a subject on which his companion was usually very vehement and obstinate.  The argument was maintained with great warmth on both sides, until at length Sheridan affected to lose his temper, and pulling the check-string, commanded the coachman to let him out instantly, protesting that he would not ride another yard with a man who held such opinions, and supported them in such a manner.  So saying, he descended and walked off, leaving Richardson to enjoy his fancied triumph, and to pay the whole fare.  Richardson, it is said, in a paroxysm of delight at Sheridan’s apparent defeat, put his head out of the window and vociferated his arguments until he was out of sight.”

The minor or appendix biographies are not so neatly executed as the more lengthy sketches.  It is rather oddly said, “that Alderman Wood shortly before the demise of George the Fourth, obtained leave to bring in a bill for the purpose of preventing the spread of canine madness.”  Again, as the Alderman is a hop-factor, why observe “he is said to have realized a considerable fortune by his fortunate speculations in hops.”  This describes him as a mere speculator, and not as an established trader in hops.

The present volume of the Georgian Era is handsomely printed, and is, without exception, the cheapest book of the day, considered either as to its merit or size—­quality or quantity:  what can transcend nearly 600 pages of such condensed reading as we have proved this work to contain—­for half-a-guinea!  Were it re-written and printed in the style of a fashionable novel, it would reach round the world, and in that case, it should disappear at Terra del Fuego.

The embellishments of the Georgian Era are not its most successful portion; but a fine head of George I. fronts the title-page.  The anecdotes, by the way, will furnish us two or three agreeable pages anon.

* * * * *

FINE ARTS.

* * * * *

PATRICK NASMYTH.

(For the Mirror.)

This distinguished landscape-painter was the son of Mr. Alexander Nasmyth, an artist who is still living and well known in Edinburgh, at which city Patrick was born about the year 1785.  His education appears to have been good, and he was early initiated in the art of painting by his father, who constantly represented to him the many great advantages to be derived from the study of nature rather than from the old masters’ productions, the greater portion of which have lost their original purity by time and the unskilful management of those persons who term themselves picture restorers.  Far from confining himself to the usual method adopted by most young artists of servilely imitating old paintings, young Nasmyth very soon began to copy nature in all her varied freshness and beauty.  Scotland contains much of the picturesque, and from this circumstance