marbles, Haydon fails almost wholly to express the beauties which he enthusiastically perceived, and loses every distinction and every subtlety of the original. Very much better is his account of them in words: as indeed Haydon's chief intellectual power was as an observer, and his best instrument the pen. Readers of his journals and correspondence know with what fluent, effective, if often overcharged force and vividness of style he can relate an experience or touch off a character. But in this, the literary, form of expression also, as often as he flies higher, and tries to become imaginative and impressive, we find only the same self-satisfied void turgidity, and proof of a commonplace mind, as in his paintings. Take for instance, in relation to Keats himself, Haydon's profound admonition to him as follows:--"God bless you, my dear Keats! do not despair; collect incident, study character, read Shakspere, and trust in Providence, and you will do, you must:" or the following precious expansion of an image in one of the poet's sonnets on the Elgin marbles:--"I know not a finer image than the comparison of a poet unable to express his high feelings to a sick eagle looking at the sky, where he must have remembered his former towerings amid the blaze of dazzling sunbeams, in the pure expanse of glittering clouds; now and then passing angels, on heavenly errands, lying at the will of the wind with moveless wings, or pitching downward with a fiery rush, eager and intent on objects of their seeking"--