Her picture at Windsor is the most perfectly beautiful and impressive female portrait I ever saw. How have I longed, when gazing at it, to conjure her out of her frame, and bid her reveal the secret of her mysterious life and death!--Nearly opposite to the dead Venitia, in strange contrast, hangs her husband, who loved her to madness, or was mad before he married her, in the very prime of life and youth. This picture, by Cornelius Jansen, is as fine as any thing of Vandyke's: the character expresses more of intellectual power and physical strength, than of that elegance of face and form we should have looked for in such a fanciful being as Sir Kenelm Digby: he looks more like one of the Athletæ than a poet, a metaphysician, and a "squire of dames." There are three pictures of Waller's famed Sacharissa, the first Lady Sunderland: one in a hat, at the age of fifteen or sixteen, gay and blooming; the second, far more interesting, was painted about the time of her marriage with the young Earl of Sunderland, or shortly after--very sweet and lady-like. I should say that the high-breeding of the face and air was more conspicuous than the beauty; the neck and hands exquisite. Both these are Vandyke's. A third picture represents her about the time of her second marriage: the expression wholly changed--cold, sad, faded, but pretty still: one might fancy her contemplating, with a sick heart, the portrait of Lord Sunderland, the lover and husband of her early youth, who hangs on the opposite side of the gallery, in complete armour: he fell in the same battle with Lord Falkland, at the age of three-and-twenty. The brother of Sacharissa, the famous Algernon Sidney, is suspended near her; a fine head, full of contemplation and power.