Ramsay, son of the poet, inherited no small portion of his father's love of nature, and power of unaffected delineation of her simplicity. His portraits present, in these respects, a charm quite refreshing, when compared with the staring mannerism of the Anglo-German school, founded by Lely and Kneller. Ramsay remained three years in Italy, from 1736. Of his accomplishments, Dr Johnson has left this testimony: 'you will not find a man in whose conversation there is more instruction, more information, and more elegance, than in Ramsay's.' Runciman, an excellent draughtsman and pleasing colorist, born in 1736. Several historical paintings, executed at Rome and in Edinburgh, evince very considerable powers both of composition and practice. He was for a length of time a very efficient teacher in the Scottish Academy of design. More, the Scottish Claude, as he is sometimes termed, whom also he selected as his model. Without, however, reaching the depth of coloring and beautiful nature which are found in that admirable painter, there are many stations which may be filled with honor. In one of these More is to be placed, while his figures have very great propriety both of selection and in the manner of introducing them. His subjects are usually Italian scenes, in the neighborhood of Rome, where he chiefly resided, and died in 1795. To these, other names of considerable merit might be added, as Cochrane, Sir George Chalmers; Barker, too, the inventor of panoramic painting, was, we believe, a native of Scotland, at least, the first work of the kind ever exhibited was in Edinburgh. Martin, who visited Italy in company with Ramsay, practised portrait painting with considerable reputation, till he retired from his professional labours on the increasing and merited popularity of his distinguished contemporary, under whom the Scottish school assumes a dignified importance, heretofore denied to its comparatively isolated endeavors. Sir Henry Raeburn, the representative of painting in Scotland from 1787 to his death 1823, was born in a suburb of the capital, 1756. Of all the distinguished artists who have attained excellence, without any peculiarity of manner, perhaps Raeburn owes least to others and most to himself in the acquisition of his art. Originally apprenticed to a goldsmith, it does not appear that he ever received a single lesson from a master even in the ordinary accomplishments of drawing. From painting miniatures with success during his apprenticeship, he turned his attention to large portraiture in oil, with no other assistance than merely copying a few portraits could give. Even these early productions must have possessed merit, since they obtained the approbation of Sir Joshua, by whose advice he visited Italy, remaining abroad two years, thus completing the round of his professional studies.