It is as "the prince of portrait painters" that Sir Joshua will be remembered, although he produced more than one hundred and thirty historic or poetic pieces. Messrs. Redgrave, speaking of his powers as an historic painter, declare that "notwithstanding the greatness of Reynolds as a portrait painter, and the beauty of his fancy subjects, he wholly fails as a painter of history. Allowing all that arises from 'colour harmony,' we must assert that, both as to form and character, the characters introduced into these solemn dramas are wholly unworthy to represent the persons of the actors therein." They argue that the _Ugolino_ fails to represent the fierce Count shut up in the Tower of Famine, on the banks of the Arno, and that the children of the _Holy Family_ "for all there is of character and holiness, might change places with the Cupid who fixes his arrow to transfix his nymph." The child who represents _The Infant Samuel_, delightful as it is, in common with all Sir Joshua Reynolds's children, has nothing to distinguish it as set apart to high and holy offices. We may mention as among the best known of the historic and poetic subjects of this master:--_Macbeth and the Witches_, _Cardinal Beaufort_, _Hercules strangling the Serpents_, painted for the Empress of Russia, and _The Death of Dido_. Famous, too, as portraits, are _Mrs. Siddons as the Tragic Muse_ (Duke of Westminster's and Dulwich Gallery), _Garrick between Tragedy and Comedy_, _The Strawberry Girl_, _The Shepherd Boy_, _The Little Girl in a Mob Cap_ (Penelope Boothby), _The Little Duke_, and _The Little Marchioness_; many others which are scattered in the galleries and chambers of the English nobility and gentry, and which are now frequently seen on the walls of Burlington House as each "Old Masters" Exhibition passes by.