Through all the running at these wonderful speeds the train moved with singular smoothness. Moments there were of some anxiety, when the cars swung round a curve or dashed through the streets of a town. At such times there were those among the passengers who would perhaps gladly have sacrificed a few seconds of the record. Except for those occasions, however, there was nothing to tell of the extraordinary speed--nothing unless one stood on the rear platform of the last car and saw the swirling cloud of dust and leaves and bits of paper, even of sticks and stones, that were sucked up into the vacuum behind, and almost shut out the view of the rapidly receding track. It may be (it certainly will be) that the average of 65.07 miles an hour for a distance of 510 miles will be beaten before long. It is almost certain that the same engines on the same road could beat it in another trial--taking a slightly lighter train, running by daylight and over a dry rail. It will be long, however, before such another run is made as that over the last 86 miles by the ten-wheeler, with William Tunkey in charge. Railway men alone, perhaps, understand the qualities which are necessary in an engineer to enable him to make such a run; and the name of Tunkey is one (however unheroic it may sound) which railway men will remember for many years to come. An analysis of the figures given above will show that it was not until within 20 miles of the end of the run that there was any confidence that the record was broken; and not until the run was actually finished and the watches stopped for the last time, at 34 seconds after half-past eleven, that confidence was changed to certainty. In addition to the mere speed, everything combined to make the run supremely dramatic--the disappointment over the first divisions--the growing hopes dashed by the unexpected flag--the increase of hope again on the run to Erie--the misgivings as to the type of engine--all culminating in the last tremendous burst of speed and the triumphant rush into Buffalo station. And having left Chicago at half-past three in the morning, at half past-ten that night I sat and watched Mr. John Drew on the stage of a New York theatre. A CENTURY OF PAINTING. NOTES DESCRIPTIVE AND CRITICAL.--A PROVINCIAL SCHOOL OF ART IN ENGLAND.--THE PRECURSOR OF MODERN ART, CONSTABLE.--THE SOLITARY GENIUS OF TURNER.--THE ENGLISH SCHOOL OF PORTRAITURE.--ROMNEY, OPIE, HOPPNER, AND LAWRENCE. BY WILL H. LOW. At the period when in France David and his followers had resuscitated a dead and gone art, and by dint of governmental patronage had infused into it a semblance of life, across the Channel, in a provincial town of England, a little group of painters were quietly doing work which, if it did not in itself change the face of modern art, was at least indicative of the change soon to be accomplished by the advent of Constable.