In the historico-critical treatise of Julius Ludwig Ideler (Berlin 1836), the author says that there exists no record of incontestable authenticity referring to the romantic incident of Tell’s life. The chapel near Flüelen, on the borders of the lake, was only constructed in 1388: the chapel at Burglen, on the spot where Tell’s house formerly stood, dates back to the same time, and there is no written document to prove that they were built to commemorate any share taken by Tell in the emancipation of Switzerland. The stone fountain at Altdorf[30] which bore the name of Tell, and above which was seen the statue of Tell, and of his son with an apple placed upon his head, was only constructed in 1786, when the tradition had already been singularly shaken by critical researches. Ideler adds, that Tell’s lime-tree in the centre of the market place at Altdorf (Tellenlinde), and his crossbow preserved in the arsenal at Zürich, are not more valid proofs than the pieces of the true cross which are exhibited in a thousand places, or the handkerchief of St. Veronica, that is said to be the real original. A critic whom it is also important to read on this question, is Hisely, in his investigations into the sources whence the Swiss writers have drawn the history of William Tell. He explains at length the reasons that make him consider the absolute silence of Jean de Winterthür and of Conrad Justinger as an inexplicable enigma. Hisely has pursued his researches without being prejudiced for or against the popular faith, but the result tends to show how little foundation there is for the story. In conclusion we will cite the legends analogous to the circumstance of the apple shot in twain by William Tell. ENDRIDE PANSA, OR THE SPLAY-FOOTED. (A LEGEND OF THE 10TH CENTURY.)