After the death of the critic John Eagles in 1855 Margaret Oliphant took up the critical baton for Blackwood's Magazine, continuing the campaign of hostility towards Ruskin. Although by this time well-established as an art critic, as is clear from the opening paragraphs of her review (see here) (see here), Oliphant questions his authority by alleging that it is merely his rhetorical powers, rather than a deep understanding of art, which have brought him popular acclaim (see here). Her reference to his writing on smoky chimneys is remarkably prescient (see here). While confident that the Modern Painters I is no longer thought of as revolutionary (see here), Oliphant believes it worthwhile to attack Ruskin's definition of 'truth' and 'imitation' in that work (see here). Ruskin made a spirited response in Modern Painters III (See Works, 3.404-405n) to Oliphant's accusation (illustrated with an account of one of his lectures) that he had an unpleasant way of attacking his opponents' weak points (see here). She closes the review by ridiculing Ruskin's architectural theories and insinuating (perhaps correctly) that he has plagiarised Pugin (see here). The review has a footnote which refers to the death of Eagles (see here).