On the same wall in the Wallace collection hang Reynolds’ “Mrs. Carnac” and Gainsborough’s “Perdita.” Both pictures exemplify the possible heightened attractiveness of a portrait in which the artist has made skilful use of a landscape background. They also serve to illustrate a central point of unlikeness in the use of landscape by the two great artists. In Reynolds’ picture the beautiful setting can be conceived of as a landscape quite apart from the stately lady whose pose, figure, and draperies it so advantageously sets off. There is artistic harmony but there is no essential union. But Gainsborough’s background cannot be thought of by itself. It merely makes us conscious that the fair Perdita is out in the light and air, that behind her are real forest depths, that the pensive, appealing charm of her face is enhanced by the pathetic loveliness of Nature herself. With Gainsborough we have reached the subtlest and most perfect use of Nature in portraiture, and his supremacy is based on the fact that his landscapes serve the true purpose of backgrounds. They never offer an individual beauty that rivals or eclipses that of the person, but they contribute to build up an impression the very heart of which is the characteristic effect made by the sitter. After Gainsborough, from the studios of great artists such as Romney, Raeburn, Opie, and Hoppner, Sir Thomas Lawrence and Sir Thomas Beechey, and many of lesser note, came many portraits with landscape work of power and significance, but it is not, in pursuance of this topic, necessary to take up their work in detail, for the reason that Reynolds and Gainsborough led the way, and for the further reason that after them there arose no new or superior way of using Nature in portraiture. II. LANDSCAPE PAINTING