The Express.
London, England, 1855-02-10 00:00:00

darker, but here a slight emaike of truth to
absolute conventionality was perhlP well and is
very pardonable. The piece- is Mitive, and the
gleam of light very well rendered.
Alfred Corbould's Study (544), is very finely
worked; but Mr. Gael (507). has we think counted
on too much ignorance of tialmonide in the Sou=
when he served up his scaleless salmon and
char. The latter should be studied on the bided
lakes not of rivers. Their crimson hues
than all his palette fade in three minutes sad
pear in an hour.
Mr. W. Underhill, in "Mountain Solitude " (514)
maintains the position he has worked so hard for.
His flesh tints are not yet quite satisfactory—does he
work with a clean p. etts P Mr. Melby's Moorish
Sea piece is successful. Waves and boat are in mo-
tion ; and we observed that the afternoon light rather
served to bring his brilliant sea to the level of a
London intelligence. Much attention was paid and
praise awarded to the " Cottage of Ann Hathaway
(517), by Mr. Deane; and we consider Mr. Wool-
user's " Fisher-boy " (519), a sweet " bit," though not
a fair specimen of this gentleman's power.
We will now notice the most important works of
higher art in this exhibition, beginning with Mr.l
Joy's "Interview between Queen Elisabeth and the
Countess of Nottingham" (138). The attitude of the,
queen (her lice after P. Delaroche) is very forcible,'
and the whole figure excellently painted. 'll*
drawing is good throughout, and there is great'
pathos in the face of the Countess; the ashy paleness
of death is not very well made out. and there seams
a want of finish, certainly where not important, In
the left-hand corner of the work.
The " Swoon of Endymion" (418), by Mr. Naish,l
presents much truthful and laborious figure drawing,
with fine colour. While the anatomy is excellent,'
there is a deficiency in chiaroscuro. The shades being
timidly applied, a too fiat ensemble his resulted.
" Sotto la Pergola, Sorrento" (535), by W. Fisher,
is strong and very good in composition, drawing, and
colour ; but we cannot find a sympathy for Mr.
Burchett's Death of St. Oswald, which, though
painted with heart and might, is well nigh as repul-
sive as it could be, sinning most cardinally. Mr.
Bockser's Boys (19 and 257) are unquestionably fine
works. Inskipp (76, 343) is as ever, dashing and
clever, but too unfinished for the days we live in.
Mr. Salons' " Decision of the Caskets" (408) is very
brilliant and of superb finish; but the expression of
the faces is a long way short of exaggeration.
Mr. Gales's "Danish Incursion" (407) is a painful
exhibition of misapplied industry. We consider
silence would be more unkind than the cry of warn-
, log which we have no hesitation in raising, with the
view of saving this enthusiastic student (some of
whose work is much to be admired) from the com-
mission of excesses like the present.

THE REV. EBENEZER DAVIES v. DANIEL
PRATT, THE PUBLISHER OF THE " BRITISH
BANNER." -

Mr. Whateley, the übitratar in this ease, sat again yes-
terday, when
Mr. Baßudge, en behalf of the plaintiff. pre ssed's' with
and concluded his reply. The learned counsel said as to the
Greenwich letter he admitted it was indiscreet, but there
was no imputation of immorality. It was held by the
Morley committee to be indiscreet, and they recommended
Mr. Davies to go out of London. Ryon after its existence
became known to Mr. Prout he entreated Mr. Davies to
preach for the society. It was monstrous to suppose
' that Mr. Devise bad a design on Miss Smith. His
letter was abundantly absurd, but • letter written to
• young lady's aunt is about the safest pusible medium.
(Laughter.) She was doubtless • strong minded women—
especially in her own dowse. Reverting to the letters written
by Mr. Davies to Dr. Tidnian, the learned counsel said Mr.
Davies was not a man of energy, he was ill-fitted to battle
with the difficulties to which human beings are exposed—a
man who, if allowed to peso happily through the world,
would have lived contented and beloved—a man of no ambi-
tion and with little energy, and being such a men he took
the COWIN —always an evil one—the middle cones.
He thought to conciliate all parties—be hoped to
raise no enmity at the Mission-house, and adopt-
ing the course which he thought the best for
the wife to whom be was endeared, he Ind neither ad.
witted nor denied the authenticity of the Welliugborough
letter. He yielded to the opinions of his friends and to his
own wavering judgment. He (the I d counsel) was
confident in the learned arbitrator's verdict as to the Wel-
liosborough letter, and that be would find that Mr. Davies
had no object in tampering with Mr. Beale, and that if the
question were the lasciviousness of Mr. Davies, the Green.
wink letter could not enter into his consideration. In the
conduct of this cue, though he bad not refrained from
imputing unworthy motives where he believed unworthy
motives existed, he trusted be bad not inflicted pain on
those who did not deserve it. He admitted the
honour of some of the parties engaged, and believed they
had acted in error. He would conclude his observations by
saying, lot the truth prevail on whichever side the truth
may lie. (A round of applause followed the observations
of the loaned counsel.)
The owe then adjourned.
The learned Arbitrator had previously announced that he
had made up his mind not to give his award in the present
ease until the oases of " Davies v. Tishman " and " Davies
v. Reed and another" had been disposed of. He therefore
to take the next cue en Tuesday.

Mr. T. F. Dicksee, who never fails to please, is very
happy in his "Doubtful Recognition " (50); Mr. R.
H. Roe,in the" Orphan's Friend" (77), has produced
a stirring episode, combining power and high finish
in a remarkable manner.
Mr. Johnston.'. " Hope" (101) is a very high
class work in a very small compass.
The " Flight of Jacqueline" (184), by Mr. Collins,
is well painted; but there is no trace of flight, or even
hurry, about the heroine.
The figures "Timothy and Eunice" (435), by Mr.
Barraud, are charmingly drawn, purely and clas-
sically treated.
It is now our pleasing task to run rapidly through
a mere catalogue of names and numbers. Works by
many a rising artist are to be found scattered through
the rooms, and those who have time to annotate a
catalogue before a visit to the Gallery will find the
time well:spent in a search for and study of most, if
not all, here mentioned.
Mr. L. J. Wood (92, 291, 339), Mr. Wyburd (6),
Mr. 8. Campbell (17),
Mr. Walton (50). and Mr. Ferguson (93), may be
compared as specimens of the newest school of tree
painting. We should have changed their places,
however.
Mr. Morris is clever and elaborate in his "For

SarsiatiMi7hiela (WO) ; and in the " Samphire
gatherers" of Mr. Jones (103), the foreground of
rocky slabs is highly commendable. Mr Stewart
(75) shows a broad free touch and good keeping.
His distances are successfully managed, and the very
name of Cobham, suggestive of pic-nics and pleasure-
parties, will lend more interest to the little land-
scape.
We admire the open air study and purpose of Mr.
Elen (112), and find matter of interest in Mr. Swar-
breck (146), Mr. Meadows (166), Mr. Moody (179),
Mr. G. E. Hicks (203), Mr. Dearman (204), Mr. B.
Williams (229), Mr. Peel (296), and Mr. Webb (328).
The Sailing Match, by Mr. Shirley (392), the
Siesta (393), by Mr. Ansley, are both gems in their
way. We very much admire the promising "Girl
at a well," by it. T. Pattison (505). Mr. Knell (515),
and Mr. Davidson (518), evince power in a pair of
sea pieces.
Mr. H. F. Witherby shows intense application in
"An Early Spring, Kent" (529), photographically
accurate to a twig : but an ill-chosen study will not
fattish a pleasing picture. His " Village Garden "
(52) shows that we may expect much from this young
artist.
"Dr Goldsmith and his Dog" (533), T. P. Hall,
most unworthily placed, is very neat and free. The
pose of both man and beast is very successful.
Mr. Duke's " Wild Flowers " (388) are well done,
and we must thank the ladies for their fruit and floral
offerings. If Paris must decide, we offer the
palm to Miss Mutrie, for her very beautiful
" Roses " (381).—Daily News.

COLLECTION OT PAINTINGS OF THE MODERN
ENGLISH ScHoot. AT MUSINI. FOSTlit AND Swes
TION Rooms, PALL MALL.—It is a fallacy to say that the
National Gallery is the only free exhibition of paintings in
the Metropolis. In and oat of " The Beason" works of
art, not unfrequently of very high merit, are offered to the
free inspection of those persons who have the taste to appre
elate such subjects, and the leisure to indulge their good
taste. One of these free exhibitions of art is now open at
the above well-known suction gallery. Although the collec-
tion Ms* as a whole, appear to us to ►e of a kind greatly
to exalt the character of the British school of painting, it
aevertheless contains a few e harming specimens of British
taste and skill in art. There is one feature connected with
this sale of pietures which we mention with much plea-
sore, not only because it reflects credit upon the proprietors,
but because it shows how thoroughly art is becoming en
element In our social system. We allude to the tastefully
illastrated catalogue which, we understand, has ben pre-
pared expressly for this occasion ; the illustrations con-
sisting, not of a profusion of unmeaning conventional orna
mentation, but of gracefully executed wood-cuts of several
of the chief pictures exhibited for sale. We hail this fresh
and namistaksable evidence et the "nasal* cordial*"

which exists between the commercial and artistic spirit in
these days. We we the collection, is to be disposed of on the
16th of this month.

THE EXPRESS, SATURDAY EVENING, FEBRUARY 10. 1855.