reverie of the brain. If it be allowable to cultivate fancy, that which has little or nothing of nature in its composition becomes ridiculous. A man may carry the flights of imagination even within the walks of the chastest art or science, till they become mere waking dreams, as wild as the conceits of a madman. The author of Observations on _Fresnoy de Arte_ very properly calls these persons, 'Libertines of painting:' as there are libertines of religion, who have no other law but the vehemence of their own inclinations, so these have no other model, he says, but a rodomontado genius, which shews us a wild or savage nature that is not of our acquaintance, but of a new creation. "If not in subjects altogether, yet in manner, one of the first examples of this kind, if not the very first, appeared about the latter end of the sixteenth century, in a Neapolitan, who is commonly known by the name of Giuseppe d'Arpino." After having thus openly condemned some of the subjects painted by Sir Joshua Reynolds and Fuseli, the author shortly after launches out in unqualified praise of the works of West, particularly his "Death of Wolfe," of which he gives an elaborate description, and concludes by considering it as "one of the most genuine models of historic painting in the world." The series of pictures painted by Barry, which adorns the great room of the Society of Arts in the Adelphi, are also eulogized by him. It was generally known to the academicians, that Mr. Bromley had assisted Mr. West in arranging and getting up the discourses which the latter delivered to the Royal Academy; and it was conjectured that Mr. West had given his friend some of the observations on modern art, even those in praise of his own works. These circumstances, and Mr. Bromley's strictures upon a living artist (Fuseli), disgusted many of the members of the Royal Academy, and they requested Fuseli not only to animadvert upon them, but to prove (what he broadly asserted) that Mr. Bromley did not understand the subject, and that he was equally ignorant of the classical authorities which he quoted in his Dissertation upon Ancient Art. Fuseli immediately undertook the task, and published in a journal, a letter addressed to Mr. Bromley, pointing out a variety of errors in his work. I regret, after having employed much industry to find this, that I have not succeeded. Mr. Bromley answered it by publishing two letters in the Morning Herald of the 12th and 18th of March 1794, in which he deeply complains of the injury he sustained, as an author, by the observations of Fuseli; admits that several of these are correct which regard classical quotations, but shields himself by stating that his manuscript was right, and that the errors are to be attributed to the printer.