Gilbert Stuart Newton, the nephew of Stuart, is a painter well known in England, where he early established himself; and, having been born at Halifax, and always remained a British subject, he more properly belongs to foreign art. But his education was gained in the studio of his uncle in Boston, and his style shows unmistakable traces of the teacher's methods. Newton executed some good portraits before abandoning his native land, including one of John Adams, which is in the Massachusetts Historical Society. He is known abroad chiefly as a _genre_ painter of semi-literary compositions. [Illustration: "BEGGAR'S OPERA.--[G. STUART NEWTON.]] James Frothingham was also a pupil, and in some degree an imitator, of Stuart, who possessed unusual ability in portraiture, but it was confined to the painting of the head. Whether from the lack of early advantages--which was so remarkable that he had not even seen a palette when, self-taught, he was able to execute a very tolerable likeness--or because of natural limitation of power, Frothingham's talent seemed to stop with the neck of the sitter. The face would perhaps be reproduced with a force, a beauty of color, and a truth of character that oftentimes suggested the art of Stuart; while the hands or shoulders were almost ludicrously out of drawing and proportion. [Illustration: "BABES IN THE WOOD."--[REMBRANDT PEALE.]] Besides Frothingham, there were a number of American painters of celebrity, contemporaries of Stuart, but of unequal merit. Colonel Sargent acquired a repute in his time which it is difficult to understand at present. He seems to have been more of an amateur than a professional artist. His ablest work is the "Landing of the Pilgrims," of which a copy is preserved at Plymouth. Rembrandt Peale obtained a permanent reputation for his very able and truthful portrait of Washington. He bestowed upon it the best efforts of his mature years, and it received the compliment of being purchased by Congress for $2000--a large sum for an American painting in those days, when the purchasing power of money was greater than it is now. His "Court of Death" is a vast composition, that must candidly be considered more ambitious than successful. In such works as the "Babes in the Wood," Peale seems to foreshadow the _genre_ art which has been so long coming to us. John Wesley Jarvis, a native of England, also enjoyed at one time much popularity as a portrait-painter. He was possessed of great versatility; was eccentric; a _bon vivant_, and excelled at telling a story. It is melancholy to record that, after many vicissitudes, he ended his days in poverty.