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 he seized every opportunity to cultivate his genius for landscape-painting. With incessant application he studied the accidental formation of clouds and the shadows thrown by them on the earth; by which practice he acquired the art of delineating with precision the most pleasing effects. His style appears very agreeable and unaffected; he excelled however, only in rural scenery, in which his skies, distant hills, and the barks of the trees, are truly admirable. His foregrounds are always beautifully diversified, and every blade of grass is true to nature. He is not equal in every respect to Hobbima, yet certainly approximates nearer to that celebrated master than any English artist.

In 1830, Mr. Nasmyth sold his valuable collection of original sketches and drawings for thirty pounds to George Pennell, Esq., who also purchased several of his exquisitely finished pictures, one of which—a View in Lee Wood, near, Bristol—is now in the possession of Lord Northwick. Nasmyth was a constant exhibitor at the Royal Academy, the British Institution, &c., and his performances delighted the uninstructed spectator as well as the connoisseur.

In person, he was of the middle stature, and possessed a manly countenance with an agreeable figure. In conversation he was vivacious and witty, especially when in company with a convivial party. His character, in some respects, was similar to that of George Morland; he was rather too much addicted to convivial pleasures, yet was ever solicitous to mix with the best company, and his polite manners always rendered him an acceptable guest; in this respect he was unlike Morland, who, it is well known, loved to select his companions from the lowest class of society. Although Nasmyth obtained considerable sums for his pictures, he was never sufficiently economical to save money; on the contrary his private affairs were in a very deranged state. He was never married, and during the last ten years of his life resided at Lambeth.

Towards the end of July, 1831, Mr. Nasmyth, accompanied by two of his intimate acquaintances, made an excursion to Norwood for the purpose of sketching. Much rain had fallen the day before, and the air was still chilly; the artist, however, commenced his drawing, and remained stationary for about two hours, when, the sketch being finished, he rejoined the friends whom he had left at an inn. He then complained of being excessively cold, but on taking something warm his usual spirits returned, and the party passed the rest of the day pleasantly. On the following morning, however, Nasmyth felt considerably indisposed, and it appeared evident he had taken a violent cold. Notwithstanding medical assistance, his indisposition daily increased; and on the 18th of August he breathed his last, in the 46th year of his age.

He died in extreme poverty, and a subscription to defray the expenses of the funeral was raised among his friends. Wilson, Stanfield, and Roberts subscribed, and followed the remains of their late talented friend to the grave in St. Mary's churchyard, Lambeth.

G.W.N.

PORTRAIT OF CHRIST.

(To the Editor.)

The document giving an account of Jesus Christ, which is referred to by Veritas, in No. 533 of The Mirror, has been long since known to be a glaring forgery. It is one of many stories invented in the second, third, and fourth centuries, by the early Christians; for a full account of whose forgeries in such matters, you may consult Mosheim, Lardner, Casaubon, and other ecclesiastical writers. The latter says, "It mightily affects me to see how many there were in the earliest times of the church, who considered it as a capital exploit to lend to heavenly truth the help of their own inventions, in order that the new doctrine might be more readily allowed by the wise among the Gentiles. These officious lies, they were wont to say, were devised for a good end. From which source, beyond question, sprung nearly innumerable books, which that and the following ages saw published by those who were far from being bad men, under the name of the Lord Jesus Christ, and of the Apostles, and of other Saints."—Lardner, vol. iv. p. 524.

Dr. Mosheim, among his excellent works, has published a dissertation, showing the reasons and causes of these supposed letters and writings respecting Christ, the Apostles, &c., to which I would beg to recommend your correspondent Veritas. JUSTUS.

Notes of a Reader.

DEATH OF JOHN HAMPDEN.

The last days of the patriot Hampden are thus graphically told in the Edinburgh Review of Lord Nugent's recently published "Memorials." We need scarcely observe, by way of introduction, that Hampden fell in the great contest between Charles and his parliament; and that when the appeal was to the sword, Hampden accepted the command of a regiment in the parliamentary army, under the Earl of Essex; the Royal forces being headed by Prince Rupert.

"In the early part of 1643, the shires lying in the neighbourhood of London,