three different stages of life are visible thrò the graceful folds of the drapery, which is in Thorwaldsen's best style.

The third bas relief presents the goddess Nemesis winged, with a tablet on her knee and a wheel under her foot, always prepared to punish impiety and at the same time liberally to reward the good and the virtuous, as the wheel under her foot intimates. She is in the act of inscribing on her tablet the virtues of the deceased. A lion, the symbol of strength, is at her feet; and on the opposite side is the river god of the Arno, to intimate that she records his virtuous deeds in the rich and beautiful language of Tuscany, the parent of the Italian language and of Italian literature.

The lower part of the figure of Nemesis is draped; a zone encircles her waist; and the bold and muscular character of the river god, with his venerable bearded countenance, strikingly contrasts with the délicacy and youth of the goddess.

MONUMENT OF A MOTHER AND
DAUGHTER.

In the catalogue of this Artist's works, this monument is denominated Destiny; and its story is as follows. A noble lady, who had been suffering for some time from illness, was ordered by her physician to have recourse to mineral baths. She ac

cordingly repairs to the appointed locality, accompanied by one of her lovely daughters. Under the salutary influence of medical advice and the soothing assiduities of filial affection she soon becomes convalescent, and her health is finally reestablished ; but so unremitting had been the attention of her daughter, that the health of the latter became impaired; her constitution was undermined; and she soon died the victim of filial love! Her Mother lived to mourn her loss; and, in grateful acknowledgment and maternal mourning, erected this monument to her deceased daughter, rendered doubly dear by her generous self-immolation at the shrine of filial duty.

To tell this affecting tale of woe in marble must have proved a difficult task in ordinary hands; but it is eloquently told by our author in two figures. A middle-aged female, apparently enfeebled by illness is seen seated; and, to imply that she is in a place sacred to the healing art, on the seat is sculptured the symbol of Aesculapius. The daughter, standing by her side, holds a cup to her sick mother's lips, containing some salutary medicinal draft; but a serpent is seen winding its tortuous way 'mid the herbage, and is about to strike its envenomed fangs and infuse its deadly poison into its unwary victim. Yes! beautiful and affectionate child! thy life shall be the price of thy Mother's recovery; but thy piety shall be rewarded here by a Mother's gratitude and hereafter by unfading bliss! How tranquil is the scene; yet how affecting! Alas this

fair flower now in the bloom of youth, and twining as it were affectionately round its parent stock, is doomed soon to wither, blighted in all its freshness and beauty; and to leave that lonely stock in solitary desolation! A beloved daughter dies in the bloom of youth, having preserved by her care a Mother's life; and that Mother is left to mourn her loss. To do justice to the talents of the Artist in the design and execution of this work is beyond the writer's ability; and to feel its depth of pathos, he must refer the spectator to those innate emotions which such a scene is sure to awaken in the sympathetic bosom! Both the figures are chastely draped after the antique; but that of the daughter is in the Etruscan style, and possesses a simplicity and grace unattainable by modern dress.

MONUMENT OF THE BARONESS SKUBERT.

It consists of three bas reliefs, and presents scenes of domestic life that come home to the bosom of all. The first bas-relief represents the Baroness on her death-bed her husband is seated on her bedside, affectionately holding her hand within his; and his other hand is raised over her, intimating that her spirit has taken its flight from this nether world and left him disconsolate. The Baron is deeply impressed with the awful scene before him ; and would gladly follow his beloved consort rather

than be left behind to mourn her loss. The features of the Baroness are composed in death: her hand rests on her heart: her form, which is entirely draped, is extended horizontally on the bed, somewhat stiffened; and the venerable figure of the Baron breaks the horizontal line. At the head of the bed is the genius of Death with his usual emblem, the inverted torch: he leans his head on his hand; and mourns with downcast eyes. At the foot of the bed is a lamp with two wicks, one extinguished, the other burning, the former emblematic of the deceased, whose lamp of life is burnt out; the latter, of her surviving companion, whose light languishes in solitary loneliness. Modern dress is entirely excluded: the Baron is invested in a Greek pallium; and even the drapery of the camp - bed is treated classically.

The second bas-relief represents Nemesis seated on a massive marble block, occupied in writing on the eternal scroll the good and bad deeds of the deceased. She is, as usual, accompanied with the emblem of her celerity, the wheel: her hair is bound by a fillet; aud the beauty of her countenance proclaims her divine. She wears an upper and under tunic, the rich folds of which invest her person with majesty; and her wings announce her supernatural abode.

The third relief represents the Genius of Death, who is plunged in profound reflection: he leans on an inverted torch, indicating the extinction of the torch of life: his wings droop; and his downcast head

is crowned with a wreath of poppies symbolic of the sleep of death. He stands in naked beauty and innocence; yet, not to offend the most fastidious and untravelled eye, the drapery hangs before him in a line with the torch :

"Invidious grave, how dost thou rend in sunder " whom love has knit, and sympathy made one!

THE MOTHER AND SON.

A Mother, bidding a last farewell to an agonising son plunged in deepest affliction for her loss, is a tender and difficult subject for monumental record. This tale of woe the author has told with a simplicity and pathos that at once find their way to the heart. The Mother, invested with a mantle, and presenting a figure at once easy, elegant and dignified, moves with solemn and measured step, led on by the Genius of Death, who holds her hand: a terminal column inscribed with the word MATA, indicates that he is conducting her to the fatal borne, whence no traveller returns. At the base of the column the Genius inverts his torch, implying that, having reached the fatal goal, the flame of mortal life is extinguished for ever. Following close behind is the figure of a young man, who raises one hand in earnest supplication to Heaven to arrest the threatened blow he holds his Mother by the mantle with the