shall be no more snow,” in the “Tyrolese Evening Hymn,” seems to have been suggested by Schiller's lines in the “_Nadowessiche Todtenklage_:” Wohl ihm er ist hingegangen Wo kein schnee mehr ist!— The “Lays of Many Lands,” which appeared chiefly in the New Monthly Magazine, were suggested, as she herself owned, by Herder's “_Stimmen der Volker in Liedern_.” She spoke of the German language as “rich and affectionate, in which I take much delight.”—She considered “The Forest Sanctuary” as the best of her {724} works: the subject was suggested by a passage in one of the letters of Don Leucadio Doblado, and the poem was written for the most part in—a laundry. These verses are pointed out by Chorley as beautiful, which assuredly they are. And if she mingled with the festive train It was but as some melancholy star Beholds the dance of shepherds on the plain, In its bright stillness present though afar. He praises also with great justice the entire episode of “Queen-like Teresa—radient Inez!”—She was so much excited by the composition of “Mozart's Requiem,” that her physician forbade her to write for weeks afterwards.—She regarded Professor Norton, who undertook the publication of her works (or rather its superintendence) in this country, as one of her firmest friends. A packet with a letter from this gentleman to the poetess containing offers of service, and a self-introduction was lost upon the Ulverstone sands. They were afterwards discovered drying at an inn fire, and forwarded to their address. With Dr. Channing she frequently corresponded. An offer of a certain and liberal income was made her in the hope of tempting her to take up her residence in Boston and conduct a periodical.—Mr. Chorley draws a fine distinction between Mrs. Hemans and Miss Jewsbury. “The former,” he says, “came through Thought to Poetry, the latter through Poetry to Thought.” He cites a passage in the “Three Histories” of Miss Jewsbury, as descriptive of the personal appearance of Mrs. H. at the period of his first acquaintance with her. It is the portrait of Egeria, and will be remembered by most of our readers. It ends thus: “She was a muse, a grace, a variable child, a dependent woman—the Italy of human beings.”—Retzsch and Flaxman were Mrs. H.'s favorites among modern artists. She was especially pleased with the group in the Outlines to Hamlet—of Laertes and Hamlet struggling over the corpse of Ophelia.—In 1828 she finally established herself at Wavertree. “Her house here,” says our author, “was too small to deserve the name; the third of a cluster or row close to a dusty road, and yet too townish in its appearance and situation to be called a cottage. It was set in a small court, and within doors was gloomy and comfortless, for its two parlors (one with a tiny book-room opening from it) were hardly larger than closets; but with her harp and her books, and the flowers