a proportion of the loungers through an exhibition being more readily attracted by a piquant subject than by artistical skill. And probably no subjects are more generally popular than those that may be styled the homely-historical; scenes in the private apartments of royalty; the personal adventures and perils of princes, whether in the palace or the prison--on the steps of the throne or the verge of the scaffold. There is a fair sprinkling of such pictures in the four exhibitions now under notice; and as we have no pretension to be otherwise than exceedingly desultory in this article, whose limits, and the heterogeneous subject, preclude our being otherwise, we will at once dispose of such of them as deserve notice, and have not already received it, commencing, in order of catalogue, with Delaroche's picture of _Cromwell looking at the dead body of Charles I._ This is a picture concerning which the most conflicting opinions have been uttered. It has received fulsome praise and unwarranted abuse. Some have lauded it as perfection merely because it is by Paul Delaroche; others have decried it with a virulence and injustice warranting the suspicion that some envious brother of the brush had temporarily abandoned the palette for the pen, and applied himself to slander merit he himself was hopeless of equalling. We are aware but of two valid objections that can fairly be made to the picture. The subject is certainly ghastly and horrid; but, on the other hand, it has been rendered as little so as possible by the consummate skill and good taste of its treatment. And none, we think, but the very fastidious, will dwell upon this point. The other objection (technical only) is to the coppery tone of colouring of certain parts of the picture, particularly of the flesh. This premised, we are aware of little else that can fairly be alleged against this very fine picture. The countenance of Cromwell certainly does not agree with the most authentic portraits that have been handed down to us, or with the written and traditional accounts of his features. The artist has idealised his hero--has abridged his nose, increased his under jaw, and thrown nearly the whole expression of the face into and around the mouth. M. Delaroche having taken such liberties, we ought to be particularly grateful to him that he has not gone farther, and, in aiming at a great effect, fallen into exaggeration. Out of twenty French artists, nineteen, we suspect, would have given us, with the strong and dangerous temptation of so striking a subject, an unpleasant caricature. It has been objected that the face is deficient in character and expression, and would perfectly suit any one of Cromwell's Ironsides, who through curiosity should have lifted the lid of the deceased monarch's coffin. It is, to our thinking, an evidence of skill on the part of the painter thus to have left the expression doubtful--a matter of speculation to the beholder. We interpret it as merely meditative.