t that be the
sole object, and it succeeds, such a work would rank with tragedy, and
please.

PAINTING IN WATER COLOURS.

We have visited the two societies of painters in water colours. In these
there are two antagonist principles in full practice--while some are
endeavoring to imitate, and indeed to go beyond the power of oil
colours, others are going back as much as may be to the white paper
system; imitating in fact the imitation which painters in oil have taken
up from the painters in water colour. We must, of course, expect from
this no little extravagance both ways--and we are not disappointed in
the expectation. We will first notice the elder institution. In this,
certainly, there are fewer examples of the power of colour system--but
not a few in the weaker system. We noticed last year that Mr Copley
Fielding was making great advances in it. His practised and skilful hand
causes that style to have many admirers. Poor John Varley--we look with
interest at his last work. His early ones were full of genius. He was an
enthusiast in art. There is very great beauty in his "View on the
Croydon Canal previous to the making the rail-road." An admirable
composition--the woods and water are very fine. There are some very good
drawings by D. Cox, which will greatly please all who like to see much
told with little labour. Prout fully sustains his reputation. Amidst
much detail he is always broad and large. There is a most true effect of
haze in Copley Fielding's fine drawing of "Folkstone Cliff." There is an
affected absence of effect in his "Arundel Castle"--the blues and
yellows are not in harmony--and all has an uncomfortable, unsubstantial
look. Eliza Sharpe's "Little Dunce" is a delightful drawing. It is only
the old dame that can ever be angry with a little dunce--and she puts on
more than half her anger; and this is a glorious little dunce, that we
would not see good for the world--the triumph of nature over tuition.
This charming little creature has been happy her own way, has been
wandering in her own "castle of indolence," and perhaps, too,
philosophizing thus--Well, I have been naughty, but happier still than
if I had been good. So is the goodness we force upon children often
against nature--we love to see nature superior. Eliza Sharpe must have
been of the same way of thinking, and it is archly expressed. Her Una
and the lion is large and free--the face of Una nor quite the thing. We
have a "Castle of Indolenc