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 in the artist, and a knowledge of it on various degrees of feeling and discrimination in you; but to commence artist or connoisseur in the grand style at once, without any distinction of qualifications whatever, it is only necessary for the first to choose his subject and for the last to pin his faith on the sublimity of the performance, for both to look down with ineffable contempt on the painters and admirers of subjects of low life. I remember a young Scotchman once trying to prove to me that Mrs. Dickons was a superior singer to Miss Stephens, because the former excelled in sacred music and the latter did not. At that rate, that is, if it is the singing sacred music that gives the preference, Miss Stephens would only have to sing sacred music to surpass herself and vie with her pretended rival; for this theory implies that all sacred music is equally good, and, therefore, better than any other. I grant that Madame Catalani’s singing of sacred music is superior to Miss Stephens’s ballad-strains, because her singing is better altogether, and an ocean of sound more wonderful than a simple stream of dulcet harmonies. In singing the last verse of “God save the King” not long ago her voice towered above the whole confused noise of the orchestra like an eagle piercing the clouds, and poured