, has already achieved much for painting,
and even the _reported_ project for a National Gallery does much to
foster the art. It keeps the study afloat and uppermost in the public
mind; and the immense increase of exhibitions, not only in London, but
in provincial towns, serves to prove that patronage now consists in
something more substantial than tutelar notice, and unpaid promises.
Artists need no longer journey to the metropolis to find sale for
their works, for their genius is nourished on its native soil by the
liberality and good taste which abound in the neighbourhood of every
important town in the empire. It may be as well to keep up the hue and
cry about the folly of portrait-painting, if it be only to keep down
the vanity of wealth; but the munificent rewards which painters
receive for this branch of their art will enable them to devote a
greater portion of their leisure to higher studies. _Their taste_
will not thus be impugned; for Cooke, the actor, is known to have
entertained the meanest opinion of his own performance of Richard
the Third, as an historical portrait, notwithstanding it was the
corner-stone of his fame. We do not invite the comparison; but Mr.
Hayden began with history--his want of patronage is well known; he
then tried portraits--but his want of success was reserved for the
style of his Mock Election pictures, and, in all probability, they
will turn out the philosopher's stone for his future life.

But it is to the splendid union of Painting, Engraving, and Literature
that much of these beneficial effects may be traced. In every branch
of the fine arts and literature, what a powerful influence will this
triple advancement produce. Only compare the topographical works of
Mr. Britton with those of his predecessors--his highly-finished
line engravings, excellent antiquarian pieces on wood, and erudite
descriptions, with the wretched prints and the quaintnesses of old
topographers--or even with the lumber of some of our county
histories. With this improvement, and that of map-work, painting has
comparatively but little to do; and yet how evident is the progress of
the literature of these works.[2]

It would be easy to adduce hundreds of instances of the recent union
of painting and engraving. About five years ago, a plan was started
for illustrating the Bible from pictures of the old masters. Upwards
of two hundred of them were transferred to wood-blocks; but the scheme
did not repay the ing