But in time the progeny of art multiplied. The trading multitude had to entice purchasers, and to persuade them that their novelties were at least more pleasing, if the aim was not so high. The new lamps were cried up above the old. Thus they first created a bad taste, and then pandered to it. Cold conventionalities took the place of feeling; even beauty was studied more for low sense, than for its moral, and intellectual expression. Art was smothered by her own children. The brood has been too numerous, and the productions as variable as the brood. They who would do great things were they allowed, are not allowed. The lower fascinations have taken possession of the public mind. Patronage runs to the little, and the greatest encouragement is to those who will provide the market with the cheapest, if not the best wares. Artists must live as well as other people. They cannot, if they would, sacrifice themselves to work out great and noble ideas, for which there is no demand; and for this state of things they are themselves in no small degree to blame. It is their own cry for patronage that has raised these art-unions: the patronage has been raised, but who gets it? They (like the national guard in Paris) have been superseded by their own inferior workmen. And what shall remedy all this superfœtation? First, let pains be taken properly to educate in art the public eye, and the public mind. We rejoice to know that, while we are writing, a society is forming, similar to the Cambden Society, for the publication of all important works on art, whether old or original, and for having the finest productions of art engraved, in whatever country they are to be found. As good taste is the object, so care will be taken that nothing of a deteriorating character will be admitted; and works will be produced which, in the present state of general feeling, private speculation would scarcely venture upon. The works will, we are given to understand, chiefly be distributable among the members of the society; but some, thought to be particularly well adapted to give a better direction to the public taste, will be generally purchasable. This society is of great promise--if it succeeds at all, it will succeed eminently, and we believe it must succeed. It will, we have some hope drive the low, the meaningless things of the day out of the field. We are, as a nation, really ignorant of art. We know it not, as it has been. We want to see the public eye acquainted, through good engravings, with the numerous fine frescos that cannot be generally known in any other way. Whatever tends to the real advancement of art will obtain the solicitous attention of this society.