this respect it resembles the careless majesty which Nature stamps upon the rare masterpieces of her creation, harmonizing them as it were from the harmony of the spirit within. Yet all this not only consists with, but is the cause of, the subtlest delicacy of clear and tender beauty-the expression at once of innocence and sublimity of soul-of purity and strength-of all that which touches the most removed and divine of the chords that make music in our thoughts of that which shakes with astonishment even the most superficial.

THE MINERVA.

The head is of the highest beauty. It has a close helmet, from which the hair, delicately parted on the forehead, half escapes. The attitude gives entire effect to the perfect form of the neck, and to that full and beautiful moulding of the lower part of the face and mouth, which is in living beings the seat of the expression of a simplicity and integrity of nature. Her face, upraised to heaven, is animated with a profound, sweet, and impassioned melancholy, with an earnest, and fervid, and disinterested pleading against some vast and inevitable wrong. It is the joy and poetry of sorrow, making grief beautiful, and giving it that nameless feeling which, from the imperfection of language, we call pain, but which is not all pain, through a feeling which makes not only its possessor, but the spectator of it, prefer it to what is called pleasure, in which all is not pleasure. It is difficult to think that this head, though of the highest ideal beauty, is the head of Minerva, although the attributes and attitude of the lower part of the statue certainly suggest that idea. The Greeks rarely, in their representations of the characters of their gods, unless we call the poetic enthusiasm of Apollo a mortal passion,-expressed the disturbance of human feeling; and here is deep and impassioned grief animating a divine countenance. It is, indeed, divine. Wisdom (which Minerva may be supposed to emblem) is pleading earnestly with Power,- and invested with the expression of that grief, because it must ever plead so vainly. The drapery of the statue, the gentle beauty of the feet, and the grace of the attitude, are what may be seen in many other statues belonging to that astonishing era which produced it ;-such a countenance is seen in few.

This statue happens to be placed on a pedestal, the subject of whose reliefs is in a spirit wholly the reverse. It was probably an altar to Bacchuspossibly a funeral urn. Under the festoons of fruits and flowers that grace the pedestal, the corners of which are ornamented with the skulls of goats, are sculptured some figures of Mænads

under the inspiration of the god. Nothing can be conceived more wild and terrible than their gestures, touching, as they do, the verge of distortion, into which their fine limbs and lovely forms are thrown. There is nothing, however, that exceeds the possibility of nature, though it borders on the utmost line.

The tremendous spirit of superstition, aided by drunkenness, producing something beyond insanity, seems to have caught them in its whirlwinds, and to bear them over the earth, as the rapid volutions of a tempest have the ever-changing trunk of a waterspout, or as the torrent of a mountain river whirls the autumnal leaves resistlessly along in its full eddies. The hair, loose and floating, seems caught in the tempest of their own tumultuous motion; their heads are thrown back, leaning with a strange delirium upon their necks, and looking up to heaven, whilst they totter and stumble even in the energy of their tempestuous dance.

One represents Agave with the head of Pentheus in one hand, and in the other a great knife; a second has a spear with its pine cone, which was the Thyrsus; another dances with mad voluptuousness; the fourth is beating a kind of tambourine.

This was indeed a monstrous superstition, even in Greece, where it was alone capable of combining ideal beauty, and poetical and abstract enthusiasm, with the wild errors from which it sprung. In Rome it had a more familiar, wicked, and dry appearance; it was not suited to the severe and exact apprehensions of the Romans, and their strict morals were violated by it, and sustained a deep injury, little analogous to its effects upon the Greeks, who turned all things-superstition, prejudice, murder, madness-to beauty.

ON THE VENUS, CALLED ANADYOMENE.

She has just issued from the bath, and is yet animated with the enjoyment of it.

She seems all soft and mild enjoyment, and the curved lines of her fine limbs flow into each other with a never-ending sinuosity of sweetness. Her face expresses a breathless, yet passive and innocent voluptuousness, free from affectation. Her lips, without the sublimity of lofty and impetuous passion, the grandeur of enthusiastic imagination of the Apollo of the Capitol, or the union of both, like the Apollo Belvidere, have the tenderness of arch, yet pure and affectionate, desire; and the

mode in which the ends of the mouth are drawn in, yet lifted or half-opened, with the smile that for ever circles round them, and the tremulous curve into which they are wrought by inextinguishable desire, and the tongue lying against

Her eyes seem heavy and swimming with pleasure, and her small forehead fades on both sides into that sweet swelling and thin declension of the bone over the eye, in the mode which expresses simple and tender feelings.

The neck is full, and panting as with the aspiration of delight, and flows with gentle curves into her perfect form.

Her form is indeed perfect. She is half-sitting and half-rising from a shell, and the fulness of her limbs, and their complete roundness and perfection, do not diminish the vital energy with which they seem to be animated. The position of the arms, which are lovely beyond imagination, is natural, unaffected, and easy. This, perhaps, is the finest personification of Venus, the deity of superficial desire, in all antique statuary. Her pointed and pear-like person, ever virgin, and her attitude modesty itself.

A BAS-RELIEF:

PROBABLY THE SIDES OF A SARCOPHAGUS.

The lady is lying on a couch, supported by a young woman, and looking extremely exhausted; her dishevelled hair is floating about her shoulders, and she is half-covered with drapery that falls on the couch.

Her tunic is exactly like a chemise, only the sleeves are longer, coming half way down the upper part of the arm. An old wrinkled woman, with a cloak over her head, and an enormously sagacious look, has a most professional appearance, and is taking hold of her arm gently with one hand, and with the other is supporting it. I think she is feeling her pulse. At the side of the couch sits a woman as in grief, holding her head in her hands. At the bottom of the bed is another matron tearing her hair, and in the act of screaming out most violently, which she seems, however, by the rest of her gestures, to do with the utmost deliberation, as having come to the resolution, that it was a correct thing to do so. Behind her is a gossip of the most ludicrous ugliness, crying, I suppose, or praying, for her arms are crossed upon her neck. There is also a fifth setting up a wail. To the left of the couch a nurse is sitting on the ground dandling the child in her arms, and wholly occupied in so doing. The infant is swaddled. Behind her is a female who appears to be in the act of rushing in with dishevelled hair and violent gesture, and in one hand brandishing a whip or a thunderbolt. This is probably some emblematic person, the messenger of death, or a fury, whose personification would be a key to the whole. What

lady is dying, or the father has directed the child to be exposed but if the mother be not dead, such a tumult would kill a woman in the straw in these days.

The other compartment, in the second scene of the drama, tells the story of the presentation of the child to its father. An old man has it in his arms, and, with professional and mysterious officiousness, is holding it out to the father. The father, a middle-aged and very respectable-looking man, perhaps not long married, is looking with the admiration of a bachelor on his first child, and perhaps thinking that he was once such a strange little creature himself. His hands are clasped, and he is gathering up between his arms the folds of his cloak; an emblem of his gathering up all his faculties, to understand the tale the gossip is bringing.

An old man is standing beside him, probably his father, with some curiosity, and much tenderness in his looks. Around are collected a host of his relations, of whom the youngest, a handsome girl, seems the least concerned. It is altogether an admirable piece, quite in the spirit of the comedies of Terence.

MICHAEL ANGELO'S BACCHUS.

The countenance of this figure is a most revolting mistake of the spirit and meaning of Bacchus. It looks drunken, brutal, narrow-minded, and has an expression of dissoluteness the most revolting. The lower part of the figure is stiff, and the manner in which the shoulders are united to the breast, and the neck to the head, abundantly inharmonious. It is altogether without unity, as was the idea of the deity of Bacchus in the conception of a Catholic. On the other hand, considered only as a piece of workmanship, it has many merits. The arms are executed in a style of the most perfect and manly beauty. The body is conceived with great energy, and the manner in which the lines mingle into each other, of the highest boldness and truth. It wants unity as a work of art -as a representation of Bacchus it wants everything.

A JUNO.

A statue of great merit. The countenance expresses a stern and unquestioned severity of dominion, with a certain sadness. The lips are beautiful-susceptible of expressing scorn-but not without sweetness. With fine lips a person is neve wholly bad, and they never belong to the expression of emotions wholly selfish-lips being the seat of imagination. The drapery is finely conceived

it. What a glorious prospect you had from the windows of Sant' Elmo! The enormous chain of the Apennines, with its many-folded ridges, islanded in the misty distance of the air; the sea, so immensely distant, appearing as at your feet; and the prodigious expanse of the plain of Pisa, and the dark green marshes lessened almost to a strip by the height of the blue mountains overhanging them. Then the wild and unreclaimed fertility of the foreground, and the chesnut trees, whose vivid foliage made a sort of resting-place to the sense before it darted itself to the jagged horizon of this prospect. I was altogether delighted. I had a respite from my nervous symptoms, which was compensated to me by a violent cold in the head. There was a tradition about you at Sant' Elmo-An English family that had lived here in the time of the French. The doctor, too, at the Bagni, knew you. The house is in a most dilapidated condition, but I suppose all that is curable.

We go to the Bagni* next month-but still direct to Pisa as safest. I shall write to you the ultimates of my commission in my next letter. I am undergoing a course of the Pisan baths, on which I lay no singular stress--but they soothe. I ought to have peace of mind, leisure, tranquillity; this I expect soon. Our anxiety about Godwin is very great, and any information that you could give a day or two earlier than he might, respecting any decisive event in his law-suit, would be a great relief. Your impressions about Godwin, (I speak especially to Madonna mia, who had known him before), will especially interest me. You know that added years only add to my admiration of his intellectual powers, and even the moral resources of his character. Of my other friends I say nothing. To see Hunt is to like him; and there is one other recommendation which he has to you, he is my friend. To know H-, if any one can know him, is to know something very unlike, and inexpressibly superior, to the great mass of men.

Will Henry write me an adamantine letter, flowing not like the words of Sophocles, with honey, but molten brass and iron, and bristling with wheels and teeth? I saw his steam-boat asleep under the walls. I was afraid to waken it, and ask it whether it was dreaming of him, for the same reason that I would have refrained from awakening Ariadne, after Theseus had left her— unless I had been Bacchus.

Affectionately and anxiously yours,

P. B. S.

*Baths of natural warm springs, distant four miles from Pisa, and called indifferently Bagni di Pisa, and Bagni di San Giuliano.

LETTER XL.

To MR. AND MRS. GISBORNE. (LONDON.)

MY DEAR FRIENDS,-I am to a certain degree indifferent as to the reply to our last proposal, and, therefore, will not allude to it. Permit me only on subjects of this nature to express one sentiment, which you would have given me credit for, even if not expressed. Let no considerations of my interest, or any retrospect to the source from which the funds were supplied, modify your decision as to returning and pursuing or abandoning the adventure of the steam-engine. My object was solely your true advantage, and it is when I am baffled of this, by any attention to a mere form, that I shall be ill requited. Nay, more, I think it for your interest, should you obtain almost whatever situation for Henry, to accept Clementi's proposal, and remain in England;-not without accepting it, for it does no more than balance the difference of expense between Italy and London; and if you have any trust in the justice of my moral sense, and believe that in what concerns true honour and virtuous conduct in life, I am an experienced counsellor, you will not hesitate these things being equal— to accept this proposal. The opposition I made, while you were in Italy, to the abandonment of the steam-boat project, was founded, you well know, on the motives which have influenced everything that ever has guided, or ever will guide anything that I can do or say respecting you. I thought it against Henry's interest. I think it now against his interest that he and you should abandon your prospects in England. As to uswe are uncertain people, who are chased by the spirits of our destiny from purpose to purpose, like clouds by the wind.

There is one thing more to be said. If you decide to remain in England, assuredly it would be foolish to return. Your journey would cost you between £100 and £200, a sum far greater than you could expect to save by the increased price by which you would sell your things. Remit the matter to me, and I will cast off my habitual character, and attend to the minutest points. With Mr. G―'s, devil take his name, I can't write it, -you know who's, assistance, all this might be accomplished in such a manner as to save a very considerable sum. Though I shall suffer from your decision in the proportion as your society is delightful to me, I cannot forbear expressing my persuasion, that the time, the expense, and the trouble of returning to Italy, if your ultimate

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