wants the almost o'er-informing mind, the freshness of natural feeling, which give to art its truest, only mastery over the human spirit. The surpassing softness and variety of our island scenery seems to have inspired a corresponding beauty and vigorous diversity into our school of Landscape. Rural imagery may almost be said to mingle in every dream of English enjoyment. Hence this department of our arts has always been popular, and, as a necessary consequence of encouragement, has been cultivated with ardor and success. Only, indeed, when English artists have forsaken English nature, or have attempted to unite classical allegory with heroic landscape, as it is called, have they failed in this delightful branch. From an early period in the eighteenth century, the school may be said to commence, and thenceforward may justly be said to have remained unrivalled by contemporary merit in any other country. One department indeed of landscape, and that too a very charming one, namely water-color, has been, by British artists, not only invented, it may be said, but raised into a most beautiful and useful branch of dignified art. Nor let landscape be deemed, as too frequently, an inferior department: it certainly requires not the highest genius, yet so many qualities must unite in the same individual before he can attain excellence here, that Sir Joshua Reynolds used to say, 'there is more likely to be another Raphael than a second Claude.' Yet more than one native has approached the eminence of the latter. Commencing with the last century, the following arrangement will include the most esteemed landscape painters of this country.