is shown, in effigy, at the poet's feet. The treatment of the subject, in this model, certainly deserves to be called free, but the general effect of the work is finical. The statue will probably be popular; but it will give no adequate idea of the man. Byron was both massive and intense; and this image is no more than the usual hero of nautical romance. (It was dedicated in May, 1880, and it stands in Hamilton Gardens, near Hyde Park Corner, London.) It was the treasure of relics, however, and not the statuary, that more attracted notice. The relics were exhibited in three glass cases, exclusive of large portraits. It is impossible to make the reader--supposing him to revere this great poet's genius and to care for his memory--feel the thrill of emotion that was aroused by actual sight, and almost actual touch, of objects so intimately associated with the living Byron. Five pieces of his hair were shown, one of which was cut off, after his death, by Captain Trelawny--the remarkable gentleman who says that he uncovered the legs of the corse, in order to ascertain the nature and extent of their deformity. All those locks of hair are faded and all present a mixture of gray and auburn. Byron's hair was not, seemingly, of a fine texture, and it turned gray early in life. Those tresses were lent to the exhibition by Lady Dorchester, John Murray, H. M. Robinson, D.D., and E. J. Trelawny. A strangely interesting memorial was a little locket of plain gold, shaped like a heart, that Byron habitually wore. Near to this was the crucifix found in his bed at Missolonghi, after his death. It is about ten inches long and is made of ebony. A small bronze figure of Christ is displayed upon it, and at the feet of the figure are cross-bones and a skull, of the same metal. A glass beaker, that Byron gave to his butler, in 1815, attracted attention by its portly size and, to the profane fancy, hinted that his lordship had formed a liberal estimate of that butler's powers of suction. Four articles of head-gear occupied a prominent place in one of the cabinets. Two are helmets that Byron wore when he was in Greece, in 1824--and very queer must have been his appearance when he wore them. One is light blue, the other dark green; both are faded; both are fierce with brass ornaments and barbaric with brass scales like those of a snake. A comelier object is the poet's "boarding-cap"--a leather slouch, turned up with green velvet and studded with brass nails. Many small articles of Byron's property were scattered through the cases. A corpulent little silver watch, with Arabic numerals upon its face, and a meerschaum pipe, not much coloured, were among them. The cap that he sometimes wore, during the last years of his life,--the one depicted in a well-known sketch of him by Count D'Orsay,--was exhibited, and so was D'Orsay's portrait. The cap is of green velvet, not much tarnished, and is encircled by a gold band and faced by an ugly visor. The face in the