The Sun.
London, England, 1839-06-08 00:00:00

BRITISH INSTITUTION.

We were favoured yesterday with a private view of
this exhibition, which contains many admirable specimens
of the old masters, though as a whole, the collection is
not so fine, as we remember to have seen it at the In-
stitution. There are some capital Titians and Rem-
brandts, and one or two masterly portraits by Vandyke,
marked by his most courtly manner, to say nothing of
several landscapes by Ruysdael, and spirited full-length
figures by Murillo. No. 3, the Abbe Scaglia, is a por-
trait by Vandyke, and so characteristic of his aristocratic
style, that no one can mistake it. The Abbe's attitude
is replete with easy, unaffected dignity. No. 15,
Diana Surprised bey Actccon is from the pencil of
Titian. It is one of the best paintings in the collection.
Nothing can surpass the exquisite beauty of the flesh-
tints, which, even at this distance of time when the
brilliancy of the colouring is dimmed, still retains muchof
its original warmth and g'ow. The limbs, too, of the
bathing nymphs are most gracefully rounded, with the
strictest attention to nature. If we have any objec-
tion to urge to this picture, it is, that there is
rather too much of the shrew, and too little
of the divinity in the countenance of the startled
Diana. The expression of her face seems to us to
want elevation and dignity. No. 16, Rernbrandt's
Mill, is a calm, pastoral, little landscape by Rembrandt.
The perspective is admirably contrived ; and the wind-
ing terrace walk along the sleepy river's bank, with the
homely busy mill in the fore-ground, are painted in the
first style of art. No. 20, Cattle in a Landscape, is
chiefly remarkable for the truth-like air which Paul Pot-
ter has imparted to his chief figure, namely, that of a bull.
This figure is finish _el with infinite care and nicety of
touch, and might form a good subject of study. for young
artists. Landseer, among the moderns, is the only
painter who has ever come near Paul Potter in the de-
lineation of the animal figure. No. 44, Woody Land-
scape, is one of Ruysdac4's most perfect specimens. The
sunny forest glade, and the long avenue of oaks through
which the eye seems to pierce for miles, display a world•
of skill in the execution. The colouring of the land-
scape is rather sombre ; in fact,. it might be mistaken
for a view in Windsor forest on a cloudy day.
No. 48, Discovery of Calisto is another splended
painting by Titian, in which the elegance and
harmony of the female figure are exhibited to
the greatest advantage. No. 53, The Virgin and
Child with St. John, is the production of Raphael. It
is a noble work of art, but we do not trace in it any
very striking indications of the artist's general manner.
The countenance of the Virgin is the best thing in it,
'combining sweetness with majesty in a remarkable de-
gree. No. 55, Landscape, is said to be a Claude ; but,
though a clever production, there are few traces of
Claude's mannerism—and he was a great mannerist—to
be met with in it. No. 81, A Jew Rabbi, displays with
great effect those deep, expressive shadows in which
Rembrandt so much delighted. The colouring of the
sinewy, wrinkled hands, and the expression of the tran-
quil, but crafty countenance, are perfect. No. 91,
Sea part in Italy, is an animated, bustling picture,
in which Ruysdael's truth of details are combined with
Claude's classic elegance. A picturesque groupe of
figures holds a conspicious position in the fore-ground.
Altogether, the exhibition is a very fair average one.

The Addr€ss to the Queen, from the inhabitants
of the City of Glasgow, was dispatched on Tuesday night
to Lord Normanby, for presentation to her Majesty, The
Address contained upwards of 10,000 signatures.