(_For the Mirror_.)


Whether the French were first indebted to the Roman school for their
knowledge of the art of painting is a matter of some doubt; indeed, several
celebrated French writers affirm, that they first had recourse to the
Florentine and Lombard schools; while others very strenuously declare, on
the other hand, that the Venetian artists were alone resorted to, on
account of the remarkable splendour of their colouring. A late author,
however, observes, that the French do not appear to have imitated any
school whatever, but to have adopted a style peculiar to themselves, which
though perhaps not a noble one, is nevertheless pleasing. Though it is
acknowledged that the French have a particular style, (i.e. a style of
their own,) yet their progress in the arts has been exceedingly fluctuating
and uncertain, so that it is actually impossible to ascertain who was the
first reputable artist amongst them. Cousin was a painter on glass, and
certainly obtained a good reputation amongst his countrymen. But he in fact
possessed very little merit, and his name would not doubtless have been
known to posterity had he not lived in a barbarous age, when the people
knew not how to discriminate his errors and defects. He was supposed to be
the best artist of his day, and consequently gained a reputation as such,
though his works are far beneath mediocrity.

Francis I. was a great encourager of the fine arts, and the artists
themselves were liberally paid for their productions, until that king was
unfortunately taken prisoner at the battle of Pavia, in the year 1525.
After the death of Francis, the kingdom was distracted with civil wars, so
that painting was entirely neglected by his immediate successors. In the
year 1610, however, Louis XIII. recovered the arts from their languid
state. In his reign, Jaques Blanchard was the most flourishing painter;