Burging of Pots of Money, and starting at every Breath of Wind they beard. Their Eyes were ready to drop eat of their Heads, for want of Sleep, their Mouths and Bellies complaining of their Hands; and their Souls turn'd iz Gold and Silver, (the Idols they ader'd.)

The Death of Fear had the most Menificent Train and Attendance, of ail the rest, being accompanied with a great number of Usurpers, and TyFrats, who commonly do Justice upon themselves, for the Injuries they have done to Others: Their own Consciencies doing the Office of Tormentors, and Avenging their publick Crimes by their Private Sufferings, for they live in a perpetual Anguish of Thought, with Fears and Jealousies.

"The Death of Laughter, was the last of all, and surrounded with a Throng of People, hasty to Believe, and slow to Repent; Living without fear of Justice, and Dying without hope of Mercy. These are they that pay all their Debts and Duties with a Jest. Bid any of them, Give every Man his Due, and Return what he has either Borrow'd, or wrongfully taken, His Answer is, You'd make a Man die with laughing."

The dead are summoned and judged, and the description of the earth giving up it's dwellers is very powerful.

"The Cryer of the Court with a loud Voice, called out, The Dead, The Dead; Appear the Dead. And so immediately, I saw the Earth begin to More, and gently opening it self, to make way, first for Heads and Arms, and then by Degrees for the whole Bodies of Men and Women, that came out, half muffled in their Night Caps, and ranged themselves in excellent Order, and with a profound silence. Now (says Death) let every one speak in bis Turn."

of the Belly of a Bottle? This Vision affrighted me to the very Heart; and while I was yet panting and trembling, a Voice was heard out of the Glass. In what year of our Lord are we? (1638.) (quoth I) And welcome, said he; for 'tis the happy year I have longed for so many a day. The Necromancer call'd to me then to unstop the Bottle, and as I was breaking the Clay to open it, Hold, hold, a little, he cry'd; and I prethee tell me first, how go squares in Spain?”

"Pray'e tell me now, what Price bears Honour and Honesty in the World? There's much to be said (quoth I,) upon that point; but in brief, there was never more of it in Talk, nor less in Effect. Upon my Honesty cries the Tradesman; upon my Honour, says his Lordship: And in a word, every Man has it, and every thing is it, in some disguise or other: But duly considered, there's no such thing upon the face of the Earth The Thief says, 'tis more Honourable to Take than Beg. He that asks an Alms, pleads, that 'tis Honester to Beg than Steal. Nay, the False Witnesses and Murtherers themselves, stand upon their points, as well as their Neighbours, and will tell ye that a Man of Honour will rather be buried alive, than Submit: (though they will not always do as they say.) Upon the whole matter, every Man sets up a Court of Honour within himself; pronounces every thing Honourable that serves his Purpose, and laughs at them that think otherwise. To say the Truth, all things are now Topsie Turvie. A good Faculty in Lying is a fair step to Preferment; and to pack a Game at Cards, or help the Frail die, is become the Mark and Glory of a Cavalier. The Spaniards were heretofore, I confess, a very brave and well govern'd People: But they have Evil Tongues among them now a days, that say they might e'en go to School to the Indians to learn Sobriety and Vertue. For they are not really Sober, but at their own Tables, which indeed, is rather Avarice, than Moderation; for when they Eat or Drink at another Man's Cost, there are no greater Gluttons in the World; and for Fudling, they shall make the best Pot-Companion in Switzerland knock under the Table.

"The Necromancer went on with his Discourse, and ask't me what store of Lawyers and Atturneys in Spain at present? I told him, that the whole World swarm'd with them, and that there were of several sorts; some, by Profession; others, by Intrusion, and Presumption; and some again by Study, but not many of the last, though indeed sufficient of every kind to make the People pray for the Egyptian Locusts and Caterpillars, in Exchange for that Vermine. Why then (quoth the Necromancer) if there be such Plagues Abroad, I think I had best e'en keep where I am. It is with Justice (said I) as with Sick-Men; in time past, when we had fewer Doctors, (as well of Law as of Physick,) we had more Right, and more Health: But we are now destroy'd by Multitudes, and Consultations, which serve to no other end, than to enflame both the Distemper, and the Reckoning. Justice, as well as Truth, went naked in the Days of Old; one single Book of Laws and Ordinances, was enough for the best Order'd Government in the World. But the Justice of our Age, is trickt up with Bills, Parchments, Writs, and Labels; and furnisht with Millions of Codes, Digests, Pandects, Pleadings, and Reports: and what's their use, but to make wrangling a Science? And to Embroil us in Seditions, Suits, and endless Trouble and Confusion. We have had more Books Publisht this last Twenty Years, than in a Thousand before, and there hardly passes a Term without a New Authour, in Four

or Five Volumes at least under the Titles of Glosses, Commentaries, Cases, Judgments, &c. And the great strife is, who writes Most, not Best; so that the whole Bulk, is but a Body without a Soul, and fitter for a Church-yard than a Study. To say the Truth, these Lawyers and Sollicitors, are but so many Smoak Merchants, Sellers of Wind, and Troublers of the Publick Peace. If there were no Atturneys, there would be no Suits, if no Suits, no Cheats, no Serjeants; no Catchpoles, no Prisons; if no Prisons, no Judges; no Judges, no Passion; no Passion, no Bribery or Subornation."

It would only require an alteration in favour of the Judges, to make the above as applicable to the present times, and to this land of ours, as it was in the beginning of the seventeenth century to Spain.

The extracts we have made may serve as very fair specimens of the author's style; and our limits do not permit us to go any further with him pro hac vice.

Quevedo died at a very advanced age, in the year 1646. His talents did not protect him from oppression, for the Duca D'Olivarez, then the chief favourite and prime minister of Philip IV. having taken offence at some of his satires, procured a sentence of long and rigorous imprisonment to be passed upon him. He, however, survived; and his literary fame received an additional lustre from his unmerited persecution.

THIS National School of Painting has once again opened it's doors to amateurs and connoiseurs, for the annual exhibition of 1822: and for the credit of our country's artists we regret to say, that in most respects we consider it inferior to preceding seasons. There are doubtless many pieces which do high honour to the painters, and several which will, we trust, readily find patrons and purchasers; but there are also some that are any thing but creditable; and not a few, which having been before exhibited at Somerset House, have no longer novelty to recommend them, and have already had their beauties and defects sufficiently commented upon. Painting is justly considered to be a universal language; but, like all other languages, may be rendered clear, or obscured, by the different forms under which it is introduced to us. It may be too elevated for the understanding of some, and of too common a cast to attract the notice of the well-informed; hence we are inclined to think that Landscape-painting speaks more plainly to the general understanding than history, or even portraits, if we may judge from the various and contradictory opinions which are so often formed of likenesses. The present Exhibition has a fair proportion of landscape, and of classical and domestic subjects, though in the former there is less of variety and perhaps of excellence. than might, and certainly ought to have been expected. The state of the Arts, and Bur. Mag. Vol. 81, Feb, 1822,

the opportunities now afforded of studying the works of the most esteemed masters, ought to fix the attention of our artists on those abstract qualities of effect to be met with both in the Italian and Flemish schools,-those qualities which clothe the ordinary scenes of nature with augmented interest, and give a still greater sublimity to the more elevated forms of landscape composition. The fact we suspect is, that the pictures are too numerous, and these consequently too quickly produced. Our limits, however, entirely forbid us from enlarging as we could wish upon this subject; and even in alluding to the subjects which now clothe the walls of the British Institution, it will be rather in our power to excite curiosity by reference, than to gratify it by description.

Diagram of the Battle of Waterloo, by G. Jones. This subject, of the first interest, as crowning the most eventful struggle of our age, claims also the first place in our notice; especially as it is, in our opinion, the best that has been offered to the attention of the public. In the face of many repetitions of the same scene, and even in that of his own performance, our artist has arranged his order of Battle, and combined an astonishing mass of circumstantial detail. The effect is, however, sufficiently concentrated for all the purposes of the subject, and in the scattered groupes there is no insubordination to the principal character. Neither must we omit to X

mention the grandeur of the sky, than which nothing can be more suitable, and few things more difficult to accomplish. That the figures seem somewhat small, was unavoidable, where so wide a field had to be taken; and it is also to the truth of the details that we must attribute the disposition of the battle groupes. The blue of a horse on the fore-ground, though we should think minuteness of execution a fault, is to our eye unnaturally bright; surely a cloth or other consistent expedient might have been found to carry out that colour.

The Larder Invaded, by Edwin Landseer. As few could paint up to the character of this subject in point of execution, so it would be still more vain to attempt giving an adequate idea of it by description. In the last Exhibition at Somerset House, his picture, in the anti-room, of the Monkey and the Dog, was considered to be a consummation of art, in brilliancy of effect and harmony of colouring. The present picture, however, has left that far behind, and in point of finish unites a fluency and transparency of pencil, with a vigour and beauty of touch we scarcely imagined attainable. It is equally remarkable, that the effect as a whole is in nowise diminished, nor the character and expression of the animals lost, in the lustre of the brilliant mass. The Watchful Sentinel is also another fine specimen of Mr. Landseer's powers, and exhibits that faithful animal the Dog in a point of view far more grateful to the feelings than when seen in the act of tearing and lacerating his species.

A View of London-Somerset House Stairs. T. C. Hofland. The forms which this view presents are few, but interesting: the simplicity of that part of the building on the left contrasts advantageously with the objects more remote. The dome of St. Paul's rises near the centre of the picture, and is with the other buildings reflected in the water. The atmosphere is very happily managed, and the tone and colouring harmonious and mellow.

Brecon, South Wales, and a Study from Nature, by the same artist, are beautiful little studies, and executed with Mr. Hofland's usual skill and adroitness.

Landscopes, by I. Stark, are in the excellent style of this painter of na

nature, and justly entitled to attention, from the beauty of their execution, and the exquisite effect of their woodland scenery.

A Study; a Sketch from Gray; Venus and Cupid; and Cupid and Psyche, by W. Etty. Though the works of this artist embrace so much of that beauty of form which the imagination can alone supply, we are inclined to think, notwithstanding the elegance of his fancy, that he is carrying colouring to a wanton excess; and as we know the power of his pencil, and the accuracy of his copies, we hope he will not be seduced altogether from the path of nature, but occasionally give us a variety in more chastened hues than these subjects exhibit.

Edinburgh, from the Base of Arthur's Seat, by W. Linton, excites a strong expectation that he may soon reach a point of excellence equal to any of his contemporaries. This View of Edinburgh, and a Scone on the Thames below London Bridge, have also a warmth and mellowness of tone, in which the air tints appear with the most perfeet harmony; nor is the choice of his views or their compositions less attractive. The lower Waterfall at Rydal, Westmorland, is a variety in his style; and Nos. 50, 202, and 204, are all very pleasing performances.

Greenwich, from Charlton Wood, near Woolwich, by P. Nasmyth, is a very grand and striking view, on which the artist has bestowed a fair proportion of his skill; he has also two other very interesting specimens in the middle room.

Eshing Mill, near Godalming, Surrey, with that of Cheney's, Buckinghamshire, are fair examples of Mr. Samuel's contribution to the present Exhibition, and, in point of local representation and execution, maintain the usual character for skill and taste in this able artist.

Mr. C. Deane's Scene on Hampstead Heath, painted on the spot, is the most perfect representation of local scenery we ever recollect to have seen from the pencil of this painter; while his View on the Thames near Battersea, and that of London, looking towards Waterloo Bridge, exhibit his powers of composition to great advantage.

Roslin Castle, and an Overshot Mill, by J. Wilson. The first of these is a very charming Painting, and in point of harmonious composition is