There is no passion that he has not pourtrayed, and laid bare in its beauty or deformity; no feeling or affection to which his genius has not given the stamp of immortality: and does he want an interpreter? It is treading on dangerous ground to attempt to improve him. Even MR. KNIGHT, enthusiast as he is in his veneration for Shakspeare, and who, by his noble editions of the poet's works, has won the admiration and secured the gratitude of every lover of the poet, has gone too far in his emendations when he changes a line in _Romeo and Juliet_ from "Hence will I to my ghostly father's cell." to "Hence will I to my ghostly friar's close cell." As in the latter case the line will not scan unless the word "friar" be reduced to a monosyllable, which, on reflection, I think MR. KNIGHT will be inclined to admit. But my paper is, I fear, extending to a limit beyond which you have occasionally warned your correspondents not to go, and I must therefore draw my remarks to a close, with a hope that not any offence will be taken where none is intended by those to whom any of my observations may apply. GEORGE BLINK. Canonbury. * * * * * "THE DANCE OF DEATH." Amongst the numerous emblematic works, it has often appeared to me that the above work should be republished entire; to give any part of it would be spoiling a most admirable series. I should desire to see it executed not as a fac-simile, but improved by good modern artists. The history of "The Dance of Death" is too long and too obscure to enter upon here; but from the general tenor of the accounts and criticisms of the work, it does not appear to have originated at all with Hans Holbein, or even his father, who also really painted it at Basil, in Switzerland, but to have had its origin in more remote times, as quoted in several authors, that anciently monasteries usually had a painted representation of a Death's Dance upon the walls. It is a subject, therefore, open to any artist, nor could it be said he had pirated anything if he treated the subject after his own fashion. "The Dance of Death" begins of course with king, the queen, the bishop, the lawyer, the lovers, &c., and ends with the child, whom Death is leading away from the weeping mother. The original plates of Hollar, from Holbein's drawings, are possibly still extant, but they are by no means perfect, although admirable in expression. The deaths or skeletons are very ill-drawn as to the anatomical structure, and were they better the work would be excellent. The Death lugging off the fat abbot is inimitable; and the gallant way he escorts the lady abbess out the convent door is very good. I have the engravings by Hollar, and have made some of the designs afresh, intending to lithograph them at some future day; but there being thirty subjects in all, the work would be a difficult task. Mr. J. B. Yates might, indeed, with his excellent collection of Emblemata, revive this old