64. The adjourned Debate. _T. Clater._ A cobbler, despite the ancient saw, _ne sutor ultra crepidam_, intently devouring the "folio of four pages." 67. The Sisters. _John Wood._ One of the painter's most successful productions, and deservedly so. 74. Diana and Actaeon. Another of _Wilson's_ classic compositions of captivating loveliness, proving the painter, as Mr. Cunningham observes, to have wrought under historical and poetic influence. 80. Portrait of the late James Perry, Esq. _Lawrence._ The likeness is striking, and the colouring that of a master hand. The "head and front" bear intellectuality in an eminent degree. 82. Henry III. of France. _Bonington._ One of the lamented artist's most celebrated pictures. The personal elegance of the sovereign, and the luxurious details of the scene are in fine keeping with the minuteness of history in these matters. 89. The Trial Scene in the Merchant of Venice. _Zoffani._ With Macklin, --The Jew That Shakspeare drew; his daughter as Portia, in the habiliaments of "the learned lawyer;" Clark, Bensley, &c. 100. Portrait of Bishop Hoadley. _Hogarth._ 102. Banks of the Tiber. _Wilson._ 118 and 187. Portraits of the Princesses Sophia and Mary, when children. 125. Battle of Cressy. _West._ 137--138--151. Captain Macheath--the Grave-diggers--and the Ghost Scene in Hamlet--all gems in their way, by _Liverseege_, of Manchester; they are full of point, and so rich in promise of future excellence as to add to our regret for the premature death of the artist. 134. The First Study for the Niobe Landscape. _Wilson._ Peculiarly interesting to artists. _To be continued._ * * * * * THE PUBLIC JOURNALS. * * * * * EFFECTS OF FASHIONABLE MANNERS AND CUSTOMS UPON SERVANTS AND TRADESMEN.