ifying them, but of varnishes, and recipes for making them,
likewise of the colours used. There is yet, however, much untold with
regard to the Italian practice, concerning which Mr Eastlake proposes to
treat in a second volume. Yet, with regard to the Italian methods, we are
not left without some important knowledge, which, however, must be
considered as offered rather incidentally; for the Italians having
modified, and in some respects much varied the vehicle they derived from
the Flemish masters, their methods were again partially adopted by the
latter; so that the methods of these two great schools of art could not be
kept entirely separate.

To those much acquainted with art, it will be thought of the utmost
importance to obtain any recipes of the time of Rubens and Vandyke. Such
we are in possession of--contained in a manuscript in the British
Museum--of which we may expect the publication entire. It may be
interesting to give some account of this MS. and its author. The
manuscript is entitled "Pictoria, Sculptura, Tinctoria, et quaesub
alternarum artium spectantia, in Lingua Latina, Gallica, Italica,
Germanica conscripta, a Petro Paulo, Rubens, Vandyke, Somers, Greenberry,
Jansen, &c.--Fo. xix. A.D. 1620; T. de Mayerne." Theodore Mayerne, the
author, was born at Geneva, 1573. "He selected the medical profession; and
after studying at Montpelier and Paris, accompanied Henri Duc de Rohan to
Germany and Italy. On his return he opened a school, in which he delivered
lectures to students in surgery and medicine. This proceeding, and the
innovation, as it then appears to have been, of employing mineral
specifics in the healing art, excited a spirit of opposition which led to
a public resolution, emanating from the faculty at Paris, in which his
practice was condemned. His reputation rapidly increased from this period.
He had before been appointed one of the physicians in ordinary to Henry
IV. In 1611, James I. invited him to England, and appointed him his first
physician. De Mayerne enjoyed the same title under Charles I. He died at
Chelsea, leaving a large fortune, 1655."... "Dallaway, in his annotations
on Walpole, after noticing the influence of De Mayerne's medical practice
on the modern pharmacopoeia, remarks that 'his application of chemistry
to the composition of pigments, and which he liberally communicated to the
painters who enjoyed the royal patronage,--to Rubens, Vandyke, and
Pelitot--tended most essentially