the delight of the highest intellect and genius, and absolute _caviare_ to the rabble. And just as _Omne tulit punctum qui miscuit utile dulci_, so will the writer of fiction, who looks most sagaciously to his own _interest_, combine all votes by intermingling with his loftier efforts such amount of less ethereal matter as will give general currency to his composition. And here we shall be pardoned for quoting some observations of the English artist, H. Howard. Speaking of _imitation_, he says: The pleasure which results from it, even when employed upon the most ordinary materials, will always render that property of our art the most attractive with the majority, because it may be enjoyed with the least mental exertion. _All_ men are in some degree judges of it. The cobbler in his own line may criticize Apelles; and popular opinions are never to be wholly disregarded concerning that which is addressed to the public—who, to a certain extent, are generally right; although as the language of the refined can never be intelligible to the uneducated, so the higher styles of art can never be acceptable to the multitude. In proportion as a work rises in the scale of intellect, it must necessarily become limited in the number of its admirers. For this reason the judicious artist, even in his loftiest efforts, will endeavor to introduce some of those qualities which are interesting to all, as a passport for those of a more intellectual character. And these remarks upon painting—remarks which are mere truisms in themselves—embody nearly the whole _rationale_ of the topic now under discussion. It may be added, however, that the _skill_ with which the author addresses the lower taste of the populace, is often a source of pleasure because of admiration, to a taste higher and more refined, and may be made a point of comment and of commendation by the critic. In our review, last month, of “Barnaby Rudge,” we were prevented, through want of space, from showing how Mr. Dickens had so well succeeded in uniting all suffrages. What we have just said, however, will suffice upon this point. While he has appealed, in innumerable regards, to the most exalted intellect, he has meanwhile invariably touched a certain string whose vibrations are omni-prevalent. We allude to his powers of _imitation_—that species of imitation to which Mr. Howard has reference—the _faithful_ depicting of what is called still-life, and particularly of _character_ in humble condition. It is his close observation and imitation of nature here which have rendered him popular, while his higher qualities, with the ingenuity evinced in addressing the general taste, have secured him the good word of the informed and intellectual.