Succeeding these, and forming the connecting links between the painters of the time of Reynolds and those of our own day, are some artist whom we must be content to mention, referring for further information to the names in the 1310GRAPHICAL Drvistoe. At the head of those we may place West's successor in the academic chair, Sir Themes Lawrence (b. 1709, d. 1830), the most popular, though not the greatest of English portrait painters. Thomas Stotharcl (b. 1755, cl. 1834), had a dogularly graceful fancy, but is seen to most advantage in the small vignette engravings from his designs. Sir David Wilkie (b. 1785, d. 1841) in his earlier works showed inimitable skill as a painter of scenes of domestic life. Etty (b. 1787, d. 1849) was • powerful colourist, and in his own peculiar line, though that line was an eminently conventional one, he was doubtless a master. Joseph Mallard William Turner (b. 1775, d. 1851), the most original, the most imaginative, and the most comprehensive of landscape painters, belongs to too recent a elate for us to enter upon his merits or shortcomings here; nor is it necessary to do so, as he is spoken of at length in the LIOORAPHICAL Invialoie. John Constable (b. 1776. d. 1837) ; Sir Augustus Wall Calcott (b. 1779, el. 1844); Benjamin Robert Hayden (b. 1786, d. 1840); William Collins (b. 1787, d. 1847) ; Charles Robert Leslie lb. 1794, d. 1859), and many more, might be quoted as illustrative
of the variety, tendency, and character of English painting in the first half of the present century. But to do so without more space than we have now left, would answer no useful purpose. We must net, how ever, conclude without reference to the rise and growth of that peculiarly English branch of the art, water-colour printing. Of course, In speaking of it as an English art, it is not meant to be implied that there was anything new in the practice of employing water as the vehicle, or piper as the material on which the colours are laid. But the adoption of this distinct branch of art, and its special application, are clue to our countrymen ; and by them water-colour painting has been more practised, and carried farther, than by the paintere of any other country. The founder of the English school of water-colour painting was Paul &nab)? (b. 1725, d. 1809), an artist of versatile talents and great taste. Those to whom its extension is primarily due were John Cozens (d. 1794); Thomas Girtin (b. 1775, d. 1802), the friend and follow-student of Turner, and Turner himself. Luke Cimino]] (b. 1781, d. 1839); Samuel l'rout (b. 1783, d. 1852); David Cox and others, whose names 011 recur to the reader, aided materially in raising the art to its present high standing.