in a settled conviction through a perusal
of several proffered refutations of the theory. At least, this course
seemed to offer the readiest way of bringing to a head the various
objections to which the theory is exposed. On several accounts some
of these opposed reviews specially invite examination. We propose,
accordingly, to conclude our task with an article upon "Darwin and his
Reviewers."

* * * * *

REVIEWS AND LITERARY NOTICES.

_Modern Painters_. By J. RUSKIN. Vol. V. Smith, Elder, & Co. London.

The completion of a work of the importance of the "Modern Painters,"
which has occupied in its production the thought and a large portion of
the labor of fourteen years, is an event of more interest than it often
falls to the lot of a book to excite; but when, as in this case, the
result shows the development of an individual taste and critical ability
entirely without peer in the history of art-letters, the value of the
whole work is immensely enhanced by the time which its publication
covers.

The first volume of "Modern Painters" was, as everybody will remember,
one of the sensation-books of the time, and fell upon the public opinion
of the day like a thunderbolt from the clear sky. Denying, and in many
instances overthrowing, the received canons of criticism, and defying
all the accepted authorities in it, the author excited the liveliest
astonishment and the bitterest hostility of the professional critics in
general, and at once divided the world of art, so far as his influence
reached, into two parts: the one embracing most of the reverent and
conservative minds, and by far the larger; the other, most of the
enthusiastic, the radical, and earnest; but this, small in numbers
at first, was increased, and still increases, by the force of those
qualities of enthusiasm and earnestness, until now, in England, it
embraces nearly all of the true and living art of our time. But that
volume, professedly treating art with reference to its superficial
attributes and for a special purpose, the redemption of a great and
revered artist from unjust disparagement and undeserved neglect,
touched in scarcely the least degree the vital questions of taste or
art-production. It had no considerations of sentiment or discussion of
principles to offer: it dealt with facts, and touched the simple truths
of Nature with an enthusiastic fire and lucidness which were proof
positive of the knowledge and