_Third Class._ This division includes many landscape painters of various, some, indeed, of very high merit, whose labours extend from the commencement of the eighteenth to an early part of the present century. Of this class the principal names are the following: Smiths of Chichester, especially John and George, and Smith of Derby;--it is singular that all three were self-taught. The two Gilpins of Carlisle; the elder by pictures of horses and wild animals, and the Rev. William Gilpin, by his writings and landscapes, have added much to this department. Sandby of Nottingham, a most exquisite landscape draughtsman, as also were Cozens and Hearne, whose paintings have great value in fidelity, and whose drawings contributed not a little towards forming the present school of water-color painting. Tull imitated too closely the Dutch masters. Wheately excelled both in minor history and landscape, especially in rural subjects. Dean, a native of Ireland, some good Italian landscapes. Dayes, Devis, of which names there were three artists more or less connected with landscape. Two Pethers of Chichester; William, both a painter and engraver of landscapes; Abraham excelled in moonlight scenes, exercising the pencil with remarkable sweetness, luxuriance, and transparency of coloring; he died in 1812. Of all the landscape painters of the British school, Wilson and Gainsborough are undoubtedly the first; nor is it easy to discriminate between them. Wilson excels in splendour of effect and magnificence of composition; but Gainsborough is more natural and pleasing, at least in his early pictures. Latterly he introduced the notion of an ideal beauty in rural nature, which has too frequently been imitated. Both possessed genius in no ordinary degree; but though to the first has been conceded the higher walk as it has been called, because imaginative, to the latter belongs that temperament of mind more essential, we think, to the landscape painter, which powerfully conceives the objects of contemplation, and places them in vivid reality before the eye and the fancy. Each has failed in the grand difficulty of landscape--the proper introduction of figures; and in the besetting defect of the English school--slovenly execution, and want of detail. Here the remarks are not confined to these artists alone, but express rather the general character. Among the masters of historical painting, as Titian, Caracci, N. Poussin, Rubens, who excelled in landscape incidentally, as it were, the scene is always subordinate to the figures. This is generally the case, too, with those who more directly professed historical or heroic landscape, as Salvator Rosa, Albano, Franceso Bolonese, with many of the most celebrated Flemish and Dutch artists. In this case the landscape is introduced either to exhibit some scenic propriety, or as a mere embellishment of the historical design. The great difficulty here lies in maintaining