famine preceding it, his manner becomes bolder, his touch more free and majestic, without, however, losing any of its exquisite delicacy. When he represents an entire people rebelling against hunger, or vanquished by disease and death, we deeply feel the horror of the picture, at the same time that an occasional smile is elicited by the comic genius of the artist, which exercises itself even amidst the agonies of famine and pestilence, so that, through the grand design of the exhibition, the delicate touches of the pencil are still visible, and individual character perceptible through the very depths of bold and general description; it is Van Dyck painting on the reverse of one of Michael Angelo's pictures.
We will not take leave of this interesting production without indulging ourselves in one more observation, which is, that in this succession of adventures, where appear, by turns or simultaneously, two robber chiefs and their followers, an unbridled soldiery, a people in rebellion, famine, and pestilence, all the evil specially resulting to the virtuous, is the consequence of the cowardice of a single man! What a lesson may we derive from such a Novel!
