frontispiece, the Minstrel of Chamouni, after Pickersgill, by J.H.
Robinson, in effect, spirit, and finish, cannot be surpassed. But how
shall we describe the Crucifixion, engraved by Le Keux, from a drawing
by Martin: how can we speak of the light shedding over the Holy City
and "Calvary's wild hill," the crucified MESSIAH, the living stream,
and the thousands and tens of thousands that cluster on this "earthly
throne"--the magnificent architectural masses--the vivid light streaming
in the distance; and the warlike turmoil of helmet heads, spears and
floating banners that aid the shout of blood in the foreground: this
must suffice. The First Interview between the Spaniards and Peruvians,
after Briggs, by Greatbach, is a triumph of art; Wilkie's Dorty Bairn
is excellent; the Fisherman's Children, after Collins, by C. Rolls, is
exquisitely delicate; and the Gleaner, by Finden, after Holmes, has
a lovely set of features, which art and fashion may court in vain.
But we have outrun our tether, and must halt here.

* * * * *


The Literary Souvenir.


From the _Amulet_ we turn to Mr. Watts's _El Dorado_ of poetry
and romance in superb crimson silken sheen and burnished gold edges.
Rich as the exterior unquestionably is, it but accords with the rare
treasures which it envelopes. We first indulged our early custom of
"looking at the pictures," but must, as sober middle-aged persons ought
to do--begin at the beginning. Passing over the Advertisement, in which
the editor makes some judicious observations on the remuneration of
British artists, &c. the first tale is the Love-Draught, in the best