gentleman of literary power and knowledge--was the editor of the 'Halifax Guardian' at the time, and visited the artist's small studio, where he saw, in one corner, under its lean-to roof, for the first time, the bust of Satan. He was astonished at its merit, and published his criticism of the work in the paper on May the 24th, 1834. Leyland was then strongly urged to forward the bust to London, which he did, with some others he had modelled; and the critics were invited to visit his studio. The favourable opinion which Mr. Hogarth published, in the paper of which he was editor, was endorsed, but in more flattering terms, in the 'Morning Chronicle' of December 2nd, 1834. But there was held at Leeds, in these years, the Annual Exhibition of the Northern Society for the Encouragement of the Fine Arts; and Leyland, before he sent his work to London, included it in his contributions to the exhibition at Leeds. The oil-paintings and water-colour drawings that were hung there, in the summer of 1834, appear to have formed a fine and varied collection. There were beautiful landscapes in water-colour by Copley Fielding, and in oil by Alexander Nasmyth, John Linnel, Robert Macreth; and others were well represented, while historical paintings by H. Fradelle, sea-pieces by Carmichael, and animal paintings by Schwanfelder, always good, were highly creditable to these well-known names. A number of fine portraits by William Bewick and William Robinson added interest and beauty to the galleries. The reader may conceive, if he will, the Brontës--Charlotte and Branwell, and, it may be, Mr. Brontë and Emily--enjoying to the full the paintings and sculptures which were before them. He may fancy the suddenly expressed, 'Look, Charlotte!' as some newly discovered picture flashed as a keen delight on the eager fancy of Branwell's appreciative spirit. He may imagine the ready criticism of Charlotte, and the attempts which she and her brother made to divine how much thought had gone to make up the composition of a work. The young Brontë critics, as they looked on the colossal head of Satan--on the stern and inflexible firmness of the features 'whose superhuman beauty is yet covered with a cloud of the deepest melancholy;' on the representation 'of the great and glorious being sunk in utter despair,'--might ponder, perhaps, whether an ideal has dawned upon the imagination of the artist, and so been wrought from no model, but from the vision of his meditations, or whether success is, after all, but the evidence of painful elaboration. At any rate, it was just on such an exhibition of paintings and works of art that Charlotte and Branwell delighted to dwell in intelligent and educated observation.