CURATE.—We are, not yet really lovers of art, or we should not be so confined in our taste. The excellence of this one painter excludes others from their due praise, and patronage too. Go to our exhibitions, you are surprised at the number of our artists: look at the printsellers’ windows, and you would wonder at their fewness. I cannot remember, at this moment, a print from a work of any modern British painter, of moral importance and dignified sentiment. LYDIA.—There is one of Mr Eastlake’s, his beautiful scriptural subject. AQUILIUS.—True; but we have not yet emancipated the nation from their puritan horror of sacred subjects—which are, after all, the greatest and best. We import these from the Germans. GRATIAN.—We have been a nation, of country gentlemen—fond of field-sports: and this our national character has had much to do with our taste in art. Hence nothing answers so well as horses and dogs. CURATE.—Yet I am inclined to say “cave canem.” By the bye, why do the old painters, Paul Veronese, for instance, in his celebrated large picture of the marriage feast, introduce great dogs, where they evidently should not be? I have met lately, somewhere, with the supposition that the bones which the painters calcined to make dryers were the bones thrown under the tables for the dogs, and that such was the practice. But there is passage in “Laurentius Pignorius de servis,” which seems altogether to contradict the notion, and indeed to reprove painters who introduced these large dogs in their pictures; and particularly, it should seem, one who represented Lazarus and the dogs in the same room with Dives. His argument is curious—that the dogs which were admitted upon these occasions were little pet animals, and that it is so shown by the passage in chap. xv. verse 27, of St Matthew, where they are said to pick up the _crumbs_, and that it is shown to have been so by ancient sculpture. He says that this introduction is become such an admitted taste, that whoever would be bold enough to set himself against it would in vain endeavour to correct the bad taste of the painter. It is a curious passage,—I have the book here, and will turn to it: I read it only the other day. Here it is, and I more readily offer it as it speaks sensibly of a disgusting subject, unfit for painting.