centre of it by a rivet, the hole for which remains both in the plate and ornament At this place, the remains of a skeleton were found. No part of it retained its form, but a portion of the forehead and scull, which lay under the plate of copper. These bones are deeply tinged with green, and appear to have been preserved by the salts of the copper. the surface of the earth, with his face upward, and his feet pointing to the northeast, and head to the southwest. From the appearance of several pieces of charcoal, and bits of partially burnt fossil-coal, and the black colour of the earth, it would seem that the funereal obsequies had been celebrated by fire; and while the ashes were yet hot and smoking, a circle of thin flat stones had been laid around and over the body. The circular covering is about eight feet in diameter, and the stones yet look black, as if stained by fire and smoke. This circle of stones seems to have been the nucleus on which the mound was formed, as immediately over them is heaped the common earth of the adjacent plain, composed of a clayey sand and coarse gravel. This mound must originally have been about ten feet high, and thirty feet in diameter at its base. At the time of opening it, the height was six feet, and diameter between thirty and forty. It has every appearance of being as old as any in the neighbourhood, and was, at the first settlement of Marietta, covered with large trees, the remains of whose roots were yet apparent in digging away the earth. It also seems to have been made for this single personage, as the remains of one skeleton only were discovered. The bones the bottoms; but they are composed of clay and were much decayed, and many of them crumbled to dust on exposure to the air. From the length of some of them, it is supposed the person was about six feet in height. "The mound in which these relicks were found, is about the magnitude of the one in Marietta, and has every appearance of being as ancient. I have in my possession some pieces of ancient potter's ware, found within the ancient works at Marietta. They are, some of them, neatly wrought, and composed of pounded flint-stone and clay. They are yet quite solid and firm, although they have lain for several years, exposed to rain and frost, on the surface of the ground. "We often find pieces of broken ware near the banks of the river, and in "Nothing unusual was discovered in their form, "Some time in the course of this month, we proexcept that those of the scull were uncommonly pose opening several mounds in this place; and if thick. The situation of the mound on high ground, any thing is discovered, which will throw light on near the margin of the plain, and the porous quality the subject of the "Ancients of the West," it shall of the earth, are admirably calculated to preserve be communicated to your society, with a portion or any perishable substance from the certain decay all of the articles found. It seems to be a wellwhich would attend it in many other situations. To established fact, that the bodies of nearly all those these circumstances is attributed the tolerable state of preservation in which several of the articles above described were found, after laying in the earth for several centuries. We say centuries, from the fact that trees were found growing on those ancient works, whose ages were ascertained to amount to between four and five hundred years each, by counting the concentrick circles in the stumps after the trees are cut down; and on the ground, besides them, were other trees in a state of decay, that appeared to have fallen from old age. Of what language, or of what nation were this mighty race, that once inhabited the territory watered by the Ohio, remains yet a mystery. buried in mounds, were partially, if not entirely, consumed by fire, before the mounds were built. This is made to appear, by quantities of charcoal being found at the centre and base of the mounds; stones burned and blackened, and marks of fire on the metallick substances buried with them. It is a matter of much regret that on no one of the articles yet found, have been discovered any letters, characters, or hieroglyphicks, which would point to what nation'. or age these people belonged. I have been told by, an eyewitness, that a few years ago, near Blacksburgh, in Virginia, eighty miles from Marietta, there was found about half of a steel bow, which, when entire, would measure five or six feet: the other "But from what we see of their works, they must part was corroded or broken. The father of the have had some acquaintance with the arts and sci- man who found it was a blacksmith, and worked up ences. They have left us perfect specimens of this curious article, I suppose, with as little remorse circles, squares, octagons, and parallel lines, on a as he would an old gunbarrel. Mounds are very grand and noble scale. And unless it can be proved frequent in that neighbourhood, and many curious that they had intercourse with Asia or Europe, we articles of antiquity have been found there now see that they possessed the art of working in. "I have also been told from good authority, that metals. an ornament composed of very pure gold, something "In addition to the articles found at Marietta, I similar to those found here, was discovered a few have procured, from a mound on the little Muskin-years since in Ross county, near Chilicothe, lying gum, about four miles from Marietta, some pieces of in the palm of a skeleton's hand, in a small mound. copper, which appear to have been the front part of This curiosity, I am told, is in the museum at a helmet. It was originally about eight inches long, Philadelphia." and four broad, and has marks of being attached to leather; it is much decayed, and is now quite a thin plate. A copper ornament in imitation of those described, as found in Marietta, was discovered with the plate, and appears to have been attached to the BASHFULNESS is more frequently connected with good sense, than we find assurance; and impudence, on the other hand, is often the mere effect of downright stupidity.-Shenstone. THE sense of Taste is one that adds more largely to the enjoyment of life, than perhaps any of the others: hence the great misery of a fever results from its total loss. Like smell, however, it is the most transient in its impressions. We need hardly say, that the organs of taste are situated in the mouth and tongue. They consist of a number of minute nervous papillæ; which, on coming into contact with the sapid juices of a body, perceive its flavour. The tongue is a bundle of muscular fibres, sparingly intermingled with fat and cellular membrane, covered with a thin expansion of the common skin, and carries the branches of the gustatory nerves. On its upper surface, papillæ, differing in structure and office, are spread. Those on the middle and base, or root, are comparatively large, and of a mushroom shape; and those on the tip and sides, smaller, more numerous, of a brighter red colour, and in form like a pin's head, with a shaft wrapped in a white sheath. The former are little glands for secreting a IA portion of the Tip of the Tongue, highly magnified, showing the Papilla.] The process of taste is as follows:-when a morsel of food is received into the mouth, it is first touched by the tip of the tongue, and brought into close contact with the papille; when, if it be of a juicy nature, its taste is at once perceived; but if it be dry and solid, it is carried to the back of the tongue, moistened with saliva, which thus becoming impregnated with its flavour, and flowing over the The inner sides of the cheeks and the roof of the mouth have a few of the tasting papillæ scattered upon their surfaces, and slightly assist the function. It is owing to this that a boy who lost his tongue still continued to taste. Without the sense of Touch man would be a mere machine: It belongs to every part of his physical system, and is the basis of all the others. We shall confine ourselves, however, to its superficial operations, and describe only the sensibility of the skin to external impressions. The qualities with which we become acquainted by its exercise, are, hardness, softness, figure, motion, extension, heat and cold. In explaining the structures adapted to this sense we must first give an account of the structures of the skin. The skin is not, as is commonly supposed, a simple covering, but composed chiefly of three layers,. easily separable, and having each a distinct structure and use; namely, the cuticle, the reticular tissue, and the true skin. The cuticle is the first, or external layer, and is that which is raised by a blister. It is thin, transparent, and insensible, and serves to protect the more sensible parts beneath it, and to shield them from the too acute impressions of heat, cold, and the like. It is pierced by the hairs, the mouths of the perspiring and absorbing vessels, and by the ducts of the skin. The reticular tissue is the second layer, and lies between the cuticle and the true skin. It is of a soft mucous structure, interlaced with little fibrous threads, and admirably protects the sensible surface of the true skin, and gives a great pliability to the general surface of the body. It is the seat of colour in the negro; a circumstance which, as we have [The Hand, (the principal organ of Touch,) the skin having been removed.] elsewhere described, is caused by the secretion of cutaneous nerves, and perform the sonso of touch in a black pigment. the same manner as the papillæ of the tongue do that of taste. They are plentifully distributed over the whole surface of the body, but abound mostly on the tips of the fingers. LA portion of the Reticular Tissue of a White Person, greatly magnified.] The true skin is the third and oottom layer. It is a firm elastic membrane, and bears upon its surface a number of glands and villi, of short threads, like the pile, of threaded surface of velvet. By its strength and elasticity, it defends the body from injury; by its glands the important functions of perspiration and absorption are carried on; and by its villi the sense of touch is produced. These villi of the skin contain the sensible extremities of the [A portion of the Reticular Tissue of a Black Person, greatly magnified, and showing a particle of the Black Pigment, upon which the Colour of the skin depends.] Before leaving this sense, we shall point out a few examples, in which it is exhibited in its greatest perfection. Many years ago, a celebrated blind organist in the Temple was famous as a keen player at whist! In the Boston blind Asylum the unfortu nate inmates practise successfully, a variety of trades, and make mattresses, mats, &c. And it is on creditable record, that a blind gentleman once made a loom, and worked for amusement as a weaver. But more remarkable than all, blind persons have been known to distinguish colours by the touch. In these cases, the sense of touch, by practice. becomes so exquisite as not to require the directing aid of sight. It is the same power which safely guides the somnambulist over house-tops, maintains the dreadful poise of the rope-dancer, enables the blind man to read with his finger his embossed-letter bible; and which, on a foggy night, makes that the safest coach which is drawn by blind horses. LADIES' DEPARTMENT. AMUSEMENT AT HOME. To make pier baskets.-WE now propose to explain the method of making some baskets to hang against the wall, principally used to ornament an empty pier, and therefore called pier baskets. If painted to represent a basket filled with flowers they have an exceedingly pretty appearance, particularly if the painting be done upon velvet or some material which will display colours to advantage. They are suspended by a riband, and may be filled upon them as h d, i d, the point where they crosseach other as at d, will be the centre of a circle, of which a gb is an arc; from the centre d at the distance d g describe the arc a g b, and the figure a gb c will form the size for the bottom of the basket. This may all be done upon the stout pasteboard of which the basket is to be made. Place a flat rule upon the line a 6, and with a sharp knife cut about one half the thickness of the pasteboard; it may then be easily bent to form the upright back and flat bottom. To make the form for the front, take three times the length of the distance dg of the former figure and describe the arc 1, 2, place one point, a, of the bottom upon the point 1 of this figure, and turn it on the line, until the points g and b touch the arc, and make a mark against them as at 4 and 2, draw the straight line, 3, 4, 6, and mark off 4 6, equal to c d of the former figure, with the distance 3 6, describe the arc , 7, divide the líne 3, 5, in half as 8, and draw lines from 8 to 7, and 8 to 5, and the figure 1, 2, 7, 5, will be the form for the front. This may be cut out upon thinner pasteboard than the back, particularly if the upper part is to be finished with an irregular outline, such as that formed by a wreath of flowers. We will suppose you intend to ornament the front with a painting to represent a basket filled with flowers: the first thing will be to mark out the form of with artificial flowers: they may be placed upon a the front upon drawing paper for the painting, and side table, a chimney-picce, &, but look best as some of the flowers should rise above the line 5, when suspended against the wall about six feet from 7, it will be necessary to take one at the distance rethe ground. The first thing to be done is to deter-quired for such as 9, 10, and in drawing the design mine upon the size and form of the back, or that part to represent the basket work, the right position of the basket which rests against the wall, then the of lines will be obtained by dividing the line 1, 4, 2, width of the bottom, and afterward the front or curv-into the number of parts intended, and drawing from ed part, upon which the painting is done. The design for the back is to be done according to your idea of what will be well-proportioned. If the sides be formed so as to make nearly a right angle with the bottom line it will have a formal effect; and on the other hand, if the angle be made very large, it will look strained when finished. An angle of about one hundred and ten degrees will be a very good proportion, and if the base bo ten inches in length, and the height of the back five inches, the top will To describe this figure, first be fourteen inches. draw the line a b equal to ten inches in length; find its middle as c, and erect the perpendicular c d, and produce it to g: mark off five inches from c, as at d, and draw the the point 8 through each one until it meets the flowers; when the drawing is finished it is to be cut out close to the form 1, 2, 10, 9, but before it is pasted on to the card-board a strip of coloured paper, and, to make it stronger, a piece of Irish also, should be pasted to the ends of the card-board and cut into slips halfway to make it bend easily. A piece of paper only may be pasted all along the lower curved line, as so much strength will not be required there as at the sides; the notched part of these should be cut in a vandike form, to prevent their falling awkwardly over each other. The coloured paper for lining the inside of the front may be cut out to the wwwwww exact form and pasted on, and at the same time the drawing also may be put on; after which it should line e f parallel to a b; mark be put in a press or under a weight, to keep it flat off seven inches on each side and the parts close together while drying. The colof d as d e, d f, join e a and ƒ b, and the angles e a boured paper for lining the inside of the back part of and fb a will be nearly a hundred and ten degrees: determine the projection of the bottom of the stand, (two inches will be well proportioned,) and mark it off from c as at g, connect ga and g b; find the middle of each as h and i, and erect perpendiculars the basket may be cut out to the exact form all round, except at the top, where a space must be left for turning over, and it should be pasted down at once, and then put in press. The lining for the remaining parts must be cut out in two forms, one for the back, which may be cut to the size of the card except at the bottom, where a piece may be left, to bend under the bottom; after the front and back have been joined together, the piece for the bottom may be cut out to the exact form. When the front with the lining and painting have been in press about three hours, the form of the flowers at the top may be cut out, either with a penknife or chisel. It will be well to leave them in press a whole day before the back and front are connected. As it is desirable the sides should dry very quickly, it will be proper to use gum or thin glue instead of paste. One side may be fixed while the front and back are flat on the table, only take care to place them sufficiently wide apart to admit of the bend when joining the front to the other side. In ten minutes after glue has been used it will be thoroughly set, and the other side may be fixed on: this must be done while the work is held in the hand, and the nnger kept a minute or two on each slip until it is fixed. After this the strips which connect the front and bottom may be fastened down, and to secure them a few lead weights may be put inside while the basket stands on the table. The coloured paper may then be pasted upon the back, and the piece to cover the bottom afterward, which will finish the pasting. The riband is to be fasted to each corner, and a small brass tack may be put o the middle of the back to make it hang close to the wall. OF THE WRONG POSITIONS WHICH RESULT FROM ABLY SITUATED. of the fire or window, persons lean to one side, and thereby depress the shoulder of that side, and raise opposite one. Girls, in sitting, contract a habit of balancing the body upon one hip, and of throwing on it the weight of all the parts above it, by drawing the spine to that side, and leaning the head and neck to the other. This raises relatively the shoulder of the side on which they rest, as is seen when they stand erect and carefully retain the same position of the trunk. A deviation from this circumstance (of the shoulder of the side on which they rest being raised in sitting) takes place in occupations which engage the right hand and arm. Though the body rests on the left hip and is still hollowed on the right side, the right shoulder is greatly raised, in order to facilitate its motion. [Wrong and right positions in writing.] In writing. This takes place wing, and is lustrated the cut above. Being a frequen Which the right arm can alone perform, and in which the ght shoulder is always raised, it is one of the most inrious, and tends greatly to throw the lateral deviation ward the right shoulder. THE use of stays and other restraints, as well as sed-mended to equalize the shoulders, by placing a book To remedy this tendency, it has been recomentary habits, causing, in the manner heretofore deunder the left elbow, scribed, debility of many of the muscles, naturally induces the use, in the particular pursuits of education or the common acts of life, of other muscles, of which the power is less impaired, but which are less favourably situated for the purpose in view. This is the great cause of wrong positions of the figure, and all their fatal consequences. The following are a few of the most remarkable of the wrong positions resulting from debility or from the improper employment of the muscles in such cases. All of them have been more or less noticed by writers on deformity, except perhaps that connected with the guitar and the corrective means it may afford, the peculiar effects of riding on horseback, and the general truth as to onesidedness to which most of them tend. In standing-Boys compeiled to stand during a long lesson relieve the muscles that maintain the body erect, by balancing themselves on one leg, which is generally the left, in order that the more active right may be free. This throws out the hip, hollows the body, and depresses the shoulder of the side on which they stand. If this be the left, it raises the right shoulder. Girls, during the same act, relieve themselves by passing the hand round the back, so as to support it, and they thereby draw down the opposite elbow and consequently the opposite shoulder. In sitting. By sitting always on the same side [Wrong and right positions in drawing.] In drawing. In drawing, as in writing, both sexes are apt to acquire the habit of sitting, with an inclination of the body to the left side, the left arm resting on the elbow or hanging by the side, and sometimes with the palette in the left hand, whilst the right arm and shoulder are raised, for the purpose of directing the pencil, the head being leaned to the left shoulder. This also tends greatly to throw the lateral deviation toward the right shoulder. On the position in drawing, Mr. Howard remarks: "There is a tendency to throw all the weight on the left elbow, for the purpose of having greater liberty with the right arm and the evil of this is increased by the height of the desk or table on which the drawing is placed. A habit is thus contracted of leaning over the drawing, and resting the chest against the edge of the table, which is productive of |