EXHIBITION OF THE SOCIETY OF BRITISH ARTISTS. 389 



object is not to prove what needs no proof the injustice of the 

 vexations heaped upon myself and " order ;" but their illimitable 

 extent, and minute ramification. With that purpose I could depict 

 still more shapes of mortification than have been already sketched, but 

 that I fear a want of sympathy amongst the herd quos super nos nihil 

 ad nos. Of this I had a proof only the other day : chancing to be 

 in a lofty mood, with my feet upon a friend's fender, I descanted to 



him somewhat in the foregoing strain : " Ah ! P ," says he, 



when I made a pause, " all our acquaintance agree that you are a 

 liigh-souled man." I saw by the direction of his eyes that he meant 

 to be impertinent. Puppy ! yet thus it always is. 



That Procrustes, of whom we read in the classics, was a rare 

 fellow. He is commonly denounced as a horrible monster I sus- 

 pect wrongfully. Why may he not have been an experimental philo- 

 sopher, labouring in a rude age to harmonize men's minds by equa- 

 lizing their bodies ? This is an age of re-forms. Would that some 

 successful re-former of Procrustean spirit, but more than Procrus- 

 tean genius might appear ! / would not stand on " conservative" 

 principles. 



EXHIBITION OF THE SOCIETY OF BRITISH ARTISTS. 



THE present collection may be considered an advance upon its predecessors 

 in general merit. If no very large work, or but few striking subjects be 

 introduced, we observe a greater equality of excellence than is usual in an 

 exhibition containing so numerous an assemblage of paintings. The pictures 

 are well arranged, and do justice to the peculiarly suitable construction of 

 the gallery. Among the best productions, are several by candidates for pictorial 

 renown, whose names are not familiar to those best acquainted with modern 

 art. We shall proceed to select for observation some of the most meritorious. 

 .13. Landscape and Cattle, (T. S. COOPER.) Though wanting in richness of 

 colour, and force of effect, this picture possesses qualities not to be disregarded 

 by those who can appreciate the labours of the Dutch school of art. It is 

 highly finished, and drawn with an apparent reverence for the simplicity of 

 nature. 8. A Peasant Girl of the High Peak, Derbyshire. 74. Girl disturbed 

 with a Pet. 225. 7 he Fortune Told (J . INSKIPP.) These freely handled 

 sketches are all painted with the same relish for mellow colouring, which usu- 

 ally distinguishes this artist's woiks this merit may serve as a substitute for 

 any thing of a more finished character, as truth of effect does not appear to 

 be sacrificed to it. In The Colt's Tooth, (E. PRENTIS), we observe a quietness 

 of humour in the treatment of the subject, perfectly in keeping with Nature. 

 It is painted to illustrate the following sentiment : " C'est une grande diffor- 

 mite dans la nature qu'un vieillard amoureux." The picture excites laughter 

 rather than disgust ; and this we consider a peculiar merit : the expressions 

 are very nicely hit off, the effect is natural, and the degree of finish suitable to 

 a cabinet size. In 49, Hopes and Fears, by the same painter, the awk- 

 ward reserve of a young rustic lover, and the mingled archness and caution 

 expressed in the face of the girl, are very delicately and ably depicted. T/ie 

 Young Fisherman's Song, Bay of Naples, (T. UWINS), is grouped with taste, 

 and painted with an agreeable warmth of colouring ; the heads are sweet in 

 their expression and character. The Romance, (H. WYATT.) Something be- 

 tween a portrait and fancy subject : two interesting women are grouped in a 

 manner not quite picturesque, though perfectly natural snd divested of com- 



