ll we were reconciled,
but to an admiration of what we had considered a fault. It is the poetry
of the subject. We see not the face of the petitioning figure, we only
feel that she is there, and devoutly petitioning, and the brightness of
the patron saint, with its simple open character of face and figure,
comes out as a miraculous manifestation. We must not mistake--the "Ave
Maria" does not mean that it is to the Virgin the petitioner prays; it
is to a male saint.

Mr E. Corbould still is in the full ambition of water colour power.
"Jesus at the House of Simon the Pharisee," is an example of the
inappropriateness of this manner to solemn sacred subjects. The Mary is
very good--not so the principal figure, it has a weak expression: some
parts of this picture are too sketchy for others. His "Woman of Samaria"
is a much better picture, has great breadth and grace. It is rather
slight. His "Flower of the Fisher's Hut" is very pretty--a lady in
masquerade. Absolon's "Uncle Toby" is well told, and with the author's
naivete. Mr Topham's farewell scene from the "Deserted Village," is, we
think, too strong of the mock-pathetic--a scene of praying and babying.

There are many pictures we would wish to notice, but we must forbear: we
cannot, however, omit the mention of a sea-piece, which we thought very
fine, with a watery sky; a good design,--"North Sunderland Fishermen
rendering assistance after a Squall."

THE BRITISH INSTITUTION.

Having recently given some account of Sir Joshua, his Discourses, his
genius, and his influence upon the arts in this country, we visited this
gallery, where as many as sixty of his works are exhibited, with no
little interest. The North Room is occupied by them alone. Have we
reason to think our estimate of Sir Joshua Reynolds, as a painter, not
borne out by this exhibition? By no means. Our first impression from the
whole collection, not seeing any particular picture, is of colour. And
here Sir Joshua appears _inventive_; for though he not unfrequently
imitated Rembrandt, there is, on the whole, a style that is far from
Rembrandt, and is not like any other old master; yet we believe, for it
was the character of his mind so to do, that he always had some great
master in view in all he did. But he combined. Hence there is no little
novelty in his style, and not seldom some inconsistencies--a mixture of
care and delicacy, with great apparent slovenliness. We say apparent,
for we are persuaded