d styles; we are yet struck with the manifest
difference between the present and any other we ever remember to have
seen. There is, in fact, more originality. There are, indeed, mannerists
enough; and we mean not here to use the word in its reprehensive sense
but they stand more alone. There are far fewer imitators--some, of
course, there must be, but they are chiefly in those classes where
imitation is less easily avoided. Common-place subjects will ever be
treated in a common-place manner, and resemble each other. Few venture
now to follow even erratic genius in its wild vagaries. Turner has no
rivals in the "dissolving view" style. By those who look to one or two
favourite masters, who have hitherto given the character to our
exhibitions, perhaps some disappointment may be felt. Edwin Landseer has
but two pictures--Sir Augustus Calleott not one; and herein is a great
loss, speaking not with reference to his very late pictures, his English
landscape, or even his Italian views, but in vivid recollection of his
fascinating river views, with their busy boats, under illuminating
skies, such as, alas! he has ceased to paint.

With regard to landscape, we progress slowly. Yet we fancy we can
perceive indications there, that are of a better promise; although of
the higher class of landscape there is not one this year. The promise is
in the pencil of Creswick. He labours to unite great finish, too minute
finish, with breadth and boldness of effect. His is unquestionably a new
style; his subjects are all pleasing, bordering on the poetical; we only
question if his aim at minute finishing does not challenge a scrutiny
into the accuracy and infinite variety of the detail of nature, that few
pictures ought to require, and his certainly do not satisfy the demand.
For, after all, there is a great sameness, where there ought to be
variety, particularly in his foliage: it is safer, by a greater
generality, to leave much to the imagination. We do not, however, mean
to quarrel with this his peculiar style, nor to limit its power. There
is something yet not achieved.

Mr Maclise has likewise originated a new style, and if not altogether a
new class of subjects, one so richly, so luxuriantly treated as to be
fairly considered new. He has given to humour a gentle satire, and more
especially to works of creative fancy an historical importance; for
herein he is essentially different from all other painters of this
class, that none of his p