Never perhaps, as is well observed by a political journal in this city, was the genius of art so truly impressed upon stone, as in the present instance,--to represent human bodies in a state of petrifaction. A reader of Romance, would almost imagine that the wand of enchantment had passed over the merry group, and had frozen the currents of life--without disturbing the mirth, enlivened feature, the arch and humorous look,--or the easy and careless attitudes of nature. We admire the productions of the great masters of modern times, or, of classical antiquity--but, whilst we gaze, we never once even _imagine_ that the promethean spark might have animated the marble. Belonging, as most of them do, to the _ideal_ schools of sculpture--imbodying all that is fair and beautiful, in the artist's conception; rather than what is absolutely true in the visible forms of nature,--they do not strike us with the same irresistible force, or so instantly seize upon our feelings--as does the rude, simple, but faithful sculpture of this unlettered and inexperienced Scottish stone-cutter. Considering that Mr. Thom was entirely ignorant of the rules of his art,--that he had not even the advantage of first modelling his productions in clay,--that the group from Tam O'Shanter is among his first efforts, and that each of these fine pieces, was hewn at once out of the shapeless stone, without the power of correcting the mistakes of his chisel as he proceeded,--the mind is lost in wonder at the vigor and originality of his genius. Such a man is worthy the birthplace of Robert Burns,--who little thought whilst he was sketching the hilarities of the ale-house, that one of his countrymen would so soon arise to present in the forms and models of a sister art, so fine a representation of the scene. The following detailed account of the artist, and of his singularly successful labors, is extracted from an Edinburg journal. We copy it from "_The People's Magazine_." It will be highly interesting to most of our readers: