most interesting foreign publications remain untranslated. Vasari is as yet unknown in our language. Transcripts, in outline or in more full engraving, of the finest works, exist not among us: these are the things that should be before the eyes of all, together with a systematic reading education upon the principles. Whatever has been done that is great, that is ennobling, should be, as far as is possible, seen and known. As yet, in all this, there is a great deficiency. The public is left to, at best, an incipient taste; which, to judge from the kind of productions that find the readiest market, is not good--at all events is not high, and scarcely improving. The love is at present for picture imitation, that lowest condition in which art may be said to flourish. We want an education in its principles, that its just aim and proper influence may be understood. The Fine Arts should be a part of our literature, and thus become a branch of general education. We hail with pleasure every work of the kind we see announced; we rejoice in the publication of our "hand-books," and the many volumes on the arts, as they flourished in other countries, which now begin in some measure to interest the reading public. But is nothing done towards a foundation for education in the principles of the arts? We are happy to say there is much done. If the commission on the Fine Arts had done nothing more than the drawing up their "reports" by their secretary, in that they have done much. Valuable, however, as these "reports" are, they were nearly a dead letter: the title was not enticing; few looked to reports as other than statistical accounts; whereas, in reality, they contained deep research, accurate knowledge, and clearly set forth the principles upon which, as a foundation, true taste must rest. We are happy that these most able essays have been rescued from the common fate of "reports," by their being now preserved in a collected form, together with other most valuable treatises from the pen of the secretary to the commission, under the title of _Contributions to the Literature of the Fine Arts_. Mr Eastlake has conscientiously imposed upon himself an arduous undertaking, beyond the implied condition of his secretaryship. In so doing, he deserves the greatest commendation, for he has greatly increased the utility of the commission. Not content with promoting the arts by these excellent theoretical treatises, he has addressed the artists themselves, and led them to the best practical views. He has, with great industry, labour, and patient investigation, cleared away the common errors respecting the "Old Masters." We have already noticed his _History of Painting in Oil_--that is, the first volume, which treats of the practice of the Flemish school. It is now no matter of conjecture what colours or what vehicles were in use--we have sure documentary evidence before us. It remains to make known the alterations and additions to that practice