The next place to representation of pomp among negative subjects, but far below, we assign to Portrait. Not that characteristic portrait by which Silanion, in the face of Apollodorus, personified habitual indignation; Apelles, in Alexander, superhuman ambition; Raphael, in Julio the IId., pontifical fierceness; Titian, in Paul IIId., testy age with priestly subtlety; and in Machiavelli and Cæsar Borgia, the wily features of conspiracy and treason.--Not that portrait by which Rubens contrasted the physiognomy of philosophic and classic acuteness with that of genius in the conversation-piece of Grotius, Meursius, Lipsius, and himself; not the nice and delicate discriminations of Vandyk, nor that power which, in our days, substantiated humour in Sterne, comedy in Garrick, and mental and corporeal strife, to use his own words, in Samuel Johnson. On that broad basis, portrait takes its exalted place between history and the drama. The portrait I mean is that common one, as widely spread as confined in its principle; the remembrancer of insignificance, mere human resemblance, in attitude without action, features without meaning, dress without drapery, and situation without propriety. The aim of the artist and the sitter's wish are confined to external likeness; that deeper, nobler aim, the personification of character, is neither required, nor, if obtained, recognised. The better artist, condemned to this task, can here only distinguish himself from his duller brother by execution, by invoking the assistance of back-ground, chiaroscuro and picturesque effects, and thus sometimes produces a work which delights the eye, and leaves us, whilst we lament the misapplication, with a strong impression of his power; him we see, not the insignificant individual that usurps the centre, one we never saw, care not if we never see, and if we do, remember not, for his head can personify nothing but his opulence or his pretence; it is furniture. If any branch of art be once debased to a mere article of fashionable furniture, it will seldom elevate itself above the taste and the caprice of the owner, or the dictates of fashion; for its success depends on both; and though there be not a bauble thrown by the sportive hand of fashion which taste may not catch to advantage, it will seldom be allowed to do it, if fashion dictate the mode. Since liberty and commerce have more levelled the ranks of society, and more equally diffused opulence, private importance has been increased, family connections and attachments have been more numerously formed, and hence portrait painting, which formerly was the exclusive property of princes, or a tribute to beauty, prowess, genius, talent, and distinguished character, is now become a kind of family calendar, engrossed by the mutual charities of parents, children, brothers, nephews, cousins, and relatives of all colours.