accurately represented, and every feature of the smallest interest, on the scale of an inch to a mile. Portrait-painting may be said to have been entirely superseded now that the Sun has been compelled to add colour to form in the pictures taken by the photographic camera, and Landscape Art has died out in its old inaccurate fanciful sense, having been succeeded by a more scientific method of representing Nature as she really is. The geological formation of every mountain, the physiology of each tree and blade of grass, as determined by expert geologists and botanists, will alone satisfy us in this age of science, and we demand this accuracy from all who pretend to record the aspect of our country. We find all these requirements met in the works of the distinguished landscape painter of No. 60,072, “View of the Great Smelting Works,” in the iron district, lately discovered in the North of Scotland. We venture to affirm that none but a thoroughly educated man of science could have painted the details of this picture, and we cannot bestow higher praise. The “Interior of the Factory,” No. 20,621, is also a work deserving of much commendation for the minuteness of its detail, which must be examined with a strong magnifier to be thoroughly enjoyed—the complicated arrangement of the machinery escaping the naked eye; also the texture of the materials which are being manufactured into webs of the most gossamer-like lightness from heaps of rough coarse yarns and woollen threads. The faces of the operatives are exquisitely rendered, and you seem to hear the noise of the wheels and cranks.