the spectator's left hand, which deserves the very highest praise. Several others of his eighteen pictures for 1850 deserve much commendation; but we can only point out No. 576, in the Academy, _A Limpid Pool_, and 394, _A Quiet Vale_, in the British Artists'. The water in the last is very good,--otherwise it is hardly one of his best. We would have Mr Percy to beware of hardness of treatment, the fault to which he is most prone. His lines are apt to be too sharply defined, especially his distant outlines. He should guard himself against this defect, and with care he may expect to attain great eminence as a landscape-painter. If we mistake not, he is one of a talented family, which also comprises Messrs Boddington and Gilbert, and several artists of the name of Williams, all of whom, we believe, devote themselves chiefly, if not exclusively, to landscape-painting, and either by identity of name or affinity of style, form a most puzzling group for conscientious critics, desirous, like ourselves, to sort their works and fairly distribute praise. We can mention but a few of their pictures, taken, nearly at random, from amongst a number we have marked as of merit or promise. In the Academy, 344, _A Valley Lane_, by A. W. Williams, is a charming subject, excellently treated. In the Portland Gallery, where many good landscapes are to be found, most of them by this family, we were particularly attracted by No. 41, _Noon_, also by A. W. Williams, and by No. 65, _Medmenham Abbey--Evening_, by G. A. Williams. No. 161, _A Showery Afternoon in Sussex_, by A. Gilbert, is remarkable as an example of the admirable effect he knows how to produce by the judicious and little-understood application of the various gradations between opacity and perfect transparency of colour. Mr Boddington has two nice pictures in the Academy.