The remarks of M. de Burtin upon the _Peter Martyr_ of Titian are very strange. He must have been much deceived when he saw this wonderful picture, either by its position or the state of his own vision. We saw the picture out of its frame, and down against the wall, and saw no factitious unnatural effect, nor any black and white. "This picture," he says, "so full of merit in other respects, presents a striking example of the factitious and unnatural effect produced by the extraordinary opposition of black and white. I am well aware that gay and brilliant colouring would not be appropriate to a cruel action; but a measure is to be observed in every thing, and I cannot be convinced that there could occur, in broad day, and in the open air, a scene in which all was obscure and black except the figures." Obscurity and blackness in Titian's _Peter Martyr_! Our author has attached the school of Bologne to that of Lombardy, as others have done, in consideration that the Caracci in forming their school greatly studied Correggio. Yet undoubtedly Correggio stands quite apart from the Caracci. The Bologna was in fact a "Composite" school. If the Venetian school was indicative of business, of the activities of society as a mass, the Lombard school, as first distinguished by Correggio, assumed more homely grace, it was domestic, of the hearth--the cherished love, the sweet familiar grace. This was its characteristic; it bore a kind of garden luxuriance and richer embellishment of colour, not the embellishment of civic pomp as seen in the Venetian, but a coloured richness as of the fruit and flower of a new Eden. The _Holy Families_ of Correggio are in fragrant repose. The earth pays the homage of her profusion, and, as conscious of the presence of him that shall remove her curse, puts on her gorgeous apparel. The next descent from this grade of art would be to the pastoral. M. de Burtin objects to the airs of the heads, "graceful and smiling felt not to be altogether appropriate when the action is sad or violent." We can imagine that he alludes to the picture of the _Martyrdom of St Placidus and Flavia_ at Parma. The smiling saint receiving the sword in her bosom, as a boon in thankfulness or that coming bliss which is already hers in vision, is perhaps as touching as any expression ever painted by Correggio. Did our author miss the meaning of that devotional and more than hopeful smile? This picture, like some others of Correggio, is very grey, and has probably had much of its glazing removed. In M. de Burtin's notice of the Flemish school, we entirely pass over the discussion respecting Van Eyck and his discovery; enough has been said upon that subject. The partiality of our author for Rubens is very perceptible. The characteristics of the Flemish school are confined to Historical painting, and even in that class there is scarcely more than one example, Rubens. Between Rubens and Vandyke there is certainly affinity beyond that of