Naturally it is impossible within the limits of a small and unpretentious monograph to give an adequate idea of the range and variety of the labours that occupied Sir Joshua Reynolds for half a century or more, and no attempt will be made in this place to do more than indicate the forces that seem to have directed his brush, the masters whose labour inspired it. It has been pointed out in these pages that Reynolds was a great assimilator. He took from everybody, but he was always judicious, because, quite apart from his executive faculties, he had a critical gift of the first order. One has but to turn to his diaries to realise that his instinct was singularly sound. He could stand before an admitted masterpiece and enjoy all its beauties, without losing sight of any defect however small, and because his mind was beautifully balanced, the small points of objection did not spoil his appreciation of the whole work. They simply taught him what he should avoid. In the very early days of his career, before he had left Devonshire, he made the acquaintance of one Gandy, an artist of some small repute, whose father, also a painter, had studied Van Dyck, and had taught his son to appreciate the fine qualities of Rembrandt. The younger Gandy afforded Reynolds his first glimpse of the world lying beyond the reach of the rank and file of British students, gave him his earliest appreciation of Rembrandt, and taught him to look for that master's work when he visited Rome. As soon as Reynolds reached Italy, he examined the great masters with a critical eye, and set himself to copy Titian, Rubens, Rembrandt, Guido, Raphael, and many others. He soon saw that each of these masters had achieved supreme success in some department of their life's work, and he had the idea of uniting all the excellences that he saw around him, and leaving the defects alone. He sought for the colour of Rubens and Titian the drawing of Raphael, the splendour of design of Michelangelo, and the chiaroscuro of Rembrandt. Naturally this must sound ambitious enough; but we should remember that Reynolds was far from standing alone in his ambitions. Mengs, who did so much to proclaim the merits of Velazquez and achieved a great but temporary success as a painter in Madrid before Goya's wonderful gifts threw him into well-merited obscurity, had the same ideals, but whereas the best of his accomplishments were but dull and short-lived, Reynolds was able to force some way through all the gifts with which he sought to surround himself and to reach a style of his own. The journey lasted very many years, and the road is strewn with failures, chiefly due to an inability to grasp the secret of a durable glaze and, like many men who came before and after him, the painter had to part company with some at least of his ambitions. Had his own capacity for self-criticism been less, had he allowed his feeling for fine colour to prevail over the sound judgment that bade him look for