at the Royal Academy; but the lovers of old art, or of the compositions called classical, complained of the barbarism of boots, buttons, and blunderbusses, and cried out for naked warriors, with bows, bucklers, and battering rams. Lord Grosvenor was so pleased with the picture, that, disregarding the frowns of amateurs, and the cold approbation of the Academy, he purchased it. Galt says that the king questioned West concerning this picture, and put him on his defense of this new heresy in art. "When it was understood," said the artist, "that I intended to paint the characters as they had actually appeared on the scene, the Archbishop of York called on Reynolds, and asked his opinion; they both came to my house to dissuade me from running so great a risk. Reynolds began a very ingenious and elegant dissertation on the state of the public taste in this country, and the danger which every innovator incurred of contempt and ridicule, and concluded by urging me earnestly to adopt the costume of antiquity, as more becoming the greatness of my subject than the modern garb of European warriors. I answered that the event to be commemorated happened in the year 1758, in a region of the world unknown to the Greeks and Romans, and at a period of time when no warriors who wore such costume existed. The subject I have to represent is a great battle fought and won, and the same truth which gives law to the historian, should rule the painter. If instead of the facts of the ac-
