the effect of narrowing still more, a narrow gallery. The part at the entrance not used for pictures, might, by introducing a light, be made into a good room for the reception of sculpture.

Visitors must doubtless be surprised at the low line of pictures on each side, so entirely different from the packing process at other exhibitions, where large and small works are piled one upon the other, reckless of finish, or the size of the figures. It seemed that good opportunities have been missed by Artists for the exhibition of whole length portraits, or of historical works; for we fear that a few out of the contributors to Westminster Hall, must remain unsold. Why do we not see more than a solitary picture of this class by Mr. Corbould? the upper range now remaining unoccupied, would have accommodated these large works admirably. Another important point is, without infringing upon the rights of exhibitors, (upon the just exercise of which the existence of this society depends) to prove to some of them, that neither their interest nor that of the Institution can be forwarded by the conspicuous placing of certain works on the line; provoking by such ill-judged prominence censures from bilious critics, which are maliciously favished on the whole society.

The evening exhibitions are calculated to do much good, especially among persons engaged the whole day in business; and we sincerely hope, that the small charge of sixpence for admission, will answer the expectations of the committee: here the tradesman can take his family for an evening's rational amusement, at a small cost,-half the amount of the day exhibitions, surely, the only place of entertainment -excepting the galleries of the minor theatres-which is open at so small a charge, is infinitely more refining in its influence than the congregating of men in the parlours of public-houses! This first step in advance of other institutions, is due to the New Society of Artists. The works are all well seen in the evening, and the whole effect is particularly pleasing, but we are of opinion that the light upon the pictures would, be much improved if collected in а central stream of jets, with shades, so as to cast the whole of the light downwards, and also to prevent the dazzling effect upon the eye, which requires some time to adjust itself, in order to examine the pictures.

There are 129 exhibitors, and 519 works contributed, of which 438 are oil-paintings, 69 water-colour paintings, and 12 of sculpture.

WATER-COLOUR ROOM.

493. "St. Paul's departure from the shores of Britain," Mr. E. H. Corbould. This fine drawing is the chief attraction in the room we remember this picture when it was exhibited at the New Society of Painters in Water-colours, and regret that the taste of the patrons of Art has not induced one of them to purchase a work which in treatment and execution, does honour to the English school of Art, and especially that branch, water-colour painting, which is almost peculiar to this country.

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Mr. T. Wright has a very clever and richly-coloured drawing, No. 456. "a view of St. Petersburg from the Trinity Bridge" also Nos. 459. "Portrait of Michael Prendergast L.L.B. Esq. Recorder of Bedford." 461. "Portrait." 470. "Early Indications," which are deserving of especial notice. Mr. T. C. Dibdin also contributes some interesting works. 484. " Rosamand's Tower." 494. "Lane scene, Cambridgeshire." 500. The border stone, Borrowdale," besides some lithographic drawings of oriental architecture.

495. and 496. Two drawings of the hacknied subject "Italian Boys," display much power of execution, and shew that Miss Rayner's capabilities are worthy of better subjects.

Mr. Bell Smith has two pretty portraits, 454. and 457. of "Mrs. B. Smith," and "Mrs. J. M. Boddy and her daughter," also "a Portrait of the Rev. Henry Townley," 486. In addition to these talented contributions, he exhibits a lithographic drawing of "the Sepulchre," 458. after a picture in the Gallery by Mr. Claxton.

Mr. J. Wallis has several works, 463. 465. 471. 476. 479. 482. 483. all landscape subjects, and comprising various effects, evidencing considerable powers.

Mrs. Oliver has also two pretty subjects, 461. "View near Windsor," 464. "Barnard Castle on the Tees."

Messrs. G. R. Lewis, J. F. Redgrave, C. Varley, and Glascott have some landscapes worthy of notice.

Mr. J. Z. Bell has also 507. 508. two cartoons, designs for Frescoes painted by him in the panels of the ceiling of the library, at Muir House; the composition is simple, and the drawing in a pure style.

The engravings are by Mr. W. O. Geller, Mr. T. C. Dibdin Mr. Bell Smith, Mr. S. B. Geller, and C. Billoin, and are good specimens of the art in its various branches.

We observed in this room two photographic drawings, by Mr. Kilburn, which we presume would be considered inadmissible in other exhibitions. Being great admirers of Nature's works, we are glad to see that this new Society of Artists does not shrink from a comparison with the effects produced by the pencil of Nature.

Before leaving this room, a case of imitative cameos, by Miss Nicholls, attracts attention. The illusion is indeed well managed.

From the Water-colour room to the Gallery of Paintings in oil, is a large space, a portion of which only is occupied by a refreshment room: this is the part which might be rendered available for sculpture.

OIL-PAINTINGS.

For some unaccountable reason, the numbers in the catalogue commenee at the farther end of the gallery; but as we apprehend few visitors will walk down without looking at the pictures, we shall begin at the beginning-that is, at the right hand of the entrance, where No. 1. should have been, is No. 202. and a worthy commencement to an exhibition. Mr. T. F. Dicksee has here painted a very interesting girl, in an old-fashioned satin dress, and straw hat. The picture is entitled "Sunday Morning." The expression is modest, and the face pretty; a sweet silvery tone of colour prevails, while all the modern requirements of execution are complied with, the satin being marvellously painted.

197. "Heath scene," Mr. G. F. Phillps. A landscape full of high sentiment, strongly reminding us of I. M. W. Turner's early style, before his predilection for mustard and lobster salads. Some confusion arises, owing to the similarity of colour in the water, to that of the earth.

193. "Portrait of an Ioway Indian," by Mr. G. Catlin, the American traveller; a faithful portrait of a savage, with an unpronounceable name.

182. "A View of the Hudson valley from a terrace fronting the Catskill mountain-house, New York." The horizon is stated to be sixty miles distant: a picture of considerable talent, and interesting to an English eye. The colour of the foliage appears more like small shadows cast by clouds, than the varied tints of green foliage.

181. Another picture by the same Artist, also very interesting. Mr. G. Harvey has also some other minor works.

171. "Interior of the House of Lords," Mr. A. Blaikley. This is the picture of most consequence contributed by this Artist. The centre-part of the picture is particularly happy in the effect and treatment, and has great truth. There is, we think, a want of gradation in the size of the heads in the foreground, and those in the distance of the picture. Owing to this, the heads appear too large. A little crudity of colour mars the effect of this part of the picture, which seems to require glazing.

170. "The Lord Bishop of Jamaica," a good portrait by H. Barraud, with accessories introduced, such as the crosier, &c., not usually met with in portraits of English Ecclesiastics.

162. "A passing shower," by Mr. G. A. Williams; an exquisite picture, by an Artist whose works are seen to advantage, and deservedly so, in this gallery.

168. "The young Gleaner," by J. F. Pasmore; a pretty laughing child; but Mr. Pasmore's picture 166. "The shooting Poney," has more pretensions. This Artist has on the other side of the room 252. "The battering Rams," two portraits of sheep, disputing over a turnip, excellently painted, and the woolly texture well represented. In 254. "Fresh Arrivals," fish, flesh, and fowl, are depicted with great power and care; the game is quite equal to Blake's pencilling. A figure of a girl introduced, is not equal to the other parts, and seems to want reference to Nature.

Mr. J. C. Bentley contributes 151. 153. 154. pictures of Welsh scenery; they possess great charm of colour, and facility of handling.

149. "Moses." A picture by Mrs. Robertson, painted with great power, and an originality of treatment, especially in the accessories.

147. "An English market town." A charming picture by G. A. Williams, very true in effect, and almost illusive. 149. "Night, a river scene," Arthur Gilbert; rich in colour, and beautifully touched.

Mr. J. Peel sends 125. "near Clitheroe, Lancashire," 126. "near Greta Bridge, Yorkshire,' 129. "Whalley, Lancashire," 130." Richmond, Yorkshire," and 132. Thirlmere, Cumberland," all bearing evidence of talent of a high order, a fine fresh eye for colour, and a free pencil;

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some of the trees seem to want re-touching, and a closer attention to the drawing to prevent a flat appearance: his disances are admirably managed, and the atmospheric effects given with great truth.

122. "The little sick scholar," Mrs. M'Ian, this accomplished lady has made rapid advances in Art within a very few years. Here is a sweet picture, a touching incident in story of the the Curiosity Shop, transferred to canvass, with a sentiment and power worthily illustrating the great master, Dickens. 14. "Highland Girls grinding Corn," by Mrs. M'Ian, in mere painting and colour more pleasing than No. 122, but the subject is not one of general interest. "The Lesson," by Mrs. M'Ian, a figure of a pretty hazeleyed girl intent upon mischief.

120.

128. "A Groom in waiting;" 73. "Trespassers," by Mr. A. Corbould. Horses painted in a bold vigorous style, somewhat like that of De Dreux, a French painter of reputation. The colour is rich, with great breadth of effect, but a tendency to blackness.

116. "A Highland Funeral ;" 117. "A Highland Still," by Mr. R. R. M'Ian; pictures, well painted, richly coloured, natural in treatment, and full of character.

Mr. T. C. Dibdin contributes 111. "The old Bridge-House at Ambleside;" 112. "Sea Shore between Folkstone and Dover;" 108. "Bridge over the Greata, Keswick;" all of them full of talent and truth.

91. "Helvoit sluys;" 92. "Too late for the Ferry;" two of several pictures by Mr. T. S. Robins, the whole of whose works are characterised by truth of colour, and careful but spirited execution.

89. "Scene from Sir Walter Scott's novel of Woodstock," by Mr. J. G. Middleton; a complicated subject skilfully treated, and the various characters of the personages introduced admirably preserved. The execution is remarkably firm and the colour good.

88. Full-length Portrait of Viscount Neville;" a very good portrait and an acquisition to the Gallery.

The

Mr. C. Dukes has four pictures, the principal of which is No. 82. "Scene from the Gentle Shepherd." Peggy and Jenny are captivating enough to please anybod's "een. picture is full of beauties, not only of execution, but of colour. The temptation of St. Anthony," 78., by the same artist, is a good specimen of his talents.