The Sun.
London, England, 1838-02-07 00:00:00

BRITISH INSTITUTION.—(Tnis DAY.)
We were favoured with a private view of this Institu-
tion this morning, which contains many of the best pro-
ductions of our modern artists. Among our favourites
we recognise not a few pictures that were exhibited last
year in the National Gallery, but which are seen to much
greater advantage, in consequence of the walls being not so
inconveniently crowded. No. 12, Wood Nymph, which is
one of the first paintings that attracts the eye on entering
the Gallery, is a glowing richly-coloured figure of a young
female, in a state of semi-nudity. The countenance has a
very ♦oluptuous expression, which we think, would have bet-
ter become a Bacchante than a Dryad. The drawing of
the figure is good, and the attitude easy and graceful. The
artist is Patten, who has painted few better things. No.
78, Mont St. Michel, Normandy, by Cooke, has a higl4-
finished fore-ground, which reminds us, " as with a diffe-
rence," of the manner of Collins, in his sea-shore pictures.
No. 85, A Nonagenarian, a Study, is the portrait of an
old man who is busy poring over a leading article in the
Standard. His countenance expresses deep attention ; and
the lights and shades on the forehead are well developed.
No. 133, Mary Queen of Scots, is a delineation of that
celebrated scene in the Abbot, where the imprisoned
Queen is signing her abdication, in presence of the Lords
Commissioners of Scotland. The stern face and stalwart
figure of the rude, semi-barbarous Lyndsey, who snatches
hold of Mary's arm with his gauntletted hand, in order to
force her into compliance with his political schemes, are
drawn with great force and freedom. The kneeling female
figure too in the foreground is replete:with unstudied elegance.
No. 164, A Looking-glass Reflection, is a lively subject,
treated in a lively and natural manner. No. 173, The
Rabbit-fancier, contains a figure of a half•concealed fox,
who is on the look-out for rabbits in a warren ; the
subtle, sly expression of Reynard's face is not unworthy
of Landseer. No. 174, Winning the Game, has a
well-defined perspective. The artist is Horseley.
No. 205, Durham, is an impressive landscape by
Roberts, but the colouring throughout is too exagger-
ated. Ths painter does not keep within, but boldly
treads without, the limits of nature. No. 242 is a View
from Richmond Hill, is by Hoffland ; its chief fault is that
the river has too much of a canal aspect, it
winds too stiffly, and in too artificial a man-
ner, through the meadows. No. 280, Richmond,
Morning, by Chalon, is better, because more natural.
No. 284, The Feast of the Gipsies shows evident marks
of thought, and labour, and assiduous attention. It is one of
Maclise's most successful productions,' especially as regards
the grouping of its numerous figures, which is admirable.
No. 358, The Avenue, shows a fine reach of skilfully de-
fined sylvan perspective, which recalls Wouvertnanns to
our recollection. No. 366, Fallow Deer, is by Land-
seer, and exhibits a spirit, and a close adherence to the
propriety of nature, for which, in his own line, this supe-
rior artist is unequalled. No. 443, King George the
Third and the Dying Gipsy, is a very striking production
by Mr. Salter. The countenance of the dying creature—
the fixed, earnest attitudes of the King, and of the children
who are standing beside the couch, are full of vigour. The
painting is one of the best in the Institution. No. 134,
Fishing Boats, is by Turner. It has a singularly fantastic
'appearance ; and the colouring is wholly unlike anything
we ever saw in nature. Altogether, the Exhibition is a
fair average one.

very

CHANCERY COURT.-(THIS DAY.)