She is seated with her eyes turned towards heaven, and seems to mourn the loss of her dove, which but a moment ago rested on her snow white bosom, and now lies dead at her feet. Sweet, lovely Innocence, may thy fair form never meet the eye of licentiousness; and, like the dove, thy emblem, mayest thou live on in unsullied purity, until thou soarest to realms of light and happiness.

it long and steadily. Pliny mentions a Hecate in the temple of Diana at Ephesus, and says that the priests advised the people to be cautious of looking at it too earnestly; so strong was the lustre of the marble, "tanta marmoris radiatio est." (Spence Polyment. ).

CRAWFORD CONTINUED.

(a) ANACREON AND A NYMPH,

a bas-relief by Crawford.

With twenty chords my lyre is hung,
And while I wake them all for thee,
Thou, O virgin! wild and young,
Disport'st in airy levity.

This beautiful and well executed bas-relief is taken from the seventy-second ode of Anacreon. It

(a) Faber, in his description of the coin of Ursinus, mentions a head on a very beautiful cornelian, which he supposes was worn in a ring by some admirer of the poet. In the Iconographia of Canini there is a youthful head of Anacreon from a Grecian medal, with the letters TEIOE around it; on the reverse there is a Neptune, holding a spear in his right hand, and a dolphin in the left, with the word TIANON, inscribed; " volendoci denotare (says Canini) che quelli cittadini la coniassero in honore del suo compatriota poeta. "There is also among the coins of De Wilde, one which, though it bears no effigy, was pro bably struck to the memory of Anacreon. It has the word THION, encircled with an ivy crown. " At quidni respicit haec corona Anacreontem, nobilem lyricum ? ” — De wilde.

represents the bard of Teos seated on some verdant bank, perhaps in the delicious climate of Ionia, while his fingers sweep the golden strings of his "twenty-chorded lyre;" and a lovely Nymph, holding a tambourine on high, accompanies the enraptured strain, and in circles trips the velvet ground," her ringlets and vest wantoning in the breeze. The aged minstrel is crowned with roses and myrtle; and every thing around him, the amphora, wine etc. breathe vouptuousness:

"His tresses wore a silvery die,
But beauty sparkled in his eye.

The Ionian maid is naked to the waist; and her fair form glows with simple heauty, like the fair flower of the valley, e'er its virgin bloom has been sullied by the rude touch of some too eager hand.

A MONUMENT TO CANOVA,

By the Cav. Fabris, Director general of the Museum and galleries of the Vatican, Perpetual Regent of the Artistic Congregation of the Virtuosi of the Pantheon, Professor of the Pontifical Academy of S. Luke, Member of the Artistic Academies of Vienna, Venice, Milan, Bologna etc., etc., etc., Comissioner of the Council of Antiquities and Fine Arts etc., etc., etc.

On a pedestal of large dimensions is placed the colossal statue of the great and good Canova, the regenerator of his noble art. Ile is in a recumbent position his limbs are draped; but his body is naked. His right arm res's on the bust of Minerva; and in his left he holds the chisel, which gave to the world his immortal works. With his head turned towards his right shoulder he looks upwards to catch as it were from heaven those divine inspirations, which he has infused into the marble animated by his plastic hand. The head is iconic ; and is probably taken from his admirable colussal bust, sculptured by Canova himself. And here we cannot help observing that in this head we perceive the triumph of art over individual nature all accidentals are modified; and the features are generalized into that beau-ideal, which however does not affect the iconic fidelity of the whole. The parted lips, the distended nostrils,

the prominent brow, and the strongly indicated eyes give to the countenance that intensity of expression, and individuality of feature that characterise genius. Let but this fine statue with its naked proportions be compared with some statue in modern dress: in this statue we shall find the naked proportions idealized into unearthly beauty of form; whilst the other at once degrades into the familiar the statesman, the hero and the sage. The statue before us however, although superior to individual nature, is still true to the principles of nature, viewed through the medium of artistic generalization:

"These rules of old discovered not devised,
Are nature still, but nature methodized;
Nature, like liberty, is but restrained

By the same laws, which she herself ordained."?

On the pedestal are sculptured three figures symbolical of the three Sister-Arts with their Genius at their feet. The female in the centre of the Group is symbolical of sculpture. She is draped in a manner becoming the classic dignity that characterises. her noble art: her brows are encircled with a wreath of laurel, the emblem of the victories won by her departed son; her luxuriant hair falls neglected over her graceful shoulders; and, while she embraces her sis'ers with extended arms, her drooping head and averted eyes declare her inward grief for the loss of her favoured votary. Her beauti