This is, as far as I have seen, the only thoroughly good landscape in the rooms of the Academy. It is more exquisite in its finish of lichenous rock painting than any work I have ever seen. Its colour, throughout, is as forcible as it is subtle and refined ; and although it appears as yet to display little power of invention, the appreciation of truth in it is so intense, that a single inch of it is well worth all the rest of the landscapes in the room. It may well be supposed that my knowledge of this picture was not obtained by study of it in its present position. Those who happen to be interested in the system of hanging now pursued in the Academy, will do well to verify my statement by an examination of the picture after the exhibition closes. There are two other works by this artist, in the outer rooms: 1075, ineffective, but yet full of excellent work and right feeling; and 1162, exceedingly beautiful.
[John William Inchbold (1830-1888) was one of the painters who carried the principles of Pre-Raphaelitism into the field of landscape. A picture of his in an earlier exhibition had attracted Ruskin's attention (see p. 38, below); lie sought out the young painter, gave him advice and encouragement, and introduced him to the work of Rossetti (see Ruskin, Rossetti, Pre-Raphaelitism, pp. 79, 96). Inch bold also made the acquaintance of Mr. Swinburne, who has published a memorial poem upon him. Coventry Patmore was another admirer; see his Life by B. Champneys, ii. 169. There is a picture by Inchbold in the Tate Gallery, No. 1477* which also is a moorland scene. In 1856 Inchbold was in Switzerland, and Ruskin saw something of him there.]