Causes, therefore, originating in the moral and political condition of the people, can alone explain the striking inferiority of English art during the period of greatest splendor in its modern history. The opinions, indeed, promulgated by the French and Italian writers, not excepting Winklemann, and so complacently entertained even now on the Continent, respecting the deleterious influence of climate upon English genius, are, in their philosophy, too contemptible to merit serious investigation. Nor are similar theories of our own and other authors exempted from this censure, which ascribe excellence, as for instance in ancient Greece, to the propitious effects of the same physical cause. The mighty and the immortal energies of the human mind are independent of all other external causes; they will bear up against all other external pressure--save moral and political degradation. In fact, art in England was crushed almost in its cradle by the civil wars of York and Lancaster. Warfare between different nations, where the struggle is from rivalry of interests or empire, rather favors the developement of national talent; the activity of martial achievement conveys, through all the relations of citizenship, and to every field of honorable exertion, a corresponding vigor and elasticity of mind--an ardent love of glory and of country--raising high the spirit of emulation, yet binding closer the ties of fellowship. In the unhallowed commotion of civil contest, all these effects are reversed; while in England, the desecration of country consequent on such feuds was deeper than perhaps in any other instance of modern times, from religion, which in other states, under like unhappy circumstances, had afforded an asylum to arts and to peace, here taking part with the combatants. These political divisions healed, religious dissensions broke in upon the national quiet, at a time, too, when a taste for the fine arts was gaining ground in the different states of Europe. When at length every animosity and partial feeling had subsided in the generous consciousness of being Englishmen, an eager thirst for nautical enterprise engaged the minds of the subjects of Elizabeth and James. The wealth, security, and information which flowed from these exertions, were beginning to create taste, and to provide means highly favorable to the future progress of painting. The predilections of Charles, likewise, as also his knowledge, were calculated to improve and to direct in the best manner these advantages. The collection of pictures which he formed was the most valuable then in Europe, and composed of pieces especially adapted to a national gallery, and to the design of creating a native school. The most eminent artists of the age, invited to his court, found their labors at once skilfully appreciated and munificently rewarded. This unfortunate monarch had the satisfaction to perceive the refinement beginning to spread among