70. MILLAIS--_Rosalind and Celia._--A picture full of sunny light and masterly celerity of execution. The faces have great sentiment, and ample charm of beauty: the confiding self-subordinating character of Celia speaks in the lines of her mouth. Touchstone is older than one would infer from the drama. It is a pity that Mr. Millais did not set himself to reflect what Rosalind would probably have done with her hair and costume in order to sustain the disguise of a young man. The upper portion of the dress is absurdly feminine, and hardly recedes even from the nineteenth century. On the stage one pardons the paraded sex of the actress--it is partly unavoidable, and partly a device of her profession: but in a picture one fairly expects a greater conformity to the common sense of the situation. Mr. Millais, however, never _will_ pay any attention to his costume. With all the signal merits of the execution, the texture is not free from woolliness. 87. FRITH--_Before dinner at Boswell’s Lodgings in Bond Street, 1769: present, Johnson, Garrick, Goldsmith, Reynolds, Murphy, Bickerstaff, Davies, and Boswell._--We have heard only too often about Goldsmith’s “bloom-coloured coat.” This is the scene of its exhibition before Boswell’s guests. The picture may be termed a self-respecting one: the humours of the personages and the incident are indicated without being made to stare one out of countenance. _Per contra_, it must be said that strength is deficient throughout: common weakish mouths prevail in this distinguished company. Goldsmith and Reynolds are indifferent likenesses; and Johnson’s clothes fit almost as accurately as Goldsmith’s. 123. EDWIN LANDSEER--_Rent-Day in the Wilderness._--“After the defeat of the Stuart army in 1715, at Sheriff Muir, Colonel Donald Murchison, to whom the Earl of Seaforth confided his confiscated estates in Ross-shire, defended them for ten years, and regularly transmitted the rents to his attainted and exiled chief.” The picture shows the rent being thus collected under difficulties. A bearded clansman, attended by his daughter, is in the act of paying; a friar kneels close beside Colonel Murchison; and a number of other Highlanders have assembled for the occasion. This large and crowded picture has a peculiar look, in consequence of the stealthy and crouching action of most of the figures: they are keeping close amid the brushwood on one side of Loch Affric, while some of the Government soldiers are patrolling the opposite bank. The work has thus--besides the generic merits which any large painting by Sir Edwin Landseer is sure to possess--plenty that is both peculiar and interesting, not unmingled with a certain impression of discomfort.