the greater part of Goëthe's rhymed dialogue in blank verse, by which he entirely departs from the character of the original, and even where he affects to rhyme, by omitting a rhyme altogether whenever it suits his convenience, it might have been expected that these usurped indulgences would at least have insured a correct interpretation of the text. This is, however, so little the case, that the book teems with misconstructions, and that even with regard to single words, so ludicrous as to be scarcely credible; such, for example, as "Sister-stars," for

Bruderspharen," brother spheres; the "lock of Solomon," for Salomonis Schlüssel, the key of Solomon, (the wellknown Clavicula Salomonis of the magician ;) and " Druid's foot" for "Drudenfuss," fairy-foot. Nay, at the very outset, in the" Prelude on the Stage,' or, as Dr. A. has it, "at the Theatre," MR. MERRYMAN's title is most unaccountably dropped, after his first speech, and changed for that of FRIEND! In addition to all this, the Doctor's English is by no means always of the purest, (he almost invariably for instance substitutes the will for the shall) and what he gives us for rhymes are too often not such as are considered legitimate at the present day. The following (and we think there are others still more objectionable) are a specimen of his rhymes: leading, Eden; ever, receiver; bewildering, children; whatever, favor; inventory, complimentary ; shadow, meadow; teacher, creature; howl, dull; scholar, ruler; seizes, crisis: triflers (not produced into trifle-ers), philosophers.

Those who are acquainted with the German poem will be enabled to decide upon the respective characters of the two versions which are the subject of this notice, by the following extract, taken almost at random :

MEPHISTOPHiles. Come, for this once, the excuse may do. In fairness, I should not forget The length of time since last we met; Culture, that licks all things to shape, Won't let the Devil himself escape! The northern Phantom's reign is o'er ; Horns, tail, and claws we see no more. With my extremities I can't dispense, So, least the sight should give offence, I've worn false calves for many a-year; As other young sparks do, I hear.

TALBOT.

MEPH.

Enough, old fool-for once I spare.
'Tis long since we have met, and strange
Has been, in such a time, the change-
The world's grown wise-in every move-

ment

Is seen the spirit of improvement;
Reform to every thing extended-
Among the rest the Devil is mended;
For court, has left his wildernesses,
Thrown off his ancient savage dresses;
The curling tail, and talons horrid,
And horns to guard the wrinkled forehead.
All gone-the northern Phantom's vanish-
By modern education banished! [ed,
-As to the foot-against my will,
I bear that witness with me still;
"Twould injure me in the good graces
Of some who figure in high places;
So, what I can I do to hide it,
And for the purpose am provided
With padded calves-and thus am able
To limp no more than's fashionable—
Many young men that I might mention,
Avail themselves of the invention.

ANSTER.

Note.-The rage for interpolation and love of diffuseness, which so characterise Dr. A.'s version of Faus', seem to have been encouraged by the fragments have, most undeservedly, as sort of reputation which Shelley's we think, acquired in England, and of which the Doctor himself, it appears, is a zealous supporter. Indeed, he goes so far as to say, that Shelley and Retzch have given us, between them, ginal. Let any person, however, only a finer Walpurgis-Night than the oritake the trouble to compare the scene in question, by Shelley, with the German text, and he will find that, to say nothing of some very strange misconstructions, that gentleman has thought proper to add to Goëthe's matter at least a third which is exclusively his own. So cavalier à treatment of his

:

author does not quite accord with our notions of a translator's duty; still less can we consider it as a subject of enlogy but really, to judge from the style of criticism which has generally been adopted by the British press on translations of Faust, one is almost led to suspect, that, in nineteen cases out of twenty, the critic, so far from having had the original before him when he wrote, had either never seen it at all, or must have totally forgotten it.

THE accompanying Engraving represents one of the three sculptured fonts in the county of Kent, to which attention was formerly invited by Mr. Thorpe in his "Custumale Roffense,' One of the series was engraved in our number for September last, p. 264, and we are now enabled to present our readers with an engraving of another example from the pencil of Mr. Hollis jun., the same artist to whom we were indebted for the previous subject. As we before observed, the fonts at Shorne and at Southfleet are similar to each other; the sculptures being varied only in some unimportant particulars: the present differs from the others in the nature of the representations, which, with the exception of one panel, are more literal in their character than the emblematical designs which are seen at Southfleet and Shorne. Seven of the panels are occupied by the Sacraments of the Roman Catholic Church, which, following the order in which they are placed in the engraving, may be described as follows:

Fig. 1. Baptism. The Priest officiating, with the Sponsors on each side of him; the Godfather is on the left hand, the Godmother on the right. The Font represented is of an older character than the one before us. The Infant appears to be immersed.

2. Matrimony: which requires explanation.

no

3. Confirmation: administered by an Archbishop, as appears by his pastoral staff.

4. Extreme Unction. The priest anointing the breast of the sick person; an attendant bearing the Host in a pix.

5. Penance. From the disfigured state of the sculpture it is difficult to describe this subject with accuracy.

6. The Eucharist, exemplified in the Elevation of the Host.

7. Holy-orders. The three degrees, of Bishop, Priest, and Deacon, are here shown. It will be observed that the former has a crosier or crook, the general ensign of a Bishop; a Metropolitan being distinguished by his pastoral staff, as seen in fig. 3, where the Sacrament of confirmation

is represented as it would be administered in this Church, which is a peculiar of the Archbishop of Canterbury.

Fig. 8 may be entitled Redemption. It portrays the contention for a Soul, upon which the Adversary, represented by a monster with a huge head and claws, has already laid his hand; the guardian Angel descending from above, arrives to the rescue of the penitent. The other figure is greatly defaced; it is probably St. Michael the archangel. This compartment may appropriately conclude the series: it shows the end and efficacy of the Sacraments represented on the other panels.

The age of the carvings may be learned from the costume of the Bride, in fig. 2; the head-dress belonging to the middle of the reign of Henry VI. ; and the long gown of the male Sponsor on fig. 1, which was the general male costume of that period.

It is however necessary to observe, that the entire Font is not the work of one period. The baluster interposed between the bason and what appears to be a pedestal, is modern. The base, which it will be seen by the engraving, is ornamented with quatrefoils, is in fact an older font reversed, and it was in all probability that which preceded the present, and by which it was superseded.*

The entire height of the Font is 4 feet 4 inches, the diameter of the basin 2 ft. 5 in. and each panel is 8 inches in the square.

The face of the sculptured portion has suffered much from the softness of the stone in which the Font is executed, and by the removal of the paint with which it was formerly covered; in consequence it is not in so good a state of preservation as those at Shorne and Southfleet, which are formed of a better material.

This Font occupies its proper situation in the centre of the nave of the church, at a short distance from the

western entrance.

Information communicated to Mr. Hollis by the Clergyman of Farningham.