As for colouring,—the only bit of colour which I can remember even faintly resembling them (for though Correggio’s Magdalene may rival them in greens and blues, yet even he has no such crimsons and purples) is the Adoration of the Shepherds, by that “prince of colorists”—Palma Vecchio, which hangs on the left-hand side of Lord Ellesmere’s great gallery. But as for the forms,—where shall we see their like? Where, amid miniature forests as fantastic as those of the tropics, animals whose shapes outvie the wildest dreams of the old German ghost painters which cover the walls of the galleries of Brussels or Antwerp? And yet the uncouthest has some quaint beauty of its own, while most—the star-fishes and anemones, for example—are nothing but beauty. The brilliant plates in Mr. Gosse’s “Aquarium” give, after all, but a meagre picture of the reality, as it may be seen in the tank-house at the Zoological Gardens; and as it may be seen also, by anyone who will follow carefully the directions given at the end of his book, stock a glass vase with such common things as he may find in an hour’s search at low tide, and so have an opportunity of seeing how truly Mr. Gosse says, in his valuable preface, that— “The habits” (and he might well have added, the marvellous beauty) “of animals will never be thoroughly known till they are observed in detail. Nor is it sufficient to mark them with attention now and then; they must be closely watched, their various actions carefully noted, their behaviour under different circumstances, and especially those movements which seem to us mere vagaries, undirected by any suggestible motive or cause, well examined. A rich fruit of result, often new and curious and unexpected, will, I am sure, reward anyone who studies living animals in this way. The most interesting parts, by far, of published Natural History are those minute, but graphic particulars, which have been gathered up by an attentive watching of individual animals.”