EXHIBITION AT SOMERSET HOUSE-CONCLUDED. PORTRAITS. FROM the mass of portraits

we can only select a comparative few as examples of the skill of the painters; and for this purpose we prefer

instancing those of eminent persons. We are glad to observe, in the -majority of instances, that attention to individual character which con- -stitutes the chief value of a portrait ; and to note the predominance

• of this quality over pictorial mannerism, which, like LELY's languish- ing eyes and LAwRENCE'S genteel air, softens down into an elegoint in- sipidity the physiognomical characteristics of people.

Sir MARTIN SIIEE has, however, smoothed down into a mere general

resemblance the strongly-marked character of the Marquis of Angle. sea's features, in his full-length portrait (59), painted for the King, to be placed in the Waterloo Gallery at Windsor. This and other -portraits by the President, are painted in a bard, flaring, tea-board style, that is any thing but agreeable, though it has forcible effect in an exhibition-room. The "Jew Rabbi" (189), by Sir MARTIN SIIEE, has been admired : it has external character of beard, tke. ; but there is a false glitter about it that makes us fitel that truth has been sacrificed to prettiness it is a life-size miniature, if the paradoxical phrase be -allowable.

PHILLIPS'S portrait of Justice Littledale (20), is nne of the finest in the exhibition: the physical peculiarities are softened down, but nut so much as to lessen the truth of character; the expression is living and individual, and it has an air of unaffected dignity: it is painted, moreover, in a hold, free, and masterly manner. His whole-length of Lyndhurst in the Chancellor's robes (72), is an admirable painting, and a good likeness, though not so a ted and expressive as the former. There are several portraits of ladies by PHILLIPS, Which are pleasing picture/ at any rate ; and one of Dr. Dalton (415)-very cha- racteristic. We are glad to note what we consider a great increase in power and spirit this year on the part of the Professor of Painting. BRIGGS'S portrait of the Honourable Miss Caroline Montagu, now

Mrs. G. Hope (53), unites beauty and intelligence very charmingly: the painting is most powerful ; and the resemblance seems to be iden- tical, for it is full of life and character. No less strongly individual is the smaller likeness of Roger Gresley, Esq. (39). We wish por- traits were more frequently painted this size. Bemos has been unfor- tunate in his subject in 47-a full-length of Charles Turner, Esq , late Mayor of Norwich ; but it is a masterly picture, and seems to be a true likeness. his portrait of Captain Codrington (335), is a strik- ing resemblance.

PICKERSGILL'S whole-length of Earl De Grey in his Peer's robes (183), is an admirable portrait-picture; that of Dr. Symons, Warden of Wadhain College (109), is a very forcible painting; and ;mother of Sir James Kempt (67), looks characteristic, and is cleverly painted. But the most pleasing and interesting whole length portrait in the Great Room, is that of Lady King (136), by Mrs. Cs Imes:rum This is Lord BYRON'S daughter ADA, grown to woman's estate, and

'low a wife and mother. The features of her noble fast er are crime- able in her face; but the resemblance goes no further. The mild and ,mile look, and the unassuming and truly lady.like air, are depicted with delicate truth by the fair paintress; who has also managed the background and accessories of the picture admirably. There is no appearance of standing for a portrait ; the lady seems to be pausing it moment to address some one. There are two other delightful por- traits of ladies and children by Mrs. Om/ENTER (318 and 336). EARTI-AKF: exhibits two female portraits. tenderly yet forcibly painted : one of them (195), is in the Italian costume ; the other, Mrs. 11. Wickham (30), is so entire in character and expression, that it stamps the individual upon the 'Meld as if one had seen the original.

BOXALL-whom we welcome back to England-exhibits a chaste and expressive portrait of Lady Cullum (87); but it is thrust into a corner, where its delicate tone is calmest lost. Ilk small portrait of Allan Cunningham (80), represents both the man and the poet to the life.

Mourox's whole-length of Lord Brougham in a plain dress, seated m in his library (338), is the only true and complete resemblative of the

ex Chancellor that we have seen. 'flue excitability and restlessness of the features, which seem with difficulty controlled-the expression of the eye, from which you expect to dart the lightning flash of scorn and defiance-convey the idea of an intellectual gladiator in con- strained repose intently watching his adversary. The painting, though

low in tone. is powerful masterly. This is worthy to be a pendant picture to BRIGGS'S of Lord Eldon, exhibited last year. It ought to have bad a hatter place. MoteroN has also a bold amid spirited whole- length of Charles Kemble as Macbeth (221): it is a capital likeness and a striking picture.

Winkte's portraits of Lord Montagu (320), and J. Esdaile, Esq. (423), appear to be characteristic ; but whether truly SD, we have nut the means of judging. SIMPSON exhibits several portraits of distinguished Portuguese: Baron de Lagos (6), is an admirable paintieg, but the subject is not so interesting as the others.-the Marquis Salthinha (287), and the Duke of Terceira (289), which are not such good pictures. SIMPSON has not been more successful than PICKE1tSG11.1. with the Duke of 1Vel. lington (200); HB. is the only man who bits of the Duke's face to the life.

LINNELL has several of his elaborate and characteristic miniature Ilenesses in oils; of which that of Sir Galbraith Lowry Cole (29), is the most notable : it is a true picture of a veteran soldier.

There are clever portraits also by REINAGLE, llornwEst., Mrs. J. ROBERTSON, SAY, LUCAS, PATTEN, S. LANE, J. HAYTER, WATSON GORDON, THOMSON, Cm.AxroN, &c. ; but eve cannot notice them in detail. Mrs. Somerville (413), by S. LAURENCE, is a living resem- fleece, and a rich and besturiftil picture.: it is hung too high, however. It should have been a petulant to PHILLIPS'S Dr. Dalton. Nourri Effendi, the Turkish Ambassador (375), by It. EVANS, is a charac- teristic likeness; we cannot say as much of the same artist's portrait of Lord Abinger (354).

Jolts W000's whole-length of Sir Robert Peel (397), is a feeble and disagreeable likeness : the figure and attitude are in imitation of LAwRENCE'S bad picture of Cantu/tog speaking. Two miniature whole- lengths by H-A.t.iss (42), and P. Wit.i.lams (328), are choice speci- mens of the treatment of costume iu cabinet portraits. Among the water-colour paintings and miniatures in the Antique

Academy, A. CriAnoN's remade portraits-where beauty, fashion, and dextrous art unite their attractions ; RICHMOND'S beautiful drawings of children ; SALABERVS striking sketch of Seguin (547); a gorgeous miniature of the Moolvee 31ah ))))) ed Ismael Khan, Ambassador from the King of Oude, by Lovett (465); and Miss Eniza JONES'S miniature of the Queen (701), are the utmost prominent: but there are others by DENNING, Ross, F. CRUICKSHANK, NEWTON, A. ROBERTSON, Mrs. J. ROBERTSON, BOOTH. &C. ut great merit. A. CHALoN, in his two stu. dies of Lady Macbeth (476 and 491), mistakes assumption for grandeur.

LANDSCAPES AND SCENIC PICTURES.

The Landscapes are few, but choice. CALLCoTT'S "Dutch Peasants Returning from Market" (48). and "Murano, the Old Part of Venice" ( 110), are, to sum up the whole catalogue of excellencies in one word, pellection ; and his picture of " Tread, in the Tyrol" (130), only fills short of it because the distant mountains lessen the atmospheric effect. Never were retitled skill and elaboration more happily combined to represent nature as it is, with complete truth, and without any appear. ance of effort or exaggeration. The scene in Murano is all but real; eve fancy the figures in motion, and that we breathe the fresh morning air. The very opposite to ibis, except in the general effect of nature, is TuaNtAt's "Ronde from Mount Aventine" (144); where the Eternal City is spread out below the eye,-an immense perspective of buildings relieved by a solitary piee• tree, steeped in a flood of golden sunlight. "Mercury and Argos" (182). is an unreal landscape with real sunlight; and "Juliet and her Nurse" (73)-it might as well have been called any thing else-is a bird's-eye view of Venice, showing the great square of St. Mark, at Carnival time, filled with groups of people looking at the fireworks. Both ate visionaryand poetical ; but TURNER'S dreams are finer than the waking thoughts of many, for, spite of his exaggera- tions, he cannot forget nature. To expect TURNER to define when he can indicate so marvellously, is, we fear, out ache question.

CoNsrABLE we are glad to see with less of his mannerism, and there-

fore more of nature : the truth and force of his picture of the " Ceno- taph to the Memory of Sir Joshua Reynolds,". erected in the Grounds of Coleutton Hall (9), makes us excuse, if we cannot lose sight of the painter's peculiarity.

ConniNs's scenes of Rustic Life are truly English and homefelt. a gate

"Happy as a King" (194)-an urchin riding triumphantly on which his companions are swinging to and fro; "Sunday" 03a)7--a tinnily of villagers setting out to church. the husband and wife leading the old dame down the steps of a pretty embowered cottage at the end of a shady lane overarched with trees; and "-Leaving Home" (17-a mother embarking with her little family in a fishing-boat7are. all delightful pictures ; and if they have not the freslatess and spirit of the painter's earlier works, are pleasitig to the eye as well as the tansy. e Lut:'s co:int-scum., " Gathering Sew weed" (8), and his two land- scapes, " Sowing Corn" (225), and the " Sainton Trap" (344), ate as fresh and tiothtul as usual, an i a ham and cola. What it contrast 10 their bleakness is presented by WITIIERISGToN'S gay and sunny seri e in Petworth Palk. as it appeared ou the 9th June 1835, during the anniversary dinner given by the Earl of EGREMONT to upwards of five thousand women and children (306)! it gladdens the heart and eye to look upon it. We wisp there were more such scenes and more sun h pictures of them. This is indeed a "summer noon:" but tie exquisiii cattle piece by SIDNEY Coona, with that title (400). is as cold mid cloudy as a Isovember maiming; with this solitary exception, Coomt picture is nearly perfect. The foliage of the different trees is accurately discriminated and freely and delicately pencilled, and the cattle are nature in miniature.

We can only direct attention to Cat:wick's picturesque view of Richmond, Yorkshire (4'29); STAita's truthful picture of a Water- mill, Norfolk (fkll ); a charming little rustic scene by LINNE1.L, called the "Hollow Tree" (259); and a fresh coast scene, "Hustings Sands" (434), by E. W. Coox K. But there are some pretty little landscapes by HAY ELL, IIILDITCD, II1LDER, and VICKERS, scattered about the room-, which will attract the eye by their truth. ROBERTS'S " Interior q/' the Chapel of Ferdinand and Isabella at Grenada" (422), is a magnificent architectural scene, richly coloured. STANFIELD'S immense picture of "The Battle o/' TrVilyar"-we need not put the number, 290-is a finished and masterly painting; and represents faithfully, we doubt not, the position and appearatme of rite several ships. The painter's nautical knowledge and technical skill are guarantee for its correctness in all the details. We now confess, however, that it appears to us to want the bustle and confusion that must belong to a sea-tight ; it looks too much like a piece of nautical still life. To be sure, it is near the end of the battle, and the painter must clear away the smoke to show the vessels ; but the deficiency we feel is in imaginAive power : the scene does not excite by its stirring interest nor impress by its grandeur. To represent the effect of noise as well as motion in a picture, is of course impossible ; and so far as the representation of individual objects, the picture seems to be perfect : the sea is fluent, and the heaving of the waves is truly imitated; yet we think the pictorial effect might have been more striking.

ANIMALS.

EDWIN LANDSEER'S " Mustard, the son of Pepper," given by Sir Walter Scott to Sir Francis Climatal (339), is alive: he seems to base ju-t turned round sharply as if he heard his name pronounced, though he is :mare of a furtive eat who is stealing from rimier the cloth a longing glance at a brace of birds on the table. The clay model of the bust of Scott, and the sculptor's modelling-tools, with the red baize table-cover powdered white with marble-dust, are de- ceptively true, like the rest of the picture. Some admirable portraits of Horses, by A BR ADAM COOPER, WARD. and BARRACD, deserve mention, though we cannot refer to :bon indi- vidually.

SCULPTURE.

BAILY'S " Sleepiog Nymph," in marble, the model of which he ex- hibited a year or two back, is the principal attraction of the scoloire.. room. For simplicity, beauty, grace, and repose. it cannot be sur- passed, we should think, even try the antique. " The Nymph [no with the Infant Bacchus," is a pretty group in marble, by R. J. WvArr. There is a clever statue in marble of Mr. Lu-hington, by WEEsEs, and a model of one of Bishop Jab. by BAILY. Among the !nests, the most remarkable are Mooas:s of Lord Broughton (1025)-an admirable likeness in character and expression as well as feature ; and BEHNEs'S of Sir Benjamin Brodie 9137)-a most intellectual head, beautifully modelled. There is nothing whatever of CDANTREY'S, nor of WESTMACOTT the elder. How is this? We suppose the Acade. micians, sculptors as well as painters, are reserving themselves for a grand display when they take possession of their share of the National Gallery; which will doubtless be next year. Iituros, however, we are sorry to learn, has been visited by dome-tic affliction and illness, of too severe a kind for him to find relief in the pursuit of his art. Much as we deprecate the occupation, of the National Gallery by the Academy, though it is stipulated to be but temporary, we yet hope, for the exhibiters' sakes and the public's, that we have seen the last of Somerset House as a place of exhibition for works of art.