reference, the convenient size, and compressed information, of pocket mythological dictionaries, will recommend them to general use; but we object to the miserable prints with which they are sometimes disgraced. The first impression made upon the imagination[9] of children, is of the utmost consequence to their future taste. The beautiful engravings[10] in Spence's Polymetis, will introduce the heathen deities in their most graceful and picturesque forms to the fancy. The language of Spence, though classical, is not entirely free from pedantic affectation, and his dialogues are, perhaps, too stiff and long winded for our young pupils. But a parent or preceptor can easily select the useful explanations; and in turning over the prints, they can easily associate some general notion of the history and attributes of the gods and goddesses with their forms: the little eager spectators will, as they crowd round the book, acquire imperceptibly all the necessary knowledge of mythology, imbibe the first pleasing ideas of taste, and store their imagination with classic imagery. The same precautions that are necessary to educate the eye, are also necessary to form the ear and understanding of taste. The first mythological descriptions which our pupils read, should be the best in their kind. Compare the following account of Europa in a pocket dictionary, with her figure in a poetical gem—"Europa, the daughter of Agenor, king of the Phœnicians, and sister of Cadmus. This princess was so beautiful, that, they say, one of the companions of Juno had robbed her of a pot of paint to bestow on this lady, which rendered her so handsome. She was beloved of Jupiter, who assumed the shape of a bull to run away with her, swam over the sea with her on his back, and carried her into that part of the world now called Europe, from her name." So far the dictionary; now for the poet.