m the subjects
of his pencil. The scene near Corpodibacco (we know the spot well,
and have spent many a happy month in its romantic mountains) is most
characteristic. Cardinal Cospetto, we must say, is a most truculent
prelate, and not certainly an ornament to his church.

"'49, 210, 311. Smee, R.A.--Portraits which a Reynolds might be proud
of,--a Vandyke or Claude might not disown. 'Sir Brian Newcome, in the
costume of a Deputy-Lieutenant,' 'Major-General Sir Thomas de Boots,
K.C.B.,' painted for the 50th Dragoons, are triumphs, indeed, of this
noble painter. Why have we no picture of the Sovereign and her
august consort from Smee's brush? When Charles II. picked up Titian's
mahl-stick, he observed to a courtier, 'A king you can always have; a
genius comes but rarely.' While we have a Smee among us, and a monarch
whom we admire,--may the one be employed to transmit to posterity the
beloved features of the other! We know our lucubrations are read in high
places, and respectfully insinuate verbum sapienti.

"'1906. 'The M'Collop of M'Collop,'--A. M'Collop,--is a noble work of
a young artist, who, in depicting the gallant chief of a hardy Scottish
clan, has also represented a romantic Highland landscape, in the midst
of which, 'his foot upon his native heath,' stands a man of splendid
symmetrical figure and great facial advantages. We shall keep our eye on
Mr. M'Collop.

"'1367. 'Oberon and Titania.' Ridley.--This sweet and fanciful little
picture draws crowds round about it, and is one of the most charming
and delightful works of the present exhibition. We echo the universal
opinion in declaring that it shows not only the greatest promise,
but the most delicate and beautiful performance. The Earl of Kew, we
understand, bought the picture at the private view; and we congratulate
the young painter heartily upon his successful debut. He is, we
understand, a pupil of Mr. Gandish. Where is that admirable painter? We
miss his bold canvasses and grand historic outline.'

"I shall alter a few inaccuracies in the composition of our friend
F. B., who has, as he says, 'drawn it uncommonly mild in the above
criticism.' In fact, two days since, he brought in an article of quite
a different tendency, of which he retains only the two last paragraphs;
but he has, with great magnanimity, recalled his previous observations;
and, indeed, he knows as much about pictures as some critics I could
name.

"Good-bye, my dear Clive! I send