But we take leave to disagree with this individual in his idea that Anne Dysart has more simplicity, purity, and quiet intelligence than other every-day young ladies. She is, on the contrary, nothing more than a type of the class; and the fact is proved by the resemblance in her portrait being at once recognized. We do not stand upon the color of her hair, or eyes, or other physical characteristics, for these are mere averages, and may be very different in our Anne and yours; but her shyness, hesitation, and cowardice--her modesty, gentleness, and truth--these are stereotyped traits, and are the same in all. But when such qualities rise, or become metamorphosed, to meet the exigencies of life, how do we recognize them? By intuition. We acknowledge in others the principle of development we feel in ourselves. Our fault is, that we pass over as worthy of no remark, no careful tending, no holy reverence, the slumbering germs of all that is good and beautiful in the female character, and suffer our attention to be engrossed by its affectations and monstrosities. Let us correct this fever of the taste. Let us learn to enjoy the still waters and quiet pastures. When we see an every-day young lady flitting about our rooms, or crossing our paths, or wandering by our side, let us regard her no more as if she were a shadow, or a part of the common atmosphere, necessary, though unheeded; let us look upon her with fondness and respect, and if we would be blessed ourselves, let us say--God bless her! FOOTNOTE: [19] Anne Dysart, a Tale of Every-day Life. 3 vols. London: Colburn. 1850. [From Dickens's Household Words.] HISTORY AND ANECDOTES OF BANK NOTE FORGERIES. Viotti's division of violin-playing into two great classes--good playing and bad playing--is applicable to Bank note making. The processes employed in manufacturing good Bank notes have been often described; we shall now cover a few pages with a faint outline of the various arts, stratagems, and contrivances employed in concocting bad Bank notes. The picture can not be drawn with very distinct or strong markings. The tableaux from which it is copied are so intertwisted and complicated with clever, slippery, ingenious scoundrelism, that a finished chart of it would be worse than morally displeasing: it would be tedious. All arts require time and experience for their development. When any thing great is to be done, first attempts are nearly always failures. The first Bank note forgery was no exception to this rule, and its story has a spice of romance in it. The affair has never been circumstantially told; but some research enables us to detail it: