in the Mercury—an excellent example both of the beauties and defects of the artist's style—when immediately derived from antiquity, though grand and vigorous, seldom harmonize in the principles of these efforts with the majestic regularity of general nature. The forms, again, are not unfrequently poor, without a vigorous rendering of the parts, and destitute at times of their just roundness. These defects may in some measure have arisen from the early and more frequent practice of the artist in relievos. In this department, Thorwaldsen is unexceptionably to be admired. The Triumph of Alexander, originally intended for the frieze of the government palace at Milan, notwithstanding an occasional poverty, in the materials of thought, is, as a whole, one of the grandest compositions in the world; while the delicacy of execution, and poetic feeling, in the two exquisite pieces of Night and Aurora, leave scarcely a wish here ungratified. But in statues, Thorwaldsen excels only where the forms and sentiment admit of uncontrolled imagination, or in which no immediate recourse can be had to fixed standards of taste, and to the simple effects of nature. Hence, of all his works, as admitting of unconfined expression, and grand peculiarity of composition, the statues of the Apostles, considered in themselves, are the most excellent. Thorwaldsen, in fine, possesses singular, but in some respects erratic genius. His ideas of composition are irregular; his powers of fancy surpass those of execution; his conceptions seem to lose a portion of their value and freshness in the act of realizement. As an individual artist, he will command deservedly a high rank among the names that shall go down to posterity. As a sculptor, who will influence, or has extended the principles of the art, his pretensions are not great; or, should this influence and these claims not be thus limited, the standard of genuine and universal excellence must be depreciated in a like degree.—Meme's History of Sculpture, &c.

SIGN OF THE TIMES.

One of the singularities of the time is an unwillingness to tell the truth, even when there is no ground for suppressing or perverting it. It is so frequently under or overstated by most persons in this country who speak and write, according to the side they have espoused, or the inclinations and political principles of those by whom they are likely to be read or heard, that they at last persuade themselves there is a sort of impropriety in presenting facts in their proper colours.—Quarterly Review.

A DUTCH TALE.

A ballad of Roosje is perhaps the most touchingly told story which the Dutch possess. It is of a maid—a beloved maid—born at her mother's death—bred up 'midst the tears and kisses of her father—prattling thoughtlessly about her mother—every one's admiration for beauty, cleverness, and virtue—gentle as the moon shining on the downs. Her name was to be seen written again and again on the sands by the Zeeland youths—and scarcely a beautiful flower bloomed but was gathered for her. Now in Zeeland, when the south-winds of summer come, there comes too a delicate fish, which hides itself in the sand, and which is dug out as a luxury by the young people. It is the time of sport and gaiety—and they venture far—far over the flat coast into the sea. The boys drag the girls among the waves—and Roosje was so dragged, notwithstanding many appeals. "A kiss, a kiss, or you go further," cried her conductor—she fled—he followed, both laughing:—"Into the sea—into the sea," said all her companions—he pushes her on—it is deeper, and deeper—she shrieks—she sinks—they sink together—the sands were faithless—there was no succour—the waves rolled over them—there was stillness and death:—The terrified playmates looked—