enjoy it, where _docti artis rationem intelligunt, indocti sentiunt voluptatem_; so that we have to consider how that instruction and enjoyment which the gallery is calculated to afford ought to be provided for.” Not a doubt of it. But why, Mr Dyce, ride your poor hobby-horse round this circle? Don’t you see you haven’t advanced ten paces beyond the stable door. In fact, you have said but the same thing over and over again; but you have taken out of the pack-saddle a scrap of Latin, which, however well it may sound, and your own hobby may prick up his ears at it, is really a piece of arrant nonsense; indeed the reverse of it is the truth; for it is _the unlearned_, of course, who come to your lecture, that they may understand, “_intelligunt_;” and the learned, the “_docti_,” they who know something about the matter, only who can perceive, “_sentiunt_,” the “_voluptatem_,” the pleasure of art. But we said Mr Dyce would annihilate enjoyment, and see if he does not do the thing, and most astonishingly. After the passage last quoted, follows: “Now, if there be any, and at this time of day it is to be hoped there are very few, who think that the purpose of the National Gallery will be served by what in popular phrase is termed ‘a selection of the best works of the best masters’” (we rejoice to find so sensible a _phrase_ is popular), “I will simply beg them to apply their opinion to the case of any section of a national library to convince themselves how utterly untenable it is.” Now the Curiosity Museum is a Library, and a Museum of Curiosities and a library are, _ergo_, moulded into one—a National Gallery; whereas the materials will not amalgamate,—not one is a bit like the other. To go on is really to get deeper and deeper into the quagmire of nonsense, the only kind of _depth_ to be met with in the whole pamphlet. It must sadly have tired the patience of his Royal Highness, if he did read it; and if Mr Dyce wrote it with any view of giving his Royal Highness a lesson in the English language, which was not needed, he has furnished as bad a “specimen” as could be well met with. But to the matter and the argument:—“the best works of the best masters” is as silly an idea, he thinks, as to supply a library with the best dramatists, Shakespeare, of course, included. He is an advocate for the worst, such as no one would read—and why?—the very sound of it is truly asinine. “Would such a proceeding be tolerated for a single moment? Would it be endured that they, that any body of men, however eminent, should possess the right to withhold from the public any attainable materials for literary knowledge and criticism?”—for which purpose Mr Dyce does not withhold this pamphlet. His materials it is not difficult to decide. It certainly could never have been intended for knowledge but under the greatest mistake; supposing it then to be for criticism, we take him at his word, and indulge him accordingly, or, as he says, “in relation to its