spirits of wine destroy the one vehicle and not the other, the old and original, they must differ. Another chapter is devoted to "The famous balance composed by De Piles for estimating the different degrees of merit in the principal historical painters." This famous balance is a piece of critical coxcombry with which we never could have tolerable patience. It is an absurd assumption of superiority in the critic over all the masters that ever were; as if he alone were able to conceive perfection, to which no painter has ever been able to advance; that perfection on which the critic, or rather De Piles, had his eye, is Number 20; that no Painter has approached it nearer than nineteen. It commences with a falsehood in supposition, that the critic is above the Painter, or Art, or the only one really cognisant of it. The fact being quite the reverse, for _we know nothing that we have not been absolutely taught by genius_. It is genius that precedes; it is the maker, the worker, the inventor, who alone sees the step beyond. Did the critic see this step he would cease to be the critic, and become the maker. He would become the genius. In the arts, whether of poetry, painting, or music, we know nothing but what practical genius tells us, shows us, teaches us; seldom is it, indeed, that the scholar critic comprehends fully the lessons taught; but to pretend to go before the _masters_, and to set up a post with his Number 20 marked upon it, and to bid his master reach it if he can, is the puerile play of an infantine intellect, or very conceited mind! And so we give M. De Piles, and all his followers, a slap in the face, and bid them go packing with Number 20. We will not condescend to pull to pieces this fantastic scheme, which is in its distinctions, and weighings and calculations, appreciations and depreciations, as false as it must necessarily be, arising from a mind capable of laying down any such scheme at all. The chapter on prices, and the lists contained, will be consulted with advantage by collectors. It contains valuable documents, showing the fluctuations of public taste. There is much useful information upon cleaning pictures, and on varnishes. Something has been recently said to bring into practice again the varnishing with white of egg. M. de Burtin is decidedly against the practice. "As to the varnishes of water, isinglass, and white of egg, every prudent amateur will attack them the instant that he discovers such dangerous enemies, and will use every effort to free his pictures from them." We think him utterly mistaken in the following passage. "In operating upon a work of art, whether to clean it or to raise the varnish, it ought to be remembered, that the colours grow hard only by the lapse of time." If so, surely a hundred years would be time enough to harden--but the chemical tests which touch the hard paint, if it be hard, of a century old, will not be applicable to those of still older date, and of better time.