expressions of the purest and warmest feeling are profaned and abused, till they sink into unmeaning or equivocal commonplace. All this happened in Germany. In the first effervescence of patriotic rapture several violent and premature innovations were introduced or attempted in things of no moment, except so far as they are the natural and unforced expression of the inward character which produces them and by them is brought to light. Efforts were made to return to the dress, language and manners of a former age, by those who did not reflect that, until the spirit of the past had penetrated the whole mass of society, it was neither practicable nor desirable that any great change should be wrought on its surface; that it was in vain to think of improving the physiognomy without altering the disposition. The consequence was, that this imitation instead of becoming a popular habit remained a fashion confined to a few, and exhibited a strange and ludicrous contrast with that which it was meant to supplant. The fifteenth and eighteenth centuries brought side by side only put each other out of countenance. A similar superstition displayed itself in the cultivation of the arts, particularly that of painting. The great works of the native masters, in which Germany is so rich, were deservedly admired, but they were not always studied in the same spirit in which the great Italian artists of the fifteenth century profited by the works of their predecessors. The new German school, though it has to boast many productions of genius, too often betrays by manner, affectation and caricature, its dependent and arbitrary origin. Those who least understand their models cling to the surface with indiscriminate imitation, and copy and even exaggerate defects. Their extravagances seem to justify the aversion of those who are equally partial in an opposite direction, and widen the breach between the classical and romantic schools. The conflict of opinions thus produced, intimately connected as it is with the other phenomena of the day, forms an important feature in the intellectual face of Germany, and the description of it has been woven by the author, with inimitable art and an irony that never relaxes its impartiality, into the texture of the first Novel.