390 EXHIBITION OF THE SOCIETY OF BRITISH ARTISTS. 



raon place : the picture is beautifully painted and toned. Several small 

 landscapes, by LINTON, are distinguished by nice colouring, freedom of exe- 

 cution, and particular beauty in the subjects. TJie Lake Lugano is one of 

 the best. 



73. Study from Nature, (Miss A. NASMYTH.) This sweet little bit of land- 

 scape is not inferior in taste and feeling to some of the happiest productions 

 of the elder NASMYTH, the father we believe, of this lady. 38. TheArcherBoy, 

 (H. HURLTSONE.) It appears to be a sine 'qua non with painters, that a" naked 

 boy should be called Cupid, invested with the honours of the bow and quiver, 

 and furnished with a cloud for a settee. There is scarcely enough of the 

 ideal in the countenance of this youth, to warrant his claim to an affinity 

 with the celestial Venus ; the mouth exhibits a propensity for mischief, but it 

 is accompanied by an expression of moroseness : the picture however is ex- 

 tremely well painted, and the colouring is much in advance of any thing we 

 have seen by the same artist, who has likewise several portraits of great 

 merit in the exhibition, and An Italian Boy, painted at Rome, which, though 

 careless in the drawing, is very cleverly executed. 92. The Last Booth in the 

 Fair, (R. B. DAVIS.) This is one of the best cabinet pictures in the exhibition. 

 We like also An Interior, a group of old horses in an old shed ; 180. Gyp- 

 sies ; and 440, Changing Quarters : all these subjects are treated in a pictu- 

 resque manner, and coloured with richness and truth. 



Master is very ill, (R. FARRIER.) A boy is indulging in an ecstatic caper, 

 upon being released from school by the indisposition of the pedagogue. The 

 idea is good, but the picture itself scarcely conveys it to the mind. 361. A 

 Portsmouth Ferry Boat, (G. CHAMBERS.) This is the production of one quite 

 unknown heretofore in the circle of art, but who seems likely to take a high 

 station as a painter of marine subjects. The truth and taste that pervade 

 the picture render it one of the most delightful representations of nature we 

 have seen ; we lose all notion of the means by which reality is so faithfully 

 and simply imitated, in enjoyment of the result. 



Hastings Noon, (J. TENNANT.) An attempt to paint the bright, shadow- 

 less effect of the sea coast, basking nnder the meridian sun to say that it 

 is successful will be sufficient. Clifton, near Bristol, (PYNE.) In spite of a 

 recollection of TURNER'S landscapes, which this brings to the mind, it is so 

 cleverly painted, and evinces so refined a taste, that none can refuse its claim 

 to a very high degree of merit. 



RIPPINGILLE exhibits some remarkably clever studies of French character 

 they are heads, painted in a much more matured style of art than he has 

 before produced, accompanied by his original taste for expression. 



View on the Hamble Water. (F. R. LEE.) The broad and " casing" air is 

 well associated with the rippling surface of the water ; the picture appears 

 cold, but so, not unfrequently, does the English atmosphere. Mill at Amiens, on 

 the Beach at Dieppe, andDort on the Meuse, (J. WILSON), may be classed among 

 the best of this able painter's works there is a vigour in his style which is 

 happily tempered by judgment. 



Chiswick : Landscape on the Seine, (J. ALLEN) These views are very far 

 from common-place in their effect, yet too slightly painted to confer lasting 

 satisfaction ; in the first mentioned subject, the piled clouds of rolling silver 

 are conceived with a taste amounting to the poetical. 



The Arrival of Cardinal Wolsey at Leicester Abbey, (S. A. HART) We give 

 credit to the young painter for his ambitious choice of an exalted subject, and 

 one particularly adapted for the display of forcible effect, splendour of cos- 

 tume, variety of character and picturesque composition. Although the 

 picture leaves a great deal to be desired, there is still much accomplished. 

 The torch-light is skilfully painted; the colouring, though not quite so 

 transparent as could be desired, is rich and in harmony ; the great demerit 

 unfortunately lies in the principal figure, whose expression and features are 



