Nos. 80, 405, 407 in the catalogue of the Academy, are Mr Lee's landscapes--uncombined with Cooper's cattle. The second, _A Calm Morning_, is the one we prefer; and a very charming picture of repose it is. Mr Creswick is the next upon our list. His cold unnatural grayness of colouring greatly detracts from the merit of his pictures. We are quite aware that the same reproach has been repeatedly addressed to him, and we should hardly have referred to a fault which hitherto he has either obstinately clung to, or been unable to correct, did not one of his pictures in the Academy this year give us hopes that he is on the verge of a change. No. 542, _A Forest Farm_, is the best picture of Creswick's, in point of colouring, that we remember to have seen. The _slaty_ look is replaced by an agreeable transparency. No. 289, _In the Forest_, is also warmer than usual. The others are in the old style. Mr Linnell is more to our taste, although we cannot approve his _Christ and the Woman of Samaria at Jacob's Well_. In the first place the colour seems unnatural, altogether too brown; at the same time it is just possible nature may assume that extraordinarily russet tint in Samaria--a country to which our travels have not extended. But we can more confidently object to the figure of the Saviour as altogether unpleasant, with a harsh darkly-bearded face, devoid alike of resemblance to the received type, and of any divine expression whatever. Mr Linnell is a landscape-painter, and should not attempt sacred subjects or portraits, things which are quite out of his line. No. 395, _Crossing the Brook_, is of a better tone of colour; and the same artist has two other pictures, of about his usual average of merit, in the British Institution. The chief fault with which we tax Mr Linnell, (whilst freely admitting his great talent,) and one which may also be imputed to Mr Creswick, and to other clever landscape-painters of the present day, is the undeviating smallness of their touch, which gives, to use a colloquialism, a niggled look to their pictures. Hobbima, and Ruysdael, and others of that class--in whose footsteps we presume no living landscape-painter is too proud to tread--avoided this fault, and proportioned the fulness of their touch to the size of their picture. We may select an example of what we mean from the works of an able and industrious artist, who figures advantageously this year in all four exhibitions, and who, in most instances, is very free from the defect we refer to. Mr Sidney Percy's _Woodland River_, No. 207, in the Portland Gallery, is a good picture, but to our thinking the touch is too small for the size. Mr Percy, however, is a man of talent and a rising painter. In the same gallery we call attention, as to one of the best landscapes exhibited this year, to his No. 277, _Welsh Mountains_. There is an effect of aërial perspective in this picture, especially in the grass valley, on