Malatesta family, one of the most ferocious of whom was a great patron of art?

We have indulged ourselves at such length in these passing notices of art and manufacture, that we must dismiss, with a somewhat unpatriotic brevity, the other part of the Exhibition-the copies from originals and from Nature sent in by students of the various Government Schools of Art, established throughout the kingdom. Indeed, we could take no very long view of them, and therefore must not be understood as throwing any slur upon those on which we are silent, when we say that we were most struck with the "Flamingo" of Miss Olden (No. 10); the "Madre Dolorosa," (from Carlo Dolce?) by Miss Gunthorp (No. 24); the "Magdalen," from Correggio, by Mr. Bowen (No. 27); the "Money-getter," (we know not from whom) by Mr. Collinson (No. 32);

THE SCHOOLS OF ART.

83

Fruit," by Mr. Gibson (No. 47); the

Study of Ornament in Colour," by Mr. Ellison (No. 101); and those after "Cuyp and Crivelli" (each wrongly referred), by Mr. Armytage. The "Flamingo" is admirably coloured, only we wish he looked less like an ogre, with that long beak of his, holding the eel. It is all true to nature, no doubt; but why need ornithological painters select only those moments? The "Madre Dolorosa" is very dolorous, and well done; but we have little faith in the permanent dolour of those cheeks. This, however, is the original's fault, and not the copyist's. For the real, natural grief, the amiable, surprised, and patient regret, in the face of Correggio's "Magdalen," we are most thankful, because we feel certain that it brings the original before us; which cannot be said of a late beautiful engraving of the

subject, very lovely, but not at all sorrowful. The "Fruit" is partly bruised with its own ripeness, very true and beautiful. The "Ornament in Colour" is truly graceful and consistent; hangs charmingly together; and the "Cuyp and Crivelli" carry with them their testimony to the fidelity of the copies. These works are all up-stairs; chiefly, we believe, in the garrets. They look as if

parcel of artists had fallen in love with the maid-servants, and hung their dormitories with evidences of their homage.

Little need be said of the grounds belong

ing to Gore House.

Turf and trees are

good things, with or without flowers; and the grounds are of unexpected dimensions, considered as appurtenances to a suburban residence; but, as Johnson said of a dinner, that it was a good enough dinner, but "not a dinner to invite a man to," so it may be

GORE HOUSE.

85

said of the Gore House grounds, that they hardly sustain the dignified announcement of being "thrown open to the public;" especially as this "throwing open is confined to the visitors who have paid their way to the cabinet-work. You must think of the late fair possessor, Lady Blessington, to give an interest to their pathways.

CHAPTER V.

NEW NATIONAL GALLERY-KENSINGTON NEW TOWN

-AMBITIOUS SUB-URBANITIES KENSINGTON HOUSE

-DUCHESS OF PORTSMOUTH-ELPHINSTONE, DOC

TOR JOHNSON, &c.

THE estates purchased by the Commissioners for the site and grounds of the new National Gallery include those just described, which consist of about twenty acres; and it will, probably, when all the purchases are completed, approach to a hundred. It widens as it goes south, and reaches to Old Brompton.