enough bad teaching, to bring out very curious erratical results if we want them. So, if we are to teach at all, let us teach the right thing, and ever the right thing. There are many attractive qualities inconsistent with rightness;--do not let us teach them,--let us be content to waive them. There are attractive qualities in Burns, and attractive qualities in Dickens, which neither of those writers would have possessed if the one had been educated, and the other had been studying higher nature than that of cockney London; but those attractive qualities are not such as we should seek in a school of literature. If we want to teach young men a good manner of writing, we should teach it from Shakspeare,--not from Burns; from Walter Scott,-- and not from Dickens. And I believe that our schools of painting are at present inefficient in their action, because they have not fixed on this high principle what are the painters to whom to point; nor boldly resolved to point to the best, if determinable. It is becoming a matter of stern necessity that they should give a simple direction to the attention of the student, and that they should say, "This is the mark you are to aim at; and you are not to go about to the print-shops, and peep in, to see how this engraver does that, and the other engraver does the other, and how a nice bit of character has been caught by a new man, and why this odd picture has caught the popular attention. You are to have nothing to do with all that; you are not to mind about popular attention just now; but here is a thing which is eternally right and good: you are to look at that, and see if you cannot do something eternally right and good too."