Though old age has stolen on us, it has made us neither sullen nor morose, and we can yet find pleasure in recurring to the fresh days of our youth, when a lovely face had power to make an impression on our hearts; and we can thus vividly picture to ourselves many of those, seen perhaps but once, suddenly bursting on our view, like a picture of Titian's, never to be forgotten; and it is from those we describe the fair creatures we would introduce to our readers. Now and again we have met the same, we have fancied, in the person of a younger sister, or a daughter, or perhaps of no kindred except that of sentiments and disposition, which always give a similar expression to the countenance. Sometimes, too, we have met the self-same being, changed, alas! from the creature of angelic loveliness we once knew;--the roses have fled her cheeks, the sylph-like form is no longer there; we hear no more her soft silvery voice; but soon some old familiar expression, some reference to past days, conjures up the former image in all its glowing tints of loveliness, and we deem our youth again returned, and once more do her joyous laughter and the sweet notes of her voice ring, like fairy music, in our ears. 'Tis for this reason that we esteem painting the first, the most divine of the arts; for, with regard to music, the hand or the voice may fail; with poetry, the language may alter or be lost, and the words bring no meaning to the senses; but painting has survived the destruction of kingdoms, the dispersion of nations, a people whose language and very name would have passed away, but that the productions of this art remain to tell their history. Who has not gazed with rapture on some lovely, almost speaking, portrait of one absent, or perhaps lost to us for ever? As we have stood before it, we have seemed to hold converse with it; the eyes have appeared to burn with the mysterious light of intellect, and the lips to move; and we have answered to the words we in fancy heard! Can poetry or music work this magic effect? No; they have their own charms--and oh! how powerful our soul confesses! but we have seen paintings which combine all, which have poetry in every line, and music in every tint. We are fond, we confess, of making digressions, either when travelling through beautiful scenery, or in conversation, to sketch the views, and to cull the flowers to be found on each side of our path, which, however pleasant to ourselves, who know what is before us, is a bad system to pursue, we own, when our readers are anxious to proceed with our history, and we must therefore apologise to them for our wanderings, and promise in future to keep as much as possible in the direct path.