"It is now two or three weeks since the large case of pictures came safe to hand; "The _Union_" is placed in its proper station, where it has an uncommonly fine light, and looks extremely well. The printer of one of our papers wants to say something fine about it, and has called upon me for a description. Can you suggest what I shall say as to the _allegorical_ part of it, or shall I try to do the best I can, both with respect to that and the execution? which could not have been more suitable, or had a better effect, if you had seen the place. I know no method that would have so direct a tendency to encourage the high style of painting in this country, as the introduction of good pictures into public buildings, and even churches; on which last subject, I hope to show you some remarks, which will appear in my Life of Leo X. now almost ready for the press. I allow this would be little satisfaction to the artist, if he was to give his time, talents, canvass, and paint, as some people do. You and I will, however, settle this point, I doubt not, to our mutual satisfaction. "Having read thus far, take up your pen without delay, and let me at least once more see your _magnanimous pothooks_ on the back of a letter, addressed to your ever faithful and affectionate friend, "W. Roscoe." "Liverpool, 12th Nov. 1803." "P.S. The Allegro and Penseroso are safe at Liverpool, but are much too large for any situation I can give them at Allerton." In order to give some notion of Fuseli's projected work, for which chiefly he went to Paris, the following criticisms upon some of the pictures then in the Gallery of the Louvre may be acceptable: these he was kind enough to offer to me when I was about to visit France in the year 1814. JULIO ROMANO--THE CIRCUMCISION. This picture, which is known from the print published in Crozat, deserves rather to be considered as a curiosity than as the work of a great master; its composition bears some resemblance to the cartoon of "Peter and John healing the Lame Man," of Raphael; but the simplicity and dignity of the master are lost in the crowd with which the pupil surrounded the ceremony. Though the columns occupy full as much space, and are as prominent and as full of ornament in the cartoon as in the picture, and although the principal actors are placed in both between them, they are not perceived in the work of Raphael, till we have witnessed the miracle, whilst in that of Julio, they lead us to the ceremony, which eclipses the actors in its turn. PAOLO VERONESE.