tations of the style of Landseer; but he can scarcely be said to be an imitator, for he seems to be so thoroughly imbued with the same feeling, that if his path had not been previously struck out, we seem to perceive that Mr. Hancock would still have hit upon it. It is unfortunate for him, if our surmise be correct; but he has it in his power to retrieve it, if he will give his genius fair play. 'Croisset, on the Seine' (40), by J. W. Allen, is full of effect. This artist is one of those who amongst us have carried the delineation of architectural views to a height which leaves the superiority of many of the older masters more in name than in fact. Perhaps there is too much reality in the works of our artists, but this is a question which time only can solve.

'The Widow' (45), by E. Prentis, is of that class of subjects to which Mr. Prentis seems to have almost a painful predilection. His manner of treating them betokens much ability and feeling for Art; but while they require the utmost watchfulness in respect of good taste to keep down the Gallicism which reigns over them, the attention of the artist must be as much alive to the disposition of the colour. Black is the most unmanageable of all colours, and it is seldom that it can be introduced without offending the eye. Mill on the Logan' (47), by H. Frazer, introduces we believe a new candidate for fame; and we are inclined to augur favourably of his merits from this picture: it is a forcible representation of nature, though it betrays not a very familiar acquaintance with the works of the best masters. 'The Town of Menagio,' by T. C. Hofland. This artist is a great supporter of this Institution, to which he has sent eight pictures, all characterized by his usual fidelity to nature and familiar acquaintance with the practice of Art. His great error consists in not imparting sufficient warmth to his works, or that ideality, (if we may use the expression,) without which even the most faithful representation of nature will not avail. What Mr. Hofland is in landscape, Mr. Lonsdale is in portrait-painting. We require something more than a literal representation of the features, which not the most practised art of colour will suffice to render pleasing. Thus, in the portrait of the Lord Chancellor, the character of the noble lord, which is so prominent in his bearing, seems entirely lost. He is represented stiff and ungainly, instead of with that air of retiring nonchalance which seems to attract the more by its unobtrusiveness. 'Study from Nature' (66), J. Inskipp. This is one of Mr. Inskipp's favourite subjects from rural life, and which we regret only because it is a repetition for the hundredth time of the same scene with the same model and the same style of colour. Whatever this artist attempts cannot fail to attract attention, from the artist-like manner in which he executes his under

taking; but no mastery whatever of the pencil or palette can overcome the evil arising from that mannerism into which such habits must degenerate. Caution' (151), which is the representation of his gipsey girl crossing a brook, seems all painted one colour;-but who ever saw such a sky, even if it be correct in other respects? We do not like to be hypercritical, and dispute about names and titles; but Mr. Inskipp has a particular affection for startling nomenclatures; and we would therefore observe that the figure represents Caution not at all. In the first place, there seems no danger at all in any respect; and in the next place, the damsel seems to be looking about her, even enjoying a washing, which was not unnecessary. In (386) 'The Itinerant,' Mr. Inskipp seems determined to have spared any envious rival the trouble of caricaturing his style it is an outrageous piece of gorgeous colouring,-so far in keeping with itself, but to which we will venture to say there never was any like in nature.

Portraits of Lord Trentham and Lady Caroline Gower' (80), F. Y. Hurlstone. This is not one of the happiest efforts of this very clever artist; though it is seldom that children can be ever depicted faithfully, and yet with that degree of animation necessary to constitute a finished picture. Recollecting Mr. Hurlstone's Armida', exhibited here last year, we cannot but regret that he has this season only sent portraits. Mr. Hurlstone is undoubtedly destined to hold an enviable place among British artists, and we trust he will not allow his talents to be engrossed by an inferior branch of art. The Baptism' (115), G. Harvey. Those who remember the picture sent to this Gallery last year by this then unknown artist, and marked how nearly it approached to being a great picture, could not fail to turn with curiosity to this, to perceive whether it would maintain the high character which was then gained. In so doing, no disappointment is felt: there is the same masterly treatment, the same excellence of arrangement, and it is upon the same principles of painting. If called on to give a preference, we should prefer 'The Baptism;' after seeing the other however more especially, it has the effect of a monotonous feeling, which the artist will do well to avoid. 'Scotch Drink' (145), by J. P. Knight; La Fenesta' (284). Mr. Knight's works are characterized by great breadth and harmony of colouring, and his disposition of the accessories, as well as of the principal figures, is always masterly, and given with artist-like manner. We think, however, that Mr. Knight is wrong in not stooping, as it may perhaps be considered, to please the public taste rather than that of his brother-artists -these only look at the difficulty of executing a certain design by a certain means, without reference to the fact that Nature itself is not always VOL. III.-No. 16. 3 M

pleasing, and the closest imitation of Nature therefore not always the most advisable. 'La Fenesta' is the representation of a female looking out of a window; and is undoubtedly, without inquiring into the costume and other accessories, well managed, excepting the red at the window-sill. But the public want something more than the artist will be satisfied with; and he will please more, and gain greater favour, at least with every-day critics, if he will select handsomer models and less matter-of-fact subjects. His portraits have what is better than a mere likeness-the impress of character strongly depicted. His Most Gracious Majesty William IV.' (155), H. E. Dawe. This is a copy from a picture with which the public have been long familiar, and we notice it only to complain of the injustice done to other paintings by giving it so conspicuous a place. The Committee have not, as far as we have heard, been subjected to those charges which are so generally brought forward against the managers of other Institutions; but they should not give any room for the possibility of remark. Mr. Dawe's other production (181), 'A Mother and Child rescued from a Watery Grave', is, we are informed, very popular in the print-shops. The Grecian Choirs at the Temple of Apollo' (156), W. Linton. This picture has only one fault, but that fault is as great as can be attached to it;—it is mere composition. Such a scene was never beheld; it is composed from the ideas of half-a-dozen different artists; and though beautifully painted, with a fine effect of warmth and light and life, and is in reality a most pleasing picture, we should beg Mr. Linton to devote his talents to the search of what will secure him fame on his own terms. Portrait of Mrs. Brandling' (164), by Mrs. Carpenter. The head of this picture was painted by Sir T. Lawrence, and it has been finished by Mrs. Carpenter in a manner which would prove that the late President did not possess any very exclusive powers. We have long held that his influence over the English school was much to be guarded against, and it is really a satisfaction to see that our fears have been in a great measure unnecessary. We trust Mrs. Carpenter will be named for the honours of the Academy;—we know no artist of the present day, in the line of art for which she is distinguished, more fitted to gain them. (224) 'Procession to the Abbey on the Coronation-day, with Portraits,' R. B. Davis. This is the first of a series for which Mr. Davis has received a commission from His Majesty, who has thus given an additional proof of his desire to serve the Art. The commission, however, is one for which, if artists, we should have been scarcely thankful;—in a long line of figures, the difficulty must be so great to preserve the perspective, and yet give the necessary variety to constitute a work which

should be creditable to the artist. The greater merit, however, must be due when those points are accomplished; and in the present instance we must congratulate Mr. Davis on having rendered agreeable a subject, which above all others we should have deprecated. The horses are represented with great truth, and the portraits we have recognised with much surprise and pleasure. The Culprit' (433), by the same, is full of humour; and when mellowed by time, so that the reds are toned down, will be deservedly admired. The story represented is that of a village Dogberry of a beadle leading an animal, to which Rosinante would be a racer, to the pound; while two ragged children are following with rueful looks and hesitating steps.

We feel great difficulty in occupying our pages with criticisms, wishing to fill our work with subjects of permanent instead of temporary interest: besides, there is a difficulty in making our country subscribers derive any benefit from such remarks by the most lengthened details. We will then shorten our notices by referring in brief to the 'Madeline' of Mr. Boxall, a female head, which is sweetly expressive, and, like all his works, full of fine poetic feeling. A portrait of a Lady (182), by Mrs. J. Robertson, is finely drawn, and marked with superior knowledge of the Art than this lady has previously shown. Mrs. J. Hakewill's sketchlike paintings afford us much pleasure, though marked with more feeling than artist-like execution. Mr. Faulkner's works are highly creditable to him; and Mr. Pearsall's evince an eye for nature, which we think will hereafter gain him no inconsiderable reputation. Mr. Vickers has sent several, which are not so much imitations as his former works, but which certainly are not therefore improvements. 'Lucy Ashton at the Mermaiden's Fountain' (492), by T. Duncan, introduces a name we do not remember before, but is therefore the more acceptable: it is one of the best pictures in the Exhibition, and treated with fine feeling. 'Interior of a Gaming-house,' (296), H. Pidding is another; and we give it our warmest commendation, if but for the lesson it teaches. It is perhaps wanting in what artists call effect, meaning thereby something different from the common acceptation of the term; but we are satisfied that all amateurs, and those who do not look at paintings with merely an eye to their artist-like execution, must acknowledge its merit. 'Sir H. Glendenning, Lady Avenal, Roland Graham, and Wolf,' (485) is also an excellent picture; the characters are well given, and the figures well drawn. 'Thomas à Becket refusing to sign the Constitutions of Clarendon,' (502), W. N. Hardwick, is another very clever performance, the colouring of which is good, and the groups are given in a broad and effective manner. On the whole we think the managers of this institution

entitled to the utmost praise for the collection of works which they have gathered together, and the manner in which they are arranged. They have certainly an excellent room, and we trust their labours will be duly appreciated by the public.

The Water-colour Room contains some delightful specimens in that fascinating branch of art, which, however, it would be vain to attempt, and beyond the purpose of this work to particularize. Mr. M'Clise has several, which make us remember with regret that we see so few of his works exhibited. Mr. Holland and Mr. Ince have several which are well deserving of their reputation; and there are one or two names, (and among them a Miss Adams,) with which we were not before made acquainted, but who seem to evince considerable talent.

In the Sculpture Room the best works have, if we are not mistaken, been exhibited before, and several of them noticed in our first volume.

MISCELLANEA.

Royal Academy.-SIR J. SOANE's course of lectures on architecture for the season was concluded on the 20th March at this institution. Having in the previous lectures traced the progress of the Art from its first rise among the ancients, through all its periods of prosperity and depression; and latterly, from its revival in Italy, in the fifteenth, to the close of the eighteenth century, the Professor devoted his concluding lecture to an analysis of the practice of the ancient artists, and a comparison of it with that of the moderns in some of the leading features of the Art.

He began with arches; of which, he observed, the origin (query accident) of their introduction into architecture is extremely difficult to be ascertained. The triumphal sort of arches, he observed, were not general until the age of Augustus. He next adverted to the construction of bridges; commented on the peculiar beauty and picturesque appearance of those foundations, in effecting the union of two opposite shores. Among all the examples of this style of building at present existing, none, he observed, claim more admiration than those of China, which, indeed, are pre-eminent for their magnitude and extent. The bridge of Kingtunc affords a splendid instance of the grandeur resulting from those qualities. The bridge of Ispahan, and those erected in ancient