icent ones) than any other man amongst
us. His mission was evidently to portray the comparatively animal life
of the southern and eastern families of mankind. For this he was
prepared in a somewhat singular way--by being led to study, and endowed
with altogether peculiar apprehension of, the most sublime characters of
animals themselves. Rubens, Rembrandt, Snyders, Tintoret, and Titian,
have all, in various ways, drawn wild beasts magnificently; but they
have in some sort humanized or demonized them, making them either
ravenous fiends or educated beasts, that would draw cars, and had
respect for hermits. The sullen isolation of the brutal nature; the
dignity and quietness of the mighty limbs; the shaggy mountainous power,
mingled with grace, as of a flowing stream; the stealthy restraint of
strength and wrath in every soundless motion of the gigantic frame; all
this seems never to have been seen, much less drawn, until Lewis drew
and himself engraved a series of animal subjects, now many years ago.
Since then, he has devoted himself to the portraiture of those European
and Asiatic races, among whom the refinements of civilization exist
without its laws or its energies, and in whom the fierceness, indolence,
and subtlety of animal nature are associated with brilliant imagination
and strong affections. To this task he has brought not only intense
perception of the kind of character, but powers of artistical
composition like those of the great Venetians, displaying, at the same
time, a refinement of drawing almost miraculous, and appreciable only,
as the minutiae of nature itself are appreciable, by the help of the
microscope. The value, therefore, of his works, as records of the aspect
of the scenery and inhabitants of the south of Spain and of the East, in
the earlier part of the nineteenth century, is quite above all estimate.

I hardly know how to speak of Mulready: in delicacy and completion of
drawing, and splendor of color, he takes place beside John Lewis and the
pre-Raphaelites; but he has, throughout his career, displayed no
definiteness in choice of subject. He must be named among the painters
who have studied with industry, and have made themselves great by doing
so; but having obtained a consummate method of execution, he has thrown
it away on subjects either altogether uninteresting, or above his
powers, or unfit for pictorial representation. "The Cherry Woman,"
exhibited in 1850, may be named as an example of