That very conscientious and careful artist, Mr Charles Landseer, has a pretty and well-painted _Girl in a Hop-garden_, and a larger and still better picture--perhaps the best he has for some years produced--of _Æsop_, surrounded by several of the animals celebrated in his fables. There is a great deal of quiet humour and nice finish in this picture: the figure and face of the hump-backed fabulist, and those of a girl, who seems admiringly to listen to his allegorical wisdom, are exceedingly good. Mr Dyce has only one picture, and really that had been as well away. An ugly Jacob is protruding his lips to kiss a vulgar Rachel. The colouring is hard and bad, and there is a pervading gray tint which is not natural. We hope Mr Dyce, R.A., can do better things than this. We prefer Mr Cope's _King Lear_, which has considerable merit. There is fine expression in the old monarch's head. Cordelia pleases us less; and perhaps, upon the whole, the best figures in the picture are those of the musicians and singers. There is a something in this painting that reminds us of Maclise. Of Mr Cope's other pictures, _Milton's Dream_ has a nice tone of colour; and the two sketches for fresco of Prince Henry's submission to Judge Gascoigne, and the Black Prince receiving the order of the Garter, are spirited and good. Mr Redgrave's principal picture is No. 233. _The Marquis having chosen patient Griselda for his wife, causes the court ladies to dress her in her father's cottage._ Griselda has a pretty face, and sits in an easy, graceful attitude: the ladies are coarse, and the expression of scorn upon their countenances is theatrical and affected. The heads of some of them are too big, and out of proportion with their bodies. _The Child's Prayer_, by the same artist, is a pleasing picture; well painted, particularly the woman's head and hand, which latter has a look of Rubens. Mr E. M. Ward has two pictures of very different subjects. _Isaac Walton Angling_ hardly claims any particular notice; _James II. receiving the News of the Landing of the Prince of Orange in 1688_, has more pretension and greater merit. It certainly contains good painting: the grouping of the figures and the expression of some of the faces are also praiseworthy; but yet it hardly satisfies us. The queen's face and attitude, as she advances, already sympathising with the agitation visible on his countenance, to her husband's side, are very charming. James's physiognomy is almost too much discomposed to accord with the passage from Dalrymple quoted by Mr Ward. And it strikes us, although this may seem hypercritical, that there is something ludicrous in the eternal suspension in the air of the letter that he has just allowed to escape from his fingers. Upon the whole, however, this is a clever picture, and, as far as we had opportunity of observing, it attracts a very full share of public attention; although that is no criterion of merit, so large