The class of art tourists is very numerous, and of all tourists the art tourist is, I think, the most indefatigable. He excels the tourist in search of knowledge both in length of hours and in assiduity while he is at his work. The art tourist now described is not the man or woman who goes abroad to learn to paint, or to buy pictures and gems, or to make curious art investigations. Such travellers are necessarily few in number, and set about their work as do other people of business. They are not tourists at all in the now accepted meaning of the word. Our art tourist is he,--or quite as often she,--who flies from gallery to gallery, spending hours and often days in each, with a strong determination to get up conscientiously the subject of pictures. Sculpture and architecture come also within the scope of the labours of the art tourist, but not to such an extent as to influence them materially. Pictures are the ever present subject of the English art tourist's thoughts, and to them and their authors he devotes himself throughout his holiday with that laborious perseverance which distinguishes the true Briton as much in his amusement as in his work. He is studying painters rather than pictures,--certainly not pictures alone as things pleasing in themselves. A picture, of which the painter is avowedly unknown, is to such a one a thing of almost no interest whatever,--unless in the more advanced period of his study he should venture to attempt to read the riddle and should take upon himself to name the unknown. And this work of the art tourist, though it may lead to a true love of pictures, does in no wise arise from any such feeling. And, indeed, it is quite compatible with an entire absence of any such predilection. Men become learned in pictures without caring in the least for their beauty or their ugliness, just as other men become learned in the laws, without any strong feeling either as to their justice or injustice. The lawyer looks probably for a return for his labours in a comfortable income, and the art tourist looks for his return in that sort of reputation which is now attached to the knowledge of the history of painting. The first great object of the art tourist is to be able to say, without reference to any card, guide-book, or affixed name, and with some approach to correctness, who painted the picture then before him; and his next great object is to be able to declare the date of that painter's working, the country in which he lived, the master who taught him, the school which he founded, the name of his mistress or wife, the manner of his death, and the galleries in which his chief works are now to be found.