It is to another Revolutionary soldier of superior natural ability, Colonel John Trumbull, that the country is indebted for a proof of the national turn for the fine arts. The son of Jonathan Trumbull, Colonial Governor of Connecticut, he received a classical education at Harvard University. But here, again, observe the far-reaching influence of one act. That copy, already alluded to, which was executed by Smybert after a work of Vandyck--the great painter who was welcomed to the banqueting halls of merry England by Charles I. and Henrietta Maria--was again to bear fruit. It inspired the genius of Trumbull with a passion for color while yet in his youth, and ultimately led to his becoming a great historical painter. But first he had to undergo the discipline of war, which gave him that experimental knowledge of which he afterward made such good use. Of a high spirit and proud, irascible temper, Trumbull served with distinction; first as aid to Washington, then as major at the storming of the works of Burgoyne at Saratoga; and he had reached a colonelcy, when he threw up his commission and went over to England, and became a student of West, whose style is perceptible in many of the works of the younger artist. If inequality is one sign of genius, then Trumbull possessed it to a marked degree. The difference in merit between his best paintings, which were chiefly composed in England, and those he executed in this country, in the later years of his life, is remarkable. This probably was due in part to the lack of any appreciable art influences or patronage in his own country to stimulate the artistic afflatus. The talents of Trumbull were conspicuous in portraiture and historical painting. The energy of his nature is illustrated in such powerful portraits as those of Washington and Hamilton. Deficient in drawing, and unlike in details of feature, they are life-like in their general resemblance, and seem to thrill with the spirit of the original. We see before us the heroes who conducted the struggling colonies successfully to military independence and political freedom. Trumbull's miniatures in oil of many of the men who were prominent in the Revolution are also very spirited and characteristic, and of inestimable historic value. He was less successful in the representation of feminine beauty. His talents moved within a limited range, but within that narrow circle displayed certain excellences quite rare in the Anglo-Saxon art of that period, exhibiting a correct feeling for color, keen perception of character, and great force of expression. But let him stray beyond the compass of his powers, as in the representation of woman, and his coloring becomes unnatural and his drawing inexpressive.