they then offered him other letters by Shelley, and books with Byron’s autograph and MS. notes. His suspicions were aroused, he followed them home, and insisted upon seeing the real owner of the letters. This person was introduced to him as Mr. G. Byron, a son of the poet, and thus he thought the mystery satisfactorily explained. He then sold the letters relating more purely to family matters to Shelley’s relatives; Murray became the eventual purchaser of Byron’s, and Moxon of Shelley’s letters--and Murray, who only had his volume in the press, at once stopped it. The letters are now believed to have been the forgeries by G. Byron, and are indeed indexed under his name in the British Museum Catalogue. The system upon which he had obtained money for them appears to have been very extensive and well organised, and as some few were probably genuine, and others based upon a substratum of truth, the difficulty of judging those which in various ways have got into print, was extreme. Altogether, this is one of the most notable literary forgeries of modern times. To return, however, to Moxon, we find that in 1835, conjointly with Longman, he published Wordsworth’s “Yarrow Revisited,” and shortly after this the poet transferred all his works from the Messrs. Longman, and we believe that Moxon purchased the copyrights of the past poems for the sum of one thousand pounds. Mr. Browning’s earlier volumes, like Mr. Tennyson’s “Lyrical Poems,” had been published by Effingham Wilson, but in 1840 Moxon issued “Sordello.” This was followed by “Bells and Pomegranates,” published in numbers between 1842 and 1845, and by a “Blot in the Scutcheon,” (acted at Drury Lane in 1843), and which, though unsuccessful on the stage, was in the opinion of Charles Dickens “the finest poem of the century.” In 1848, however, Mr. Browning removed his works to the care of Messrs. Chapman and Hall. Among the other authors whose productions were issued by Moxon somewhere at this period, and whom we cannot do more than mention, were Talfourd, Monkton Milnes (Lord Houghton), Tom Hood, Barry Cornwall (Proctor), Sheridan Knowles (who was by turn an usher, a journalist, a dramatic poet, and a dissenting minister), Quillinan (whose works Landor wittily, though unjustly, described as Quillinanities), Mr. Browning (for a brief period only), Haydn, and Dana.