and that it was repugnant to his feelings to rob a church.  In a man named Fritze, detained for the murder of his wife, though his crime was not proved, the organs of cunning and firmness were fully developed; and it was by these that he had eluded conviction.  In Maschke, he found the organ of the mechanical arts, together with a head very well organized in many respects; and his crime was coining.  In Troppe he saw the same organ.  This man was a shoemaker, who, without instruction, made clocks and watches, to gain a livelihood in his confinement.  On a nearer inspection, the organ of imitation was found to be large.  “If this man had ever been near a theatre,” said Gall, “he would in all probability have turned actor.”  Troppe, astonished at the accuracy of this sentence, confessed that he had joined a company of strolling players for six months.  His crime, too, was having personated a police-officer, to extort money.  The organs of circumspection, prurience, foresight, were sadly deficient in Heisig, who, in a drunken fit, had stabbed his best friend.  In some prisoners he found the organ of language, in others of colour, in others of mathematics; and his opinion in no single instance failed to be confirmed by the known talents and dispositions of the individual.—­For.  Q. Rev.

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SAVING HABITS OF THE ENGLISH.

According to the House of Commons’ returns in 1815, there were no fewer than 925,439 individuals in England and Wales, being about one-eleventh of the then existing population, members of Friendly Societies, formed for the express purpose of affording protection to the members during sickness and old age, and enabling them to subsist without resorting to the parish funds.  “No such unquestionable proof of the prevalence of a spirit of providence and independence can be exhibited in any other European country.”  We have to add, that these must be the happiest people in the social scale.

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In the year 1300, Giovanni Cimabue and Giotto, both of Florence, were the first to assert the natural dignity and originality of art, and the story of those illustrious friends is instructive and romantic.  The former was a gentleman by birth and scholarship, and brought to his art a knowledge of the poetry and sculpture of Greece and Rome.  The latter was a shepherd; when the inspiration of art fell upon him, he was watching his flocks among the hills, and his first attempts in art were to draw his sheep and goats upon rocks and stones.  It happened that Cimabue, who was then high in fame, observed the sketches of the gifted shepherd; entered into conversation with him; heard from his own lips his natural notions of the dignity of art; and was so much charmed by his compositions and conversation, that he carried him to Florence, and became his close and intimate friend and associate.  They found Italian painting rude in form, and without spirit