Amongst the scriptural and mythological paintings, those of Mr Patten and Mr F. R. Pickersgill attract at least as much notice as they deserve. Besides portraits, Mr Patten has contributed three pictures. His _Susannah and the Elders_ is remarkable as being the most decidedly indecent picture exhibited this year. The subject is not a very pleasing one, and, to our thinking, has been painted quite often enough. But this is not the question. Mr Patten has put his version of it out of the pale of propriety by his mode of handling it. There is nothing classical in his treatment, nothing to redeem or elevate the nudity and associations of the subject. His Susannah is simply a naked English girl, with a pretty face, an immaculate cuticle, and something exceedingly voluptuous in the form and arrangement of her limbs. There is no novelty of conception in the picture, nor any particular merit except the colouring, which is good, but not equal to that in No. 446, _Bacchus discovering the Use of the Grape_. This is a pleasanter subject, cleverly treated, displaying more originality and much better taste. The flesh-tints are capital, and the picture altogether does credit to the painter. _Venus and Cupid_, by the same artist, is chiefly remarkable for a plaster-of-Paris dove of an extraordinarily brilliant and very unnatural effect. As to Mr F. R. Pickersgill, we should like his pictures better if he would not imitate poor Etty, whose memory, be it parenthetically observed, has been little regarded by those who have exhibited that most coarse and unpleasant picture, _The Toilet_, No. 276, a specimen of the deceased artist's worst manner. Mr Pickersgill's _Samson Betrayed_ is, there is no denying it, a very unsatisfactory composition. His red-haired Dalilah is graceless and characterless. Samson, recumbent in an attitude in which no man ever slept soundly, seems prevented only by a miracle from slipping off her knees. Two girls, instead of getting to a safe distance, are hugging each other in terror within reach of the giant's arm. There is scarcely an attitude in the picture that is not strained. In the conception there is an utter want of novelty of circumstance. The whole picture is deficient in originality. The eye wanders over it, seeking some feature of special interest or striking beauty whereon to dwell, and finds none. Mr Pickersgill has good qualities, but the spark of fancy and genius which alone can complete the great painter, is, we fear, wanting in his composition. We turn with pleasure to Leslie's pictures. Were we disposed to find fault with this very agreeable artist, our objections could only be technical. With want of imagination, and feeling for beauty, none can tax him. Two of his three pictures contain the sweetest female faces in this exhibition. How admirably has he interpreted Shakspeare's description of Beatrice stealing to the woodbine bower, to play the eavesdropper on Hero and Ursula.