BK1TISH INSTITUTION. 269 



weakening of her force : a sentiment is spread over each subject, by the 

 simple truth with which it is treated. 



No. 34. A visit to the Harem (Mrs. CARPENTER) is unworthy of the 

 artist, there is more taste in the colouring than in the treatment of the sub- 

 ject. Fanny Kemble is pourtrayed by Mr. BRIGGS, R.A., under the title of 

 the Young Poetess: his taste is not refined enough to paint female portraits, 

 nor is it likely his own choice directs him to such a line of art : he is capable 

 of producing picturesque compositions, which we cannot but think would 

 ensure him patronage, if they were confined within moderate limits. 



No. Q2. Cottage Children (A. MORTON.) An imitation of Gainsborough that 

 only wants his simple feeling for truth and his free handling ; in other 

 respects, this picture is cleverly daubed the childrens 7 face and hands are 

 skilfully coloured, but the clothing gives one no other idea than that of paint 

 and varnish ; it is artificial throughout. If our artists thought less of each 

 other and pondered more on Nature, there would not be so much of this 

 conventional manner about their pictures : we should see more truth and 

 beauty. No. 97, is called A Cherub meditating, and the same cherub is 

 transferred to 250. Instruction ; where the said cherub is represented listen- 

 ing to its mother with the exact expression with which he meditates among 

 the purple clouds ; he has served Mr. Westall for many purposes before. 

 No. 98. A Girl with Fruit (A. FRASER) is solid, rich, and clear; but in his 

 other pictures, No. 45. The Warder. 278. A Highland Sportsman. 

 No. 438. A Bleaching Green in the Highlands: we see nothing worthy 

 of notice except a slobbering of colour. No. 112. Maternal affection. 

 (PATTEN.) There is so much careful drawing and colouring here, that we 

 feel provoked at the want of nature in the treatment of the child. 



We like Lee's two landscapes No. 52. The Sands at Saltfleet, and No. 

 74. Cattle on the Sank of a River there is a purity of colour and truth of 

 effect in this painter's landscapes always charming ; we hope he will dedi- 

 cate himself to illustrate English landscape no painter living can do it with 

 better feeling. 



No. 74. Skittle players (W. COLLINS, R. A.) : One of the best of 

 this artist's works. It is painted with exquisite feeling throughout ; every 

 figure is a character whose history we could guess at; what can be more 

 like nature, than the little saucy, healthy, hardy girl selling apples, and the 

 good humoured winking eye of the hale old man feeling in his waistcoat 

 pocket for a penny to give her ? his natural cordiality is heightened by ale 

 and the pure air fanning his cheeks. How capital is the action of the player 

 about to take his last throw, and what a bit of character is the chap 

 of knowing importance, keeping back all stragglers from the way of the ball ! 

 Lance has three or four fruit pieces admirably painted ; it is a pity that so 

 much pains should be thrown away upon vessels of gold and vessels of silver, 

 many of which are not pleasing objects to look upon. We said there would 

 be a Falstaff, and here he is. No. 72. by Kidd. Buck basket and every 

 usual accompaniment ! It is as bad as our prophetic soul could desire. 

 No. 79- The Sybil (G. HAYTER, M. A. S. L.) Here is a cunningly devised 

 piece of flattery ! A lady, in the style and costume of a common-place 

 modern portrait, is represented writing her name in an album. Curiosity 

 is excited dare we venture sufficiently near the battery of those mysterious 

 eyes, to enable us to decypher the name thus dedicated to the latest pos- 

 terity ? Our eagerness is not to be repressed ; our eye is fixed on the charmed 

 characters more interesting than Egyptian hieroglyphs : we read the name of 

 Caroline Norton. Look on this picture, and then think of the Sybils of 

 the Ghigi and the Sistine Chapels ! All this is really very childish in a 

 national gallery. Such flattery and such pictures should be confined to a 

 boudoir, MARTIN'S Alpheus and Arethusa, is imagined with his usual 

 fine originality, but the situation is unfavourable. The Dorothea below by 



