There was lately an old canon at Cologne who made a collection of small wax models of characteristic figures, such as personifications of Misery, in a haggard old man with a scanty crust and a brown jug before him; or of Avarice, in a keen-looking Jew miser counting his gold: which were done with such a spirit and reality that a Flemish painter, a Hogarth or Wilkie, could hardly have worked up the _feeling_ of the figure more impressively. "All these were done with truth and expression which I could not have imagined the wax capable of exhibiting," says the lively writer of "An Autumn near the Rhine." There is something very infantine in this taste; but I lament that it is very rarely gratified by such close copiers of nature as was this old canon of Cologne. FOOTNOTES: [Footnote 61: The finest collection at present is in Guy's Hospital, Southwark; they are the work of an artist especially retained there, who by long practice has become perfect, making a labour of love of a pursuit that would be disgustful to many.] PASQUIN AND MARFORIO. All the world have heard of these _statues_: they have served as vehicles for the keenest satire in a land of the most uncontrolled despotism. The _statue of Pasquin_ (from whence the word _pasquinade_) and that of _Marforio_ are placed in Rome in two different quarters. _Marforio_ is an ancient _statue_ of _Mars_, found in the _Forum_, which the people have corrupted into _Marforio_. _Pasquin_ is a marble _statue_, greatly mutilated, supposed to be the figure of a gladiator.[62] To one or other of these _statues_, during the concealment of the night, are affixed those satires or lampoons which the authors wish should be dispersed about Rome without any danger to themselves. When _Marforio_ is attacked, _Pasquin_ comes to his succour; and when _Pasquin_ is the sufferer, he finds in _Marforio_ a constant defender. Thus, by a thrust and a parry, the most serious matters are disclosed: and the most illustrious personages are attacked by their enemies, and defended by their friends. Misson, in his Travels in Italy, gives the following account of the origin of the name of the statue of _Pasquin_:--