We may now turn our attention for a little to the past state of painting in Scotland. During the eighteenth century, though there can hardly be said to have existed any separate style, so as to merit the distinction of a school apart from that of the empire generally, yet several very respectable Scottish artists are found to have practised both in London and Edinburgh. In the latter capital, towards the close of that period, a school gradually arose, which, considering the resources of the country, the opportunities of improvement, the means of patronage, and latterly, the merits of its individual masters, especially of its head, the late Sir Henry Raeburn, displays an inferiority certainly not greater than might reasonably be expected. Or we will go farther; when the invigorating influence of royal countenance and protection upon the fine arts, the superior wealth and intelligence congregated in the seat of legislature, are viewed--all concurring to foster and advance art in the capital; and when, on the other hand, we reflect, not merely on the absence of these advantages, but on the positive detriment of a non-resident nobility, whose presence might in some measure supply other deficiencies, it must be matter of astonishment, not that Scottish painting is inferior, but that it is so nearly equal, to that of London. But there needs not an appeal merely to relative excellence; the absolute merits of some of the masters now in Edinburgh, or belonging to Scotland, are not surpassed in their respective departments. It is far from the intention, in these remarks, to institute any invidious distinctions, but to state fairly the claims of Edinburgh, and that the talents of her artists, and the zeal of her people, place her, not among the secondary cities, but among the capitals of Europe. It ought also to be remembered, that in no instance are the arts of any kingdom more indebted, than those of the British Empire to Scotsmen. Not to mention the exertions of Gavin Hamilton, himself an artist, whose discoveries and knowledge of antique art materially assisted the general restoration of taste--and we do know that, in this light, Canova both regarded and ever spoke of him with gratitude--there are two cases more immediate to the present purpose. Sir William Hamilton, at his own risk and expense, though afterwards, as was only proper, in part repaid, made the most splendid collection of ancient vases now in the world, excepting that of Naples. These are in the British Museum, and have not merely refined taste, but have most materially improved the useful arts of the country. The Earl of Elgin's inestimable treasures of ancient sculpture have enriched Britain with examples of unrivalled excellence, and which have already mainly contributed to the present superiority of her genius in art. These precious remains, with indefatigable assiduity, at a ruinous and hopeless expenditure, collected--an enterprise in which kings had formerly failed--he gave