the chapter to communicate their plans to the actual artificers. But it must also be observed, that the natural consequence of introducing foreign art would be to create native artists. There can be little doubt, therefore, that many of the really fine monuments of our Henrys and Edwards, during the fifteenth century, are the works of home-bred talent. During the sixteenth century, again, we do certainly know that two Italian sculptors, Cavallini, and especially the celebrated Torregiano, were in England, when the latter erected the monument in Henry VII.'s chapel, for which he received so large a sum as a thousand pounds. Henry VIII., again, had for his master of works an Italian sculptor, John of Padua, scholar of Michael Angelo. In 1615, we at length find a work erected by an Englishman, the monument of the 'good Thomas Sutton,' by Nicholas Stone; and, towards the conclusion of the same era, lived Francis Bird, a native of London, whose labours, however, only show the miserable state of art. Sculpture has never been practised as a separate branch in the early history of Scotland, who appears to have obtained her masters rather from France than Italy. In both countries, our first historians have been most culpably remiss in attention to the progress of native art. On the present occasion, to attempt a detailed account of the scattered notices they have left us, or, what might prove still more satisfactory, an examination of the rich remains we possess, would be irrelevant, as we touch merely upon the general history of the arts, in which our own isolated labours, even at best, form only an episode.