I have not been able to ascertain with certainty the date of the death of the last Irish wolf, but there was a presentment for killing wolves granted in Cork in the year 1710. I am at present acquainted with an old gentleman between 80 and 90 years of age, whose mother remembered wolves to have been killed in the county of Wexford about the year 1730-40; and it is asserted by many persons of weight and veracity that a wolf was killed in the Wicklow mountains so recently as 1770. I have other legends on the subject of wolf-hunting in Ireland in former times, but want of space compels me, for the present at all events, to conclude, which I do, trusting that what I have already written will gratify my readers. An ancient Irish harp, popularly known as the harp of Brian Boriumha, still preserved in Trinity College, Dublin, is ornamented with a figure of the wolf-dog, which, as representing him under the form of a rough strong greyhound, precisely similar to the animal now known as the Highland deer-hound, furnishes an additional argument to the correctness of the position above advanced. H. D. R. * * * * * MOSAIC WORK.--The art of mosaic work has been known in Rome since the days of the republic. The severer rulers of that period forbade the introduction of foreign marbles, and the republican mosaics are all in black and white. Under the empire the art was greatly improved, and not merely by the introduction of marbles of various colours, but by the invention of artificial stones, termed by the Italians _smalti_, which can be made of every variety of tint. This art was never entirely lost. On the introduction of pictures into Christian temples, they were first made of mosaic; remaining specimens of these are rude, but profoundly interesting in a historical point of view. When art was restored in Italy, mosaic also was improved, but it attained its greatest perfection in the last and present century. Roman mosaic, as now practised, may be described as being the production of pictures by connecting together numerous minute pieces of coloured marble or artificial stones; these are attached to a ground of copper by means of a strong cement of gum mastic, and other materials, and are afterwards ground and polished as a stone would be to a perfectly level surface; by this art not only are ornaments made on a small scale, but pictures of the largest size are copied. In former times the largest cupolas of churches, and not unfrequently the entire walls, were encrusted with mosaic. The most remarkable modern works are the copies which have been executed of some of the most important works of the great masters for the altars in St Peter’s. These are in every respect perfect imitations of the originals; and when the originals, in spite of every care, must change and perish, these mosaics will still convey to distant ages a perfect idea of the triumphs of