There is nothing more satisfactory about the year's art than the evidence we find here that this veteran of English painting is renewing his youth in his seventies. His portrait of Mr Walter Crane, in the New Gallery, which justly holds the place of honour in the Central Room, is superb. For the skill of its texture-painting and the richness of its colour, as well as for its character, distinction, and strength, this little work could hardly be surpassed. The reserve and dignity of it are themselves a whole sermon to certain other portrait painters who may be seen in the same room. Indeed, this portrait sets a standard of excellence which may make us unwittingly do less than justice to other work which of its kind is quite admirable. A second work of Mr Watts's entitled Afloat, and representing a very jolly Cupid on his back in the seas, with his bow and arrow floating by his side, is a glowing brilliant little picture quite Titianesque in its qualities. About the large Sic Transit, by the same painter, we are less positive. It represents a dead figure covered by a sheet lying on a bier which runs across the whole length of the canvas. In the left corner at the foot of the bier armour, musical instruments, and scattered flowers in a confused heap. On the curtain at the back of the bier we see inscribed: "What I spent I had. What I saved I lost. What I gave, I have." There is certain majesty about the lines of drapery which covers the dead figure, and a painter might enlarge upon its technique. But somehow it just fails to be either quite real or quite symbolical, and the fact that the artist has found it necessary to inscribe his moral upon his picture is a hint that he felt it not wholly equal to telling its own story.