"Girald Cambrensis gives an account of a speaking-stone at St. David's in Pembrokeshire. 'The next I shall notice is a very singular kind of a monument, which I believe has never been taken notice of by any antiquarian. I think I may call it an oracular stone: it rests upon a bed of rock, where a road plainly appears to have been made, leading to the hole, which at the entrance is three feet wide, six feet deep, and about three feet six inches high. Within this aperture, on the right hand, is a hole two feet diameter, perforated quite through the rock sixteen feet, and running from north to south. In the abovementioned aperture a man might lie concealed, and predict future events to those that came to consult the oracle, and be heard distinctly on the north side of the rock, where the hole is not visible. This might make the credulous Britons think the predictions proceeded solely from the rock-deity. The voice on the outside was distinctly conveyed to the person in the aperture, as was several times tried.'--_Arch. Soc. Ant. Lond_. vol. viii. "The moving stones, or Logans, were known to the Phoenicians as well us the Britons. Sanconiatho, in his Phoenician History, says, that Uranus devised the Boetylia, Gr.; Botal or Bothal, Irish; Bethel, Heb., or stones that moved _as having life_.--Damascius, an author in the reign of Justinian, says he had seen many of these Boetylia, of which wonderful things were reported, in Mount Libanus, and about Heliopolis, in Syria." The volume, a handsome octavo of more than 500 pages, has been, we perceive, published by subscription: the list contains about 400 names, with the King at the head. This is sterling patronage, yet not greater, if so great, as Mr. Pennie deserves. The Preface, we think, somewhat unnecessarily long: it needed but few words to commend the drama of our early history to the lovers of literature, among whom we do not reckon him who is insensible to the charms of such plays as Cymbeline, Julius Caesar, the Winter's Tale, or Macbeth. Mr. Pennie mentions the popularity of Pizarro, "which faintly attempts to delineate the customs of the Peruvians" as a reason for "the hope that is in him" respecting the fate of his own tragedies. To our minds, Pizarro is one of the most essentially dramatic or stage-plays of all our stock pieces. It is of German origin, though Sheridan is said to have written it over sandwiches and claret in Drury Lane Theatre. The country, the scenery, and costume have much to do with this stage effect, and even aid the strong excitement of conflicting passions which pervades every act. Its representation is a scene-shifting, fidgeting business, but its charms tempt us almost invariably to sit it out.