the first kind; the
"Burchell and Sophia" of the second (the character of Sir William
Thornhill being utterly missed); the "Seven Ages" of the third; for this
subject cannot be painted. In the written passage, the thoughts are
progressive and connected; in the picture they must be co-existent, and
yet separate; nor can all the characters of the ages be rendered in
painting at all. One may represent the soldier at the cannon's mouth,
but one cannot paint the "bubble reputation" which he seeks. Mulready,
therefore, while he has always produced exquisite pieces of painting,
has failed in doing anything which can be of true or extensive use. He
has, indeed, understood how to discipline his genius, but never how to
direct it.

Edwin Landseer is the last painter but one whom I shall name: I need not
point out to any one acquainted with his earlier works, the labor, or
watchfulness of nature which they involve, nor need I do more than
allude to the peculiar faculties of his mind. It will at once be granted
that the highest merits of his pictures are throughout found in those
parts of them which are least like what had before been accomplished;
and that it was not by the study of Raphael that he attained his eminent
success, but by a healthy love of Scotch terriers.

None of these painters, however, it will be answered, afford examples
of the rise of the highest imaginative power out of close study of
matters of fact. Be it remembered, however, that the imaginative power,
in its magnificence, is not to be found every day. Lewis has it in no
mean degree; but we cannot hope to find it at its highest more than once
in an age. We _have_ had it once, and must be content.

Towards the close of the last century, among the various drawings
executed, according to the quiet manner of the time, in greyish blue,
with brown foregrounds, some began to be noticed as exhibiting rather
more than ordinary diligence and delicacy, signed W. Turner.[99] There
was nothing, however, in them at all indicative of genius, or even of
more than ordinary talent, unless in some of the subjects a large
perception of space, and excessive clearness and decision in the
arrangement of masses. Gradually and cautiously the blues became mingled
with delicate green, and then with gold; the browns in the foreground
became first more positive, and then were slightly mingled with other
local colors; while the touch, which had at first been heavy and broken,
like th