In looking over the numerous portfolios of drawings in public and private libraries, we are struck with the accumulated mass of mediocre talent. Many of them are often well composed, and even well drawn, but they are completely destitute of what constitutes true merit—they possess no distinguishing mark whereby we can discern one master from another; they are struck off with wonderful dexterity, as far as the eye or hand is concerned, but the mind is totally wanting; neither do they possess the peculiar features of natural truth, whose lines are filled with variety, sometimes sharp, sometimes round—in parts faint and delicate, and in other places strong and cutting. On the other hand, when the drawings of great painters are examined, the master mind shines forth in every touch, and we recognise the works of Michael Angelo, Raffaelle, Coreggio, and others, at a glance. The drawings of Rembrandt possess this quality in a superlative degree, and the slightest indication seems sufficient to mark the character and leading features of the object represented. His drawings are generally in pen outline, with a wash of bistre, or other warm colour; sometimes he makes use of black and red chalk; they are seldom finished with colours, but have often portions rendered lighter and broader by means of a wash of white. From his great practice in using the point in etching, he not only gives the greatest precision and certainty, but his outline assumes the gentlest delicacy or overpowering boldness. Everything from his hand seems to possess a largeness of form, and the greatest breadth of light and shade that can be given; this it is that gives them the stamp of truth, so that it is difficult to distinguish between those drawn immediately from nature, and such as are emanations from his imagination. On looking into the catalogue of his effects, we perceive large folios of his drawings, which, though at the sale they produced but small sums, are now marked with their true value. I may notice here a small drawing of "The Death of the Virgin," that brought, at the sale of the late Baron Verstolk, one hundred and sixty guineas. One cannot but regret that the excellent collection of the drawings by Rembrandt and other masters, selected by the late Sir Thomas Lawrence, with great taste and at large sums, should have been lost to the country, though offered in his will at comparatively a small price. Nevertheless, we possess several fine specimens in the British Museum Print-room.