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No need, of course, of attempting even the most summary sketch of the styles and ordinary subjects of the great painters who bear aloft the banner of the British school of art of Landseer's glimpses of the Highlands; or Stanfield's skyey, breezy landscapes; of the quiet pieces of English rural scenery meadows, and woodland glades, and river bits, fresh and rich, and green and natural of our Lees, our Creswicks, our Coopers, our Witheringtons, our Redgraves, our Ausdills; of the classic elegance and elevated sentiment of groups by our Dyces and our Eastlakes; of the abundance of clever genre subjects scenes from history or romance poured in by our Wards, our Friths, our Pooles, our Elmores, our Eggs; or of last, not least the strange but clever vagaries of that new school, the pre-Raphaelites, who are startling both Academy and public by the quaintness of their art-theories, and the vehement intensity of their style of execution.
'It is well to aim at the highest, but only when it is possible for us. And how can such a school exist in England now? You English must learn to understand your own history before you paint it. Rather follow in the steps of your Turners, and Landseers, and Standfields, and Creswicks, and add your contribution to the present noble school of naturalist painters.
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