ration from its celestial essence-a profanation; and certainly, as Felibien writes, it was one of the sins of the Flemish school, which seems too often satisfied with a studious imitation of natural objects, without considering whether they be worthy to be imitated. Truth and poetry, happily mixed, give perfection to a work!

There is always a fine poetic feeling, but want of truth, in the works of T. MARTIN; and this will be found in his "Flight into Egypt" (No. 395.) There is poetry and truth, but a want of force, in (201) "The Battle of Preston-Pans," by W. ALLAN, R. A.

We are obliged to speak of portraits in this article; they have made a real invasion in the exhibition; we find them in three apartments, besides that appropriated to drawings and miniatures. There are about 250 portraits, among the whole 556 pictures exhibited. All the Mistress "Somethings" and the Miss "Anybodys," the Sirs, the Esquires of every class, all titled and untitled persons imaginable, and many not imaginable, as subjects for portraits, have done their best to attract the public eye to their sometimes handsome-often ridiculous faces, in this exhibition. We pity the artists compelled by the "auri sacra fames" to occupy themselves on such anti-artistic subjects, and we pity the spectators who see Art thus prostituted. We cannot attack in front this legion of enemies; it is better to leave them intact-but it is impossible also not to praise the execution of several. We should place as an example of pure style, breathing the gusto of the old classic Italian master, the picture by C. L. EASTLAKE, R. A. (No. 136) called "The Sisters." This painter, if he would increase a little the force of his palette, would have a name of European celebrity.

There is in the exhibition, by the late Sir DAVID WILKIE, (No. 50,) "Portraits, a family group," done in his usual fine manner, but in the Dutch style, and it is not one of his most highly-toned pictures; his (No. 116) "Portrait of H. H. Mehmed Ali, Pacha of Egypt," is, in small dimensions, a living and speaking representation of the celebrated Mahometan reformer. No. 117, Sir David Wilkie's portrait of "The Sultan Meedgid," is interesting, but not so fine as the other. There is a want of relief.

Other portraits have been noticed; those of Sir M. A. SHEE for their "imposto;" of Messrs. GRANT and PHILIPS R. A. for their truth; of Mr. EDDIS for his mode of conducting his portraits, so as to make them pictures, and not merely copies of models; as may be seen in (No. 314) "a Pause, two portraits." Also Mr. T. P. KNIGHT, A. has among many others a grand composition, (556) "Portraits of the Heroes of Waterloo." Every head is in the same light, every body

is without shadow; so that in order not to compromise the effect of any one individual portrait, the painter has compromised his whole. work. Many other portraits in the grand and in humbler styles call our attention and praise; but time is wanting, and we must take leave of the three great rooms; first, however, noticing the works of some foreign artists. There is a picture entitled " a Greek Warrior pondering over the wrongs and desolation of his country," (435) by L. LIPPARINI, professor of painting in the Imperial Academy of Venice. This picture excited so much admiration at Venice, and at Vienna, where it was exhibited, that LIPPARINI has made, by order, three replicas of it; one was for the cabinet of the Grand Duchess Olga at St. Petersburg. Now let any one raise their eyes to the position of this picture in the London exhibition, and they will feel surprise that such a picture could have been admired anywhere, so entirely is the picture sacrificed by the manner in which it is placed :—a strong light, and low position were absolutely necessary to see the picture at all; and it would have been more just to the artist to refuse to accept it, than to place it as it is.-The expression of deep feeling in the countenance of the Greek is wholly lost, and it is the soul of the picture ;-the light, as Byron says,

Not as in northern climes obscurely bright
But one unclouded blaze of living light-

throws strongly forward his manly figure; and the landscape and accessaries are all calculated to heighten the strong impression made by this picture; we regret sincerely that the British public have not had an opportunity of judging of a work, which, before being placed in the exhibition, greatly interested the few who saw it, for its success. GAMBARDELLA exhibits a beautiful portrait, excellent for the composition, correct design, and rich colouring, (No. 185,) "Portrait of a Lady." There is also much sweetness and a pure style in (No. 504) "the Vestal:" and "London Beggars” (No. 392) is full of force in the style of Ribera. M. BIARD, a painter of much talent, and author of a fine picture called the " Slave Dealer," exhibits one work this year (No. 451) "A great Sinner." The picture is clever, and treated with much truth, but the English public will call the subject "nasty."

DRAWINGS AND MINIATURES.

Entering this room-full of old grandmammas, papas, mammas, priests bishops, wives, maidens, boys, babies, of all shades of colour, and all degrees of beauty and ugliness-we are lost in the confusion, and know

not where to look to recognize our relations, or judge of the merits of the works. But having surmounted this difficulty, we were much pleased with a chalk sketch by T. HAYTER, "Portrait of Lady Hawley and her infant Daughter," (No. 587). The heads are well drawn, they are round, masterly, and free. M. CHALONS is less dramatic in his portrait (No. 158) of "Mlle. Rachel,” than in any of his other portraits; but in all, the want of true drawing is observable. M. MANZINI in all his portraits shows patient and conscientious study, truth of drawing from nature, and a high tone of colouring:-these may be observed in his (796) "Portrait of the Right Hon. Thomas Grenville;" and in (810) " the Lord Bishop of London.” His "Portrait of Himself," (931) is wonderful for its resemblance; it is in a high style of finishing and art, shewing much study of nature, expressed in the style of Vandyke.

Another of the miniature painters most pleasing to us, is R. THORNBURNE; he has a manner peculiar to himself, between the German and old Italian style. We may notice of his, (No. 816) "Master York;" (917) "Lady Carmichael;" (938) "The Bishop of Carlisle." It is needless to praise Mr. Ross; his miniatures are more or less perfect, but all are beautiful, and worthy of his great fame.

With this last happy impression we shall conclude our review ; though many, many works in the exhibition remain unmentioned. In general, the impression is more favourable than that made on us by the exhibition of last year. We should wish to see ART, in its material part, improve in design, and in chiaroscuro; and in its moral advance, we should desire to see more poetical fancy, and a more frequent choice of truly historical subjects. We regret our space obliges us to leave unnoticed many works worthy of observation: of the many really bad, and unworthy of any exhibition, we would never speak, but apply to them the line of Dante

"Non ragioniam di lor, ma guarda, e passa."

P.

ART, V. THE BROKEN PITC II ER.

[Translated from the German of Zchokke.]

MARIETTE.

IT is true La Napoule is but a little place, but it is well known in all Provence. It is beautifully situated in the evergreen shade of palm and orange trees, but it is not this circumstance alone which renders it celebrated.

It has the character of producing the finest grapes, the sweetest roses, and the prettiest girls in the world. I cannot vouch for the truth of this, but I am quite willing to believe it. It is a great pity that, as La Napoule is so small a place, it cannot be expected to produce enough fine grapes, sweet roses, and pretty girls, otherwise we might have had a chance of a few of them finding their way into our country.

Ever since La Napoule was a place at all, it had been celebrated for its beautiful women, therefore the little Mariette must have been a wonder of wonders, to occupy so prominent a place in its annals. Although she went by the name of the little Mariette, she was as tall as girls just turned of seventeen usually are, that is, her lips reached about the height for a well-grown young man.

The annals of La Napoule had good reason to speak of Mariette. Indeed I must have done it, if they had not. When Mariette, who with her Mother, Manon, until then had dwelt in Avignon, returned to her birth-place, she completely upset everything. Not exactly the houses, but the people and their heads; not perhaps the head of every person in the place, but more particularly of those who found their greatest danger arise from the neighbourhood of a soul-speaking pair of eyes. I can sympathize from my heart in such a danger—it is no joke.

Much better for every one would it have been had Mother Manon remained in Avignon. But a little inheritance fell to her in La Napoule -some furniture, a small vineyard, and a pretty little cottage, sheltered by a rock behind it, and overshadowed by olives and acacias. Such things are not to be rejected by a poor Widow, and now, in her own opinion at least, Mother Manon was as rich and happy as though she had been Countess of Provence herself.

So much the worse for the poor Villagers!

They, poor souls, had

They had never read

no forebodings of the evils hanging over them. in Homer that one pretty woman sufficed to set all Greece and Asia Minor by the ears!

HOW THE MISFORTUNE HAPPENED.

Scarcely had Mariette been a fortnight in her new home, so prettily overshadowed by the olives and acacias, before every young villager knew that no lovelier Maiden dwelt in all the land, than was to be found in that little cottage.

Did she stroll through the streets, like an angel of beauty, in her green bodice and fluttering garments, with an orange blossom or rosebud in her bosom, and ribbons and flowers adorning the little grey hat which shaded her pretty face, then did the old men wax eloquent, and the young men become dumb with admiration.

One after another, right and left, did door and window open, and "Good-morning," or "Good-evening, Mariette," greeted her from all sides, and smiling and nodding to all, she returned their salutations.

But since Mariette's arrival, more than one Bridegroom had become cool, more than one lover faithless. This caused endless trouble and many tears. Instead of marriages, separations were the order of the day. Even ribbons, rings, and other love-gifts were sent back, and instead, baskets were the only presents sent.* The old people got involved in the quarrels of their children, vexation and strife went from house to house; all joined in one cry; "It is all Mariette's fault" said the maidens, then followed their mothers, then the fathers, and last of all the young men said so too.

As for Mariette, in the simplicity of her innocence, she was unconscious as a rosebud in its green calyx of the commotion she was causing, and was friendly and courteous to all.

The young men first came to their senses, and said "Why trouble the innocent maiden, it is not her fault," then followed their fathers, then the mothers, and last of all even the maidens said so too. No one in fact could talk with Mariette and not like her, and before six months had passed, every one had talked with her, and every one liked her. But she, poor child, was just as unconscious of the favour they bore her, and just as little expected the love, as she had before been aware of the hatred she had inspired. What does the sweet violet think or care about its favour or its beauty?

* In Germany, to send a basket means to send a refusal of love.