execution, he has thrown
it away on subjects either altogether uninteresting, or above his
powers, or unfit for pictorial representation. "The Cherry Woman,"
exhibited in 1850, may be named as an example of 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.

194. Edwin Landseer is the last painter but one whom I shall name: I
need not point out to anyone 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.

195. Towards the close of the last century, among the various drawings
executed, according to the quiet manner of the time, in grayish blue,
with brown foregrounds, some began to be noticed as exhibiting rather
more than ordinary diligence and delicacy, signed W. Turner.[34] 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