in which the gull goes to work. We have, here, no swoop and rush of wings, from giddy heights, as in the falcon tribe; there is no dilating of the plumage, no eloquent expression of the fiercer emotions; no fine embodiment of speed, power, rage, combined, is presented to us, nor does the victim lie, in an instant, prostrate and bleeding beneath the claws of its destroyer. Such sights make fine pictures. They personify, in a grand and striking way, our ideas of the inevitable and irresistible—of fate, clothed in terror. There is something in them of the old Greek drama, nay, of our real conceptions—drawn from nature and the Old Testament—of the Deity. But here there is nothing of all this—no impetuosity, and not enough strength or mastery to give a sense of power, at least not of mighty power. Structurally the gull is not specially fitted, nor, in general appearance, does he look fitted, for the part he is acting, and this, as is usual, gives something of a bungling appearance to his handiwork. Above all, he lacks fire, and this makes one doubly alive to the cruelty, which is not so disagreeably felt in witnessing the fierce thunder-bolts of a true bird or beast of prey. There it is masked, so to speak, under "the power and the glory," but here we see only a sordid and cold-blooded murder, unrelieved by any feature of special interest even, much less by any apparently ennobling element. As a spectacle, it compares very unfavourably with that of snakes killing their prey, and equally, or even more so, from the intellectual point of view. For
