Mrs. Barrett Browing has written an exquisite poem, suggested by this passage. We quote some of the concluding verses:

"O, child! to changeappointed!
Thou hadst not second sight,
What eyes the future read aright,
Unless with tears anointed;
Yea, only tears themselves can show
The burning ones that have to flow:

O! woman! deeply loving,
Thou hadst not second sight!
The star is very high and bright,
And none can see it moving;
Love looks around-below, above,
Yet, all his prophecy is-love.

The bird thy childhood's playing
Sent onward o'er the sea;
Thy dove of hope came back to thee,
Without a leaf. Art laying
Its wet cold wing no sun can dry,
Still in thy bosom secretly?

*

*

*

Where's childhood? where is Goethe?

The tears are in thine eyes,
Nay, thou shalt yet re-organize
Thy maidenhood of beauty,
In his own glory which is smooth
Of wrinkles, and sublime in youth.

The poet's arms have wound thee:
He breathes upon thy brow:
He lifts thee upward in the glow
Of his great genius round thee-
The child-like poet undefiled,
Preserving evermore the child!"

In the "Preface" to this last book we are informed that "the final vial"— that is, "the symbol which denotes the source, measure, and duration of the 'Great Tribulation,' was, in all probability, poured out in 1848, from which time to 1869, we may expect to feel its intensest effects!"

The world has recently been convulsed by war, and ravaged by disease, and made desolate by sin; a "destructive blight" has struck "the potato and the vine;" and the "cattle," in various parts of Europe, have died of extraordinary complaints; THEREFORE, says Dr. Cumming, "the last vial" has been "poured into the air;" there is a "morbific taint and influence" universally pervading the atmosphere; briefly, the end of all things is at hand!!

In no irreverent or sceptical spirit, we must be permitted to remark that we regard all these gloomy prognosti cations as the offspring of an over-heated brain, or, possibly, an imperfect digestion!! If Dr. Cumming had been an American divine, we should unhesitatingly have adopted the latter conclusion.

As it is, we think he has permitted one baneful idea to tyrannize over and subdue his good sense; to subsidize his faculties in behalf of mystic speculations, which, we religiously believe, it was never designed by the Almighty that man should entertain!

A Good Fight, and Other Tales. By Charles Read, Author of "Love me Little, Love me Long," "Peg Woffington,' &c., c. (With Illustrations.) New York: Harper & Brothers. 1859.

Mr. Read has written many fascinating and successful novels; but none (in our opinion), more fascinating than the story from which this volume takes its title.

"THE GOOD FIGHT" is a tale, the scene of which is laid in the 15th century. Its author has successfully attempted an antique style of composition; and the introduction of wood-cuts -modelled upon the strange, uncouth engravings of that age-adds, not a little, to the verisimilitude of the work.

Mr. Read's intimate acquaintance stagewith what is necessary for effects," has, in this, as in most of his former tales, done him good service in the development of his plot, and the arrangement of its principal events.

The action of the story is uninterrupted throughout, and if "the Unities"

in the ancient sense of that term-are not preserved, it is very certain that a more compact, natural, and well-ordered

series of incidents, all bearing upon the main issue, or denouement, could not have been conceived.

In a word, "THE GOOD FIGHT" is a novel-or rather, novelette-of considerable vigour and originality; very superior, in every respect, to the stories which succeed it, both of which (we allude to "THE AUTOBIOGRAPHY OF A THIEF," and "JACK OF ALL TRADES,") are scarcely worthy of the, author's powers, and are certainly unworthy of an attentive perusal!

The only work on Female Artists, "grouping them and giving a general history of their productions," ever issued previous to the publication of the present able and satisfactory volume, was a treatise by Ernest Guhl, entitled, "Die Frauen in die Runstgeschichte," which bears the imprint of a Berlin press.

In that book, the author closes his survey with the 18th Century, "and female poets are included with painters, sculptors and engravers, in the Category of Artists." Nevertheless, Mrs. Ellet found the sketches of Prof. Guh! so correct and trustworthy, that she has made use of the facts collected by him with true German perseverance, "adding details which he omits," especially in the personal history of prominent women, devoted to the brush and the chisel.

She mentions a long list of other authorities, in French, Italian, German and English. In a comparatively brief space, with much elegance and clearness of

style, above all, with delightful enthusi asm, which never blinds, however, her critical judgment, Mrs. Ellet has succeeded in producing a work which will, we predict, become an AUTHORITY upon the topics discussed.

Especial justice is done to our Southern Female Artists, among whom we observe with pleasure the names of Mary S. Legaré. Miss Dupré, the Misses Withers, and Mrs. Cheves. The book is very neatly printed.

BOOKS RECEIVED.

From Ticknor & Fields, Boston. School Days at Rugby, (illustrated ;) Chas. Kingsley's Miscellanies; Life and Correspondence of Dr. Arnold, (in 2 volumes;) The Boy Tar, or A Voyage in the Dark, &c.; The Crusades and Crusaders, &c.; Henry Timrod's Poems, &c.

From D. Appleton & Co., New York. Evenings with the Microscope; Prince Charlie; Bible Stories in Bible Language; Great Facts; Baby Nightcaps; Edith Vaughan's Victory; Here and There; Parties and their Principles; Chambers' Ency clopædia.

From Harper & Brothers. The Diary of

a Samaritan; History of America, From Rudd & Carlton. Mother Goose, (in 2 volumes,) by Mary Howitt.

for grown folk, &c.

From Derby & Jackson. How could He Help it? or, The Heart Triumph

ant.

From Little, Brown & Co., Boston. Rive's Life of James Madison, (1st vol.;) White's History of France.