. Nay, a worthy tailor of Frankfurt insists that the coat is buttoned on the wrong side; but as this enabled the sculptor to draw out the lines more beautifully, we shall not urge Master Snip's scientific objection. And now, having satisfied our conscience by this microscopic inspection, the traveller can, with less remorse, do homage to this fine specimen of Schwanthaler's genius.