ORTOLAN has a lively sense of every sort of pleasure. He orders a dinner better than another man, and enjoys it more; he is a good sportsman, and well known as a first-rate wicket-keeper at LORD'S. But only his intimate friends are aware how he appreciates literature and art, and how solid his acquirements are in both. He is now quietly analysing the method employed by TITIAN in painting flesh when he is accosted by your Correspondent. "What do I think of Pre-Raphaelitism? I don't know what it means. Where are you to find out? There was a pamphlet certainly with that title which strongly recommended painting from Nature, but there is nothing very new in that. All artists paint from Nature, and very sick it makes one of the wonderful wigs, and satin, and armour, and plate-glass and china, and fruit and flowers and shiny dogs and deer. I don't speak of landscape painters, because the writer of that pamphlet has already proved that the moderns in this line are very superior, because better imitators than the old. One notion of his may perhaps pretend to novelty, that a painter should 'select nothing and reject nothing' in Nature. But I don't understand what he means by this. How can you avoid selecting and rejecting? I suppose some things are prettier than others, just as some women are prettier than others. He can hardly want a man to shut his eyes to what gives him pleasure. If he does he is wrong, and must know that he's wrong. If not, he must mean that when you are set down to paint the subject you have selected, you ought to paint it as it is. If that is all his discovery, what is the use of making such a fuss about it? Of course you ought, and so every industrious student does, to the best of his ability. But you must distinguish between studies and pictures. The first are merely exercises; the second are, or should be, poems. No one was more aware of this than the landscape painter whom he worships so devoutly, and who is generally thought to have pushed poetical treatment of landscapes to an extreme.