It is to be observed that these high spirits are not a mere excrescence or superficial point in an experiencing nature; on the contrary, they seem to be essential, if not to its idea or existence, at least to its exercise and employment. How are you to know people without talking to them, but how are you to talk to them without tiring yourself? A common man is exhausted in half an hour; Scott or Shakespeare could have gone on for a whole day. This is, perhaps, peculiarly necessary for a painter of English life. The basis of our national character seems to be a certain energetic humour, which may be found in full vigour in old Chaucer’s time, and in great perfection in at least one of the popular writers of this age, and which is, perhaps, most easily described by the name of our greatest painter—Hogarth. It is amusing to see how entirely the efforts of critics and artists fail to naturalise in England any other sort of painting. Their efforts are fruitless; for the people painted are not English people: they may be Italians, or Greeks, or Jews, but it is quite certain that they are foreigners. We should not fancy that modern art ought to resemble the Mediæval. So long as artists attempt the same class of paintings as Raphael, they will not only be inferior to Raphael, but they will never please, as they might please, the English people. What we want is what Hogarth gave us—a representation of ourselves. It may be that we are wrong, that we ought to prefer something of the old world, some scene in Rome or Athens, some tale from Carmel or Jerusalem; but, after all, we do not. These places are, we think, abroad, and had their greatness in former times; we wish a copy of what now exists, and of what we have seen. London we know, and Manchester we know, but where are all these? It is the same with literature, Milton excepted, and even Milton can hardly be called a popular writer: all great English writers describe English people, and in describing them, they give, as they must give, a large comic element; and, speaking generally, this is scarcely possible, except in the case of cheerful and easy-living men. There is, no doubt, a biting satire, like that of Swift, which has for its essence misanthropy. There is the mockery of Voltaire, which is based on intellectual contempt; but this is not our English humour—it is not that of Shakespeare and Falstaff; ours is the humour of a man who laughs when he speaks, of flowing enjoyment, of an experiencing nature.