All men are critics, in a greater or less degree.  They can generalize upon the merits and defects of a picture, although they cannot point out the details of the defects, or in what the beauty of a picture consists; and to prove this, only let the reader visit the Exhibition at Somerset House, and watch the little critical coteries that collect round the most attractive paintings.  Could all these criticisms be embodied, but in “terms of art,” what a fine lecture would they make for the Royal Academy.

Our discursive notice would, probably, contribute but little to this joint-stock production; but as even comparing notes is not always unprofitable, we venture to give our own.

The present Exhibition is much superior to that of last year.  There are more works of imagination, and consequently greater attractions for the lover of painting; for life-breathing as have been many of the portraits in recent exhibitions, the interest which they created was of quite a different nature to that which we take in not a few of the pictures of the present collection.  Portraits still superabound, and finely painted portraits too; but, strange to say, there are fewer female portraits in the present than in any recent exhibition.

But the elite are seven pictures by Mr. Wilkie, who has reappeared, as it were, in British art, after an absence from England; during which he appears to have studied manners and costume with beautiful effect; and the paintings to which we allude, are triumphant proofs of his success.  They are embodiments or realizations of character, manners, and scenery, with which the painter has been wont to mix, and thus to transfer them to his canvass with vividness and fidelity—­merits of the highest order in all successes of art.  We shall touch upon these pictures in our ramble through the rooms—­

4. Subject from the Revelations.—­F.  Danby—­A sublime composition.

10. The Fountain:  morning.—­A.W.  Callcott.  A delightful picture.

14. Rubens and the Philosopher.—­G.  Clint.  The anecdote of Rubens and Brondel, the alchemist, remarkably well told.

16. Benaiah.—­W.  Etty—­The line in 2 Samuel xxiii. 20., “he slew two lion-like men of Moab,” has furnished Mr. Etty with the subject of this picture.  It is a surprising rather than a pleasing composition; but the strength of colouring is very extraordinary.  The disproportions of parts of the principal figure will, however, be recognised by the most casual beholder:  although as a fine display of muscular energy, this picture is truly valuable, and is a proud specimen of the powerful genius of the painter.

28. Waterfall near Vatlagunta, in the peninsula of India, in the mountains that divide the Coasts of Coromandel and Malabar:  its height between 500 and 600 feet.—­W.  Daniell.—­The sublime and stupendous character of the scenery will enable the reader to form some idea of the difficulty with which the artist had to contend.