These remarks, though now illustrated chiefly by reference to its founder, are applicable more or less to the English school of portraiture generally. Indeed, down to the masters of the present day, these precepts operate, and often not less decidedly than in the works of those who were the contemporaries of Sir Joshua. Of the latter, the names of a few of the principal may now be enumerated. Romney, who died in 1802, ten years after the death of Sir Joshua, was an original, and to a great degree, self-taught artist. His style of design is simple, his coloring warm and rich, but his affectation of breadth has frequently induced a neglect of form, with often too vague a generalization of sentiment. The great failing of Romney--one common, indeed, to all men, in every profession, who have not been regularly educated--is something defective in his general management, so that the whole is rendered imperfect or displeasing from some peculiarity or immethodical management, which early instruction would easily have enabled him to avoid. Opie has carried the principles of Sir Joshua to the very verge of coarse and indistinct, from which the force of his own genius has scarcely secured him. His portraits have frequently not more detail than a sketch, yet are usually heavy and laboured in effect. Though undoubtedly possessing high talent, Opie's success was owing not less to the circumstances under which he rose, than to intrinsic merit. He is, however, a very unequal artist, sometimes attaining great beauty, at others falling beneath himself, which renders it difficult to pronounce generally; besides, he has several manners, though in each, the large and unfinished style predominates. Great allowance is, however, undoubtedly to be made for him, whose first portrait was painted by stealth, in moments snatched from the menial occupation of carrying offals to the house-dog of his first employer. Such was his employment as house-boy in the family of Walcott, the portrait being that of the butcher, and which there is reason to believe was painted in the shambles. No where in the history of mind, do we find such amazing instances of the power of talent over circumstances as in art. From painting likenesses at seven and sixpence in Truro, 'the Cornish boy' came to London with thirty guineas in his pocket, and, with hardly any instructions, save advice from Sir Joshua, made his way to fame and fortune. Next to Sir Joshua, of the contemporary painters, Romney and Opie supported undoubtedly the first rank, though many others, of considerable merit, would deserve notice in a more extended narrative. We shall therefore now direct attention to Historical and Landscape Painting.