He 'holds the mirror up to nature,' not to exhibit graphic powers of mimicry, not to depict the sublimity of mind, or the idealities of form, but 'to show Vice her own features,' man 'his own image.' His predecessor thus standing alone, Sir Joshua Reynolds claims to be the founder of English historical painting in its recognised acceptation. Indeed, his principles already, or hereafter to be explained, have been followed by all succeeding artists, or have influenced practice in history no less than in portraiture. And what this influence accomplished in the latter, it certainly has also effected in the former department, with this difference indeed, that in the first it created, in the second improved, giving to each a large, bold, and energetic manner, which was at least a step greatly in advance, a most respectable approximation, in the path of excellence. But this, as a resting-place, was far less perfect in history than in any other branch of the art, since the style was adverse to attainment in many of those qualities justly deemed essential. Hence is Sir Joshua not only inferior to himself in history, but his example has, on the whole, retarded the advancement of the study amongst us. Successors have either too often rested in imitation of his manner, or they have carried his principles forward, in which case they are unfortunately calculated to lead farther from the genuine sources of pure taste and substantial composition. The masterpieces of Sir Joshua are his representations of children; and in many historical, or rather fancy pieces of this character, as the Infant Hercules, the Strawberry Girl, Puck, Cupid and Psyche, Hope nursing Love, his labours are truly admirable. Such subjects were just fitted to his bland and flowing pencil, while they suffered nothing from undecided form and contours feebly expressed. The arch, yet simple expression, the lovely, yet almost grotesque individuality of character, in the heads of his children, the execution, and even coloring--all is equally natural and exquisite. They are among the most perfect gems of art. Only second to the similar productions of Coreggio, they are superior to everything done on the Continent since the days of Rubens and Fiammingo. It appears singular, then, on the first view of the matter, that Sir Joshua should have so frequently failed, and on the whole left so few good female portraits, while so nearly attaining perfection in subjects of allied grace and loveliness. But it is to be remarked, a style of handling broad and facile, yet peculiarly soft and fleshy, which in these instances produces effects so beautiful without much finish, is not equally adapted to express the equally soft, yet decided forms and delicate movements of the female countenance. Besides, Sir Joshua had peculiar notions of grace, which affected ease and nature, rather than actually represented the easy and the natural. He wished to avoid stiffness, and has often lapsed