The Express.
London, England, 1857-05-04 00:00:00

LONDON, MONDAY EVENING, MAY 4, 1857.

FINE ARTS.

XHISMON IN WEI
SIGNS !OR NEW

HALL OF DE-
ENT OFFICES,

TO THE ABBEY ANY,

110118118 or P

The public were today admitted to this Exhibi-
tion, of which a private view took place on Suitors
day. It may be as well to remind there who
wish to be in a position for forming a judgment an
these designs, apart from their mere architectural
merits, of the nature and limits of the public want
which the competing architects have been called on
to supply. The first object to be kept in view is the
concentration of the Government oMces, not nem-
wily under one roof, but within a certain limited
area in the immediate neighbourhood of Downing-
street and Whitehall. The second object is to blend
as far as possible with this an improvement of the
whole block of ground, the greater part of which is
new covered by very inferior buildings, extending
from St. James's-park on the north to the Thames on
the south, and ranging east and west, on one side
or the line of Whitehall and Parliament-street, from
Downing-street to Great George-street, and on the
other from Richmond-terrace to New Palace-yard.
The space thus bounded is marked on the govern-
ment plan as that within the limits of which the
titseamessotration of the government diem 11,
laffeeted. It is also required by the plan that
the new °lkea for the Foreign and War Depart-
ments shoald be erected on that part of the space
thus limited which lies between Downing-street and
Charionverost, with a frontage ranging along the
present Bee of King-street. It is as well to get se
clear a notion as possible of the field of operations
thee marked out. Let the reader, then, aup-
pose himself to be walking from aiLing-cross to
Werbsinster Abbey, on the Horse Guards side of
Whitehall. He has just reached the new Treasury
buildings. There let him pause, and imagine a
clean clearance effected of all the small streets and
'an buildings that extend on the right hand along

of animaux" we have but to mention that Rosa Bon-
heur's name appears upon the list of exhibitors, and
that the picture exhibited by her is the very best we
have yet seen of its peculiar kind. We must regret
the absence of such names as Ingres, Delacroix, Fleury,
and Diaz—the smallest donations from such pencils
being always gratefully received; but can scarcely
complain when Isabey, Ary &heifer, Mciasonier,
Rosa and Auguste Bonheur, Chrome, Troyon
Edouard andlneodore Frere, Chavet, Couture, Bard,
Oudin, Eugene Le Poittevin, and others almost
equally well known, appear among those who have
sent contributions.

Horace Vernet and Decamps have each a small
picture, neither very favourable specimens of
those artists ; M. Vernet's especially being unplea-
sant in colour and drawing. But the picture of the
Exhibition, both from the subject chosen and the
power shown in its treatment, is Mdlle. Ran Bon-
kur's " Denizens of the Highlands," representing a
group of Scotch cattle, three fierce and shaggy chil-
-1 then of the mist, who literally game oat at you, with
eyes ao full of smouldering fire, of half-slumbering
ferocity, that were the picture of the same propor-
tions as that of the " Hone Fair," a man might be
pardoned if he calculated the chasm of a rush ere
he approached it ; and the memo who could walk
with &quiet heart and even pub, peettheseehatp horns
eat weaddel eyee mast macs bsea bomb Wm the all
Naos of Marlborough, "Isegleare saves were in
fashion." It is truly a wondertel plater*, full of rigour
and spirit. Never were entomb note skilfully por-
trayed. They are whist in drawing and
colour. There is character in every hair that
curls about thou surly breheads, in the short
strong limbs, in the masa of the heads, and in
the firm plant of the boots t while in each eye there
lurks a dogged defiance, a sullen consciousness of
power. For truth to nature and perfect artistic treat-
ment, this is the best cattle picture we remember
even from the ease pima ; and the previous suc-
cesses of Mdlle. Bonheur are already well known.
It is, therefore, with no slight curiosity that we turn
from the picture to the artist, or rather to her por-
trait, admirably painted by Edouard Dubufe, which
also adorns the walls of the present Exhibition. It
is such a face as we might have expected to see, if
we can judge of the physiognomy of either man or
woman from the character of their works. The head
is finely formed, slightly masculine in its conforma-
tion, and rendered yet more so by the manner of
wearing the hair. The face is furl of intellect, the
eyes clear and steady, agreeingwell with the general
expression of the features. The pose of the figure
is natural and characteristic, a sketch-book
being. herd in the left hand, while the right
arm is thrown carelessly across the neck of •
bull, the hand holding a crayon. The head of the
bull was painted, we believe, by. Mdlle. Bonheur
herself, and in truthfulness of colour, life, and ex-'
premien, there is every evidence that such is the case.
The " Christ crowned with Thorne," by Ary
Scheeler, is beautiful in conception, but not so happy
in its colour. The figure of the Christ is very
good ; the head and whole expression of the fate
full of a mild dignity, while the hands holding the
mock sceptre, and every other portion of the figure,
express a sorrowful resignation. The drapery is
admirably arranged, though the general tone of the
picture is not pleasing, having the uniform dull,
colourless, dead look of which H. Ary Scheirer
seems so unaccountably fond. The head of the man
in the background, looking down as towards the crowd,
is well conceived, and, as a composition, both figures
are perfect.