A Portrait-painter likewise, when he attempts history, unless he is upon his guard, is likely to enter too much into the detail. He too frequently makes his historical heads look like portraits; and this was once the custom amongst those old painters, who revived the art before general ideas were practised or understood. A History-painter paints man in general; a Portrait-painter, a particular man, and consequently a defective model. Thus an habitual practice in the lower exercises of the art will prevent many from attaining the greater. But such of us who move in these humbler walks of the profession are not ignorant that, as the natural dignity of the subject is less, the more all the little ornamental helps are necessary to its embellishment. It would be ridiculous for a painter of domestic scenes, of portraits, landscapes, animals, or still life, to say that he despised those qualities which has made the subordinate schools so famous. The art of colouring, and the skilful management of light and shadow, are essential requisites in his confined labours. If we descend still lower, what is the painter of fruit and flowers without the utmost art in colouring, and what the painters call handling; that is, a lightness of pencil that implies great practice, and gives the appearance of being done with ease? Some here, I believe, must remember a flower-painter whose boast it was, that he scorned to paint for the _million_: no, he professed to paint in the true Italian taste; and, despising the crowd, called strenuously upon the _few_ to admire him. His idea of the Italian taste was to paint as black and dirty as he could, and to leave all clearness and brilliancy of colouring to those who were fonder of money than immortality. The consequence was such as might be expected. For these petty excellencies are here essential beauties; and without this merit the artist's work will be more short-lived than the objects of his imitation. From what has been advanced, we must now be convinced that there are two distinct styles in History-painting: the grand, and the splendid or ornamental.