The Sun.
London, England, 1847-02-06 00:00:00

ettrb Xt Mon

EXHIBITION OF THE BRITISH
INSTITUTION.—(THIS DAY.)
From the inviting character of the weather the rooms
of this institution were so thronged with visitors, that it
was with considerable difficulty we could observe any
single picture from a convenient distance. The glimpses,
however, which we were able occasionally to obtain of
the collection for 1847, were frequently "glimpses of
the beautiful and good." Since the opening of the in-
stitution, in 1806, there can scarcely have been a more
unequal exhibition, an exhibition more unequal in its
evidences of talent. Evidences of "genius" this year
there is not one. Among the various associations which
have been formed for the promotion of the fine arts in the
United Kingdoms, none attracts a more peculiar interest
than the British Institution, in Pall-mall, and none de-
serves more. For the facilities afforded by the
annual exhibition of their productions the artists of
Great Britain generally express their acknowledgment
by the display of their peculiar powers upon canvas.
This season they appear to have concentrated their
energies upon the manifestation of their industry gene-
rally, irrespective of any other quality. That they have
been eminently successful in this particular is ostensible,
first, in the crowded appearance of the walls of the ex-
hibition• rooms, and, secondly, in the fact of four hundred
pictures having been returned from lack of superficial
space. Among the most striking pieces in the collec-
tion, we observed
66. " Morning," by J. Sant, a fanciful illustration of
thetild verse.

"It is the lark, the herald of morn."
The attitude is characterised by much grace, while
the flowing of the drapery is quite the reverse. Another,
170, of " Evening," by the:same artist, is however marvel-
lously inferior. The most successful composition from
the easel of Mr. Sant is unquestionably No. 185, " She
hangs upon the cheek of Night."
259. " The Frugal Meal," by J. F. Herring, is
a group of three horses' heads, chumping a bundle of
sorrel and grass, with an impertinent pigeon in the fore
ground. The picture is rendered very beautiful by the
predominant characteristic of this artist—the most in-
valuable characteristic of all—Nature. The horses are
pencilled with a keen and admirable truth.
366. " The Temptation," by A. Keeson, representing
Christ and Satan upon the pinnacle of the mountain.
If there be little sublimity in the conception, there is a
wonderful hardness in the execution.
554. " The Straw-yard," by W. and 11. Barraud.
Worthy to be hung in the same apartment with Her-
ring's " Frugal Meal ;" not so much in the representa-
tion of individuality in the animal, as in the beauty of
the manipulation. The bay horse on the left of the
painting is brilliantly coloured.
386. " A Savannah on Fire by Moonlight," by E. A.
Goodall. It only wanted this subject to come under the
brush of Mr. Turner to afford us a combination of colours
and an exaggeration of effects hitherto unexampled in
the art of painting. The theme, as treated by Mr.
Goodall, is poetical and effective.
Besides the pictures already enumerated we observed
a charming " Musidora," (from Thomson's " Seasons,")
by A. Jerome, 398; an eccentricity called
a " Frost Scene," by C. Branwhite, 451; a wonderful
distortion of nude figures, by E. W. S. Hoplcy, 461; a
production worthy of being baked into Worcester ware,
by J. D. Wingfield, 493, with sundry exquisite fruit-
pieces, especially one, 516, by H. Reekers.
A stray bust and a casual group of figures near the
staircase constituted the exhibition of sculpture.

EXCHEQUER CHAMBER.
(THIS DAY.)
(Sittings in Error, before Lord Chief Justice WILDE, Mr.
Justice PArFESON, Mr. Justice COLERIDGE, Mr. Justice
MAULE, Mr. Justice WIGHTMAN, Mr. Justice CRESSWELL,
and Mr. Justice WILLIAMS.)
Their Lordships sat for the purpose of hearing Exchequer
causes ; no cases however, of interest to the public was de-
cided upon.