There are some pictures at which we look with astonishment; the gaudy, glaring figures all dressed in variegated fashion and crowded together. It may be said these are like “Tableaux Vivants,” and painted, it might be, from grouped figures. It will be noted that all are in the light, and there are no shadows; indeed, no point of view conceivable could take in so many objects at a time. There is little or no “composition,” and the laws of Academic arrangement seem to be set aside. These pictures, admired, gravely discussed by the critics, have long since found their legitimate place. We have, indeed, only one purely Academic painter--the President of the Royal Academy--who has been trained in the “schools,” and whose work is always elegant, graceful, and honest. If he has to present a draped figure with an arm exposed, the arm and hand are truly “drawn.” There is an exquisite contour exhibited which pleases the eye; the drapery falls not merely in natural, but airy folds, while the tints are of a delicate harmony. There is, in short, composition, and we turn away refreshed. Not so much could be said of some of our popular portrait painters, whose hands are not outlined, but blurred, though dashing, and whose drawing is misty. Another painter once in high repute, and scarcely thought of now, was Etty, assumed to be the most gorgeous colourist of his day. We look now at his nude nymphs sailing in boats, and wonder a little at this reputation, though there are plenty of tints of lake, and rich black tresses, and cobalt. Somehow these works now seem heavy, and not so brilliant. Would we seek a genuine colourist, let us turn to this little cabinet Bonnington, who has left but few examples, but whose works are precious and much esteemed in Paris. Another rare master of this kind is Muller, of whom there are few specimens. These small cabinet pictures, a few inches square, produce extraordinary effects of force and brilliancy, and gorgeous colour.