to his country on repayment of not nearly his own outlay, though we have reason to know, through the late venerable Denon, that the former government of France offered to the possessor his own terms. The meritorious act of removal indeed has, with schoolboy enthusiasm, and maudlin sentimentality, been deplored as a despoiling of a classic monument. How utterly absurd is this, to lament that the time-honored labours of ancient Greece did not sink for ever beneath the violence of the despot and the ignorance of the slave, instead of being, as now, in the midst of an admiring and enlightened people, shedding abroad their beauty and their intelligence, again to revive in our living arts! Jamieson, the first of whom there is interesting notice, and one of the most accomplished of the Scottish artists, died in Edinburgh 1644. His labours, with those of the succeeding century, are connected by works and names, as Norrie, elder and younger, now fast hastening, or already, with no injustice, consigned, to oblivion. The times, agitated as they were by political and religious dissensions, offered little encouragement to the arts of elegance and peace. Throughout the early part of the eighteenth century, however, to the era even of Sir Joshua Reynolds, individual artists, natives of Scotland, may be mentioned, of attainments and practice superior to any in the history of painting during the same period in England. The cause of this is evident in the more accomplished professional education which the former received. The intercourse between Scotland and Italy, owing to various political causes, and to the great number of Scotch residents in the latter country, was then very close; hence, after attaining all that home instruction could give, hardly a single Scottish artist of eminence can be mentioned, who had not, by an abode in Italy, finished his studies where alone the highest and truest knowledge can be obtained. It would be needless to combat the opinion, that such a process is unnecessary. No artist, with a mind open to the real beauties of his profession, can visit Italy without reaping the most solid advantages, otherwise unattainable. In this respect, too, the Scottish artist seemed to enjoy a security in the very poverty of native art; for if he saw little to excite ambition, enough remained to direct study, without taste being influenced by the popularity of false modes. Hence it is not more than justice to state, that in the works of the following names, there is to be found a more uniformly pure and dignified style, if not of higher excellence, than generally distinguishes contemporary art.