from our churches, which we are more desirous of multiplying than of ornamenting. Nor can we wonder at this; for, whereas the churches and all public buildings in Italy, were and are open at all times, and the great works they contain, are to be seen every day, and at every hour of the day, with us it is a great thing to have them open once or twice in the week, for an hour and a half at a time. So that we fear the Commission for the promotion of the Fine Arts are, as far as we can judge of their ostensible object, in a labyrinth, from which if they find an exit, they will not have enlarged their prospect, and will have to congratulate themselves, at best, on being where they were when they entered it. We do not here express a doubt as to the advantage of our having a Commission of the Fine Arts. We only doubt their judgment in the exclusiveness of their aim, and the largeness of their implied promises. But if there be a suspicion of failure in the ostensible object, in some of its working the greatest benefit will have been conferred upon modern art. A more judicious or more fortunate choice could not have been made, than that made in the appointment of the Secretary to the Commission. Much as the world has reason to regret that this appointment has for a long, too long a period, been a sore let and hinderance to Mr Eastlake in the practice of his art,--the conscientious view he has taken of the duties of his office, and his entire faithfulness in discharging them, have led to results of a most beneficial character,--beneficial to artists, and to the arts as a perpetuity. His highly valuable work, though with the most modest title, "Materials for a History of Oil Painting," is the real boon, and will be the lasting proof of his faithful service. Considering the sacrifice with which a work of so much labour, thought, and research must have been achieved, we hope the Commissioners are empowered to reward his energy, ability, and fidelity, according to their merits, and according to the sacrifice.