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ever painted. A scene on a still river, with a poacher spearing salmon, is also a gem the masses of grey rock, the deep-toned water, the fringing, overhanging foliage, and the warm, sunny light upon the distant mountain, are points in the landscape which may challenge the severest criticism. ALock on the River Awe," with the chafed waters forcing their foaming passage down the rapid, exhibits another beautiful variety of Scottish scenery. Contrasted with these is a fine composition of English landscape, as soft and tranquil as its rivals are bold and impetuous. It is a level view, with a ferry-boat crossing a calm river to where some lofty and beautifully-formed trees throw a shade over the landing-place. The composite subject is no less charming than its English companion.

We have few portraits to speak of, but those which we have seen are excellent. They are limited to the productions of Mr. Desanges, whose celebrity increases with every exhibition. His largest work is an equestrian portrait, the size of life, of the present King of Sardinia. His majesty sat to Mr. Desanges in the autumn of last year, and the good people of Nice are anxiously expecting the close of the London season to claim the picture, which has been painted for that city. Accustomed as we now are to every variety of hirsute ornament, it is as well the public should be assured that the moustaches of Victor Emmanuel are far from being exaggerated in Mr. Desanges' portrait. This peculiarity apart, the head of the king, which is much more a northern than a southern type, is attractive from the strong sense and firm resolve which the features express; his attitude is easy and unconstrained, and he masters his fiery steed with the grace of an accomplished cavalier. It is not as one commonly considers the portrait of a king-an object of curiosity only-that we look upon that of Victor Emmanuel, for the high qualities which he first developed on the field of Novara invest his character with peculiar interest. The situation, too, of his country, enclave between France and Austrian Lombardy, and all the associations which connect Piedmont with England, cannot be overlooked, and for its safety much, at the present moment, depends upon the prudence and firmness of her ruler. If we draw our inference from the past conduct of the King of Sardinia, the augury will be a favourable one.


Lady Bolton" is one of those charming, ladylike portraits which Mr. Desanges is so happy in realising; the face is exquisitely beautiful, the figure full of grace, the pose very natural, and the manner in which the dress is painted-no unimportant item in a lady's picture-cannot be surpassed for delicacy and finished execution. A third portrait by the same accomplished artist-the "Young Marquis Graham and a Newfoundland Dog" will afford pleasure to a far wider circle than is comprised by family friends, or even by the numerous clan of which he will one day be the chief.

It is not necessary to tax the memory of" the oldest inhabitant" to recal the time when "The Exhibition," as it was called, was the only "picture-show" of London. Most of us recollect, and not with the liveliest sense of enjoyment, the annual struggle up and down the gloomy staircase of Somerset House. That toil is happily over, though the present generation have a great deal more work to do, in the way of

picture seeing, if they wish to be au courant of all that is going on in the world of modern art. But the labour is, to say the least of it, a pleasant one: we are sure of our reward, in some shape, to whatever Gallery we bend our steps. This is the age of illustration; books, newspapers, morning lectures, evening entertainments, all are commended to our notice by the appliances of art-nothing can be "got up" without its appropriate dioramic, cycloramic, or panoramic accompaniment. It is not, however, of these that we purpose to speak, in continuation of our anticipatory notice of the works which will occupy the most prominent place in the Royal Academy Exhibition, but of what has been done by the artists who are chiefly represented elsewhere.

THE BRITISH INSTITUTION, in Pall-mall, is, at this season, devoted to modern exhibitors. Although the works that have this year been sent in do not, taken generally, manifest much progress, there are several striking exceptions; in favour, it is true, of names already well known.

The SOCIETY OF BRITISH ARTISTS, in Suffolk-street, puts forth the highest pretensions after the Royal Academy, but the interval which separates the two is still a wide one. The president, Mr. Hurlstone, has treated that interesting passage in the life of Columbus, where he begs for bread for his fainting son at the Convent of La Rabida, with a great deal of feeling and truth. Mr. Salter, in a variety of pictures, but more particularly in "Venus teaching her Son the use of the Bow," shows he has not fallen off from his reputation as an excellent colourist. Mr. Woolmer has several agreeable subjects: "The Footstep," where three village girls, gathered round a spring, beneath some pine trees, are listening with some apprehension to the footsteps of a person approaching, has most sentiment in it, though the "Young Lady returned from a Masquerade,” and "The Forest of Ardennes," are also very attractive. Mr. Pettitt's "Seventh Vial," and Mr. Desurne's "Fall of the Rebel Angels," should not be overlooked, but we must forewarn our readers that it is not on account of their merits: the first may be not inappropriately compared to a cataclysm in a chemist's shop, and the second to a fricassee of human legs and arms. There are several pleasing domestic subjects-one of the most successful exhibitors in this line being Mr. W. Knight, whose cottage interiors are very carefully painted. Mr. Earl is as successful here as at the Gallery in Pall-mall: the poor, neglected dog, yclept "The Disowned," and the animated Skye terrier barking at a hedgehog, with the significant motto, " N'y touchez pas," are admirable specimens of his ability in depicting the department called "canine." Mr. Boddington's landscapes are all of them very fine: "The Lake of Tal-yllyn" is a noble production, and his "Golden Morning" glows with summer-light. Mr. Pyne, too, is very effective in landscape, and so are Mr. Ward and Mr. Cole. The water-colour room contains also a great many good pictures.

THE NATIONAL Institution of thE FINE ARTS, in Langham-place, heretofore the "Free Exhibition," offers scarcely its average amount of attraction this year, though it sins less than some of its elder brethren in faults of commission. Mr. Egley's "Katherine of Arragon and Anne Boleyn" is the most interesting subject. It is the scene at court, where the present and future Queen of Henry the Eighth are playing at cards, and Katherine's successful but no less ill-fated rival has turned up "the

king." The great merit of this picture consists in its truth of expression, and the carefulness with which every detail is made subservient to the general design; the drawing and colouring do not deserve the same unqualified commendation. There is better colouring in Mr. Egley's second picture of "Harold and Alfred," but the story has less interest. "The Viaticum," by Mr. F. W. Deane, is a death-bed scene, painted with great truth and feeling; and "A Monk instructing others in the Art of Illumination," exhibits the same artist's skill in dealing with variety of expression. Mr. Glass confines himself, perhaps, too closely to the same theme, but "Too Late for the Ferry" is still a worthy specimen of his skill; a little wanting, it may be, in transparency, but a fine picturesque composition. Mr. H. Barraud, who has chosen his subject from Scripture, and painted it on the amplest scale, has not, however, succeeded in making "The One Thing Needful" the " cynosure of every eye;" the sentiment falls short of depicting the depth of love which filled the heart of Mary, or the holiness of the divine guest's expression. A less ambitious effort would have ensured a more certain reward. Mr. J. E. Lauder has addressed himself this year to domestic subjects: his "Maiden's Reverie," and "Wishing-bone," are neither of them without merit-the first developing a thoughtful, the second a humorous expression. Of subjectpictures, belonging to the second class, the "Village Smithy" of Mr. Provis is deserving of considerable praise; and Mr. Hemsley, who improves every year, treads very closely upon the heels of Mr. Hunt; his Young Love" has all the force and truth of the "Gamekeeper's Boy" of last season, and tells a better story. This exhibition always abounds in landscapes, and the Williams family, Mr. Hulme, Mr. Peel, and Mr. D. O. Hill have contributed ably to this department.


THE NEW SOCIETY OF PAINTERS IN WATER COLOURS exhibit some pictures this year which need not shun competition with those which are annually collected by their elder brethren. As must always be the case with the vehicle which they employ, the water-colour artists in Pall-mall are stronger in landscapes than in "subjects;" but of the latter class there are several good examples. Mr. L. Haghe takes the lead in two pictures, bearing the titles of "The Happy Trio" and "The Salle d'Armes in the Castle of Saltzburg." The first of these subjects represents a lady playing on the virginals, a cavalier, who wears her colours, accompanying her on the guitar, and the lady's father so sound asleep as not to offer the slightest impediment to any declaration that may be forthcoming; the colouring of this scene is wonderfully rich, and the distribution of light admirable. The "Salle d'Armes" is a graver picture, but is even of a more truthful character than its companion. In the centre of the vaulted hall a group of men-at-arms are trying the temper of a sword-blade-on one side a knight is being arrayed in full panoply on the other, two soldiers are looking through a casement, watching for the moment that shall summon them "to boot and saddle;" various stalwart men and formidable weapons are scattered about. The tones of light and shade are finely modulated, and the general treatment is excellent. Mr. E. H. Corbould has a scene from "" Faust" -"The Decision by the Flower;" the situations are natural, the head of Margaret is very pretty, and the figure of Faust good-but the expression of his countenance not to our liking; the costume is rich and the colouring effective. Mr Absalon's subjects

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are all of them clever, but we must especially select for commendation his picture of "The Nun:" it is painted with great delicacy and feeling. A Corner in Spain" is also very characteristically treated. "The Fatal Statue," by Mr. Kearney, possesses much merit; the Spanish grandee who witnesses the destruction of the image of the Virgin, for which he offered such niggardly payment, and thereby excited the rage of Torrigiano-the affrighted monk, and the sculptor himself, are all full of expression. Mr. H. Warren, the president of the society, has contributed three subject-pieces, but we cannot extend to them the same praise that we have given to the works which we have just adverted to. His "Walk to Emmaus" is tame in conception and faulty in execution, the figure of Our Lord being wholly deficient in dignity; "Danger," is the sleeping form of a half-naked Indian girl, with a serpent stealing towards her, but the attitude of the sleeper is a very awkward one; an 66 Augsburg Peasantgirl" is the best of the three; there is motion in her limbs, and the colouring is good. Mr. Corbould's "Magic Mirror," set down in the catalogue at a very high figure, will never, we are of opinion, command the price at which it is estimated.



APRIL greets the earth again
With its sunshine and its rain;
Buds upon the leafless trees
Fill the void by slow degrees;
Birds within each tangled brake
All their gentle music make;
While the river glides along
Like a chorus to a song.
Happy, aye, thrice happy earth,
Blest with Nature's teeming worth.

April, o'er our English isles,
Comes with tears and sunny smiles,
Comes to glad each hopeful heart;
So the darksome shadows part,
And the soul, refreshed with grace,
Lights anew the drooping face.
And changing clouds are breaking,
Awhile the sky forsaking,

Lo! upon the palace gate
Shines the all-transcendent sun-
Type of bliss, our prayers have won
Joyous news that all men wait.
Bells are loud upon the air,

And the cannon, unaware,

Speaketh with a mighty sound
Of our happiness profound.
All men say, Rejoice, rejoice!
All, with universal voice.
Thus, the noble, high in state,
Deems his greatness yet more great,
When his heartfelt hopes expand
For the monarch of the land;
Thus the merchant stays to be
Sure of her felicity,

Ere by change and mart he hies
To his costly argosies;

Thus the lowly matron prays

Heaven may grant her length of days,

That the young babe-Prince may prove
Worthy of her worthy love;
So the peasant on the green

Prays God bless great England's Queen!
Aye, God bless her! and defend
One who is so great and good;
One who lives best understood,
Ever as her people's friend.

Ay, God bless her! every voice
Speaks that English word, Rejoice!
She, true Lady of the Isles,

Sweetly on her infant's face
Pours the radiance of her smiles
With a woman's tender grace.
Certes, at this happy hour,
Love asserts its potent power;
Not one jewel of her crown
Weighs her parent feelings down.

England, should the front of war
All thy blessings seek to mar;
Or should panting foemen roar,
On thine old time-honoured shore-
Up, and quail not let thy crest
Shine on every manly breast-
"Ill to those who evil think;"
Not a heart should dare to shrink.
Up, and quail not, every breeze
Wafts our watchword o'er the seas,
Sweetest name of high degree,
Fitted well to majesty,

Filling all the trembling air
With a tone that kills despair;

Let it speak both far and wide,

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England's hope and England's pride-
Victoria! Victoria!


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