To our purely literary readers we may say, that Mr. Hamerton is sure to interest them with his chapter on "Word-Painting and Color-Painting," and that on "The Painter in his Relation to Society." Mr. Hamerton shows himself to be an acute and manly essayist in the treatment of these subjects. His chapter on "Word-Painting and Color-Painting" is fresh and direct in treatment, and therein he breaks new ground. He presents the truths of his subject so felicitously, that, as in reading Emerson's essays, we are surprised it has not occurred to another to say the same things equally well. But even here we are disposed to find fault with Mr. Hamerton. In mentioning the masters of the much-abused art, the much-discredited art of word-painting, he forgets Robert Browning! Can Mr. Hamerton find any poet more decisive, more exact, more rapid and effective in suggestion of Nature than Browning? In the development of this very happy essay, we have examples or characterizations of the peculiar talent of Scott, of Wordsworth, of Coleridge, of Keats, of Byron, of Shelley, and of Tennyson, among poets,--of George Sand, of Lamartine, of Charlotte Bronté, of Marian Evans, and of John Ruskin, among prose-writers. In this essay, while awarding to Tennyson among poets, and to Ruskin among prose-writers, the honor of good preëminence in the art of word-painting, he at the same time subjects the latter to a criticism perhaps unexpected, certainly effective. Mr. Hamerton points out Mr. Ruskin's poetic fallacies, and forcibly demonstrates the crushing power of common-sense,--that is to say, unimpassioned sense,--when acting upon whatever has grown out of an emotion. It is somewhat cruel, if not brutal, to cry havoc over Mr. Ruskin's tender "lichens that lay quiet finger on the trembling stones, to _teach them rest_."