him at command, wielding neither crutch nor pen, but, in affable
condescension, the contemned needle etching the portrait of his own
"Colonsay," and his own famous exploit, to show that one needle in the
hand of genius can make a man and a horse too; though nine tailors and
nine needles scarcely make up the complement of a man--yet would these
nine in one, the renowned of Brentford, scarcely have matched
"Christopher on Colonsay!" And as for Fame blowing out of the window,
he, in spite of himself and his modesty, is his own trumpeter, and, as
_Maga_ reaches them, surprises "Europe, Asia, Africa," and America too.
Such is the emblematical representation of etching, and we have
embellished it with a first-rate performer.

And now let us turn to "Etched Thoughts by the Etching Club." We find a
new name or two added to the list--C.G. Lewis, the renowned and best of
etchers; and Severn, whose etchings are new to us, not so his other
works of art. We remember his "Ship of the Ancient Mariner," and his
expressive, sentimental, figures; and poor Fearnley--now no more--we
remember greatly admiring a somewhat large picture of his--"A
River-Scene in Norway,"--evidently painted immediately from nature,
powerfully, expressively given. Somehow or other he did not take in this
country, and quitted it, leaving behind him very beautiful studies
strangely undervalued, and sold for little. The fact is, he was too true
to the solemnity and sobriety of nature to please a public led away by
gaudy display and meretricious colouring. Yet was he a man of more
genius--in landscape--than any nine out of ten of our best artists that
have, these last ten years, attempted to show nature or art upon our
academical walls. Poor Fearnley! We have heard that elsewhere he was
appreciated and successful. Stone and Herbert are good additions. Happy
is it when the feelings of the artist and poet are in unison; happier
still when the poet is himself the artist: and such is the case here. So