MARINO FALIERO.

THE scene chosen by Mr. Westall, for the illustration of Marino Faliero, is the parting of the Doge from his wife, previous to his execution. The story, on which the tragedy is founded, is authentic; and it is necessary to remember this, to reconcile the mind to its seeming improbability. The young, and beautiful, and virtuous Duchess has been libelled by the wantonness of a young patrician; and, on account of the inadequate punishment inflicted by the Council of Forty for this offence, the Doge conspires against the state of which he is the head. The treason is discovered, "sentence is pronounced, a brief hour is permitted for the last devotions, and then-still robed in his ducal gown, and wearing the diadem—preceded with all the pomp of his station, from which he is to be degraded in the moment only before the blow be struck,—Marino Faliero is led solemnly to the Giant's Staircase, at the summit of which he had been crowned. On that spot he is to expiate his offence against the majesty of the Venetian State. His wife struggles to accompany him to the dreadful spot, but she faints, and he leaves her on the marble pavement, forbidding them to raise her, until all had been accomplished with himself.” There is much beauty and pathos in the last address of the Doge to his wife :

"Then, farewell, Angiolina!—one embrace—
Forgive the old man who hath been to thee

A fond, but fatal husband.

-In one hour

I have uprooted all my former life,

And outlived every thing, except thy heart,

The pure, the good, the gentle, which will oft

With unimpair'd but not a clamorous grief

Still keep-Thou turn'st so pale!-Alas! she faints,
She has no breath, no pulse!-Guards! lend your aid-

I cannot leave her thus, and yet 'tis better,

Since every lifeless moment spares a pang.”