There are interesting yet short chapters on mosaic, tapestry, and painted glass; subjects now demanding no little public attention, coming again as we are to the taste for decoration. The ladies of England will be pleased to find their needle-work so seriously considered. Happy will it be if their idleness leads to a better and employed industry. Due praise is bestowed upon Miss Linwood, whose works are ranked with the Gobelin tapestry. We remember seeing many years ago an invention that promised great things--painting, if it may be so called, in wool work. It was the invention of Miss Thompson, and was exhibited, and we believe not quite fairly--much mischief having been done to the pictures by pulling out parts, either for wanton mutilation, or to see the manner of the working. Whether from disgust arising from this circumstance, or at the little encouragement shown to it, the invention seems to have dropped. Yet was the effect most powerful, more to the life than any picture, in whatever material; and from the size of the works produced by the hands of one person, we should judge that it is capable of rapid execution. We have a vivid recollection of a copy from a picture by Northcote, figures size of life, and of the head of Govartius, in the National Gallery. We are not without hope that this slight notice may recall a very effective mode of copying, at least, if not of producing, original works. Of painted glass, it is remarked,-- "The earliest notice of its existence is in the age of Pope Leo III., about the year 800. It did not, however, come into general use till the lapse of some centuries. The earliest specimens differ entirely from those of a later date, being composed of small pieces stained with colour during the process of manufacture, and thus forming a species of patchwork, or rude mosaic, joined together with lead, after being cut into the proper shapes." Mr Cleghorn omits to say that this more perfect invention of painting on one piece various tints and colours, and regulating gradations of burning, was effected and brought to perfection by the same extraordinary man to whom the world is indebted for the invention of oil painting, Van Eyck. From the discoveries of this extraordinary man, or rather these extraordinary brothers, Van Eyck, must be dated the advance in the arts, both on glass and in oil-colours, which brought to both the perfection of colouring. The wonderful splendour added to design upon glass, which was so eminently practised at Venice, without doubt supplied to the Venetian school an aim which it could not have had under the old tempera system, but which the new oil invention of Van Eyck sufficiently placed within its reach.