British art is in a transition state. Remembering many a year past our Academy Exhibitions, and the general, the family resemblance the works bore to each other, the little variety either in style or execution; and of later years noticing the gradual change, the adoption of a new class of subjects, and more varied styles; we are yet struck with the manifest difference between the present and any other we ever remember to have seen. There is, in fact, more originality. There are, indeed, mannerists enough; and we mean not here to use the word in its reprehensive sense but they stand more alone. There are far fewer imitators—some, of course, there must be, but they are chiefly in those classes where imitation is less easily avoided. Common-place subjects will ever be treated in a common-place manner, and resemble each other. Few venture now to follow even erratic genius in its wild vagaries. Turner has no rivals in the "dissolving view" style. By those who look to one or two favourite masters, who have hitherto given the character to our exhibitions, perhaps some disappointment may be felt. Edwin Landseer has but two pictures—Sir Augustus Calleott not one; and herein is a great loss, speaking not with reference to his very late pictures, his English landscape, or even his Italian views, but in vivid recollection of his fascinating river views, with their busy boats, under illuminating skies, such as, alas! he has ceased to paint.

With regard to landscape, we progress slowly. Yet we fancy we can perceive indications there, that are of a better promise; although of the higher class of landscape there is not one this year. The promise is in the pencil of Creswick. He labours to unite great finish, too minute finish, with breadth and boldness of effect. His is unquestionably a new style; his subjects are all pleasing, bordering on the poetical; we only question if his aim at minute finishing does not challenge a scrutiny into the accuracy and infinite variety of the detail of nature, that few pictures ought to require, and his certainly do not satisfy the demand. For, after all, there is a great sameness, where there ought to be variety, particularly in his foliage: it is safer, by a greater generality, to leave much to the imagination. We do not, however, mean to quarrel with this his peculiar style, nor to limit its power. There is something yet not achieved.

Mr Maclise has likewise originated a new style, and if not altogether a new class of subjects, one so richly, so luxuriantly treated as to be fairly considered new. He has given to humour a gentle satire, and more especially to works of creative fancy an historical importance; for herein he is essentially different from all other painters of this class, that none of his pieces, we might almost say none of his figures, are, or pretend to be, real life. If it be said that they are theatrical, we know not but that the term expresses their merit; for as Sir Joshua has well observed, there must be in the theatrical a certain ideal—which is, nevertheless, the higher representative of nature. Mr Maclise has adopted the elaborate finish and lavish ornament, but with so much breadth, and powerful execution, that the display scarcely offends—and he generally seeks subjects that will bear it. As a fault it was conspicuous in his Lady Macbeth: the strong emotions of that banquet-scene are of too hurrying, too absorbent a nature, to admit either the conspicuous multiplicity of parts, or the excess of ornament which that work exhibited. It was the very perfection of the "Sleeping Beauty," and singularly enough, begat a repose; for the mind was fascinated into the notion of the long sleep, by the very leisure required and taken to examine the all-quiescent detail.

May we not call the style of Mr Redgrave original? perhaps more so in his execution than his subject. He has appropriated the elegant familiar. Many are the painters we might name under whose hands the arts are advancing; those we have named, however, appear to us to be more or less the chief originators of new styles. Nor does it follow from this that their pictures are always the best in any exhibition, though they may be generally found so to be. If we are to congratulate the world of art on the particular advancement of this year, we shall certainly limit our praise to one picture, because it is the picture of the year; and it is a wondrous improvement upon all our former historical attempts. Whoever has visited the Exhibition will at once know that we allude to Mr Poole's "Plague of London." There has not been so powerful a picture painted in this country since the best days of Sir Joshua Reynolds. For its power we compare it with the "Ugolino" of the President, and we do so the more readily as both pictures are now publicly exhibited. Unlike as they are, unquestionably, in many respects, and painted indeed on opposite principles, regarding the mechanical methods and colour; yet for power, for pathos, they come into competition. The subject chosen by Mr Poole was one of much more difficulty, more complication: he has had, therefore, much more to do, much more to overcome; and he has succeeded. Both, possibly, to a certain extent, were imitators, yet both possessing a genius that made the works their own creations. Sir Joshua saw Rembrandt in every motion of his hand; and Mr Poole was not unconscious of Nicolo Poussin in the design and execution of his "Plague." This is not said to the disparagement of either painter; on the contrary, we should augur ill of that man's genius who would be more ambitious to be thought original in all things than of painting a good picture. Great minds will be above this little ambition. Raffaelle borrowed without scruple from those things that were done well before him, a whole figure, and even a group; yet the result was ever a work that none could ever suspect to be by any hand but Raffaelle's. In saying that Mr Poole has seen Nicolo Poussin, we do not mean to insinuate more than that fact: others may say more; and, depreciating a work of surprising power, and that, too, coming from an artist who has hitherto exhibited nothing to be compared with it, will add that he has stolen it from Nicolo Poussin. This we boldly deny. The works of Nicolo Poussin of similar subjects are well known, and wonderful works they are; we need mention but two—the one in the National Gallery, the "Plague of Ashdod," and that in the collection of P.S. Miles, Esq., and exhibited last year at the British Institution, and which is engraved in Forster's work. We do not believe that one group or single figure in Mr Poole's picture can be shown in these or any others of Poussin. And in the conception there is a striking difference. Mr Poole's subject, though we have called it the "Plague of London," is not, strictly speaking, the awfulness and the disgust of that dire malady, but the insanity of the fanatic Solomon Eagle, taking a divine, an almost Pythean impress from its connexion with that woful and appalling mystery. This being his subject, he has judiciously omitted much of that dreadfully disgusting detail, which his subject compelled Poussin to force upon the spectator. There is, therefore, in Mr Poole's picture more to excite our wonder and pity than disgust; nay, there is even room for the exhibition of tender, sensitive, apprehensive, scarcely suffering beauty, and set off by contrasts not too strong; so that nothing impedes the mind in, or draws it off from, the contemplation of the madman—here more than madman, the maniac made inspired by the belief of the spectator in denunciations which appear verifying themselves visibly before him. It is this feeling which makes the crazed one grand, heroic, and which constitutes this picture an historical work of a high class. It is far more than a collection of incidents in a plague; it is the making the plague itself but an accessory. The theme is of the madness that spreads its bewilderment on all around, as its own of right, as cause and effect—a bewilderment that works beyond the frame, and will not let the beholder question its fanatic power. We will endeavour to describe the picture, but first, take the subject from the catalogue:—"Solomon Eagle exhorting the People to Repentance, during the Plague of the Year 1665. P. F. Poole.—'I suppose the world has heard of the famous Solomon Eagle, an enthusiast; he, though not infected at all, but in his head, went about denouncing of judgment upon the city in a frightful manner, sometimes quite naked and with a pan of burning charcoal on his head.'—See DE FOE'S Narrative of the Plague in London." The scene is supposed to be in that part of London termed "Alsatia," so well described by Sir Walter Scott—the refuge of the destitute and criminal. Here are groups of the infected, the dying, the callous, the despairing—a miserable languor pervades them all. The young—the aged—the innocent—the profligate. One sedate and lovely female is seeking consolation from the sacred book, beside whom sits her father—a grand figure, in whose countenance is a fixed intensity of worldly care, that alone seems to keep life within his listless body, next him is a young mother, with her dying child, and close behind him a maiden, hiding her face, whose eye alone is seen, distended and in vacant gaze. We feel that this is a family group, perhaps the broken remnant of a family, awaiting utter desolation. Behind the group are two very striking figures—a man bewildered, and more than infected, escaping from the house, within the doorway of which we see, written in red characters, "Lord have mercy upon us," and the cross; the nurse is endeavouring to detain him. Nothing can be finer than the action and expression in both figures—the horror of the nurse, and fever energy of the escaped, in whose countenance, never to be forgotten, is the personification of plague-madness. It is recorded that such a one did so escape, swam across the Thames, and recovered. Beyond these are revellers, a dissolute band, card-playing. In the midst of the game one is smitten with the plague, and is falling back—one starts with horror at the sudden seizure—a stupid, drunken indifference marks the others—they had been waiting for a feast, which one is bringing in, who stands just above the falling figure, who will never partake of it. Quite in the background, and behind a low wall, are conveyers of the dead, carrying along a body. This describes the left of the picture. To the right, and near the middle, is a dying boy, leaning upon a man, who is suddenly roused, and rising to hear the denunciations of Solomon Eagle. At his back are two lovely female figures, sisters we should suppose, the younger one dying, supported by the sister's knee, who sits with crossed hands, as if in almost hopeless prayer. Beyond is a wretched man, with his head resting upon his hand, in a fixed state of stupid indifference; above whom are several figures, mostly of the lower grade, in the various stages of infection or recovery. They are sitting before the window of a house, through the panes of which we see indistinctly one raving, while from the same house a dead body is being let down from above, and in the background are the dead-cart and the carriers. At the feet of the figures by the house lie others, in all the langour of disease and feverish watchfulness. Among these persons are various shades of character, apparently all from nature, each one, artistically speaking, representing a class, and yet with such a stamp of individual nature, that we are satisfied they must have been taken from life. In this respect they resemble Raffaelle's beggars at the "Beautiful Gate," in their admirable generality an individuality. Two are very striking—an odd, stiff-looking old man, with a beard, whose marked profile is of the old cheat; he is observing the escape of the man on the opposite side of the picture, and the woman at his side, whose face is turned upwards, one-half an idiot, and all-wicked. We cannot help thinking that we have seen these two characters. It is, perhaps, the skill of the painter that has so represented the class that we have the conviction of the individuals. So far the scene is prepared for the principal dramatis personÆ; and so far we have only the calamity of the Plague, not in its scenes of turbulence, but kept down under an awful and quiet expectation of doom; so that, were the two principal figures obliterated, we should say the scene is yet but a preparation, awaiting the master figures to mark its true impression and feeling, constituting the subject of the picture. These principal figures are Solomon Eagle and his attendant; they are placed judiciously in the centre of the picture, in no part intercepted. Solomon Eagle hurries into the picture with a book in one hand, the other raised, as pointing to the heavens, from whence come the denunciations he pronounces: on his head is a pan of burning charcoal. He is naked, excepting his waist. His very attitude is insane—we need not look at his face to see that; the fore-finger, starting off from the others, is of mad action, and similar is the energy of the projected foot. The attitude is of one with a fixed purpose, one under an imaginary divine commission; it is of entire faith and firmness; and never was such insanity more finely conceived in a countenance. The man is all crazed, and grand, awfully grand, in his craziness. He throws around him an infection of craziness, as does the atmosphere of plague. There is a peculiar look in the eye, which shows the most consummate skill of the painter. The finger starts up as with an electric power, as if it could draw down the vengeance which it communicates. We mentioned the attendant figure—not that he is conscious of her presence. She is mysterious, veiled, a masked mystery—a walking tale of plague, woe, and desolation—a wandering, lonely, decayed gentlewoman: we read her history in her look, and in her walk. Her relations have all been smitten, swept away by the pestilence; her mind is made callous by utter misery; she wanders about careless, without any motive; a childish curiosity may be her pleasure, any incident to divert thoughts that make her sensible of her own bereavement. She stops to listen to the denunciations of the crazed prophet, and herself partakes, though callously, of his insanity—half believes, but scarcely feels. The sky is lurid, pestilential; it touches with plague what it illuminates. Such is the picture in its design. The colouring is quite in accordance with the purpose, and completes the sentiment; there is much of a green tone, yet under great variety. There is very great knowledge shown in it of artistical design, and the art of disposing lines; the groups, kept sufficiently distinct, yet have connecting links with each other; and there are general lines that bring all within the compass of one subject. Now, what, after all, is the impression on the mind of the spectator? for it is not enough to paint plague or madness: unless our human sympathy be touched, we turn away in disgust. Yet upon this picture we look with pleasure. Many whom we have heard say they could not bear to look at it, we found again and again standing before it: some we questioned; and at last they acknowledged pleasure. So are we moved at tragedy: human sympathies are moved—the great natural source of all our pleasures: pity and tenderness, and a sense of the awfulness of a great mystery, are upon us; and though pleased be too light a word, yet we are pleased; and where we are so pleased, we are made better. We feel the good flowing in upon us; and were not the busy scene of the multitudes in an exhibition, and the general glare, distracting, and discordant to the feeling such a picture is calculated to convey, we could enter calmly and deeply into its enjoyment. We have given, at much length, a description of the picture, because we think it a work of more importance than any that has, we would say ever, been exhibited upon the Academy walls—one of more decided commanding genius. There are faults in it doubtless, some of drawing, but not of much importance. We look to the mind in it—to its real greatness of manner, and we believe it to be a work of which the nation may be proud; and were we to look for a parallel, we must go to some of the best works of the best painters of the best ages. We were surprised to find that so small a sum as L 400 was set upon the picture—and more so that it was not sold. We regret that there is no power in the directors of our National Gallery to buy occasionally a modern production. Is there, in that gallery, one work of a British painter in any way equal to it?

There are only two pictures by Mr Maclise—they sustain his reputation.

"The Actress's reception of the Author."—"He advanced into the room trembling and confused, and let his gloves and cloak fall, which having taken up, he approached my mistress, and presented to her a paper with more respect than that of a counsellor when he delivers a petition to a judge, saying, "Be so good, madam, as to accept of this part, which I take the liberty to offer." She received it in a cold and disdainful manner, with out even deigning to answer his compliments.'-Gil Blas, c. xi."

The picture here is the luxuriantly beautiful and insolent prima-donna; we could wish that much of the picture, many of the "figures to let," were away. There is a continuous flowing of graceful lines, in this one figure, with much breadth, that give it a largeness of style, extremely powerful. She luxuriates in pride, insolence, and beauty. The expression is perfect; nor is it confined to her face—it is in every limb and feature. The poor despised author bows low and submissive—and is even looked at contemptuously by a pet dressed monkey, pampered, and eating fruit: a good satire; the fruit to the unworthy—the brute before the genius. There is the usual display, the usual elaborate finish; but it is perhaps a little harder, with more sudden transitions from brown to white than commonly to be found in Mr Maclise's works.

"Waterfall at St. Nighton's, Kieve, near Tintagel, Cornwall." A lovely girl crossing the rocky bed of a stream—attended by a dog, who is leaping from stone to stone. The action of the dog, his care in the act of springing, is admirable, and shows that Mr Maclise can paint all objects well. This is of the high pastoral: the lonely seclusion of the passage between rocks, the scene of the "Waterfall," is a most judicious background to the figure, which is large. It is most sweetly painted.

We are glad to see Mr Ward, R. A., again in the Exhibition. His "Virgil's Bulls," is a subject poetically conceived. The whole landscape is in sympathy, waking, watchful sympathy, with the bulls in their conflict. Not a tree, nor a hill, nor a cloud in the sky but looks on as a spectator. All is in keeping. There is no violence in the colour, nothing to distract the attention from the noble animals—all is quiet, passive and observant. A less poetical mind would have given a bright blue, clear sky, and sparkling sunny grass; one more daring than judicious, might have placed the creatures in a turbulent scene of storm and uprooted ground; Mr Ward has given all the action to the combatants—you shall see nothing but them, and all nature shall be looking on as in a theatre of her own making. The subject is no less grand on the canvas than in the lines of the poet.

We had fully intended to have omitted any mention of Mr Turner's strange productions; but we hear that a work has appeared, exalting him above all landscape painters that ever existed, by a graduate of the University of Oxford. Believing, then, that his style is altogether fallacious, and the extravagant praise mischievous, because none can deny him some fascinations of genius, which mislead, we think it right to comment upon his this year's works. Their subjects are taken from abstracts from a MS. poem, of which Mr Turner is, we presume, himself the author; for though somewhat more distinct and intelligible than his paint, they are obscure enough, and by their feet are as much out of the perspective of verse, as his objects are of that of lines. "The opening of the Wallhalla," is by far the best, indeed it has its beauties; distances are happily given: most absurd are the figures, and the inconceivable foreground. The catalogue announcement of No. 129 startled us. We expected to see "Bright Phoebus" himself poetically personating a doge, or a midshipman; for it points to the "Sun of Venice going to Sea." His "Shade and Darkness; or, the Evening of the Deluge," is the strangest of things—the first question we ask is, which is the shade and which the darkness? After the strictest scrutiny, we learn from this bit of pictorial history, that on the eve of the mighty Deluge, a Newfoundland dog was chained to a post, lest he should swim to the ark; that a pig had been drinking a bottle of wine—an anachronism, for certainly "as drunk as David's sow," was an after-invention: that men, women, and children, (such we suppose they are meant to be) slept a purple sleep, with most gigantic arms round little bodies; that there was fire that did not burn, and water that would nearly obliterate, but not drown. But more wonderful still is the information we pick up, or pick out bit by bit, as strange things glimmer into shape. "Light and Colour, (Goethe's Theory)—The Morning after the Deluge—Moses writing the book of Genesis." Such is the unexpected announcement of the catalogue. But further to account for so remarkable a jumble as we are to behold, Mr Turner adds the following verses:—

This is unquestionably one of the "Fallacies of Hope"—for it is quite hopeless to make out, the sun smoking his cigar of colour, and exhaling earth's humid bubbles; yet we do see a great number of "bubble" heads, scratchy things, in red wigs, rolling and floating out of nothing into nothing. There must indeed have been very wondrous giants in those days; for here is an enormous leg, far beyond the "ex pede Herculem," rising up some leagues off far bigger than whole figures close at hand. But we learn the wonderful fact, that the morning after the Deluge, Moses, sitting upon nothing, possibly the sky, wrote the book of Genesis with a Perryian pen, and on Bath-post, and that he was so seen by Mr Turner in his own peculiar perspective-defying telescope—for so "sedet, eternumque sedebit," in the year 1843. We know that in this account of it we a little jumble past, present, and future; but so we the better describe the picture; for when the Deluge went, Chaos came. That we may the more easily recognize the historian, a serpent is dropping from him, hieroglyphically. Can Mr Turner be serious? or is he trying how far he may perpetrate absurdities, and get the world to believe them beauties, or that his practice is according to any "theory of colour!" His conceptions are such as would be dreams of gallipots of colours, were they endued with life, and the power of dreaming prodigies.

There is unquestionably an impetus given to historical talent—and there is good proof that such talent is not wanting in this year's Exhibition; Mr Patten has chosen a very grand subject from the Inferno of Dante. "Dante, accompanied by Virgil in his descent to the Inferno, recognizes his three countrymen, Rusticucci, Aldobrandi, and Guidoguerra"—Divina Commedia, Inferno. The subject is finely conceived by Mr Patten. Virgil and Dante stand upon the edge of the fiery surge; they are noble and solemn figures. There is an abyss of flames below, that sends upward its whirling and tormenting storm, driven round and round, by which are seen the three countrymen. They are well grouped, and show the whirling motion of the fiery tempest; we should have preferred them more foreshortened, and such we think was the vision in Dante's mind's eye—for he says—

There is great art in placing the large limb of one of the figures immediately over the fiercest centre of fire—it gives interminable space to the fiery sea—an this part of the picture is very daringly and awfully coloured. We rather object to the equal largeness and importance of all the figures; and perhaps the bodies are too smooth, showing too little of the punishment of flame—they are too quiescent. Dante says, "Ah me, what wounds I marked upon their limbs!" And Rusticucci, who addresses Dante, thus describes their bodies:

The persons of such sufferers should be Michael Angelesque—punishment and suffering should be equally large. We venture to suggest this criticism to Mr Patten, because the subject is grand, and there is so much good in his manner of treating it, that he will do well to paint another picture of it.

Mr Etty has no less than seven pictures. His "In the Greenwood Shade" is by far the best. Cupid and sleeping nymphs—the rich and lucid colours, softly losing themselves in shade, and here and there playfully recovered, very much remind us of Correggio. We should more applaud Mr Etty for his general colouring, than for his flesh tints; nor have his figures in general the soft and luxuriant roundness which grace and beauty should have—the faces, too, have often too much purple shadow. We have before remarked that, painting too closely from the model, he exhibits Graces that have worn stays. And surely he often mistakenly enlarges the loveliest portion of the female form—the bosom—whose beauty is in its undefined commencement, its gentle and innocent and modest growth. How happily is this hit off by Dryden in his description of Iphigenia sleeping, to the gaze of the clown Cymon:—

"As yet their places were but signified." While so many pictures of acknowledged merit are rejected for lack of room, it is scarcely fair, perhaps, for one artist to exhibit so many. Mr. Eastlake has, however, been too liberal to others in his forbearing modesty; we could wish he had not confined himself to one. He might offer the lioness's answer, were not his picture one most tenderly expressive of all gentleness. It is an old subject, but treated in no respect after the old manner. The boy is faint and weary, on the ground. Hagar, with a countenance of sweet anxiety, is giving the water, with a care, and with a view to the safety of the draught. There is a dead, dry, burnt palm-tree lying on the ground, poetically descriptive. The expression of both figures is perfect, and they are most sweetly, tenderly painted. If we might make any objection, it would be that the subject is not quite poetically treated as to colour. It may be, and we have no doubt it is, most true to nature in one sense. We can believe that such a country would have such a sky, and such appearance in foreground and distance; but that very truth creates to our mind's eye an anachronism—it brings down the tale of antiquity to very modernism—it robs it of its antique hue—it shows it too commonly, too familiarly. As we read it, we do not so see it; we are not so matter-of-fact. There is an ideal colouring that belongs to sentiment—our minds always adopt it. We have not as yet correctly worked out that theory, and therefore it is not enough in our practice. More particularly in this subject do we require something ideal in the manner, for few are equally true in the characters as in the external scene. Here, certainly, neither Hagar nor Ishmael are of their nation and country. It is too lovely a picture to wish touched. The remarks we venture upon may be applied to most modern pictures of ancient subjects, and may be worth consideration. There are two other pictures, very beautiful pictures, too, in the Exhibition, which have, we think, this defect—"Jephtha's Daughter, the last Day of Mourning. H. O. Neil;" and "Naomi and her Daughter-in-law. E. N. Eddis." The first, Jephtha's Daughter and her attendant maidens is a group of very lovely figures, extremely graceful, all breathing an air of purity; it is loveliness in many forms; for its conception as to chiaroscuro and colour, is most skilfully managed; but it has this present day's reality, and we only force ourselves to believe it Jephtha's Daughter. Exquisitely beautiful, too, is the affectionate, the very loving, Ruth. Orpah, too, is sweet, but the difference is well expressed—"Orpah kissed her mother-in-law, but Ruth clave unto her." There is an unaffected simplicity about these figures that is quite charming, a simplicity of manner well according with the simplicity of character; but has not the picture in colouring too much of this day's familiar air? In historical design both these pictures are a decided advance in art. We are giving promise.

We could wish that Mr. Martin would not ruin his greatness by his littlenesses. There is often a large conception, that we overlook to examine interminable minutiÆ of parts, and mostly parts repeated; his figures are always injurious. His "Canute the Great rebuking his Courtiers" would have been a fine picture had he contented himself with the real subject—the sea. It is, indeed, crude in colour, and the coldness to the right ill agrees with the red heat on the left; but still, in chiaroscuro, it would have been a fine picture, if completed according to his first intention, but Canute and his courtiers spoil it. In the first place, they make, by their position and ease, the awful overwhelming sea safe. It is, as Longinus remarks, the plank that takes away the danger and the poetry; and such an assemblage of courtiers put the times of Canute quite out of our heads—a collection from a book of fashions—Ladies' Magazines—in their velvet gauze and tiffany, in colours that put the sun to shame, and make him blush less red; and the little, minute work about the pebbly shore creates a weariness, for they tempt us to count the sands. All this arises from a mistaken view of the sublime, that we have before noticed in Mr. Martin. It is very strange that an artist of his undoubted genius should err in a matter so essential to the greatness at which he aims.

Would that we could say a word in of Mr Haydon's one historical picture, "The Heroine of Saragossa." She is most unheroic certainly, stretching across the centre of the picture with a most uncomfortable stride, with what a foot! and a toe that looks for amputation—a torch suspended out of her hand, held by nothing—not like "another Helen," to "fire another Troy," but purposing to fire off a huge cannon, without a chance of success; for not only do not her fingers hold the torch, but her face is averted from the piece of ordnance, and her feet are taking her away from it. She is splendidly dressed in red, and without shoes or stockings—a great mistake, for such a foot might have been well hid. She is the very worst historical figure we have ever seen in a picture of any pretensions; there is another figure that only attempts to hold a pistol. The whole is a most unfortunate display of the vulgar historical. The unfortunate woman has two heads of hair, and both look borrowed for the occasion. How very strange it is that an artist who could paint the very respectable picture of the "Raising of Lazarus," now at the Pantheon, should not himself be sensible of the glaring faults of such a picture as this; and we may add, the large one exhibited last year. Mr Haydon understands art, lectures upon it, and is, we believe, enthusiastic in his profession. Does he bring his own works to the test of the principles he lays down? The misconception of men of talent with regard to their own works is an unexplained phenomenon.

Edwin Landseer, R. A., exhibits but two pictures, both excellent. Of the two, we prefer the smaller, "Two horses drinking"—nature itself. Lord Kames, in his Elements of Criticism, remarks, that the fore-horse of a team always has his ears forward, on the alert, while the rest mostly, throw theirs back. This watchfulness Landseer has observed in the eye of the animal; the eye of the one, protected by the horse nearest to the spectator, has a quiet, unobserving look; the eye of the other is evidently on the watch. A cunning magpie is looking into a bone. The picture is beautifully coloured.

Mr Redgrave's three pictures are exquisitely beautiful, and in his own truly English style. "The Fortune Hunter,"

A screen separates the deserted one from the courting pair. The contrast in expression of the two fair ones is as good as can be. The "vain indifference" is not as many, treating this subject, have made her, deformed, old, and ugly, for that would have removed our pity from the suffering one, showing the man to be altogether worthless, and the loss an escape; on the contrary she is of a face and person to be admired; but she looks vain and void of affection. We like not so well his "Going to Service;" but his "Poor Teacher," is most charming; it is a most pathetic tale, though it be one figure only, but that how sweet! A lovely girl in mourning is sitting in deep thought waiting for her scholars; on the table is her humble fare, and of that she takes little heed. She is thinking of her bereavement, perhaps a father, a mother, a sister—perhaps she is altogether a bereaved one—a tear is on her cheek. These are the subjects, when so well painted; that make us love innocence and tenderness, the loveliness of duty, and, therefore, they make us better. The habitual sight might rob a villain of his evil thoughts—such human loveliness is the nearest to angelic—indeed it is more, for we must not forget the exceeding greatness, loveliness, of which human nature is capable. Divine love has given it a power to be far above every other nature, and that divine love has touched the heart, and speaks in the countenance of the "Poor Teacher."

Mr Creswick has this year rectified the fault of the last. His greens were thought somewhat too crude and too monotonous. "In culpam ducet culpÆ fuga"—the old foot-road is scarcely green enough. All Mr Creswick's pictures have in them a sentiment—nature with him is sentient and suggestive. The very stillness—the silence, the quiet of the old foot-road is the contemplative of many a little history of them whose feet have trod it: such is the character of "The Terrace." But the most strikingly beautiful is "Welsh Glen"—

What sketcher has not frequently come upon a scene like this, and, with a delight not unmixed with awe, hoped to realize it—and how many have failed! How often have we looked down upon the quiet and not shapeless rocky ledges just rising above and out of the dark still water; while beyond them, and low in the transparent pool, are stones rich of hue, and dimly seen, and beyond them the dark deep water spreads, reflecting partially the hues of the cliffs above—and watched the slender boughs, how they shoot out from rocky crevices, and above them branches from many a tree-top high up, hanging over; while we look up under the green arched boughs, and their fan-spreading leafage—every tree, every leaf communing, and all bending down to one object, worshipping as it were the deep pool's mystery! Here is the natural Gothic of Pan's temple—and out from the deep pass, golden and like a painted window of the sylvan aisle, glows the sun-touched wood, illuminated in all its wondrous tracery. In such a scene—where "Contemplation has her fill"—the perfect truth of this highly finished picture is sure to renew the feeling first enjoyed—enjoyed in solitude: it should have no figure but ourselves, for we are in it—and it has none. The colouring and execution are most true to nature; if we would wish any thing altered, it would be the sky, which is a little too light for the deep solemnity of all below it. Exquisitely beautiful as are these scenes from Mr Creswick's pencil, we doubt if he has reached or knows his own power. He has yet to add to this style the largeness of nature. We should venture to recommend to his reading, again and again, those parts of Sir Joshua's Discourses which treat of the large generality of nature.

Stanfield is, as usual, remarkably clear, more characteristic of himself, his manner, than of the places of his subjects—ever the same coloured lights and shadows. His compositions are well made up, there is seldom a line to offend. In "Mazorbo and Torcello, Gulf of Venice," however, the right-hand corner is extra-parochial to the scene—is unbalanced, and injures the composition. The scenes, as views, are very sweet, and have more repose than he usually throws into his pieces. This sameness of colouring, and scenical arrangement and effect, are no less conspicuous in the works of Mr Roberts, most of which are, however, very beautiful. Very striking is the view of "Ruins on the Island of Philoe, Nubia." It is not the worse for the absence of the general polish. We seem to be on the spot—the effect is so simple, the art is unobserved. We have to wonder at departed glory, at hidden history, and we do wonder. Why is it that Mr Danby, whose pictures of the "Sixth Seal," and the "Deluge," none that have seen them can forget, exhibits but one piece, and that, though very beautiful, not from the boldness of his genius? It is a quiet evening scene—the sun setting red towards the horizon, the sky having much of nature's green tints, her most peaceful hues, some cattle are standing in the river—the left is filled up with trees, which, beautiful in form, want transparency. There is a heaviness in that part too powerful; it attracts, and therefore disturbs the repose. Mr Lee has not very much varied his subjects or manner this year. His scenes are evidently from nature—great parts appear to have been painted out of doors, being fresh and true. Not altogether liking some of his subjects, we cannot but admire the skill in their treatment, the warm glow in the colouring, and true character of some of his woods running off in perspective are most pleasing. He does not aim at sentiment. He often reminds us of Gainsborough's best manner; but he is superior to him always, in subject, in composition, and in variety. He has great skill in the transparency and clearness of his tones. We think his pictures would be vastly improved if painted in a lower key. His "Scenery near Crediton, Devonshire," is remarkably good; perhaps the sky and distance is a little out of harmony with the rest. There are three pictures by Mr MÜller, two very effective—"Prayers in the Desert"—but we are more struck with his "Arabs seeking a Treasure." The sepulchral interior is solemnly deep; the dim obscure, through which are yet seen the gigantic sculptured heads that seem the presiding guardians; the light and shade is very fine, as is the colour; the blue sky, seen from within, wonderfully assists the colour of the interior. There is great grandeur in the scene, and it is finely treated. His other picture, No. 1 in the Exhibition, is so very badly placed over the door, that we do not pretend to judge of it, because, Mr MÜller being a good colourist, we do not recognise him in what we can see of this "Mill Scene on the Dolgarley."

Mr Collins has improved greatly upon his last year's exhibition. "A Sultry Day," though at Naples, and a "Windy Day," in Sussex are not the most pleasant things to feel or to think of. Mr Collins has succeeded in conveying the disagreeableness of the "windy day," and it is the more disagreeable for reminding us of Morland: luckily he has not succeeded in conveying the sultriness. On the contrary, to us, No. 217 breathes of freshness and coolness. It is a very sweet picture; water, boats, and shore, beautifully painted. It is well that Mr Kennedy has but one picture—"Italy"—for he paints by the acre. It is a great mistake—and, while so many pictures of merit are rejected for want of room, some injustice in his doing so. Nor does his subject, which is meagre enough, gain any thing by its size. There is merit in the grouping—not a little affectation in the poor colouring and general effect. Surely he might have made a much prettier small picture of a subject that has no pretensions to be large. Were "Italy" like that, we should totally differ with him, and not subscribe to his quotation—

There is a very good picture by J. R. Herbert, A., if it were not for its too great or too common naturalness. The subject is the interview with the woman of Samaria. There is good expression, simplicity of design, but violence of colour. The subject demands a simplicity of colouring. Surely in such a scriptural subject, the annunciation, "I that speak unto thee am He," should alone be in the mind; but here the accessories are as conspicuous as the figures. Yet it is a picture of great merit.

There are two pictures of historical subjects, (not in the artistical sense so treated,) which attract great attention. "The Queen receiving the Sacrament," by Leslie; and "Waterloo," by Sir W. Allan, R.A. We are aware of the great value of this manner of pageant painting; it is perhaps worth while to sacrifice much of art to portraiture in this case. Viewing the necessity and the difficulty, we cannot but congratulate Mr Leslie—notwithstanding the peculiarity of the dresses, and the quantity of white to be introduced, this is by no means an unpleasantly coloured picture. There is much richness, in fact; and the artist has, with very great skill, avoided a gaudy effect. So the Battle of Waterloo must derive its great value from the truth of the portraits. It is any thing, however, but an heroic representation of a battle. Perhaps the object of the painter was confined to the facts of a military description, of positions of brigades and battalions—to our unmilitary eyes, there is wanting the vivid action, the energy, the mighty conflict—possibly only the ideal of a battle—-which may, after all, be in appearance a much more tame sort of thing than we imagine. There is a necessity, for historical value, to see too much. There is Mr Ward's "Fight of the Bulls:" the whole earth echoes the boundary and the conflict; it is one great scene of energy. But the great fight of men conveys none of this feeling. It is not imposing in effect—it looks indeed rather dingy, the sky and distance cold, and not remarkably well painted—a battle should have more vigorous handling, something of the fury of the fight. If, however, it be matter-of-fact truth; that in such a subject is all important, and should be painted. A battle, any battle, may be another thing.—"Sir Joshua Reynolds and his Friends" is an excellent subject, if all the portraits are from authentic pictures; at a future day it will be of great value, although it is not very agreeable as a picture.

Either the portraits have less effect than they usually have, or there are fewer of them this year. We must give the palm to Mr Grant. He combines many excellences—perfect truth, unaffected simplicity, and most judicious and ever-harmonious colouring. It may not perhaps be far wrong to say, that he is the very best portrait-painter this country has known since Vandyck; certainly he appreciates, and has often deeply studied, that great painter. We have long considered Mr Grant's female portraits by far the best—the present exhibition raises him as a general portrait-painter. The perfect unaffected ease of his attitudes is a very great thing. Here are three pictures in a line, portraits, the sitters all seated—and yet how striking it is, that there is only one that sits—Mr Grant's "Lord Wharncliffe." How sweet and natural, how beautiful as a picture, are "The Sisters!" The conventional style of portrait is undoubtedly good, and founded on good sense—but genius will seize an opportunity, and be original—such is the character of Mr Grant's portrait of "Lord Charles Scott, youngest son of the Duke and Duchess of Buccleuch." The boy stands like a boy, every limb belongs to him; he is all life—the flesh tints in the face are as perfect as can be. The attitude, the dress, so admirably managed. It has all the breadth, and power, too, of Velasquez, with all modern clearness. And what a charmingly coloured picture is the portrait of "Lady Margaret Littleton!" And close at hand, right glad were we to see the noble portrait of the "Professor of Moral Philosophy, Edinburgh," the a?t?? e?e????, by R. S. Lauder, an artist whose works we think have not always been done justice to in the Academy—yet how seldom do we see pictures of such power as his "Trial," from the "Heart of Mid-Lothian," and his "Ravensworth!" There is another portrait painter that is very original—Linnell; and such is he, in the "Portraits of the Three eldest Children of Robert Clutterbuck, Esq." There are so many smooth and soft pictures at the exhibitions which we must look at very near, that the habit is acquired of seeing all in that manner. To those who should so see this of Mr Linnell, it will appear odd, sketchy, unfinished—recede, and it is of very great power, and comes out wonderfully with all the truth of nature. It is an out-of-door scene. The children in most natural positions, and separate from the background, which is quite true in effect, with surprising force. It is very well coloured, and the manner, though not so at first, at length pleases. We like to see much done with little effort, as soon as the eye has recovered from the examination of laboured work.—How many works of great merit that we should wish to mention! and perhaps we ought to notice some of demerit; but we must forbear; the bad and the good must repose together—if there can be repose in an exhibition room. Why has not Mr Uwins painted another "Fioretta," worth all the crude, blue, red and yellow processions he ever painted? And why—but we will ask no questions but of the "Hanging Committee:" why do they offend the eyes of spectators, and vex the hearts of exhibitors, by hanging little pictures out of sight? It is insulting to the public and the artists. Surely, if the works be not fit to be seen, boldly and honestly reject them. It is an injury to misplace them. Many of the pictures so placed, are evidently intended to be seen near the eye. You do not want to furnish the walls with pictures. If so, do advertise that you will sacrifice some of your own to that purpose. You may find a sufficient number of "Amateurs" ready to immolate their reputation for art, of little value; but you should consider with what an aching heart the poor painter sees the labour of many a day, and many a cherished hope, as soon as the Academy opens, raised to its position of noted contempt. Nor should you have a "Condemned Cell"—such is the octagon-room termed. You render men unhappy—and superciliously seem to think, you pay them by a privilege of admission. Admission to what?—to see your well-placed merits, and their own disgraced position. We are happy to see an appeal to you on this subject in the Artist's Magazine, and eloquently written—and with good sense, as are all the notices in that work. That or some other should be enlarged to meet the requirements of art. Now we are indeed making hotbeds for the growth of artists. They will be thick as peas, and not so palatable—youths of large hope and little promise—some aiming beyond their reach, others striving and straining at a low Art-Union prize. Patronage can never keep pace with this "painting for the million system." The world will be inundated with mediocrity. This fever of art will terminate in a painting-plague. What is to become of the artists? Where will you colonize?

Now let us purpose a plan. Let the members of the Academy come to this resolution that instead of exhibiting some 1300 pictures annually, they will not admit into their rooms more than the 300—and so cut off the 1000—that the said 300 shall all have good places, and shall be the choicest works of British talent. Let them signify to the public that they will show no favour, and that they will be responsible for the merit of the works they mean to invite the public to see. They need not doubt the effect. Great will be the benefit to art, artists, and to patrons of art.

SUFFOLK STREET GALLERY—SOCIETY OF BRITISH ARTISTS.

This twentieth exhibition opens, according to the catalogue, under the auspices of Marcus Tullius Cicero; but why or wherefore the world who read the quotation mottoes of catalogues, must ever be at a loss to discover. "I think," said the wordy Roman, "that no one will ever become a highly distinguished orator, unless he shall have obtained a knowledge of all great things and arts." Therefore, you, the British public, are requested to walk in and see the show. We wish this motto affectation were put an end to—the Royal Academy are sadly puzzled year after year to hit upon a piece of Latin that will do, and their labour in that line is often in vain. And certainly this intimation from Suffolk Street, which might be very useful to a young barrister preparing for the circuit, is now to the "matter in hand" nihil ad rem. But have not we heard that motto before? We believe it was the last year's, and is we suppose to become an annual repetition in secula seculorum. The exhibition is, however, very respectable; we fear it is not so well attended as it deserves to be. The fact is, that the Academy, with its innumerable works, becomes, before it is half gone through, a very tiresome affair. What with straining at raw crude colours, and pictures out of sight, the public, who feel they must go there, have had enough of work for weary eyes; and imagining the other gallery to be inferior, go not to it. Yet, after a little rest, they would, we are sure, feel gratified in Suffolk Street. If there are but half-a-dozen good pictures, they are worth going to see, and certainly this exhibition has its very fair proportion of works of merit, and interest. Nor is there any lack of variety. We have only to make remarks upon a very few, not at all wishing to have it believed that we have selected either the best or the worst. There is novelty in some of Mr Woolmer's pictures. He seems, however, undetermined as to style; for his pictures are here very unequal. In one or two he is imitating Turner, but it is to have "confusion worse confounded." And singularly enough, in such imitations, his subjects are of repose. "A Scene in the Middle Ages, suggested by a visit to Haddon Hall," is very pleasing. The style here is suggestive, and judiciously so; he generalizes, and we are pleased to imagine. We see elegant figures walking under shade of trees, clear refreshing green shade; the composition is graceful, and fit for the speculative or enamoured loiterers. Perhaps the foreground is too ambitious—too much worked to effect. If this be done for the sake of contrast, it is a mistake of the proper effect of, and proper place for, contrast. In such a scene of ease and gentleness, all contrast is far better avoided; it always has a tendency to make active; and is to be applied in proportion to the degree of life and activity that may be desirable. His "Castle of Indolence" is much in imitation of Turner. The poet uses a singular expression,

What meaneth Thomson? He further calls the hue, "a roseate smile," and is reminded of Titian's pencil. By all which hints and expressions we conclude that the poet saw this "pleasing land of Drowsyhead" as through a coloured glass, subduing all the exciting colours of nature to a mellow dreaminess. No strong, no vivid colours are here—all is the quiescent modesty, the unobtruding magic of half-tones. What shall we say of such a Domain of Indolence being painted without shade or shelter; with violent contrasts of dark and light, and of positive forcing colouring? All repose is destroyed. Then again we see too much; there are too many parts, too many figures, too many occupations: indication that the territory was peopled would have been enough; this is more like a fÊte champÊtre. Besides, the scene itself is not one to give delight to contemplate; it is not suggestive of pleasant dream, but looks out on an ugly, swampy, fog-infected country. The only "Indolence" we see has been devoted to the execution, for it is slovenly to a degree. We find the same fault, though not to the same extent, with his "Scene from Boccaccio." It sadly wants repose, and affects colouring which is neither good for itself, nor suitable to the subject. His "Subject from Chaucer" has the same defects. Mr Woolmer is decidedly a man of ability; but we think he has strange misconceptions with respect to colours, their sentimental effect and power.

There is a "Scene from the Arabian Nights," by Mr Jacobi, which, though it is an attempt, and by no means an unsuccessful one, at an accidental effect of nature, which is generally to be avoided, is extremely pleasing. It is a portrait of great loveliness, grace, and beauty—we look till we are in the illusion of the Arabian tale—the foot of the Beauty is not good in colour or form; and the distance is a little out of harmony. There is considerable power; such peculiar light and shade, and colouring, offered great difficulty to keep, up the effect evenly—and the difficulty has been overcome. Mr Herring greatly keeps up the character of this exhibition in his peculiar line. His "Interior of a Country Stable" is capitally painted, even to the ducks. The old horse has been evidently "a good 'un;" goats, ducks, and white horse behind, all good, and should complete the scene—we may have "too much for our money." The cows and occupation going on within, in an inner stall, are too conspicuous and a picture within a picture, and therefore would be better out. His black and roan, in the "Country Bait Stable," are perfect nature. A picture by Mr H. Johnston, "The Empress Theophane, begging her husband Leo V. to delay the execution of Michael the Physician," is well designed; has a great deal of beauty of design, of expression, and of general colour, but not colour of flesh—nor is the purple blue of the background good.

We take it for granted that artists are often at a loss for a subject, and that they often choose badly we all know; but a worse than that chosen by Mr G. Scott, we do not remember ever to have met with. It is entitled "Morbid Sympathy," forming two pictures. In the one the murderer is coming from the house where he has just committed the diabolical act; in the other he is visited. The man is an uninteresting villain and his visitors are fools. The object of the painter is doubtless a good one; it is to avert that morbid sympathy which has been so conspicuously and mischievously felt and affected for the worst, the most wicked of mankind. But to do this is the province of the press, not the pencil. It is a mistake of the whole purpose of art. It will not deter murderers, who look not at pictures; and if they were to look at these, would not be converted by any thing the pictures have to show—nor will it keep back one fool, madman, or sentimental hypocrite from making a disgraceful exhibition. We are not sorry to notice this failure of Mr Scott's, because we would call the attention of artists in general to "subject." Let a painter ask himself before he takes his brush in hand, why—for what purpose, with what object do I choose this scene or this incident? Can the moral or the sentiment it conveys be told by design and colour?—and if so, are such moral and such sentiment worth the "doing." Will it please, or will it disgust? We mean not to use the word "please" in its lowest common sense, but in that which expresses the gratification we are known to feel even when our quiescent happiness is disturbed. In that sense we know even tragedies are pleasing. We may, however, paint a martyr on his gridiron, and paint that which is only disgusting; the firmness, the devotion through faith of the martyr, are of the noblest heroism. If to represent that be the sole object, and it succeeds, such a work would rank with tragedy, and please.

PAINTING IN WATER COLOURS.

We have visited the two societies of painters in water colours. In these there are two antagonist principles in full practice—while some are endeavoring to imitate, and indeed to go beyond the power of oil colours, others are going back as much as may be to the white paper system; imitating in fact the imitation which painters in oil have taken up from the painters in water colour. We must, of course, expect from this no little extravagance both ways—and we are not disappointed in the expectation. We will first notice the elder institution. In this, certainly, there are fewer examples of the power of colour system—but not a few in the weaker system. We noticed last year that Mr Copley Fielding was making great advances in it. His practised and skilful hand causes that style to have many admirers. Poor John Varley—we look with interest at his last work. His early ones were full of genius. He was an enthusiast in art. There is very great beauty in his "View on the Croydon Canal previous to the making the rail-road." An admirable composition—the woods and water are very fine. There are some very good drawings by D. Cox, which will greatly please all who like to see much told with little labour. Prout fully sustains his reputation. Amidst much detail he is always broad and large. There is a most true effect of haze in Copley Fielding's fine drawing of "Folkstone Cliff." There is an affected absence of effect in his "Arundel Castle"—the blues and yellows are not in harmony—and all has an uncomfortable, unsubstantial look. Eliza Sharpe's "Little Dunce" is a delightful drawing. It is only the old dame that can ever be angry with a little dunce—and she puts on more than half her anger; and this is a glorious little dunce, that we would not see good for the world—the triumph of nature over tuition. This charming little creature has been happy her own way, has been wandering in her own "castle of indolence," and perhaps, too, philosophizing thus—Well, I have been naughty, but happier still than if I had been good. So is the goodness we force upon children often against nature—we love to see nature superior. Eliza Sharpe must have been of the same way of thinking, and it is archly expressed. Her Una and the lion is large and free—the face of Una nor quite the thing. We have a "Castle of Indolence" by Mr Finch, gay with "all the finches of the grove," but the country does not look indolent, nor the country for indolence. Hunt's boys, clever as ever. The sleeping boy, with his large shadow on the wall, is most successful. The companion, the boy awake, is a little of the caricature. His "Pet," a boy holding up a pig, natural as it is, is nevertheless disgusting; for such a toy will ever be the biggest beast of the two. Mr Hills has several excellent drawings of deer; but there is one, so perfect that it is quite poetical—a few deer, in their own wild haunt, heathery brown, and almost treeless, the few spots of stunted trees serving to mark the spot, separating it from similar, and making it the home. It is furthest from the haunts of man. It looks silence. The animals are quite nature, exquisitely grouped. The quiet colouring, unobtrusive, could not be more nicely conceived—it is the long Sabbath quiet of an unworking world. The picture is well executed. It is one that makes a lasting impression.

Mr Oakley's "Shrimper," a boy sitting on a rock, reminds us of some of Murillo's boys; it is as good in effect, and better in expression, than most of the Spaniard's. "After the second Battle of Newbury," by Cattermole, is a well-imagined scene, but is defective in that in which we should have supposed the artist would not have failed. It is not moonlight. "Tuning," by J. W. Wright, is a good proof that blue, as Gainsborough likewise proved, is not necessarily cold. His "Confession," with the two graceful figures, is very sweet. "The Gap of Dunloe," W. A. Nesfield—has fine folding forms—the distance and rainbow beautiful—it is, however, somewhat hurt by crude colour, and too much cut up foreground. The Vicar and his family supply work to many an artist of our day. Mr Taylor's is very good—Moses pulling the reluctant horse, is a good incident. We do not quite recognize Mrs Primrose, and could wish the daughter had more beauty. We never could very much admire Mr Richter's coarse vulgarities—and they are of gross feeling, and we think, caricatures without much humour; but his sentimentalities are worse. His "Sisters," a scene from the novel of "The Trustee," is but a miserable attempt at the pathetic. Mr Gastineau's "Bellagio" is a beautiful drawing, has great breadth and truth; but the water is certainly too blue.

EXHIBITION OF NEW SOCIETY IN WATER COLOURS.

Generally speaking, this Society is mostly ambitious of carrying water colour to its greatest possible depth and power, and certainly, in this respect, the attainment is wondrous. In design, and other character, this society more than keeps its ground. We remember last year noticing Miss Setchell's little picture, as one of the best of the year; we have still a perfect recollection of the most lovely pathetic expression of the poor girl. We were greatly disappointed that no work of Miss Setchell adorns the walls. There is a picture, however, which, if it did not move us equally, at once arrested our attention, and again and again did we return to it. The character of it is not certainly moving, as Miss Setchell's, it is altogether of a different cast—it is one for thought and manly contemplation. The subject is "Cromwell and Ireton intercepting a letter of Charles the First," by L. Haghe. Cromwell is standing reading a letter—Ireton adjusting the saddle in the recess of a window, near which Cromwell stands, is a table with a flagon, the scene is an inn in Holborn. The attitude of Cromwell is dignified ease and resolution. In his fine countenance we read the full history of the "coming events"—we see all there, that we have learned from history. The very curtains and stick seem to the imagination's eye convertible into canopy and sceptre. There is great forbearance in the painting—we mean that there is just enough, and no more, of water-colours' ambition. More depth would have injured the effect. It is a very striking picture; well finished, and with a breadth suited to the historical importance of the history. Mr Warren's "Christ's Sermon" is of the ambitious school. If we contrast the quiet, solemnly quiet, tone of that sermon of beatitudes, with the coloured character of the picture, we must condemn the inappropriate style. We should say it is immodestly painted; the picture and not the subject, obtrudes. The head of Christ is weak. It is a picture nevertheless of great ability, but with a gorgeous colouring ill suited to the subject. But we must speak with unqualified admiration of a little picture by Mr Warren—the "Ave Maria." It is a lady kneeling before a picture of a saint in a chapel. The depth and power is very surprising, and much reminds of Rembrandt, with the exception of the picture of the saint, which struck us at first as too light by a great deal, so much so that we noted it down as a glaring defect, but returning to the picture, we looked, not only till we were reconciled, but to an admiration of what we had considered a fault. It is the poetry of the subject. We see not the face of the petitioning figure, we only feel that she is there, and devoutly petitioning, and the brightness of the patron saint, with its simple open character of face and figure, comes out as a miraculous manifestation. We must not mistake—the "Ave Maria" does not mean that it is to the Virgin the petitioner prays; it is to a male saint.

Mr E. Corbould still is in the full ambition of water colour power. "Jesus at the House of Simon the Pharisee," is an example of the inappropriateness of this manner to solemn sacred subjects. The Mary is very good—not so the principal figure, it has a weak expression: some parts of this picture are too sketchy for others. His "Woman of Samaria" is a much better picture, has great breadth and grace. It is rather slight. His "Flower of the Fisher's Hut" is very pretty—a lady in masquerade. Absolon's "Uncle Toby" is well told, and with the author's naÏvetÉ. Mr Topham's farewell scene from the "Deserted Village," is, we think, too strong of the mock-pathetic—a scene of praying and babying.

There are many pictures we would wish to notice, but we must forbear: we cannot, however, omit the mention of a sea-piece, which we thought very fine, with a watery sky; a good design,—"North Sunderland Fishermen rendering assistance after a Squall."

THE BRITISH INSTITUTION.

Having recently given some account of Sir Joshua, his Discourses, his genius, and his influence upon the arts in this country, we visited this gallery, where as many as sixty of his works are exhibited, with no little interest. The North Room is occupied by them alone. Have we reason to think our estimate of Sir Joshua Reynolds, as a painter, not borne out by this exhibition? By no means. Our first impression from the whole collection, not seeing any particular picture, is of colour. And here Sir Joshua appears inventive; for though he not unfrequently imitated Rembrandt, there is, on the whole, a style that is far from Rembrandt, and is not like any other old master; yet we believe, for it was the character of his mind so to do, that he always had some great master in view in all he did. But he combined. Hence there is no little novelty in his style, and not seldom some inconsistencies—a mixture of care and delicacy, with great apparent slovenliness. We say apparent, for we are persuaded Sir Joshua never worked without real care and forethought; and that his apparent slovenliness was a purpose, and a long studied acquirement. He ever had in view the maxim—Ars est celare artem; but he did not always succeed, for he shows too evidently the art with which he concealed what first his art had effected. Looking carefully at these pictures, we see intention every where: there is no actual random work. We believe him to have finished much more than has been supposed; that there is, in reality, careful drawing and colouring, at least in many of his pictures, under that large and general scumbling and glazing, to which, for the sake of making a whole, he sacrificed the minor beauties. And we believe that many of those beauties were not lost when the works were fresh from his easel, but that they lave been obscured since by the nature of the medium and the materials he used. That these were bad we cannot doubt, for we plainly see that some of these pictures, his most laboured for effect, are not only most wofully cracked, (yet that is not the word, for it expresses not the gummy separation of part from part,) but that transparency has been lost, and the once-brilliant pigments become a caput mortuum. Hence there is very great heaviness pervading his pictures; so that even in colouring there is a want of freshness. A deep asphaltum has overpowered lightness and delicacy, and has itself become obscure. Sir Joshua did not leave his pictures in this state. It is as if one should admire, in the clear brown bed of a mountain river, luminous objects, stone or leaf, pebble or weed, most delicately uncertain in the magic of the waving glaze; and suddenly there should come over the fascination an earthy muddying inundation. In estimating Sir Joshua's mind, we must, in imagination, remove much that his hand has done. Nor was Sir Joshua, perhaps, always true to his subject in his intention of general colouring. His "Robinettas," and portraits, or ideals of children, are not improved by that deep asphaltum colouring, so unsuitable to the freshness, and may we not add, purity of childhood. And there appears, at least now in their present state, that there is too universal a use of the brown and other warm colours; Rembrandt invariably inserted among them cool and deep grays, very seldom blue, which, as too active a colour, is apt to destroy repose, the intended effect of deep colouring. Titian uses it for the sake of its activity, as in the Bacchus and Ariadne and how subdued is that blue! but even in such pictures there are the intermediate grays, both warm and cold, that the transition from warm to cold be not too sudden. We cannot say that Sir Joshua Reynolds did not introduce these qualifying grays, because the browns have so evidently become more intense, that they may have changed them to their own hue.

There are some pictures here which have either lost their glaze by cleaning, or never had it, and these have a freshness, and touch too, which others want; such is the case with "Lady Cockburn and her Three Sons"—a very fine picture, beautifully coloured, and well grouped, very like nature, and certainly in a manner of Vandyck. We remember, too, his "Kitty Fisher," and regret the practice which, with the view of giving tone, often took away real colour, and a great deal of the delicacy of nature. The very natural portrait of "Madame Schindelin," quite in another manner from any usual with Sir Joshua, shows that he was less indebted to his after theory of colouring than people in general have imagined. The most forcible picture among them is the "Ugolino." It is well known that the head of Ugolino was a study, and not designed for Ugolino, but that the story was adopted to suit it; yet it has been thought to want the dignity of that character. Ugolino had been a man in power; there is not much mark in the picture of his nobility. It has been said, too, that the addition of his sons is no improvement in the picture. We think otherwise: they are well grouped; by their various attitudes they give the greater desperate fixedness to Ugolino, and they do tell the story well, and are good in themselves. The power of the picture is very great, and it is not overpowered by glazing. On the whole, we think it his most vigorous work, and one upon which his fame as a painter may fairly rest. We have a word to say with respect to Sir Joshua's pictures of children. That he fully admired Correggio, we cannot doubt—his children have all human sweetness, tenderness, and affection; but it was the archness of children that mostly delighted our painter—their play, their frolic, their fun. In this, though in the main successful, he was apt to border upon the caricature; we often observe a cat-like expression. "The Strawberry Girl" has perhaps the most intense, and at the same time human look. It is deeply sentient or deeply feeling. The "Cardinal Beaufort" disappoints; so large a space of canvass uncouthly filled up, rather injures the intended expression in the cardinal. Has the demon been painted out, or has that part of the picture changed, and become obscure? But we will not notice particular pictures; having thus spoken so much of the general effect, we should only have to repeat what we have already said.

The Middle Room is a collection of old masters of many schools, and valuable indeed are most of these works of art. There is a small landscape by Rembrandt, "A Road leading to a Village with a Mill," wonderfully fine. It is the perfect poetry of colour. The manner and colouring give a sentiment to this most simple subject. It is a village church, with trees around it. This is the subject—the church and trees—all else belongs to that—we see dimly through the leafage—we read, through the gloom and the glimmer, the village histories. The repose of the dead—the piety of the living—all that is necessary for the village home, is introduced—but not conspicuously—and nothing more; here is a house, a farm-house, and a mill—a village stream, over which, but barely seen, is a wooden bridge—the clouds are closing round, and such clouds as "drop fatness," making the shelter the greater—a figure or two in the road. There is great simplicity in the chiaroscuros, and the paint is of the most brilliant gem-like richness, into which you look, for it is not flimsy and thin, but substance transparent—so that it lets in your imagination into the very depth of its mystery. No painter ever understood the poetry of colour as did Rembrandt. He made that his subject, whatever were the forms and figures. We have made notes of every picture, but have no room, and must be content with selecting a very few. Here are two fine sea-pieces by Vandervelde and Backhuysen. We notice them together for their unlikeness to each other. In the latter, "A Breeze, with the Prince of Orange's Yacht," there is a fine free fling of the waves, but lacking the precision of Vandervelde. There are two vessels, of nearly equal magnitude, and not together so as to make one. We are at a loss, therefore, which to look at. It is an offence in composition, and one which is never made by Vandervelde—often by Backhuysen; and not unfrequently are his vessels too large or too small for the skies and water. "The Breeze, with Man-of-War," by Vandervelde, is, in its composition, perfect. It is the Man-of-War; there is nothing to compete with it—the gallant vessel cares not for the winds or waves—she commands them. It is wondrously painted, and as fresh as from the easel. Here are three pictures by Paul Potter—the larger one, "Landscape, with Cattle and Figures," how unlike the others! "Cattle in a Storm," is a large picture in little. The wind blows, and the bull roars. It is very fine, and quite luminous. The other, "Landscape, with Horses and Figures," looks, at first view, not quite as it should; but, on examining it, there are parts most exquisitely beautiful—the white horse coming out of the stable is perfect, and, like the Daguerreotype portraits, the more you look with a good magnifying-glass, the more truth you see. There is no picture in this room that excites so much attention as the "View of Dort from the River."—Cuyp. It is certainly very splendid. It is a sunny effect; the town is low—some warm trees just across the river, near which, half-way in the stream, is a barge, the edges gilded by the sun—further off is a large vessel, whose sides are illuminated—above all is a thunder-cloud, very effectively painted. The picture has been divided, and rejoined, and is very well done. It would perhaps be better if it were cut off a little beyond the large vessel, as the opposite sides are not quite in harmony, one part being cold, the other extremely warm. There is a companion by Cuyp, which has been engraved for Forster's work, "A River Scene—Fishing under the Ice." It is very fine: if not quite so luminous as the former, it is in better tone altogether. We must move on to—

THE SOUTH ROOM

With the exception of two pictures of the modern German school, this room contains the works of English artists not living. Only one of the German school is a picture of any pretension, "Christ blessing the Little Children"—Professor Hesse. The reputation of this painter led us to expect something better. We must consider it apart from its German peculiarities, and with respect to what it gains or loses by them. As a design, the story is well and simply told. As a composition, it is a little too formal, lacking that easy flowing of lines into each other, which, though eschewed by the new school, is nevertheless a beauty. The expression in the heads is good generally, not so in the principal figure. There is throughout a character of purity and tenderness—it is a great point to attain this. But none of this character is assisted by the colouring, or the chiaroscuro. The colouring, though it has a gold background, is not rich, for the gold is pale, even to a straw colour, and the pattern on it rather gives it a straw texture. We presume it is meant to represent the dry Byzantine style of colouring, purposely avoiding the richer colours; as power is lost, by this adoption, it is impossible to give either the tones or colours of nature—there is no transparency. To preserve this old simplicity, softening and blending shadows are avoided, by which a positive unnaturalness offends the eye; hence the hands and feet not only look hard, but clumsy—they may not be, but they look, ill drawn. The figures, indeed, look like pasteboard figures stuck on; there is a leaden hue pervading all the flesh tints. It fails, too, in simplicity and antique air, which we suppose to be the objects of the school. For there is too much of art in the composition for the former, too little quaintness for the latter; and indeed its perfect newness of somewhat raw paint prevents the mind from going back to ancient time; and that failure makes the picture as a whole, a pretension. It does not, then, appear to gain what that old style is intended to bestow—and it loses nearly all the advantages of the after-improvements of art—of its extended means. It rejects the power of giving more intensity to feeling, of adding the grace of nature, the truth and variety of more perfect colouring, by the opaque and the transparent, and does not in any other way attain any thing which could not have been more perfectly attained without the sacrifice. The collection of the British school contains good and bad—few of the best of each master. West's best picture is among them, his "Death Of Wolfe"—everyone knows the print; the picture is good in colour and firmly painted, and contrasts with some others where we see the miserable effect of the megillups and varnishes which our painters were wont to mix with their colours. We should have been glad to have seen better specimens of Fuseli's genius—we suppose we must say that he had genius. The best piece of painting of his hand in the room is the boy in Harlowe's picture of the "Kemble Family;" a picture of considerable artistic merit, but ruined by the coarse vulgarity of a caricature of Mrs Siddons. How unlike the Lady Macbeth! The corpulent velvet dark mass and obtruding figure is most unpleasant. It is much to be regretted Mr. Harlowe did not redesign that principal figure. There are several landscapes of Gainsborough's, and one portrait—the latter excellent, the former poor. There is much vigour of colouring and handling in the "Horses at a Fountain;" but as usual, it is a poor composition, and of parts that ill agree. The mass of rock and foliage are quite out of character with the bit of tame village scene, and the hideous figures. Here, too, his "Girl and Pigs," for which he asked sixty guineas, and Sir Joshua gave him a hundred. We do not think the President had a bargain. There is not one of Wilson's best in this collection. The "Celadon and Amelia" is dingy, and poor in all respects. It verifies as it illustrates; for Thomson says,

Very coarse is Opie's "Venus and Adonis." He had not grace for such a subject—nor for "Lavinia." We should have been glad to have seen some of his works where the subjects and handling agree. We are sorry to see Hogarth's "March to Finchley" so injured by some ignorant cleaner. His "Taste in High Life" is the perfection of caricature. We have not the slightest idea what Constable meant when he painted the "Opening of Waterloo Bridge." The poor "Silver Thames" is converted into a smear of white lead and black. "Charles the First demanding the Five Members," surprised us by its power—its effect is good. Here is no slovenly painting, so common in Mr. Copley's day—the general colour too is good; and the painting of individual heads is much after the manner of Vandyck. There are some pictures on the walls which might have been judiciously omitted in an exhibition which must be considered as characteristic of English talent.

As the British Gallery is for a considerable period devoted to works of English art, and as so many other exhibitions offer them in such profusion, we would suggest that it would be more beneficial to art, and to the success and improvement of British painters, if the original intention of the governors of the institution were adhered to, of exhibiting annually the choicest works of the old schools.

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