The entire prominence hitherto given to the works of one artist caused only by our not being able to take cognizance of character.

We have only, in conclusion, to offer a few general remarks respecting modern art and modern criticism.

We wish, in the first place, to remove the appearance of invidiousness and partiality which the constant prominence given in the present portion of the work to the productions of one artist can scarcely fail of bearing in the minds of most readers. When we pass to the examination of what is beautiful and expressive in art, we shall frequently find distinctive qualities in the minds even of inferior artists, which have led them to the pursuit and embodying of particular trains of thought, altogether different from those which direct the compositions of other men, and incapable of comparison with them. Now, when this is the case, we should consider it in the highest degree both invidious and illogical, to say of such different modes of exertion of the intellect, that one is in all points greater or nobler than another. We shall probably find something in the working of all minds which has an end and a power peculiar to itself, and which is deserving of free and full admiration, without any reference whatsoever to what has, in other fields, been accomplished by other modes of thought, and directions of aim.