The Express.
London, England, 1860-04-26 00:00:00

LONDON, THURSDAY EVENING, )APRIL 26, 1800.

OrrCS for PATKIITTS, 1, Berle-street, Lincoln's
is, W.C.—llisma BAY and HUNT coottuus to pro•
awe British .. ltertents sad Registrations at gr
reduced pelestess should obtalo=
lIANDIIOOcreLIIO Wroth), on applicelloo or byte:Ma.

Mg COLLARD mad COLLARD Dig
ee to eenegibee that their NEW iBTABLISIMANT.
Ife. 111, ozosvzsoit-enuar. DOND2IIIII7, Wag mew
piloted. the premier am eon missed lor the *enamel= of brag-
nem alai am ample MCI( PIANOPORTD of all amnia,
both for Mk aid iln Yuen. C. and C. trust that wan
mints they here made will be found to conduce very mntoetnW
to the convenience of their customers, more especially of Sham
residing In the western diaMecta of the metropolis-1C OM&
reaorrsoat, liameetreet. hamlets lad correspondence will be
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QPICTAOLIII improved by HARRIS aad
an swat esetsdia pwr 1M sight. Better cannot
M.N. S
WI W. with or
_pebbles. lte esciuwatt
=fa Ite. Gold and Silver spectacles and Lys.
t swift el squally low prices Narris's Prospect (Risk
111 a. Kraut: TROB. RALLIS aid MN, Opticians to Mt
, opposite the British Kamm Gates, London.
1 . Cautioo.—No travails"' easPiorwt

NO CHARGE MADE for STAMPING PAPER
and ENYZLOPIe with A. 13111, or IitTYLLUI.
BODSIOVEL superlorenetniald adhestve VIVI:LOPER, td. per
103; areausfidd one, hill sloe, En quires for Id. ; Mak ditto,
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WEDDING cAItDB, WEDDING ENYLLOPIS, IN VITA-
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and STAMPED to NILVEE, with ARMS or CURT In the latest
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TO TIMM AND MANAGremERSb, OF RAVINGS RAM%
New
MR. SCRATCHLEY'S PRACTICAL
TREATIRR am SAVINGS RANKS 1400 mac
us. IL, containing a ember of their oast Mstmy and
aostlition, and of Imbiabat as the subject, with as
of the measure* required be thahr complete mid
- '
Ike placing them no a seas/ triacial hails
Leedom • Lowman'.

FINE ART&

EXHIBITION OF TILE NEW SOCIETY OF

PAINTERS IN WATRR.OOLOURB.
nix exhibition, which opened to the public on
Yeedey,hl tieing in general estim►tion, if we may judgefrom
the private view on Saturday. We never remember the
private view so crowded, yet, taking the long string of
carriages in Pall-mall aa one of the criteria, the company
waa select and aristocratic. The exhibition this year is
certainly entitled to unusual favour. The collection gene-
rally is ►bove the average, every branch of water-colour
art is well represented, and there is not, LI ban previously
been the case, any preponderance of one particular depart•
meet.

Mr. Louie Haghe maintains his pre-eminence in this
gallery in several contributions remarkable for their depth
and solidity of effect, glowing and juicy colour, and correct
architectural perspective. The most striking subject
here is No. 28—an improviaatore declaiming in the Forum
of Rome to a picturesquely avenged group of all ages,
in that most poetical and pensive Italian eventime, when
the declining sun flushes into burning gold, crumbling
capital and cornice, arch and arehiteave, and ruinous wall
I of Coliseum, " golden house " of the Caesars, or basilica
apsis, leasing the via Appia a spectral purple and the di,.
tent campagna a dull dun neutral brown. With all the
splendid contrast of colour in this picture we cannot how.
ever be Winded to the fact that the gaiater has indulged In
readdemble license, and many of the details of the rums
ere, as it is termed among artiste, "cooked." In "The
Ghetto, Rome" (68), we see nothing to recall the "Jews'
quarter," but a Roman patient pifferaro is puffing away
at his Calabrian pipes, by way of devout offering,
before a waxen image of the Virgin, set up at
the corner of the street—a sight seldom seen in parts of
the city more frequented by dilettanti. The Murder of
Rlodo (78), or Maxim as the name is generally spelt, is a
subject of entirely different character. Mr. Haghe has re-
presented the murder of the confidential secretary of the
"unfortunate " Mary Queen of Scots as having taken place
Trot in her presence, as was commonly reported, but "going
down the stairs out of the presence chamber," quoting a
Dlpleke de Rasdoph et de Bedford as his authority. In
the expression of dramatic action Mr. Haghe frequently
Ma The daggers-of theaasamins are raised in very melo-
dramatic fathion, and we do not see why Rizzi° is already
falling on hie knees. For the rest, the hot, artificial light
deposer/lug from the inner apartment, and the cold gibe.
leering moonlight struggling through the window of the
sate-chamber, arc cleverly contrasted. "The Bows
of Ambsasadore in the Ducal Palace, Venice"
(74), tea a fine low tone,•and the group of Iltianeeque
figures is introduced with unusual propriety of gesture. In
No. 86 we have another interior in the Ducel Palace, and
in such representations Mr. Haghe peculiarly excels. The
way in which the sculpture sad sumptuous ornamentation

are defined by reflected light in this dr;nring is in the highest
degree artistic. This painter is seen to such advantege in
water-colours that we regret he should ever forsake them for
IA as in the latter medium he never distinguishes himself
so asospicuously.

We announced recently that the ranks of this society
had made • pest acquisition in the scansion of Herr Carl
Weiner, and several contributions here will obtain
for him the public recognition he has already re-
alised privately from • large number of connois-
seurs. The genius of this artist is not very
di nimilar to that of Mr. Louis Hsghe. Both excel in
architectural subjects. To all his work Herr Werner brhisi
great knowledge of artistic principles and resources, a line
eye for colour, good drawing of " the figure," and math
feeling. Unlike most of our painters in water sobers,
however, he makes very sparing use of body colour—that is
to any hues composed with Chinese white—relying upon
Oat transparent washes and those pigments such as copal'
which are in their nature opaque, " Venice as it was"
sad " Venice as it is" (Nos. 128 and 169) are fair examples
el this artist. In the Brat a patrician family—a red robed
easator and his fair.haired daughter (holding the flag-
stupid fan we see is the pictures of Titian) accompanied by
her female attendant—tire seen descending from the golden
palace (Oundoro), itniabout to enter their stately gondola
under the conduct of the armed and masked gondoliers of
their suite. In the second the steps of another palace
(Palazzo Delfini) are all dank, broken, and moss-grown, and
visited only by the feet of a strayed hen and her brood.
The sun still lingers on the upper story of the ancient
palace, and gilds the distant campanile, but has
left this desolate nook of the Inane in an inky
shadow, which the artist has depicted with consummate
art, every detail being distinctly defined, yet all enveloped
in an intensely sombre tone. The water in these pictures
is the least successful portion. We have nothing but praise
for the other important drawings by Herr Werner. The
" Hall a' the Emperors at °osier, in Hanover" (245), derives
interest from the paintings on the walls representing the old
Saxon Emperors and the Sibyls by Michel Wohlgemnth,
the master of Albert Durer. In the " Monsetery of S.
Saha, Viterbo " (138), the painter has introduced a touching
episode of a broken-hearted nun. "The Parish Church at
Eckernforde, in Holstein " (89), is extremely curious.
Lastly, the admirably painted " Interior of the Cathedral
of Cefalu, in Sicily" (291), is not only highly interesting for
its mixed Norman, Byzantine and Ssracenic architecture,
but is curiously illustrative of the contempt in which the
Banish priests are held in the present revolted island.
Here is High Mass being celebrated, the organ pealing, end
the host elevated to • perfectly empty cathedral, with the
exception of one forlorn outcast woman crouching apart
one of the pillars.
From Mr. Tidey, after the impure colouring of No. 14,
end the incorrect proportions of No. 152, we should hardly
except such a noteworthy picture as No. 224. This is a
bold illustration of the magnificent opening of Shelley's
" Queen Mab." lanthe, in trancelike slumber, lies on her
couch, while her soul rises at the beckoning of the fairy
gem, for the aerial voyage in her cometlike, insubstan-
tial car, drawn by celestial courser*:
" 'Twee • sight
Of wonder to behold the body and soul,
The self-same lineamenta the same
Marks of identity were there."
The semi-trsnsparency of the heavenly visitor and the
spirit of Lathe, through whose filmy, vaporous forms
, we dimly see the faithful, watching lover, is very felici-
tously managed, the stipple of the execution contributing
very much to the effect, Mr. E. H. Corbould scarcely
maintains his usual place in this exhibition with his
" Saul and the Witch of Endor" (250). The artist's
skilful handling and masterly manipulation have not
forsaken him, but with the exception of the combating
Hebrew characters, the conception is conventional and
commonplace. No one will be impressed with the mambo-
jumbo, baby-frightening, blanketed head and pointing
finger of Samuel, the blue fire circle of incantation, the
very unnaturally forked lightning, and the blazing skull
and femurs. Femurs would make an intolerable stench,
but they would hardly burn, even in a case of rponta-
neon, combustion.

We could scarcely have believed it possible to give a new
reading of the parable of the Good Samaritan, yet Mr.
Warren, the president of the society, has afforded, in
N 0.94, an original rendering of the subject, by placing the
scene on the rocky shores of one of the lakes of Judea—the
agus almost accessory to the landscape—and making the
time just after sense. The place and time very much M-
enem the pregnant wagpstivenese of the parable. After
this picture w will mot make any numerical allusion to en
Eastern figure by the mum artist lamentably defective in
drawing and modelling. Yr. Jopling emulates the scale and
breadth of Carl Hays (of the old society) in his large head
yclept "L'ltalia" (143), but the result is far from
pleasing or satisfactory, and the price is preposterous.
The type is certainly low Italian, but the fea-
tures are tuinecemarily hard, and the hair altogether
unnatural. Why not have taken as model one of
the magnificently rounded Juno-like heads of the women of
the Transtevere ? What shall we say to Kr. Campion for
hie transpontine amphitheetral imaginary representation of
"British troops forcing the panage of a river under heavy fire"
(147)? The picture is full of improbabilities. One pioneer is
evidently disobeying orders by his supererogatory onslaught
upon the trunk of an old tree. As for the " Enid " (339)
of Yr. A. Bouvier, no painter's idioryneracy could render
hire mom incapable of realising the Tennyeordan creation
than that of this artist. " Deceiving Granny* (344) is a
*rift little picture by Miss Farmer.
la kaalecope this eshititiom presoak great variety of