Of the general design of this noble monument our prefixed illustration will afford a tolerably correct idea; but it would require more than one illustration of this kind to convey an adequate notion of its various beauties and merits, for there is scarcely a point in which it can be viewed in which it is not equally effective and striking. The subject, as a sculptural one should be, is of the most extreme simplicity, and yet of the most impressive interest--a Christian prelate in the act of offering up a last appeal to heaven for the regeneration of his country, which is personified by a beautiful female figure, who is represented in an attitude of dejection at his side. In this combination of the real and the allegorical there is nothing obscure or unintelligible even to the most illiterate mind. In the figure of the prostrate female we recognise at a glance the attributes of our country, and there existed no necessity for the name “Erin,” inserted in very questionable taste upon her zone, to determine her character. She is represented as resting on one knee, her body bent and humbled, yet in her majestic form retaining a fullness of beauty and dignity of character; her turret-crowned head resting on one arm, while the other, with an expression of melancholy abandonment, reclines on and sustains her ancient harp. In the male figure which stands beside her in an attitude of the most unaffected grace and dignity, we see a personification of the sublime in the Episcopal character. He stands erect, his enthusiastic and deeply intellectual countenance directed upwards imploringly, while with one hand he touches with delicate affection his earthly mistress, and with the other, stretched forth with passionate devotion, he appeals to heaven for her protection. This is true and enduring poetry; and, as expressive of the sentiment of religious patriotism unalloyed by any selfish consideration, is far superior to the thought which Moore has so exquisitely expressed in the well-known lines-- “In my last humble prayer to the spirit above, Thy name shall be mingled with mine!” Such is the touching poetical sentiment embodied in this work, which, considered merely as a work of art, has merits above all praise. In the beauty of its forms, its classical purity of design, its simplicity and freedom from affectation or mannerism, its exquisite finish and characteristic execution, and its pervading grace, truth, and naturalness, it is beyond question the finest production of art in monumental sculpture that Irish genius has hitherto achieved; and, taken all and all, is, as we honestly believe, without a rival in any work of the same class in the British empire.