The leading events and principal masters in the past history of British art have now been rapidly surveyed. Upon the living ornaments of the school, individually, it scarcely falls under the province of the annalist, nor is it his intention, to dwell. It is not, that matter of still farther congratulation would not thus be afforded in the evidence of national progress; for at no time has the English school occupied a more elevated position, whether compared with others, or with itself. But, estimated thus highly and thus truly, the general eminence has still gradations, which, in entering upon detail, it would be incumbent to point out. The responsibility of this duty it is the wish to avoid. An opinion ventured upon works left by their authors to the guardianship of posterity, may be canvassed in its truth or falsehood as an abstract criticism, without either wounding the feelings of the living, or, it may be, injuring the value of professional labour. From judicious observations when called for, an artist has to fear nothing, and may profit much; but it should ever be remembered, that the professional merit must be humble indeed, which does not render the possessor superior to his self-constituted judge, who is himself not an artist. A sound judgment in literature, or an acquaintance with the general principles upon which all works of taste must necessarily be conducted, are not sufficient, without practical skill, truly to estimate a production of art. The poet employs vehicles of thought and signs of expression familiar to all as the use of reason; the means and instruments of the painter constitute in their management a peculiar science, in which excellence or defect is less appreciable by natural or untrained observation. Neglect of these principles of criticism has exposed to groundless censure, and to as injurious praise, both arts and artists. When it is stated, that the modern English school surpasses every other in Europe, the inference is not to be assumed, that painting elsewhere has retrograded, but that, with us, art has advanced beyond the general improvement. During the present century, painting in France has been superior to any thing produced in that country since the age of Louis XIV., or, perhaps, it has in this space attained a greater glory. Italy has more than one master, who, in purity of style at least, excels any predecessor within the last fifty years. Now, if the representatives of these respective schools be compared, or if the universal works of each be taken as the criterion of merit, in either case it would not be difficult to show, that separately, or as a school, the British artists of the present age have made the greatest attainments towards excellence.