purposes has excited much controversy among the lovers of antiquarian lore. They are immense stones, by some believed to have been the altars, by others, the tombs, of the Druids; but Mr. Toland explains the word cromleac, or cromleh, from the Irish crom, to adore, and leac, a stone—stone of adoration. Crom was also one of the Irish names of God; hence cromleac may mean the stone of Crom, or of the Supreme God. The cromleac is also called Bothal, from the Irish word Both, a house, and al, or Allah, God; this is evidently the same with Bethel, or house of God, of the Hebrews.

The above vignette represents a Cromleh at Plas Newydd, the seat of the Marquess of Anglesea, in the Isle of Anglesea. This part of the island is finely wooded, and forcibly recalls to the mind its ancient state, when it was the celebrated seat of the Druids, the terrific rites of whose religion were performed in the gloom of the thickest groves.

The Cromleh at Plas Newydd is 12 feet 9 inches long, and 13 feet 2 inches broad, in the broadest part. Its greatest depth or thickness is 5 feet. Its contents cannot be less in cubic feet and decimal parts than 392,878,125. It follows, therefore, from calculating according to the specific gravity of stone of its kind, that it cannot weigh less than 30 tons 7 hundreds. The engraving is copied from "The Celtic Druids," by Godfrey Higgins, Esq. F.S.A. 4to, 1827, one of the most valuable antiquarian volumes it has ever been our good fortune to secure; and by the aid of an esteemed correspondent, we hope shortly to introduce a few of its curiosities more in detail than we are enabled to do at present.

NOTES OF A READER.

WOMAN AND SONG.

(From a graceful little volume, entitled, "Poetical Recreations," by C.A. Hulbert.)

CLAUDE LORRAINE.

Lanzi, in his History of Italian Painting, gives the following exquisite encomium on this prince of landscape painters:

"His landscapes present to the spectator an endless variety; so many views of land and water, so many interesting objects, that, like an astonished traveller, the eye is obliged to pause and measure the extent of the prospect, and his distances of mountain and of sea, are so illusive, that the spectator feels, as it were, fatigued by gazing. The edifices and temples which so finely round off his compositions, the lakes peopled with aquatic birds, the foliage diversified in conformity to the different kinds of trees, all is nature in him; every object arrests the attention of an amateur, every thing furnishes instruction to a professor. There is not an effect of light, or a reflection in water which he has not imitated; and the various changes of the day are nowhere better represented than in Claude. In a word, he is truly the painter who, in depicting the three regions of air, earth, and water, has combined the whole universe. His atmosphere almost always bears the impress of the sky at Rome, whose horizon is, from its situation, rosy, dewy, and warm. He did not possess any peculiar merit in his figures, which are insipid, and generally too much attenuated; hence he was accustomed to remark to the purchasers of his pictures, that he sold them the landscape, and presented them with the figures gratis."

"TINTORETTO," says his biographer, "produced works in which the most captious of critics could not find a shade of defect."

KISSING THE FOOT.

Rollo, the celebrated Danish hero, (whose stature is said to have been so gigantic, that no horse could carry him) on becoming a feudatory of the French crown, was required, in conformity with general usage, to kiss the foot of his superior lord; but he refused to stoop to what he considered so great a degradation; yet as the homage could not be dispensed with, he ordered one of his warriors to perform it for him. The latter, as proud as his chief, instead of stooping to the royal foot, raised it so high, that the poor monarch fell to the ground, amid the laughter of the assembly.

BOHEMIAN BLESSING.