listening to the melodies of Meyerbeer, Liszt, Chopin, Rubinstein, Rossini, and Gounod, as rendered by the numerous and well-trained Florence Orchestral Society, two short but euphonious "madrigals," sung by a choral society, reminded us that the great sculptor was also a poet, whose verses were set to music by contemporary composers.

See the banners borne by art-lovers through the historical streets of Florence, till they stop reverently before the Buonarotti Palace, while the bronze bust of its once distinguished occupant is unveiled with due ceremony, and thus begins its life of adornment to the door through which Michael Angelo was wont to pass, ascending to his tiny retreat and desk, from over which the face of Vittoria Colonna looked down encouragingly upon him. Again the banners move, and the eager populace follows until the white façade of Santa Croce gleams upon them, and crowding the piazza, ascending the steps, the hero-worshipers enter the cemetery-church, sacred from the artist-hands that painted its walls, and the noble Italian dust it contains-Westminster Abbey of Florence, but the day before its portals had unclosed to receive the remains of the distinguished historian and patriot, Carlo Botta; and to-day foot-worn bronze and marble - mitred ones lying so peacefully on the hard pavement, their hands crossed over their emotionless breasts, might have raised their heads in wonder at the ardent words pronounced by Italians and strangers, as wreaths of silver and laurel were hung upon the tomb of one who let people believe and pray as they would, while he worked out his own great religious thoughts in stone!

Again moves the procession and its accompanying crowd, and this time more gayly, for, all sad rites fulfilled to mortality, it has now only the soul and intellect to honor. Over the Arno, across the Ponte delle Grazio, gradually it comes winding up the zigzag, flower-graced avenues that lead to the Piazzale Michel Angelo, where already favored ones are waiting, in loggia and inclosure, and bands are playing, while David, in bronze, fitting representative of the one from whose brain he sprang, armed with youthful, inspired force, and royal power to command or to conquer, stands absorbed in the blow he is about to send, which shall free his people! So, once on these same heights, the sculptor - patriot worked, uprearing defenses, eager for his beloved Florence. And now come those who will not forget one of his many great deeds, but who, while the old Guelph banner of the Florentine Republic waves from the highest tower of San Miniato, in eloquent discourse, recall to the people the power of the hero's genius and will. Through the lips of Meissonier and Charles Blanc, France speaks out its praise of this great Italian artist and patriot; nor are Belgium, Denmark, Sweden, or Greece, wanting in representatives who join in the same strain. And now the lamps are lighted, shining out amid the banners and filed ranks that occupy the square, towered over by the copy of the sculptor's David. Below, the Florence-adorned plain, through which the Arno flows, reflecting the silver lights along its banks, and from its quaint bridges. There is the fortress-like old palace, with its high, medieval tower, where hangs the bell, silent, except for extraordinary occasions, but that to-day has rung many a peal! There is the beautiful Duomo, whose cupola shadowed forth the mightier one of Rome, and near it the casket-like tower of Giotto ! The very buildings of the famous city seem to wish to add, by graceful architectural effects, to the beauty of the fete, and

surely the cone-shaped hills, spotted with villas, and the more distant mountains purpling in the sunset, play no mean part in the grand painting before us, combined work of Nature and man!

As night settles down upon the scene, gradually the crowd disperses, some to assemble later at the syndic's invitation in the Riccardi Palace (the still brilliant frescoes of which yet bear witness to the genius of one of Michael Angelo's predecessors in art, Benozzo Gozzoli), and others to the more democratic printers' banquet in the illuminated gardens of the Florentine Tivoli.

But the place where the great sculptor is most truly honored is the Academy of Fine Arts, where, in a circular hall, stands the original David, brought thither from its former position near the Palazzo Vecchio. In a wing on the right are the three statues by Michael Angelo from the tomb of Julius II.-Moses, Rachel, and Leah-while on the left are plaster-casts of his principal works sent from the cities which possess them. The St. John, said to have been one of his earliest statues, and to have remained unrecognized in the Pescalmini Palace at Pisa until recently, occupies an honorable position, although believed by many to have been rather the work of Mino da Fiesole. In the small bass-relief of the Academia Ligustica, called the Pietà, the Madonna holds with great tenderness in her arms a head of Christ, beautiful in its holy, deathly rest. Opposite, in the Sacred Family, the original of which is in the National Museum of Florence, the somewhat Leonardo-da-Vincilike expression of the Madonna's face attracts a closer study in a position and light so favorable. One of the most beautiful of all is "The Prisoner," from the Louvre. His head rests against his uplifted arm, while face and attitude express hopeless, despairing resignation. In contrast is the Christ with his cross, from the Church of the Minerva at Rome, the face divine and ardent, while the muscles and form, as seen from behind, are more like those of a Hercules. It is the Christ god-man. The celebrated group of the Pietà from St. Peter's can be seen in the fine cast here (the gift of the pope) at great advantage, and one realizes more than ever its beauty. The city of Bruges has sent a Madonna and Child, the mother somewhat rigid in expression, but the Infant superhuman in its head and face.

We enter now the long exhibition-room, where, eclipsed and neglected for a time, hang the dear old Peruginos, Ghirlandajos, Botticellis, and others of the same period, but we stop with the crowd before the "Fortuna " by Michael Angelo; before his portrait; before a drawing from his first picture painted at fifteen years old; before small models of his works; before his marble bust, surrounded with a silver wreath; another in bronze, garlanded with laurel; and a glass case containing many richly-bound and decorated volumes, and testimonials for the occasion, sent by societies from other places and lands.

An adjoining smaller room is devoted to photographs of his drawings and designs. The walls are hung with Braun's photographs of his frescoes in the Sistine Chapel, among which are seen several large cartoons from Naples. On both sides of the glass case, in the centre, are contributions to this collection from Sienna, Queen Victoria, the British Museum, the Museum of Oxford, the Louvre, Lille, and Weimar. There is enough to study for weeks, but we must hurry through it, as the crowd is pressing, and there is still much to see and do in these festal days so richly filled with intellectual pleasures.

We visit the National Museum to salute the Bacchus, the dying Adonis, the Victory, the Holy Family, the Brutus, and the Mask, his first work. Nor can we pass the San Lorenzo Church without entering, to see again the marvelous Medicis Monuments, where the Penseroso sits, ever celebrating, with his grand, unequaled pathos, the genius of the one who imagined and carved so unearthly a face.

The day ends, and relaxation from the serious thoughts and studies of the morning's exhibition is found in the gay rooms of the Casino, where, even in the midst of music and dancing, the hero is not forgotten, and the "Michael Angelo" is constantly heard.

Came

On the third day of the fête is the session of the Academia della Crusca e delle Belle Arti. In the midst of the hall formerly used as the Senate-Chamber sits the Prince of Carignano (representative of the king at this time in Florence), while around him, on the platform and in the hall, are the literati of Florence and Italy. The aged Gino Capponi, the poet Aleardi, the biographer Aurelio Gotti; princes, painters, and sculptors, are here. De Fabris, Augusto Conti, and the sculptor Dupré, speak in studied and thoughtful words their praise of the hero. Then, remembering another of Italy's great lights, to the study of whose works Michael Angelo owed so much, at the syndic's invitation, the house occupied by Dante in Florence is visited by all. In the evening Florence eclipses itself. Fountains of light appear on the slopes of the ascents to the various promenades and gardens around the city, which gleam with colored lamps of white, red, and green, hanging from verandas, pagodas, and frameworks of various device; the outlines of the towers and chief buildings are designed with rows of glistening lights; on every hill-top, even distant elevated points, are flames and illuminations.

Fiesole shows a colossal, transparent, and brilliant representation of the sculptor's chefd'œuvre, and, mingling with all these fairylike but lesser lights, the moon sends down her brightest, clearest rays. Thousands of people, citizens, Italians, strangers, ascend on foot or in long lines of carriages to the Piazzale of Michael Angelo, while the bands play, and the trattoni echo with merriment.

Thus Genius and Work, though four hundred years have passed, bring reverence, and all the people rejoice.

To-day the "Requiem Mass" of Verdi, written for Manzoni, but repeated now for one who needs no prayers, has waked, in the hearts of all who heard its satisfying, exquisite strains, a deeper confidence in the immortality that follows death, in the ever advancement of an earnest, quickened spirit, and in the infinite love of him who can create such power and give it life! C. L. W.

OUR LONDON LETTER. WHо is "M. H. B.?" I'm afraid I'm showing awful ignorance in asking the question, but what has the lady written to make our Hornet go into such rapture over her? That paper-it is edited by Mr. Joseph Hatton, the author of "The Tallants of Barton" -has secured her as a contributor, and with this grand flourish of trumpets does it announce the fact:

"M. H. B.

"Since Manhattan' wrote those startling letters for the English Standard, which did so much for the circulation of that journal, no American writer has appeared with pen so bright or wit so keen as M. H. B. Her papers are just now the gems of journalistic literature in the States, and many of her sparkling mots

and anecdotes are reprinted in the Wit and Humor' columns of English newspapers.

"We have made arrangements with M. H. B. for a series of special articles on American Life, Manners, and Customs. The first will appear next week. It will be devoted to the consideration of

AMERICAN INVENTIONS, INDIANS, AND A
SPIRIT BABY."

A Byron Club is on the point of being started over here. "Members of the Hellenic Community in London," and "English Philhellenes," will both be admissible. The objects of the club, to quote one of the resolutions carried nem. con. at the preliminary meeting, "will be to commemorate the genius of Lord Byron and his generous and heroic exertions for the liberation and regeneration of Greece, and to cultivate the growth and fruition of patriotism in Greeks and Philhellenism in Englishmen, and of mutual amity between the two nations." Worthy objects, surely!

Mr. George Grove, the editor of Macmillan's Magazine, is just now busily engaged-and has been engaged for a long time past-on a dictionary of music. It will not be an ordinary dictionary, for, besides explanations of technical terms, etc., it will contain articles on the life, labors, and works, of both living and dead composers. Mr. Grove is just the man to accomplish the task he has set himself. It is not very many months ago, you may remember, since he retired from the secretaryship of the Crystal Palace to become a partner in the firm of Macmillan. Previously, he had been secretary to the Society of Arts.

One of our most popular novelists-Mr. R. D. Blackmore, whose "Alice Lorraine " is in its fifth edition--has just lost a most eccentric brother. This gentleman had changed his name to Tuberville, and was always making wills. He died from taking cyanide of potassium while in an unsound state of mind. There is sure to be a law-case over his wills; he has executed seven of them, all in favor of different persons-one of the persons being Mr. Charles Bradlaugh, the atheistic lecturer.

The best dramatic critic in London, Mr. Dutton Cook-he's the critic of the Pall Mall Gazette-has a new novel nearly ready for the press. It will be called "Banns of Marriage." Mr. Brinley Richards, the well-known composer-"God bless the Prince of Wales" is his-is also engaged on a book-one on our national music. Mr. Browning, too, is busy. He is at Villois-sur-Mer, revising his forthcoming poem. Though in his sixty-third year, he has plenty of work in him yet. So, for that matter, has Tennyson, who is three years older.

The paragraph that has been going the round of your contemporaries in regard to Poe's "Politian" is not quite correct. The

the scenes will, no doubt, go down immensely with us that in which the stage is made to represent a huge bird-cage, with women as birds perching.

Flamingo; or, the Rook and the Cause" (mark the play upon words), is the title of a "musical folly" by Messrs. Frederick Hay and Frank W. Green, two gentlemen who have done a good deal of literary work for the theatres, the one as a farce, the other as a pantomime, writer. "Flamingo" is founded on Goudinet's comedy. "Gavard, Minard, et Cie.," has been placed upon the boards of the Little Strand, and bids fair to become a comparative success. The best portions of the absurdity are the songs and the music. The latter is merry and catching, and the acting of Messrs. Terry and Cox (who play the two partners), and Miss Lottie Venne, and Miss Angelina Claude, is as funny as need be. The piece makes one laugh-that is about all you can say for it; and that, doubtless, is about all the authors expected any one to say for it.

English operatic performances at the Princess's, under the direction of Mr. Carl Rosa, is now a London attraction. The company is an excellent one, including Rose Hersee, Blanche Cole, Mademoiselle Torriani, Mr. Santley, Aynsley Cook, Campobello, etc. On the first night "Le Nozze di Figaro was given, Miss Hersee sustaining Susanna, and Mr. Santley Figaro. "Faust" has also been played. However successful the performances may turn out, they cannot be continued for long, for a few weeks hence Mr. Joe Jefferson will put in an appearance at the Princess's as Rip Van Winkle.

Mr. F. C. Burnand (whose "Happy Thoughts" are among the funniest things ever written) and Lord Dunraven have collaborated. They are about to bring out a burlesque together at the Opéra Comique—which, by-the-way, is his lordship's own theatre. The noble earl's "narrative of travels in the Upper Yellowstone," "The Great Divide," will soon be published. It will be illustrated by Mr. Valentine Bromley, an Adonis (in looks) of an artist, and who, a little while ago, in pursuit of his vocation, was traveling among your Rocky Mountains with a New York contingent at his back.

"The Shaughraun" continues to draw wonderfully well-and no wonder, seeing that all our critics have gone into ecstasies over it. Messrs. Chatterton and Boucicault are said to be clearing five hundred pounds each, weekly, by it. Well, they deserve to do so, for both before and behind the curtain "Old Drury" is just now being managed admirably.

WILL WILLIAMS.

convince our readers that an indorsement of them in these columns would be a retraction of many and decided opinions already expressed. Although earnestly advocating all the just claims of science, and convinced that no progress can be assured which is not marked by an increase of scientific knowledge, we yet believe that voluntary effort and organization are and will be sufficient for the promotion of this end.

In order that the reader may better comprehend the actual character of the recommendations of the Royal Commission, a word as to the present aid rendered by the English Government to the cause of science and scientific research may be in place. From recent reports it appears that over one and a quarter million dollars are annually voted by that government in support of scientific surveys. To this may be added fifty thousand dollars annually appropriated to the Royal Society for conducting the Meteorological Office, and one hundred and seventy thousand dollars additional for general scientific purposes. Thus we have an annual expenditure by the English Government of nearly one and a half million dollars for the encouragement of scientific research. And yet the commissioners, whose report is here given, introduce it with the statement that this sum is manifestly inadequate. As the recommendations and conclusions of the commission will doubtless be made the text for many home appeals, and will probably lead to wide discussion with us as to what our government should or should not attempt in the behalf of science, we reproduce them here:

"1. The assistance given by the state for the promotion of scientific research is inadequate, and it does not appear that the concession or refusal of assistance takes place upon sufficiently well-defined principles.

"2. More complete means are urgently required for scientific investigations in connection with certain government departments: and physical as well as other laboratories and apparatus for such investigations ought to be provided.

"3. Important classes of phenomena relating to physical meteorology, and to terrestrial and astronomical physics, require observations of such a character that they cannot be advantageously carried on otherwise than under the direction of the government.

"Institutions for the study of such phenomena should be maintained by the government; and, in particular, an observatory should be founded specially devoted to astronomical physics, and an organization should be established for the more complete observation of tidal phenomena and for the reduction of the observations.

"4. We have stated, in a previous report, that the national collections of natural history are accessible to private investigators, and that it is desirable that they should be made still more useful for purposes of research than they are at present. We would now express the opinion that corresponding aid ought to be afforded to persons engaged in important whenever practicable, such persons should be allowed access, under proper limitations, to such laboratories as may be established or aided by the state.

been found. There's a hiatus, unfortunately. The first scene of the fourth act is missing, as well as thirty-seven other lines. A really remarkable manuscript it is. As plain as print, there are hardly any corrections. It shows how fluent a writer Poe was. Mr. Ingram, the possessor of it, thinks it was written in 1831that is, fourteen years before the "Scenes" were first published.

We shall shortly have a grand spectacular piece at the Queen's Theatre-nothing less than a translation of Offenbach's "La Chatte Blanche," which is now creating such a furore at the Paris Gaieté. This play, the announcements tell us, will be "bodily transferred to the house in question "with all its decorations, music, scenery, and ballets, exactly as given on the Parisian stage." At least one of

THE "Royal Commission on Scientific In

struction and the Advancement of Science" in England have at last completed their labors and embodied the results in eight special reports, the last of which has now reached us. The service rendered by this commission is one of more than local significance and interest, and the questions which they were called upon to answer will doubtless be soon mooted in our own State and national Legislatures. For this reason we are prompted to notice this last report at a somewhat greater length than is our custom when reviewing general scientific topics. A critical examination of the following "conclusions and recommendations," with which the commission close their labors, will

"5. It has been the practice to restrict grants of money made to private investigators for purposes of research to the expenditure actually incurred by them. We think that such grants might be considerably increased. We are also of opinion that the restriction to which we have referred, however desirable, as a general rule, should not be maintained in all cases, but that, under certain circumstances, and with proper safeguards, investigators should be remunerated for their time and labor.

"6. The grant of one thousand pounds, administered by the Royal Society, has contributed greatly to the promotion of research, and the amount of this grant may with advantage be considerably increased.

"In the case of researches which involve,

and are of sufficient importance to deserve, exceptional expenditure, direct grants, in addition to the annual grant made to the Royal Society, should be made in aid of the investigations.

7. The proper allocation of funds for research; the establishment and extension of laboratories and observatories; and, generally, the advancement of science and the promotion of scientific instruction as an essential part of public education, would be most effectually dealt with by a ministry of science and education. And we consider the creation of such a ministry to be of primary importance.

8. The various departments of the government have from time to time referred scientific questions to the Council of the Royal Society for its advice, and we believe that the work of a minister of science, even if aided by a well-organized scientific staff, and also the work of the other departments, would be materially assisted if they were able to obtain, in all cases of exceptional importance or difficulty, the advice of a council representing the scientific knowledge of the nation.

It

This council should represent the chief scientific bodies in the United Kingdom. With this view, its composition need not differ very greatly from that of the present Government Grant Committee of the Royal Society. might consist of men of science selected by the Council of the Royal Society, together with representatives of other important scientific societies, and a certain number of persons nominated by the government. We think the functions at present exercised by the Government Grant Committee might be advantageously transferred to the proposed council."

THE Completion and trial of the 81-ton gun is an event in the history of gunnery which deserves special mention. We have already presented a detailed description of the several devices used in the construction of this monster weapon, and now direct attention to the character and results of the first trial as given by the English Mechanic: "The charges used consisted of 170 pounds of pebble, or rather cubical powder, rising by steps to 240 pounds, with which the sixth round was fired. The projectile weighed 1,260 pounds, and left the gun with a velocity of 1,550 feet per second, the total energy being equal to about 20,400 foot-tons. The gun cannot consume more than 230 pounds of powder, which is in the form of 1-inch cubes. The figures given refer to the fifth round, which appears to have been the best as regards its effects. At present the gun weighs nearly 82 tons, is nearly 27 feet long, and at the breech is nearly six feet in diameter. The bore is 24 feet long and 14 inches in diameter, but it is intended to widen it to 16 inches, when the gun will throw an elongated projectile weighing 1,650 pounds, and consuming 300 pounds of powder at each discharge. In the fifth round the pressure at the end of the bore was 29.6 tons per square inch, at the base of projectile 21.8 tons-the recoil being 37 feet. Our brief account of this monster gun would be very imperfect if we did not mention that its cost is about £8,000, and that the value of the powder and shot for firing such a round as we have described amounts to nearly £25. Fortunately our large guns are generally fairly accurate. Already, however, the 81-ton gun is threatened with eclipse. Sir William Armstrong is building some 100-ton guns for the Italian Government, and the facts learned in connection with the trial of our 81-ton weapon will doubtless be utilized to the profit of the Elswick works. The ordnance-men will soon ask for permission to build a gun weighing 160 tons, and throwing a shot of a ton or more in weight."

It is stated that a committee of the British Royal Society, having made researches extending over a period of more than two hundred

years, have failed to discover a single well-authenticated case of sudden change in the color of human hair. This announcement will doubtless be received with question by many among our readers, who, if they have no personal experience to relate which conflicts with it, think they are in the possession of trustworthy information on the subject, and who are convinced that they have positive knowledge regarding at least one case where, either from grief or fright, the hair turned suddenly gray. It is with a view of assisting in the establishment or correction of this widely-popular belief that we are induced to request, from any who may be interested in the subject, direct communication, which will be duly acknowledged and given the prominence that it may merit. We recently listened to a startling narrative of one who, having recovered from a trance, found herself inclosed in a coffin; breaking from this, she entered the dismal chambers of the family vault, from which she was fortunately rescued, but not until her hair had turned gray. So ran the story, told by one who evidently believed it, and whose statement we could mildly question, but not positively deny. The single instance, connected as it is with the subject already mentioned, leads us to extend our request for communications, so that they may include what the writers may believe to be cases of actual revivals from seeming death. That these communications may not be without a purpose, we would have it plainly understood that as yet there seems good reason to discredit any statement regarding the so-called "coming to life" of any human body after it has once been inclosed in a closely-fastened coffin; and as for evidence of returning life after actual burial, we do not hesitate to say that, so far as such is in our possession, it is not worthy of a moment's credence. The question, however, is one that is amenable to evidence, and it is such evidence, well authenticated, that is desired.

THE following is a condensed report of certain experiments made at Mühlhausen to ascertain what kind of coating best prevents the escape of heat from steam - pipes. First in order is chopped straw, which was found to reduce the loss of heat by radiation from the bare pipes sixty-six per cent. The next best was a pottery-pipe, large enough to cover the steam-pipe and leave air-space; the potterypipe was coated on the outside with loamy earth, and chopped straw, kept in place by straw bands twisted round the pipe; this reduced the loss sixty-one per cent. Then came cotton-waste, which, when wrapped around the pipe to the depth of an inch, reduced the loss fifty-one per cent. The waste felt from printing-machines effected a reduction of forty-eight per cent., and forty-five per cent. was saved by means of a plaster made of cow's hair. In continuation of these tests the several coatings were painted, and when this color was white a further reduction of seven per cent. was effected. We learn that an American firm has been recently organized for the purpose of preparing a non-conducting fabric from the light down obtained from the familiar common swamp cat-tail. We hope at an early day to notice the results of experiments with this new substance, which is said to have already been effectively applied, not only in steam-pipes, but as an exterior lining to refrigerators and ice-boxes.

MECHANICS engaged in the shaping or polishing of thin metal disks often experience serious difficulty in fitting them accurately to the lathe-chuck. Where the regular appliances

are of no avail cement is often called into requisition, the heating and cooling of which is a work of time and special skill. With a view of compassing the same result by simple and effective means, the application of electricity has been suggested. For this purpose it is proposed to use a special chuck, which can be magnetized or demagnetized at pleasure. This chuck, when placed in the lathe, is connected with a battery, and the disk to be polished is then brought in contact with it, and held there by magnetic attraction. In order to release the disk it is only needed to break the contact, when it drops off of its own weight.

a few of the results of my quest may be interesting to the general reader.

I found myself one day securely mounted upon this particular hobby, quite to my own surprise; and I still continue to ride it with considerable satisfaction. It happened in this wise I had gone to a New Jersey village on a business-errand, and, having accomplished the same, I was left free to while away a half-hour as best I might, until the arrival of the train. Now, the town was not a peculiarly beautiful or interesting place, and the natural charms of the scenery did not fill me with rapture; so, in a slightly disgusted frame of mind, I wandered into the old graveyard which surrounded an odd, shingle-sided church. I could not have done better. Immediately I came across a very queer epitaph; a few steps farther on there was a second. My curiosity was aroused, and I went diligently from stone to stone, only stopping when warned by the shriek of the locomotive. Since that day I have seldom missed an opportunity to acquire fresh specimens of tombstone literature.

In large cities the collector of epitaphs will seldom find much of interest. It is in small country places, remote from the centres of civilization, that the really curious things are to be found. The following inscriptions have been copied directly from the stones, no liberties having been taken with them. A very common characteristic of our graveyard literature is bad spelling. Lord is often spelled Loard; die, dye; and so on. This is singular, for one would suppose that accuracy would mark a work so deliberate in its character as the carving of an epitaph. The date of the death is given, in order to show the error of a prevalent impression that quaint epitaphs belong exclusively to the days of our forefathers:

1860.

E. M. B-, aged 5 years and 10 months.

Little Ettie asked: Shall I see God and Carrie, Mamma; May I go Papa. Called her teacher and little mates by name, Sister Electa, Mary, Hattie, little Frankie, Papa and Mamma and Doctor, Gave each her hand saying Good Bye, Doctor, I am going to die. She always called her papa with such a sweet and cheerful voice, that, when she died, then died the music of his heart, and her Mother said, Oh, there is such a lack about the house.

1844.

In a moment he fled.

He ran to the cistern and raised the lid, His father looked in there did behold His child lay dead and cold.

1845.

The countenance of this sweet babe

In Nature's cheerful smiles was dressed, Of which it was a short time since Deprived by the cold hand of death.

1859.

On earth no more we see her face,
Her body in the grave is placed,
Her merry laughter we hear no more,
Nor see her playthings round the flore.

1864.

List, Father, and Mother dear,
To me a harp is given,
And when I touch its strings.

Ma, it is heard all over heaven.

1858.

Where you are now, wonce was I, Where I am now you soon will be.

1817.

To Young and old that is Passing by,
If you these lines should read,
Remember you have got to dye,
It is by god decreed.

1799.

Within the cold and silent tomb, Lonesom and dark i find a room, My Husband and my Child i leave, And take my lodging in the grave.

1841.

At the demand of conq'ring death,
She instantly resigned her breath.
She died amidst a bloom of years,
And leaves her friends bedewed with tears.

1836.

A child eighteen months old

My parents fondness could not save
My op'ning genius from the grave.

1849.

A rosebud snatch'd from earth away,
E'er it had time to bloom;
Taken to realms of endless day,

And here behind the tomb.

The carver is evidently responsible for the absurdity of this last line -"behold" was undoubtedly the word intended.

1828.

The good to die is landing on some pleasant shore,
Where billows rage and heave the breast no more;
From adverst blasts and lowering storms
She lives to die no more.

1869.

Farewell my friends I am going to rest

It was trouble with sickness that brought me low And to find rest Jesus has called him to heaven above.

1799.

Calm and serene she yields her mental breath,
In hopes of bliss welcomes the stroke of death.
In vain the billows of death yonder roll,
To drown and overwhelm her precious soul.

1820.

Patrick Stanton, also his infant son, Harvey.
Who shall forbid to raise this sacred stone
Above the mouldering dust of husband, son.
Bear, then, O Marble, in thy lasting line,
The name of Stanton down the track of time,
And rest thee, Harvey, by thy father's clay,
Call'd from a world of wo to endless day.
Rest, till thy Saviour's voice shall bid thee rise,
Then guide thy sire to glory in the skies.
On thy dear dust, O Stanton, husband, friend,
On thine, sweet Harvey, shall my tears descend.

1865.

Dear parents and friends, for me do not cry, I'm eternally happy with Agnus Dei; Hosanna in the highest, my trouble is o'er, Till Alpha and Omega the Lamb I'll adore.

1865.

O Lord what was your object unless this one alone The needing my two Angels to bedeck your throne. It seems to be your pleasure, to me 'twas great pain, But what seemed to me a bitter loss was their eternal gain.

Upon the stone is sculptured the figure of a man standing in a boat. He holds a rod and line, and is in the act of drawing a fish out of water. The following verse is carved above the pictorial sculpture:

I died a fishing, as this picture showes,
And left this world with all its woes.
To another region I took my flight
In co' with angels adoring Christ.

Ellen, wife of BD. Died June 12, 1858, aged 45 years.

You thankless graveyard why don't you consider,
That one so rare you can't forever
Find on this Globe or millions of such others
For virtue and wisdom as my loving mother.
Erected by her loving husband, B—— D—
1854.

Is fuer fuer no lee in shouten vuo lanone,
The pride and the poesy of old Gothnomonong;
She left me her father and mother to mourn
Forever the loss of our daughter Ochone.
1855.

Here lies two lovely sisters, both virtuous fair and young

Who died generally regretted in childbirth of two sons.

They together crossed the ocean was mutual every way

I hope the twain are happy, good Christians for them pray.

Curious epitaphs are most interesting when read upon their native ground. They reveal their full charm only to him who goes in search of them, pushing aside the long grass and the clambering vine, and brushing away thick moss, which would fain hide the "uncouth rhymes and shapeless sculpture." For such, they possess a quite indescribable fascination. To the mere seeker after the curious, they offer great attractions, and are not without substantial value to the philosopher and the mor

Chambers's Journal, in an article on (6 American English," dilates upon our national tendency to coin new words and utter quaint and extravagant phrases. New words," it says, "are formed every day; when the American has seized upon an expressive word he works it into half a dozen forms, and secures it a currency in two or three parts of speech. From the verbs to walk, to sing, etc., we get walkist, singist, shootist, and half a dozen others formed like pianist and linguist. Not satisfied with this last word, American sailors have lengthened it into linguister,' an interpreter. Then we have such words as 'to overture,' which means to propose; 'to donate,' for to give a donation; and 'to eventuate,' for to happen. To 'disremember is to forget, and to 'out a candle' is to extinguish it. The love for abbreviation has produced such forms as 'to rail,' for to travel by rail; and to 'cable' news, meaning to send a 'cablegram,' or, as we should say, a message by Atlantic cable. Many words have nothing to recommend them but a strange sound, as, for instance, splurge,' a noisy demonstration, whence the verb to splurge,' meaning to boast and swagger; and then the adjective 'splurging,' and the adverb 'splurgingly.' 'Merit always makes its way,' says a transatlantic editor; sometimes quickly, often slowly, but never splurgingly'—a remark in which we most heartily concur." It informs the reader that a tendency for violent expressions appears in our daily speech. "A man is attacked and completely defeated in the Legislature, and this is reported by saying that he has been 'catawamptiously chawed up.' 'I don't want to swear,' says a conscientious man, "'cos it's wicked; but if I didn't see him do it may I be teetotaciously chawed up!' There are many expressions like the last, for the American seldom swears outright, but generally has recourse to those half-disguised phrases which a famous New York preacher once denounced as one-horse oaths.""