The Sun.
London, England, 1828-02-04 00:00:00

BRITISH INSTITUTION.

We have been abundantly gratified with this very
improving exhibition. Though not, perhaps, in
quantity, it contains in quality more valuable pictures
than on any previous season, and will, we doubt not,
be proportionably successful. It is delightful to see
England, after having in turn drawn forth and fos-
tered every variety of merit, now directing its atten-
tion to the Fine Arts : and, even in the infancy of
that department, exhibiting, like Hercules in his
cradle, the proofs of future greatness. There are pic-
tures in the present exhibition which may almost vie
with some of the old masters. Velasquez, for in-
stance, is scarcely superior to Borrington, who, in his
magnificent representation of the Ducal Palace at
Venice, has proved himself a master of chaste, ap-
propriate, yet lavish and impressive colouring.
No. 35. Shepherd Boy, Reynolds, is chiefly re-
markable for the fervent devout expression depicted
in, the countenance of the kneeling youth. In point
of colouring it is little, if at all, removed from me-
diocrity.
50. Amphitrite, Milton, is beautiful in its
way, but possesses much too solid and massive an
appearance. The light airy fictions of Greek my-
thology should be shadowed forth with less as-
sumption. The Tritons in particular are very Pata-
gonians in size. They would be awkward subjects
in an Irish row. With respect to the grouping it is
elegant and even classical ; the colours showy and
imposing. Our hint of inappropriateness applies to
the conception, not the execution of the piece.
126. Twilight, the Wounded Knight, S.
Jackson, has a very sombre and romantic gloom
thrown over it. The indistinctness of the hour is
inimitably pourtrayed, in fact, the picture explains
itself.

137. Study of a Highland Piper. Mr. Green in
this portrait, we presume, has not unhappily caught
the expression of the Highland countenance. There
is a shrewdness in the eye and about the mouth not
to be mistaken. The colouring, however, is feeble;
indeed, absolutely common place. . • •
124. His Majesty's frigate Blonde, by .G. P.
Reinagle, deserves notice,- from the lavish richness
of its cloud colouring. The vessel too is light,
buoyant, and winged, and floats naturally on the
water—a peculiarity not often found in our modern
-Pea pieces. •
127. A View of the Menai. Straits, Suspension
Bridge, G. Arnoid, gives a striking .the stu-
pendous genius of Mr. Telford. The picture, how-
ever, wants animation. - The bluff
,shore on either
side should stand 'forth more boldly en the canvass.
The colouring too is somewhat faint.
200. The Pope's Villa at Albano, J. Laporte, is
harmoninus as a aole, and, we doubt not, charac-
ristic. The deep quiet sombre repose of the scene
is strikingly preserved, and the perspective, a -very
difficult one, ably defined.
.260. Shipping, by S. Drummond, is a sober and
temperate piece of colouring, and does credit to its
ingenious artist. -

362. Persian Sheep, J. Ward, is nature itself.
We have seen few things finer than the soft velvet-
like painting of the fleece. There is a richness too
about it that stamps the master hand.
3M. 11/lather Brawn's Sunset is characteristic
both with respect to colour and "time. It has, how-
ever, no very striking features of novelty.
388. View on the river Tamar, F. C. Lewis, is a
fine representation of a hushed sylvan scene, full of
poetry and sentiment.
389. The Peacocks, Lance, is one of the most
astonishing bits of colouring we have seen a long
time. The subject itself is nothing; but the gay

varied plumage of the birds' full expanded, is pour-
trayed with a spirit and lightness of touch, that war-
rants us in anticipating much that is valuable from
the same artist. There are many other paintings in
this collection to which we regret our limits will
not'allow us to do justice. We must not, however,
omit to mention the very masterly way in which
Mr. Barnard has arranged the collection. It does
credit to his taste and judgment.