In France, or by French artists, painting has been practised with much individual success; and though academies have been formed, and government protection long and liberally afforded, it would yet be difficult exactly to describe in what the characteristics of the national style of art in France consist. In that country, taste, as respects painting, has fluctuated more, and from the first has been less deeply impressed with original traits, than as regards any other of the fine arts. Voltaire has remarked, that a people may have a music and poetry pleasing only to themselves, and yet both good; but in painting, though their genius may be peculiar, it can be genuine only as it is agreeable to, and prized by, all the world. Tried by this rule, French painting seems to be neither correct nor pleasing, and it is not universal, that is inventive, in its peculiarity of manner. In her early efforts, France was indebted to Italy, and in her subsequent labors the Italian method of design has prevailed; indeed, her artists have here rather copied than imitated, adding, no doubt, what have been termed _les graces Françoises_--an expression ill-naturedly, but not without truth, translated, 'French grimaces.' It is rare, perhaps impossible, to find originality where taste has not been naturally, and to a considerable extent, cultivated prior to the introduction of extrinsic knowledge. Art borrowed in a state of forwardness, can receive no new nor valuable modifications from unskilful hands and unpractised fancy. On the other hand, when thought has been independently exercised, refinement, engrafted upon its bold, though perhaps rude strength, will receive novel combinations and freshness of character, while the reception of more perfect modes in the same walk, will but improve the faculties, without oppressing the powers, of native genius. Again, the fluctuations of painting observable during its progress in France, appear to have arisen chiefly from the influence which favorite masters have been able to exercise over the art universally in that country. Nor has the influence often been that of pure talent. Court intrigue, during the most favorable epochs, has raised to court employment, and consequently to pre-eminence in the honors and emoluments of his profession, some individual, who thus became possessed of the means of rendering his brethren eager to obtain his countenance by imitation of his style. Thus we have the schools of Vouet, of Le Brun, of David, distinguished merely by adherence to the particular manner of these masters; with some exception in the last, which is founded most on general principles. This, however, is only an effect growing out of a far more general cause of imperfection in French art, namely, the absence of all true national interest. Among the French, painting has hitherto, during the most prosperous periods, formed the amusement or the luxury of their rulers; though