332 British Institution. 



to another branch of his profession, should handle the pencil so skil- 

 fully. One serious objection, which however is not to be attributed 

 to the painter, but the subject, is the mass of blue in the coats of the 

 old pensioners. Another is that no one should have ventured to 

 paint a pendant to Wilkie's Chelsea Pensioners, but Wilkie himself, 

 and least of all Mr. Burnet. 



No. 138. Trial of Rebecca. H. Andrews Pretty but the pencil 

 of the limner is inadequate to represent the scenes imagined by 

 Scott. 



No. 143. Valley of the Lynn, North Devon. T. I. Soper. This 

 we thought a better or at least a more faithful representation of the 

 scene than No. 1 2. 



No. 146. L'Infiorata. T. Uwins, A. R. A. A beautiful child 

 crowned with luxuriant wreaths of flowers of those bright hues which 

 are not known in our damp sunless climes. The flesh is warm and 

 pulpy, the shadows strongly marked (though the picture is by no 

 means dark) and the tout-ensemble so natural that it produces the 

 effect of a living head when seen from a distance. This we con- 

 sider the gem of the exhibition. 



No. 234. An American Packet running for Swansea Harbour, 

 G. Chambers. The vessel which is heeling to starboard under the 

 influence of a strong gale, is illuminated by the sun from the wind- 

 ward. The back ground is enveloped in that gloom which is usually 

 seen in a stormy horizon to leeward. 



No. 261. The Bombardment of Algiers. G. Chambers. This 

 as well as the last-named picture is replete with indications of 

 talent, and deserves a distinguished place in the Hall of Greenwich 

 Hospital, which it is destined to adorn. In the left hand corner is a 

 boat with a carronade in the bow, full of men pulling for the 

 batteries. The variety and energy of expression and attitude is ad- 

 mirable. 



No. 298. Study from Nature. T. F. Hodgkins. We presume 

 this is a portrait of the artist by himself. 



No. 339. An Italian Peasant playing to his Virgin. Execrable 

 plagiarism. Did Mr. C. R. Bone hope to escape detection when 

 copying a well-known picture of Wilkie's ? 



No. 375. The Battle of Trafalgar. W. J.|Huggins. What an 

 awful business is this! It may be like the real thing, but is the 

 reverse of a flattering likeness. 



No. 398. Venice. J.Holland. This painting has all the character 

 of truth, and is, we doubt not, a faithful representation as far as it 

 goes, though certainly not of the most favourable points in the City 

 of Islands. 



No. 420. Calisto. P. Rothwell. The flesh is very beautifully 

 painted, but the subject is eminently indecent, and certainly far too 

 much so to render it a fit subject for public exhibition. 



No. 451. A Study from Nature, that is to say, a very clever por- 

 trait from the pencil of J. Wood, which has been smuggled in under 

 that denomination, portraits as such being inadmissible. 



Our limited space prevents us entering into more detailed notices 

 of this exhibition, which contains many very excellent pictures be- 



