The remarkable merit of this picture and the wilful unreasonableness of painters in not signing their works, were curiously shown at the exhibition of “Pictures by the Old Masters,” held at Burlington House, in January of 1878. In the printed catalogue of the collection this picture was attributed to Gainsborough, and attracted and received marked attention. A writer in the “Saturday Review,” speaking of the exhibition, remarks: “Turning to the English school, we may observe a most striking portrait in number 128, in Gallery III. This is set down as ‘Portrait of W. Grant, Esq., of Congalton, skating in St. James Park. Thomas Gainsborough, R. A. (?)’ The query is certainly pertinent, for, while it is difficult to believe that we do not recognize Gainsborough’s hand in the graceful and silvery look of the landscape in the background, it is not easy to reconcile the flesh tones of the portrait itself with any preconceived notion of Gainsborough’s workmanship. The face has a peculiar firmness and decision in drawing, which reminds one rather of Raeburn than of Gainsborough, though we do not mean by this to suggest in any way that Gainsborough wanted decision in either painting or drawing when he chose to exercise it.” The discussion as to the authorship of this picture waxed warm, the champions of Raeburn, of Romney, and of Shee, contending with those of Gainsborough for the prize, which contention was only set at rest by a grandson of the subject coming out with a card that the picture was by “the great portrait-painter of America, Gilbert Stuart.” And to Stuart it did justly belong. With the success of this portrait of Mr. Grant, Stuart was launched upon the sea of prosperity, and to himself alone, and not to want of patronage or lack of opportunity, is due his failure to provide against old age or a rainy day. For a while he lived like a lord, in reckless extravagance. Money rolled in upon him, and he spent it lavishly, without a thought for the morrow. His rooms were thronged with sitters, and he received prices for his work second only to those of Reynolds and of Gainsborough. He was on the best footing with his brethren of the brush, and with Gainsborough, his senior by more than a quarter of a century, he painted a whole-length portrait of Henry, Earl of Carnarvon, in his robes, which has been engraved in mezzotinto by William Ward, with the names of the two painters inscribed upon the plate. This alone shows the estimation in which Stuart was held by his contemporaries, and it would be most interesting to know which parts were the work of Stuart and which were due to his famous collaborator.