sausage, or interminable gouty black-pudding, set hard in a bolster-like attitude, with a crack, or repulsive sharp angle, at every one of the stiff, graceless bendings, supposed to represent those marvellous flexures of the real creature, which, when we see them in their living beauty, set the mind in a glow of admiration, and are a rest, as well as a feast, for the eye to dwell upon. This—this monstrosity—we are to have, and to be thankful for having it, instead of the gracious glidings and foldings, the sweet wave-like coilings and uncoilings, the subtle entanglements, labyrinthine complexities, that, going hand in hand with the greatest simplicity of design, and with the perfect, deft power of unravelment, make the living body of a snake both a joy to the æsthetic, and a wonder to the intellectual mind: instead, too, of the radiance, lustre, sheen—the glory, both of pattern and hue—which sometimes sits upon its glistening scales, crowning them with a beauty hardly, if at all, inferior to that which decks the feathers of a bird, or waves on the wings of a butterfly. All this we are to fling away for worse than "dusty nothing," for a set of sorry deformities—worthy only of some wretched taxidermist's shop-window—which every real naturalist ought to be ashamed to look upon, but every one of which must cost some poor serpent its life. The worst plaster cast, substituted for the original marble of a Greek statue, were artistic luxury compared to this; and those, indeed, who have no taste for art can enjoy the one, as much—or as little—as the other. It is easy to be
