Measuring his literary stature at a glance, it must, however, be admitted that, notwithstanding his high average of excellence, he was a very uneven writer, and hence between his worst and his best work there is a wide distance in point of merit. But the best of his writings as well deserves immortality as anything ever penned in fiction. Although inferior to them in some respects, he was superior in epigrammatic descriptive power to the most famous of his English and French contemporaries, and particularly in his descriptions of what he had never seen or experienced, but only read about. Take, for instance, his Australian scenes in "It is Never Too Late to Mend," where the effect of the song of the English skylark in the gold-diggings is told with touching brevity and pathos. Yet all his information concerning Australia had been gained by reading newspaper correspondence and books on that country. He made no secret of this, and said in substance, as frankly as he spoke of his scrap-books, "I read these to save me from the usual trick of describing a bit of England and calling it the antipodes." He could infuse life into the dry figures of a blue-book; but in the mere portraiture of ordinary conventional society manners, free from the sway of strong passions and emotions, he did not greatly excel writers of far inferior ability. He had the graphic simplicity and realism of De Foe in describing places he had never seen; and as the historian of a country or a period in which he felt interested he would have been unusually brilliant, for he was an adept in picturesque condensation, and knew how to improve upon his originals and use them without copying a word. He was a master of vigorous English. KINAHAN CORNWALLIS. IN A SUPPRESSED TUSCAN MONASTERY.