teeth, ask them if nature was ever more happily imitated, as a whole, and in parts, than in this picture. It would be easy enough to go through all the genuine pictures in this national collection; they would not tell a different tale. Let these two suffice. Nor will we, as many do, rob those great masters of their real merit, by the assertion, that time has done for them what was the work of their own minds and hands. It is an invidious thing to take away from intention what is good, and to give it to accident, to time. Let not those whose performances are now crude, flatter themselves that time is gifted with Titian's pencils, and will turn clay into a jewel.

It is melancholy to walk through the National Gallery, and to see it in pretty much the same state, year after year. Are there none to cater for the public? Are pictures not to be had, that no additions are made? An amateur asked us to point out the texture in Ruysdael; we took him to the National Gallery-in vain. We are not aware that there is one picture of the master; and there is Berghem-why not have a few works of these painters? We remember to have seen, within these few years, several pictures of these masters, very good, that were in the market. Again, we ask, is there no one to cater for the public? Not that we mean to confine our, or rather the public, desires to any one or more masters. Many indeed are wanted-we would rather say purchase good pictures, little caring for schools, whenever or whereever they are to be met with. Do not let the nation be more parsimonious than private collectors. But it is absurd to draw comparisons. The nation are not competitors in any purchase. When they bought the Francias they bought what no one else would buy. Who attends sales for the public gallery? Our business is, however, now with exhibitions as they are. And as the National does not progress, it does not now come under our further notice.

It is a great convenience the having our exhibitions contiguous to each other. It is but a few steps from the Academy to the Suffolk Street gallery, the Society of British Artists.

This

society, too, is ambitious of a motto"Ac mea quidem sententia, nemo poterit esse omni laude cumulatus orator, nisi erit omnium rerum magnarum

atque artium scientiam consecutus," M. T. Cicero, De Oratore, lib. 1. A more stupid motto they could not well have chosen, nor one that has less to do with the arts, words that come in with an omnium gatherum knowledge to make up-what? not a painter, not a connoisseur, but a special pleader! It is a good motto enough for tickets should the Polytechnic Company think fit to invite the learned profession to a dinner.

The public, too, we are sorry to observe, do not expect to be made perfect orators by frequenting this exhibition, or they care little for the acquirement; for when we visited it, there were not more than three persons present, nor did they at any time that we were in the rooms, some hours, amount to above six. Who can say we want painters? In this appendix to the Academy we have no less than 783 pictures, and 21 pieces of sculpture. Here too, as in the Academy, the pyramid system is pursued-works piled upon works; and, absurdly enough, the minute are out of sight. We have marked in the catalogue but few pictures, because they are for the most part a shade inferior to those of their class in the other exhibition; and there is the absence of any very imposing work to engage attention. There is, however, a great deal of what is good in painting, in execution particularly; but there seems to be no attempt to surpass their neighbours in the poetry of art. And yet the very first picture, No. 4, is poetical-" Duncan's Horses." J. F. Herring, sen.

"Here Duncan's horses (a thing most. strange and certain)

Beauteous and swift, the minions of the race,

Turn'd wild in nature, broke their stalls, flung out,

Contending 'gainst obedience, as they

would make

flict. This is the best of the two; the landscape is finely suited to their deed of madness. It is deep, dark, and gloomy, the gleaming lights are indicative of danger-the poetical action of the animals is excellent-and we do not doubt Mr Herring's accuracy as an animal painter. Mr Herring has nine pictures, all more or less exhibiting his talent. The most important, perhaps, is No. 240, "Going to Fair. Here three fine horses are being led to the fair; one is "throwing out," and all are rather gay, and not ashamed to look any purchaser in the face-to the right a lane leads to a quiet village, in which are a few figures preparing for the fair-a stagecoach well loaded, is on the road meeting the horses going to fair; to the left are sheep in a field-the road goes directly off into a flat distance. There is a mass of tall, well-painted trees above the horses, and which make the landscape. The distance, and the sky towards the horizon, are not quite true to nature, especially the sky, which is too flat. The whole scene is very natural-we would not say that it is most agreeable nature; but, for its aim, the picture is very good. Mr Herring's "Mazeppa," No. 521, is at least of more poetical pretension. It is very good-well composed-the group of wild horses in wonderment at Mazeppa bound to the falling horse, is fine. The landscape is, in fact, well designed, but too coldly coloured; and the extreme distance wants connexion with the sweeping line of the hills on the right-and as in the other picture, does not recede, and the sky there is flat. If every part of his No. 401, "The Countess of Derby's departure from Martindale Castle," were equal to the centre group, which is beautifully designed and coloured, we should prefer that picture to his others.

No. 61. "Leith Hill, Surrey." J. Wallen-is good.

No. 69. "Hebe." J. P. Davis. Though the Hebe has too much of the modern mode for the fabulous Hebe, she has a pretty and expressive face, which would be better set off, if the blue or grey of the sky were brought down a little lower. It is a mistake to carry the flesh colour into the sky, unless it differ greatly in tone.

No. 80. "Sea View-Fresh breeze." M. E. Colman. This is very true to

nature, the water is excellent-it is perhaps a little too blue.

No. 90. "The Madonna, Infant Christ, and St John, painted in encaustic, resembling fresco, discovered by the artist." E. Latilla.-Before reading this description in the catalogue, we had remarked that it was painted in a bad material; and if Mr Latilla's "real fresco, No. 678," be the best we can reach, we do not desire to see our houses of Parliament decorated in this manner. Mr Har lestone appears this year generally to have failed in colour, particularly in the flesh. He seems to have been aiming at the disagreeable fuzzy uncertain manner of Murillo.

No. 116. "The Evening Walk." W. W. Scott.-We were so struck by the simple, unaffected, yet natural look of this picture, that we were curious to learn something of the artist, and understand he is very young, and has not painted many pictures. He is then of great promise-for the whole management is very good · very powerful, yet with much delicacy_ the colouring is effective and harmonious. It would be improved by the light in the sky towards the horizon being scumbled over and kept down. The error of young painters, and too often of old, is affectation, more espe cially in portraits-there is none of it here. Mr Scott will assuredly become one of our best portrait-painters.

No. 259, and No. 271. E. Prentiseach a Passage in the Life of Man"He goeth forth," "He returneth," are well-conceived, amusing pictures of their kind. The going forth steady, with advice duly given, to a dinner, and the returning unsteady, are well contrasted, so that they should be companions. The likeness of the altered man is very well preserved.

No. 264, "Ehrenbreitstein on the Rhine," C. F. Tomkins, as a view, is very good, and is free from the common fault of our view-painters' views-places have their disgusting aspects, which, for the sake of doing something they have determined to be artistical or picturesque, our placepainters perpetuate.

No. 279. "A Fruit Girl of North Holland at her devotions," J. Zeitter, is very pretty, very pleasing, both in its character, and in the manner of the painting.

No. 295. "Shoreham, Sussex Coast." J. B. Pyne.-Mr Pyne is a

very clever artist, his pencilling is clean, and with precision; but we fear this very excellence leads him into a fault. His pictures are apt to be too unsubstantial, too weak both in body and in colour. This is certainly a well-painted picture, but it is cold, uncomfortably so, in colour; it is not the most agreeable atmosphere under which we would see a place which we should wish to remember. Most of Mr Pyne's pictures have the faults we have mentioned. They are conspicuous in his No. 437, "Pheasants' Nests at Cheddar." It is a fine scene of stupendous rocks, which should have been, by the by, his subject; he has too much divided it by being too near the nests, and is therefore compelled to paint too nicely the unpicturesque cottages, the "nests." The composition is fine; the whole has little colour, and is too weak. How solemnly such a scene should be treated to convey the character, which overpowers minor detail and trifling incident -yet has Mr Pyne injured the character, by the introduction of groups of figures, vile in themselves, and which, by their colour, render the whole picture weaker. There are figures, children in a boat, and one, as it appears, crying, and trying to wade to its companions-now how unworthy is this of so grand scenery! There is an unaccountable suddenness in the colour of reddish brown rock immediately upon the grey. There are two words we wish Mr Pyne would remember whenever he has his palette in band-"depth," "colour"-not as one, but distinct. We know he is capable of doing higher and better things.

No. 241. "Study of a Head." C. Baxter. This is very good, but we think a little fails in the flesh colour.

C.

No. 315. "The Friar and Juliet," J. S. Spencer, is certainly very like nature, and it is well managed, artistically speaking, but how unpoetically dismal, and that is ever out of the pathetic. No. 329. "Farm Horses." Jose. This is a group of horses well set off; the sky is admirably formed to make up the composition. The ground is not good in colour. This would, as a composition, engrave-as a picture, it is not quite pleasing from its texture-it is too uniformly smooth, wants variety, and is perhaps a little too vivid; it should be subdued, and the several objects should have their own texture.

He

No. 393. "The Chapel of the Virgin in the Jesuits' Church, Antwerp." E. Hassell.—Mr Hassell is original-he seizes the character of his interiors with great truth and power; he seems to forget art, while he is unconsciously practising it most skilfully. aims at no forced effects-consequently his scenes have just that quiet repose, even in their light, that ever fascinates the spectator. They are lighted by their own sanctity. We feel sure that the scene we behold was painted on the spot. This is a very beautiful picture. Nor is his "Vandyke visiting the Tomb of Rubens, in the Church of St Jacques," less so. The introduction of Vandyke is very judicious-the figure is good. It assists contemplation, which makes the character of the scene. There are no pictures in this exhibition that, for our own taste, we so much covet as Mr Hassell's interiors. We shall look for him again. His manner of representing the white stone under subdued light is perfect. He reconciles the eye even to some matters of not the best taste in architecture.

There are some good drawings. We we were pleased with No. 656, "Near Beddgelleret, North Wales," J. Rideo; and 659, "London from Waterloo Bridge," W. C. Smith, which would bear a little more depth.

Looking over the catalogue, we find we have omitted the notice of No. 117, "At Entretat on the Coast of Normandy, with a brig coming ashore -stormy-sunset." H. Lanaster.This is a bold scene, and the event described is of great interest. It is very powerful in effect-the light upon the rocks very true and forcible. The red is perhaps a little overdonethe foreground is the least good, is too much cut up, and there are either too many figures, or they are too near, near enough to divide the interest with the principal incident. We are re

minded of Loutherbourg, but there is not Loutherbourg's power. We must quit the Suffolk Street gallery, aware of the impossibility of offering a satisfactory critique; as many good pictures, where there are so many, must necessarily be without the notice they merit.

There are two societies of painters in water colours. The last embodied entitles itself" The New." This contains 341 drawings-the first establish ed, 338. In quantity, they are nearly

equal; in quality, the "New" is decidedly superior to the "Old." It is a curious fact, that while for some years it has been the aim of water-colour painters to attain to the depth of oil, our painters in oil have been endeavouring to make their pictures like drawings, and those drawings which show most white paper. In the Old Water-Colour Society some of the most able have taken to imitate the attempts of the oil painters to imitate them; so that, forsaking depth of colour, they paint upon the white-paper plan. This is very conspicuous in Copley Fielding's drawings this year. We do not think the change an improvement. Let us walk through the rooms of the elder society.

No. 10. "Falls of the West Lynn at Lynmouth, North Devon." P. De Wint. It is a finely coloured and pretty exact representation of a most beautiful scene. Mr De Wint has omitted much that is very striking in the real view; perhaps he has made a judicious sacrifice; and it may be impossible to give upon canvass the whole scene with effect. Above the height of his subject is a very grand rock; standing below, you look under its projecting ledges. We are often deceived in a scene of this kind-a moment's change of position, an instantaneous looking up or down, conveys an impression which we are apt to think is that of one picture. It is, however, not so-it is the mind's putting together of several. To embody this impression, belongs to the art of composition. When fairly given, the scene may be considered more true to nature, than that which the eye takes in from one position and at one look. We have often tried to make pictures of this magnificent scene, and have not succeeded at all without much composition, and not even then to our satisfaction. Mr De Wint has painted a very beautiful picture-the air is cooled by the living water, and the scene is for meditation.

We very

much like his view on the River Louther, No. 49. It is slight, but very effective. The execution has the characteristic audacity due to the prevailing river.

No. 16. "Rivaulx Abbey near Helmsey, Yorkshire." Copley Fielding. This is quite unworthy Mr Fielding. It is flimsy and unnatural. Nor do we more admire his No. 21, "View of Ben Vorlich, &c." It is

childish in composition and horrid in colour, as a whole, with pretty and laboured bits. Nor can any thing well be more flimsy than his No. 101, "View on the South Downs, &c." His "Fingal's Cave, Isle of Staffa," is very fine-all the parts agree there is sentiment in the picture. Again we must find fault. His 125, "Distant view of Bolton Abbey, looking up the River Wharfe, Yorkshire," is, to our eyes, very odious-as bad in colour, composition, and effect, as well can be. We do not recognize in nature, in her pleasing mood at least, trees varying from mustard to treacle. His "Vessels in a breeze," No. 179, is a very fine drawing, good in effect and colour, and his scene on the coast near Filey Bay, Yorkshire, is not less good. We much like his "View of Ben Cruachan, &c.," No. 276. It is very tender and tranquil, and would be improved if the boat were removed. Mr Copley Fielding seems in his practice to be in a transition state, quitting his former method, for the lighter and brighter, the whitepaper method: this has not reached as yet his water pieces, and they are therefore the best. We do not approve of throwing off the blues and greys of distances, by spots of treacle cows, and mustard trees.

No. 42. "Forelake, Killarney." W. Evans. This is an escape from being very good; it is spoiled by violence of colour in figures.

No. 88. "Forezall, Killarney, &c.," W. A. Nesfield, is very clever, and would be better without the figures.

No. 127. "A Monk," W. Hunt, is admirably finished. His No. 140 is capital. It is from the scene of the Carriers in Henry IV., Shakspeare. A little more shadow would perhaps improve it-not, however, very dark, but such shadows as Rembrandt delighted in, that were scarcely darkness, and when they were, were "darkness visible." His "Saying Grace," No. 167, is painted with the happiest effect. We have hitherto considered Mr Hunt as an artist expressing great truth of character by a few free touches. In No. 299," Interior of West Hill House, the residence of J. H. Mawe, Esq.," he shows his power of elaborate finish, and that he has an eye for truth of colour very accurate. We see not only the ornament, but the domesticity of the room, its repose and habitableness are de

lightful; this character gives a poetry to the interior.

No. 130. "The Castle Chapel," G. Cattermole, is very well done, but wants interest; it does not convey what the subject might convey. There is the same defect in his "Hospitality to the Poor," No. 175. It is very simple, clever, and well coloured, but somehow or other it is of little interest.

J.

No. 144. "Endsleigh, a seat of his Grace the Duke of Bedford." D. Harding. This we do not admire -it is too much of the ague style; it has throughout its hot and cold fits. No. 153. "Narcissus and Echo." J. Christall. A very fine drawing. It is classical, and to a considerable degree, as it should be, conventional, both in design and colour. There is no violence to make conspicuous what is not quite true; we yield ourselves, therefore, to the fabulous poetry. The figures are extremely graceful, the composition tasteful and elegant; of an elevated cast, but within the domain of beauty, though bordering upon grandeur. It is a rocky scene.

No. 187. "The South Stack Lighthouse, near Holyhead," H. Gasteneau, is, as a scene in nature, frightfully grand; but whether it be that it has too much detail for grandeur, or that the style of colouring is not in accordance with that sentiment, it fails of the due effect. There is nothing grand where there is too much detail, and too many parts. His "Lake of Guarda," No. 256, is very good. No. 154,

"Mountains on whose barren breast The labouring clouds do often rest." MILTON. No. 328. "Mountain Scenery." J. Varley. Mr Varley comes out in a somewhat new style. His mountains are mountains, and companies, for they associate, and hold holidays with the clouds together. They give you an idea, or rather a feeling of mountain air, freshly blowing. The effects are, perhaps, a little too scattered. We have seen one or two very fine classic landscapes by his hand; in general, he is too artificial in his building up. We well remember some of his early drawings of Welsh scenery, than which nothing is more beautiful of the kind that we have since seen by any hand. We should desire to see Mr Varley resume this early manner.

"Oh what's to me a silken gown

Wi' a poor broken heart?

And what's to me a siller crown Gin frae my love I part?"-Ballad. A melancholy tale, a sacrifice, the abominable bridegroom, the compelling parents and reluctant bride, all tell their feelings well, but the lover is not melancholy enough. He is too reconciled to desertion. It is with this lady's usual power; but we would earnestly recommend to her pencil more happy subjects. Domestic love is the least fit for poetry or painting, unless it be of a moral power, conveying a lesson, and even then is ill suited to the drawing-room or boudoir.

How

No. 246." Scene from the Black Dwarf." Frederick Taylor. sweet is the heroine of the tale; and how well is the incident told! It is a very sweet little picture, and admirably composed.-No. 285. "Interior of the Keeper's Cottage." Mr Taylor paints animals to the life-we therefore suppose from life. No. 308.

ter.

Touchstone." H. Rich

"And how, Audrey? Am I the man yet," &c.

Shakspeare is never vulgar-outraging truth, without quite reaching caricature, is always vulgar. Hideous grimaces and forced attitudes are but a bad substitute for humour. Mr Richter is generally too coarse.

Our next visit is to the New WaterColour Exhibition, 53, Pall - Mall. The aim of the exhibitors here seems to have been, as if by one consent, depth and force of colour; and they have certainly succeeded in a very surprising degree, preserving at the same time very great clearness.

No. 9. "Transport coming out of Portsmouth," T. S. Robins, is very true to nature; the motion of the water, and its receding, is ably managed.

No. 17." The Cooling Room (Meslukh) of an Egyptian Bath," H. Warren, is a picture of very great power, describing an Egyptian bride at the bath. In the centre are dancing girls, very graceful; the bride is in retiring shade

slaves of all colours are in attendance. There is good grouping and good colouring; the picture is rich, without flaring colours; the subdued light of an interior is preserved.

We could almost wish painters were