and Songs” nine short extracts from other poems of Wither are quoted, and in these we have found no less than seven misprints or false readings which materially affect the sense.  Textual inaccuracy is a grave fault in the new edition of an old poet; and Mr. Farr is not only liable to this charge, but also to that of making blundering misstatements which are calculated to mislead the careless or uncritical reader.  Infected by the absurd cant which has been prevalent for the last dozen years among literary sciolists, he says,—­“The language used by Wither in all his various works—­whether secular or sacred—­is pure Saxon.”  Taken literally, this assertion is manifestly ridiculous, and, allowing it every possible limitation, it is not only untrue of Wither, but of every English poet, from Chaucer down.  The translators of our Bible made use of the German version, and a poet versifying the English Scriptures would therefore be likely to use more words of Teutonic origin than in his original compositions.  But no English poet can write English poetry except in English,—­that is, in that compound of Teutonic and Romanic which derives its heartiness and strength from the one and its canorous elegance from the other.  The Saxon language does not sing, and, though its tough mortar serve to hold together the less compact Latin words, porous with vowels, it is to the Latin that our verse owes majesty, harmony, variety, and the capacity for rhyme.  A quotation of six lines from Wither ends at the top of the very page on which Mr. Parr lays down his extraordinary dictum, and we will let this answer him, Italicizing the words of Romanic derivation:—­

“Her true beauty leaves behind Apprehensions in the mind, Of more sweetness than all art Or inventions can impart; Thoughts too deep to be expressed, And too strong to be suppressed.”

But space fails us, and we shall take up the editions of Marston and Webster in a future article.

Galleries and Cabinets of Art in Great Britain, etc.  By DR. WAAGEN.  Forming a Supplemental Volume to the “Treasures of Art in Great Britain.” 8vo.  London. 1857.

The Manchester Exhibition, although containing a vast number of works of Art, displayed but a small portion of the treasures of painting and sculpture scattered through Great Britain, in the city and country houses of the upper classes.  Every year is adding greatly to the number and value of both private and public galleries in England.  It is but three years since Dr. Waagen published his three ponderous volumes on the “Treasures of Art in Great Britain,” and he has already found new material for a fourth, not less cumbrous than its predecessors.  The larger part of this last volume is, indeed, composed of descriptions of galleries existing at the time of the publication of his first work, but the most interesting portion of it relates to the acquisitions that have been made within the last three years.