stroy the effect of one half of the productions of our landscape painters. 226. Caernarvon Castle, North Wales. W. Daniell. THIS picture is rather too lucid for nature. The touch is firm and masterly, but there is a gloss about it which equally pervades the land and water. 232. Landscape with Wool Pickers. T. Barker. PERHAPS the very best of Mr. Barker's landscapes. His pictures in general become feeble, in proportion to the extension of his canvass. In the present, there is a truth and firmness of manner displayed both in the figures and the landscape; and though the colouring is rather too raw, and the lights and shadows want breadth and harmony, there is, nevertheless, great knowledge of nature, and felicity of execution, displayed in this composition. 252. A Landscape. T. Walker. THE touch is peculiar, but bold and picturesque: those who like majestic scenery and expansive views, will probably not deign to look at this production: but to the connoisseur, the squareness and decision of touch here evinced, will secure to it, notice and applause. 260. Cattle. J. Ward. THERE are parts of this picture composed in the manner of Cuyp; especially the cattle on the raised ground. Every thing is well touched, but not characteristically. The same style for pigs, cows, land, water, and skies, is, certainly, not correct. The lengthened draggling touch may succeed on the back of the cow, bull, or pig; but in trees and the foreground, it has not an appropriate effect. Purchased by Sir Wm. Beechey, Knt. 263. Landscape, Evening, Twilight com ing on. C. Cranmer. VOL. II. B b the THIS composition is certainly magnificent. The azure, retiring light upon distant mountains, is finely contrasted with the depth and solemnity of the foreground. The position of this picture is not favourable to the discovery of its merits. 281. View on the Thames, near Richmond. W. Daniell. THERE can be but one opinion respecting this cabinet picture, and that must surely be a favourable one. The composition is beautiful: the figures fishing in the foreground, the boats gliding down the stream, and the distant houses on Richmond Hill, all contribute to produce an effect the most natural and pleasing. Here is no affectation, either in composition or colouring. 299. Liboya Serpent destroying a Tiger. J. Ward. Mr. WARD has justly obtained a celebrity in these kind of representations: but, in the present picture, it may be questioned whether the folds of the ser |