after an earnest and silent inspection of sixteen new portraits by Reynolds, he exclaimed to an attentive companion—they used strong language in those days—'The man's so d——d various!'
To these great names should be added Romney and Raeburn, as contributing in their degree to the galaxy of splendour—the splendour of the long-eclipsed poetry of the English nation, in design. But we must be satisfied to distinguish the special spirit of the English in portraiture—for in no other branch was there much scope at first. Wilson martyred himself in implanting landscape art. Yet what was done was enough to speak clearly the gladsomeness of Chaucer and Shakespeare, and the hearty rebound from oppressive melancholy which the poets of other races wellnigh ever lack.
Let it be also remembered that decorative design in gold and silver, porcelain, marble and stucco-work bore valiant witness to the vitality of national taste in that day.
The will of our nation declares itself in no timid fashion, and no one in the world would gainsay the verdict that in most purposes it has shown a leading spirit to which all other nations pay respect. Yet no acknowledgement did our forefathers ever gain from abroad for their unpretentious Art. I leave out of count any change in the estimate of it by other peoples that may have found expression in the last twenty years, simply because no judgement of the passing day can be looked upon as a fixed one—external influences too often rule these ephemeral decisions; but certainly from the days on Winckelmann to the beginning of the generation
