One ungracious explanation is easy: that the English have been the rich people and have been able to buy. But a rich nation does not buy pictures without some national love and appreciation of pictures. I hesitate to write that in these days when one hears of a _nouveau riche_ commissioning a friend "to buy him £10,000 worth of pictures by those old jossers"; and in any well-regulated fashionable furniture shop you may buy with the pots and the pans and the indubitably old worm-eaten antique furniture, pictures of the right age; and even books in the proper tone of binding for your old oak book-shelves. Still, taking a view by centuries and disregarding the crazes of a season or a generation, it is fair to conclude that a nation which consistently buys pictures, and good pictures at that, has some love of and taste in painting. The lordly young Englishmen of past generations who, "doing the grand tour," came home with examples of the great continental Masters of painting for their halls, had not the motive of a blind and vulgar obedience to a passing craze. They must have known good pictures and liked good pictures. Year by year, generation by generation, they carried on their work until English collections came to have representative examples of all the great schools of the world. The while, there was no lack of English painters of distinction, and though the English schools of painting may not claim the same degree of achievement as English schools of prose and verse, they have done enough to rescue their country from the reproach of being careless as a nation of the art of painting. There are, let it be agreed, "Philistine" classes in England; and these "Philistines" have had more authority and opportunities of rule in England than in most European countries, a fact which has carried with it artistic disadvantages to weigh something in the balance against advantages in other directions. But it is absurd to attempt to represent England as a lost country artistically. The visitor who is interested chiefly in art will find in the various public galleries (not alone in London, but also in the provincial cities) many great examples of painting. If he chooses to carry his curiosity further he will find most of the private collections open to the inspection of any one who will take the trouble to ask courteously for permission to visit them.