To return to Gainsborough; the peculiarity of his manner, or style, or we may call it--the language in which he expressed his ideas, has been considered by many as his greatest defect. But without altogether wishing to enter into the discussion--whether this peculiarity was a defect or not, intermixed, as it was, with great beauties, of some of which it was probably the cause, it becomes a proper subject of criticism and inquiry to a painter. A novelty and peculiarity of manner, as it is often a cause of our approbation, so likewise it is often a ground of censure; as being contrary to the practice of other painters, in whose manner we have been initiated, and in whose favour we have perhaps been prepossessed from our infancy; for, fond as we are of novelty, we are upon the whole creatures of habit. However, it is certain, that all those odd scratches and marks, which, on a close examination, are so observable in Gainsborough's pictures, and which even to experienced painters appear rather the effect of accident than design: this chaos, this uncouth and shapeless appearance, by a kind of magic, at a certain distance assumes form, and all the parts seem to drop into their proper places, so that we can hardly refuse acknowledging the full effect of diligence, under the appearance of chance and hasty negligence. That Gainsborough himself considered this peculiarity in his manner, and the power it possesses of exciting surprise, as a beauty in his works, I think may be inferred from the eager desire which we know he always expressed, that his pictures, at the Exhibition, should be seen near, as well as at a distance. The slightness which we see in his best works cannot always be imputed to negligence. However they may appear to superficial observers, painters know very well that a steady attention to the general effect takes up more time, and is much more laborious to the mind, than any mode of high finishing, or smoothness, without such attention. His _handling_, _the manner of leaving the colours_, or, in other words, the methods he used for producing the effect, had very much the appearance of the work of an artist who had never learned from others the usual and regular practice belonging to the art; but still, like a man of strong intuitive perception of what was required, he found out a way of his own to accomplish his purpose. It is no disgrace to the genius of Gainsborough to compare him to such men as we sometimes meet with, whose natural eloquence appears even in speaking a language which they can scarce be said to understand; and who, without knowing the appropriate expression of almost any one idea, contrive to communicate the lively and forcible impressions of an energetic mind.