27 APRIL 1850, Page 19

THE ARTS.

NATIONAL INSTITUTION.

Raisiovan from Hyde ParkCorner to Northern Regent-Street, the "Free Exhibition of Modern Art" becomes the "National Institution," admis- sion one shilling ; but still with a liberal regard to the poorer classes, which aright be imitated by older and wealthier institutions, the present one proposes to open its doors for the last fortnight of its season gratuitously. The four rooms which it now occupies are not so handsome as the great gallery at Knightsbridge ; but the separation into separate rooms is, we think, advantageous in-breaking a 'certain tedium and monotony ; even the beautiful long gallery at Florence is-relieved by the interruption of outstanding sculpture and by side-rooms. The collection of pic- tures now open is creditable to the new institution ; it comprises an abundance .of meritorious landscapes, some "sketches" and un- disciplined vagaries that had better not have seen the light, and several works indicative of power. R. S Lauder is a favourable specimen of the regular English school,—colouring according to the Eng- lish fashion, drawing fairly, throwing more action into his design than is quite common, and -telling his story well. Desanges has considerable rigour,—run to seed in his " Crucifixion," "a sketch" ; but matured in his Excommunication of King Robert and Bertha—a couple who offended and defied ecclesiastical authority. Deverell is absurd,—aping the im- perfections with the earnestness of art on its revival after the middle ages, and-evincing-a life and power which render hispervense self-abandonment the more exasperating. Can he paint by the light of common sense as well as he can in the style nonsensical ? for if he can, he might be a powerful painter : as it is, he is little more than a powerful practical joker, a self-burlesquer. Discipline is the consummation of high art ; a truth that ought not to beforgotten-by the republic in North Regent Street.