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

(Stamped Id. Additional.) [TWOPENCE

subject, treated in extreme &verity at style. Mr. K.
Warren, whose recent Torts bays Wm so prominently
attractive in this gallery for their vivid reality of effect,
due to unprecedented bolds.= in the use of the
" stiffest" body colour and some gummy medium, is only re-
presented this year by comparatively small works. The ex-
treme of intensity obtainable by the method of this painter
are seen to advantage in a moonlight scene (No. 256), but
this is not so startlingly true to nature as the rummer's
morning sunlight flickering among the foliage in No. 100,
and even this is surpueed by the brilliancy of the sky, with
its strata of fleecy white cirrus sod cumulus so marvallouly
reflected in the water in the small view of " Leith Hill from
Broad Moore, Surrey" (298). The sedgy fields and the
tremulous reflections broken only by the diverging trail sod
the circling ripples of the plash of the duck chasing this
dragon fly are perfectly photographed. Exactly opposite to
the method of execution of this painter is the old so-called
" legitimate " style of Mr. Bennet. The pencil is used so
fell of transparent colour that the inevitable blots can have
but a distant ►pprcach to the expression of minute character,
anok as the distinctive foliage of different trees. Yet
est (from the fact of the eye being constantly oom-
palled to search for breadths instead of gradations) the
affect may be massive and solid, and therefore
fall and satisfying, artistic and masterly, is sufficiently
proved in Mr. Bennet's " Giants of the Forest" (52),
and the " View from Heaven's Gate, Loogleat, Wilts"
SIN The itaregmaad trenk a certainly carefully

studied and todividielliel le the lonia, smil sffibsegli the
trees in the middle Memos of the latter dsarteg bat only
like certain round and, as it were, inflated basilisk& forms
yet everything maintains its place, and has the air of being
sufficiently right. Mr leffirewan, though apt to carry
the colour of his peatetained mountain streams too far
through hie shadows, has a general resemblaace in et* to
Mr. Bernet. The view by this artist, entitled " A Peep at
Haworth Onsela, Onntharland " (61), with its sort of dell

acclivity, barked decaying bole, and retiring viola of walla
glade, is one of the most pleasing and picturesque subjects
in the room. Mr. Whymper belongs to the same indite.
tire school, leaving actual interstices of white paper be.
tween hie broad touches, which have a sparkling
effect, reminding one sometimes of Constable. Mr.
Vacher stands, if not alone, certainly separately dis-
tinguished as a colourist. The glowing gold and flushing
warmth, the tender greys and lovely purples, of this pain-
ter's distances sad skies are exquisitely beautiful. The
large examples of this particular excellence—" The Morning
in Italy" (62), and " The View in the Bay of Naples" (Z 44),
are unusually fine. Yet in an Algeriae interior the I
artist's colouring appears to have forsaken him, and
its absence is not otherwise compensated. Mr.
Rowbotham, with all his acknowledged mastery of
the art, is becoming decidedly mannered in his mono-1
tonously cold colouring. Even the lovely Lego Maggiore is I
not so blue, so raw and coldly blue, as we ses it painted in
No. 215, sad it is not possible to suppose that • person
' would for an instant forget he was looking at • pie.
tore and not at nature. Mr. Robins is, as usual, excellent
in his shipping, and admirable in his seas. Mr. D'Egville
also has adventured for good subjects with fair SUCCOR on
Venetian waters. With all respect for the merit and ex.
perience of Mr. Aaron Penley, the artist must surely have
painted an effect in one of his pictures, of rain pouring in
prismatic colours as from so many funnels, during some
aberration of vision. There are some very creditably
painted Cumberland scenery, by Mr. Fahey. Mr. Mole
decidedly advances in his art, and has won for his numer-
ous pleasing sea-side and rustic compositions a claim to
more than usual attention. The sometime deceased Mr. A.
Cook, of Plymouth, is not adequately represented in
the works exhibited here ; we presume the beet of his
drawings went at the sale. Mr. Philp is apparently imi.
toting the style of Mr. Cook ; we wish we could say the
comparison invited was more in favour of the living painter.
Mr. Telbin's contributions (Nos. 2 and 266) have points of
merit seldom co-existent. Mr. Boys, despite faults of per-
'pieties, conveys a very realistic impression of " Nurem.
burg" (47). Mr. Chase's work is spoiled by the heavy mono-
tonous greens. Lastly, the still-life of Mrs. Margette sod
Miss F. Harris is very good of its kind.

MUSIC.
PH3LHAAMONIC SOCIETY,
at the
The first reared the season took pkg. on Monda7 tinn-
ing Herd
Rooms, a locality to which the
society acts vnaely in the per-
aering. The prognenme of
forename Wee followsdh

1.
Meade, "The Sessone." Op.PVIST !Mohr.
Aria, " (Meek avveaturlert Miami," Mime Bal-
e Heer 8............'.' Mozart.
euoerfot
Scans, nahte ink der sew m lieneieb°•
Louise Michel, prthelgal singer at the mart NSweden (Der FrelechUts;
Overture, " Fomiont "
Beethoven.
PART 11.
Slnfoula In Jupilerl Nowt.
pewee, IA vita," maw Loam MAY and
Overture, •• Oberon .... . weber.
Conductor—Pregame MIIMMlde
BPolk's sYmPhdny,4lo.loll: k the illustrious
master's latest orchestral musk. It almost unknown in
this country, and was only noukerioneed for the lint time
at • Philharmonic concert. Why it has been hitherto
overlooked by the society we know not ; perhaps bee*. it
has been deemed inferior to these OI the author's works
which are better known. We believe this 01114011 to be not
without foundation. The symphony eisrieins beautiful
things ; particularly the movement in 0, meant to be' de-
scriptive of spring, which is very free and charm-
ing ; but other portions of the work. betray an
sskauetiou of fancy, a poverty of ideal, which
the author has endeavoured to snake up for
by a peat deal of sad labour. Ivory work of a
ct muter, however, tto be known ; and though
yepel not e strong inergimMa. yet the
axietTr to produce it. Herr Beads perimaafte
of Mendelesohn's concert was altogether maggljagge
have seldom—or, indeed, never—heard Neer vislin
He possesses every quality of a peat performer ; a tad
rich tone, exquisitely pure, and most dalientely in taw;
unbounded powers of *mention ; the utmost knish of EV*
kameee area and pelitetlic expression. He concluded *aid
tholes. of applaws from every of the room, end
prolapsed after he Lit the till he returned
mist Ids ackto*dgmenteißtisiszitom !Zart's
Sorter was prom ge p band an
play it ; and the eame may be tine eweeteen:
The vocal part of the concert, too, was admirable and suc-
cessful. Menotti sang the fine air from the Seraolio with
his usual excellence, and was received with the usual
warmth. The appearance of Mademoiselle Michel was an
interesting occurrence. This lady, we understand, wee most
strongly nioominended to the directors by Madame Otto
Goldechmidt ; and they very properly placed sufficient
reliance on Jenny Lind 's judgment to engage her young
friend at once. Mdlle. Michel is • singer of the
very first oboe. Her voice ix one of the finest we
have ever heard; powerful, sweet, and flexible in
the highest degree. Her reading of the great sane in the
Preisafitz was that of a consummate artist, her execution
brilliant, and her whole performance full of fire and pas-
sion. She is described as " principal singer at the Court of
Sweden." We do not know if she is on the Stockholm
stage, but we presume she is ; for, judging from her de-
livery of this famous monologue, we should believe her to
be one of the best actresses of the day.
The room was crowded, and the concert was a brilliant
eommenoement of the mason.