Very different are the Venetian _Sketches_ of Madame Dudevant. She has drunk in the inspiration of Venice on the spot, has penetrated the very heart of its mystery, and reproduces the impressions which an intimacy with its peculiarities produces, with a degree of truth, force, and poetical feeling, that impart the most captivating charm to her Venetian _Letters_. Mr Whyte's _Fragments_ exhibit much of the same sensibility, the same just perception of the spirit of Venice; and though they have not that brilliancy of style which the pictures of the French authoress possess, there is often even in this respect great beauty both of thought and expression. Mr Whyte, indeed, took the right course to enable him thoroughly to understand and appreciate Venice. Instead of confining himself to the stately vision of the Grand Canal, or the wizard magnificence of St Mark's, he seems to have habitually traced all the lesser canals; the little Rii, which, like small veins, shoot off from the great arteries of the Grand Canal and the Giudecca, carrying the circulation of the Adriatic through this unique city; exploring their high, dark, and narrow recesses, pondering on the strange contrasts of misery and magnificence, squalid filth and luxurious ornament, which they present side by side; and heightening the impression thus created, by selecting all varieties of aspects, from the bright flashing sunshine pouring down into these dark chasms, as into a well, to the shadowy evening, the magic contrasts of moonlight, the gloom of wind and rain howling through the balconies, driving the ocean wave impetuously through these water-ways, and beating against their thousand bridges; or those thunder-storms--nowhere more magnificent than at Venice--where the gleam of the lightning forms so fearful a contrast with the Cimmerian gloom of the canal, and the peals are reverberated with such magnificence from those piles of masonry with which they are lined. There is, indeed, no spectacle that can be conceived, more impressive than some of these smaller canals, particularly if you enter them towards sundown. You glide into a gulf of buildings, rising high on each side--almost meeting above your head--most of them ruinous and dilapidated, sinking by piecemeal into the green element which they have displaced for centuries, but which, through the slow agency of the sap and mine, is visibly resuming his oozy empire. You pass some church with its unfinished marble face. Again, a set of poor rickety and mean edifices follow; when suddenly you come upon some pile of massy grandeur, looming gigantic in the twilight, in whose colossal, but beautiful proportions, you can trace the hand of Sammichele or Sansovino. You come nearer, and perceive the fretted windows broken, stuffed with rags, and patched with paper; rough boards nailed up against the gilded beams; grand portals, of which the doors have disappeared, allowing the eye to penetrate into a dark perspective