did not repay the ingenious originator--partly from their small size,
uncertainty of _effect_ to be produced on _wood_, and partly from the
very cheap rate at which the engravings were sold--the whole series
being purchaseable for three or four shillings.[3] But a similar
design is now in progress on metal, being the idea of _La Musée_ in
little. It consists of beautiful outline copies of the great
masters, published at so cheap a rate as to be within the reach of
a school-boy. Within the present year, also, two series of Views in
Great Britain, one of Views in London, and another of Paris, have been
publishing at the rate of threepence for each view; and when we see
among their artists the names of Westall, Pugin, and Pye, we have a
sufficient voucher for their excellence.

A passing notice of a few of the more splendid works of art, (for the
above are among the cheap and popular projects of the day,) and we
must conclude.

[2] The only place in which they do not progress mutually is the
theatre. Look at the scenery of our patent theatres, and compare
it with the vulgar daubs even of John Kemble's time. Some of the
scenes by Stanfield, Roberts, Grieve, and Pugh, are "perfect
pictures." Yet the language of the stage is at a stand, and
insipid comedy, dull tragedy, and stupid farce are more abundant
than before the "march of mind".

[3] While on the subject of _wood-engraving_, perhaps we may he
allowed to mention our own humble plan of illustrating a sheet
of letter-press for twopence. Of course, perfection in the
engraving department would have ruined all parties concerned;
for each of our subjects (as the miniature painters tell you of