HOWEVER imperfectly the Royal Academy may represent the British is.

Montore, we think, succeeded best. There is another whole-length

school of painting, still its annual exhibition will be regarded as the of the I hike, by a promising young artist named Isist.Ev, (268, ) who has grand exposition of the genius and skill of our native artists—os a cri- got a true resemblance of the features, though the expression is verging

tenon of the state of the art and of the public taste in England. oil the Pantaloon: lie has invested the Dictutor-Duke with a glory of Viewed in this light, it is humiliating enough ; and we are not sur- imperial purple,— thinking, we suppose, " who colours the highest is prised that foreigners regard it with ridivule and contempt. They per- surest to please." !lawns's portrait of General Le Merchant, (2530 ceive defects in the art, the fruit of a false und inefficient system of is a fine specimen of a young officer ; it has a chivalrous eir, that makes instruction, that the public are scarcely aware of, and of which painters us lose sight of the red coat and cocked hat. MORTON'S half-length of themselves are not duly sensible—defects nisei!' atoned for by ex- Sir Charles D'Albiac, (4230 is bold and forcible: indeed these are the cellences of a high character. 'l'o the visiter who goes expecting to two most soldier-like portraits in the exhibition. In Mimes's portrait derive intellectual gratification from a collection of pictures, the result of the Honourable Mr. Bligh, (139,) the manliness and bonhommie of is disappointing—indeed it is equally unsatisfectory to those who sent- the character are expressed in the attitude and air as well as the faces tinize the means and those who regaid the end of painting. Such only These are points of character that portrait-painters generally do not as expect nothing beyond the transient sensation that a tolerable like- sufficiently attend to : they are commonly content with sketching in the ness of any thing produces in the vulgar, or are pleased with bright face from the "sitter," and painting the rest of the figure from a model coloure, pretty effects, and dexterity of handling, will alone come away —not always selecting a posture habitual to the individual. HOW imraubelhe 'satisfied. these particulars aid the resemblance, L ce, is seen in LINNL'S adm These are disagreeable and unpalatable truths, and we give utterance admirable portrait of Dr. Warren, (211.) and LAWRENCE'S of Mrs to them with pain and regret ; hot they are truths ; and if we did not Babbage, (366): in this last, the expressi or of intense thought in the think that the iiromulgation of them would benefit the art, we should eye and brow, and of compressed energy in the posture, are physiogno- be content with the more easy and less ungracious course of treating mically characteristic. In BRIGGS'S portrait of Lord Montague, (303,) the exhibition merely ss one of the sights of the season. Ilia it is though only a head, we see the mild, equable, and gentle nature of the because we desire to see the British school raised above the level of valetudinarian in a green old age. His portrait of a lady in black, mere portraiture—becanse we do ii it deepair of it, but perceive in the (27s,) is 011V 1)f the very few good female likenesses : a bland dispo- productions of the present rime of artists the geniis of liner talent im- skim' and good sense are expressed in the fine womanly features. Mrs. planted in a more healthfid soil, and trove even in the present state of CARPENTER'S bulfslength of Lady Slade, (17,) is the best ; and a more popular feeling for art the growing evidences of A juster appreciation charming and unaffectedly natural representation of femiliine grace and of what is goad and beautifid—that we dwell upon the defects as Well SWetttleSS never was portrayed : it is painted with so much delicacy and as the merits of the present exhibition. The artists complain of the letinement, that we can hardly wi-li it was more powerful. The pendant

tory makes an indifferent limner : if so, the fault is in the individual, not in the pursuit of high art. The basis of history, as of portraiture, is the delineatio of chaacter: and the practice of ennobling the history painter: the freedom and largeness of his manner, and the ter, in his likenesses, bespeak the advantages of his previous course of study. His portrait of the Duke of Wellington, No. 48, expresses sa- gacity and determination in the forehead and eyes, though the lower FINE ARTS. part is not like. But the fact is, the Duke's face, notwithstanding its stiongly marked features, puzzles the limners, simply because they EXHIBITION OF THE ROYAL ACADEMY. will be trying to make him a great man in spite, not of his teeth, but of

SECOND NOTICE—THE rottrearrs. his mouth : they are afraid to paint, as IIII draws his face, as it really HOWEVER imperfectly the Royal Academy may represent the British is. Montore, we think, succeeded best. There is another whole-length

school of painting, still its annual exhibition will be regarded as the of the I hike, by a promising young artist named Isist.Ev, (268, ) who has

tenon of the state of the art and of the public taste in England. oil the Pantaloon: lie has invested the Dictutor-Duke with a glory of Viewed in this light, it is humiliating enough ; and we are not sur- imperial purple,— thinking, we suppose, " who colours the highest is prised that foreigners regard it with ridivule and contempt. They per- surest to please." !lawns's portrait of General Le Merchant, (2530 ceive defects in the art, the fruit of a false und inefficient system of is a fine specimen of a young officer ; it has a chivalrous eir, that makes instruction, that the public are scarcely aware of, and of which painters us lose sight of the red coat and cocked hat. MORTON'S half-length of themselves are not duly sensible—defects nisei!' atoned for by ex- Sir Charles D'Albiac, (4230 is bold and forcible: indeed these are the cellences of a high character. 'l'o the visiter who goes expecting to two most soldier-like portraits in the exhibition. In Mimes's portrait derive intellectual gratification from a collection of pictures, the result of the Honourable Mr. Bligh, (139,) the manliness and bonhommie of is disappointing—indeed it is equally unsatisfectory to those who sent- the character are expressed in the attitude and air as well as the faces tinize the means and those who regaid the end of painting. Such only These are points of character that portrait-painters generally do not as expect nothing beyond the transient sensation that a tolerable like- sufficiently attend to : they are commonly content with sketching in the ness of any thing produces in the vulgar, or are pleased with bright face from the "sitter," and painting the rest of the figure from a model coloure, pretty effects, and dexterity of handling, will alone come away —not always selecting a posture habitual to the individual. HOW imraubelhe 'satisfied. these particulars aid the resemblance, L ce, is seen in LINNL'S adm These are disagreeable and unpalatable truths, and we give utterance admirable portrait of Dr. Warren, (211.) and LAWRENCE'S of Mrs to them with pain and regret ; hot they are truths ; and if we did not Babbage, (366): in this last, the expressi or of intense thought in the think that the iiromulgation of them would benefit the art, we should eye and brow, and of compressed energy in the posture, are physiogno- be content with the more easy and less ungracious course of treating mically characteristic. In BRIGGS'S portrait of Lord Montague, (303,) the exhibition merely ss one of the sights of the season. Ilia it is though only a head, we see the mild, equable, and gentle nature of the because we desire to see the British school raised above the level of valetudinarian in a green old age. His portrait of a lady in black, mere portraiture—becanse we do ii it deepair of it, but perceive in the (27s,) is 011V 1)f the very few good female likenesses : a bland dispo- productions of the present rime of artists the geniis of liner talent im- skim' and good sense are expressed in the fine womanly features. Mrs. planted in a more healthfid soil, and trove even in the present state of CARPENTER'S bulfslength of Lady Slade, (17,) is the best ; and a more popular feeling for art the growing evidences of A juster appreciation charming and unaffectedly natural representation of femiliine grace and of what is goad and beautifid—that we dwell upon the defects as Well SWetttleSS never was portrayed : it is painted with so much delicacy and as the merits of the present exhibition. The artists complain of the letinement, that we can hardly wi-li it was more powerful. The pendant to it is Alacisse's portrait ot Lady Sykes, (7,) which is very forcible, low state of taste among the (so-called) patrons of art ; %dile the

higher order of pieture-buyers, and all who seek for intellectual plea- but somewhat hard and coarse. lkim CaoreeTiat's painting of Justice sure iii painting, ccmplain of the want of imagination on the part of Coleridge, (5:11,) verges °It the crudeness of colour and flimsiness. the painters. The talent of the mass of at and the taste of the In Bruise's's portraits we desiderate greater solidity and brilliancy in public generally are, it must be allowed, pretty in nell on a level : but there the flesh tints : his loose and sketchy handling evinces peat dexterity, are higher qualities that only require the stimulus and direction that and is well enough in draperies, but it does not imitate truly the tone

the better education of mechanies ;old artists, end a system of natioual and texture of flesh. Itomiwia.r.'s flesh tints are admirable for clear- encouragement—or, as it would be termed "government patronage" ness of colour mid a rosy freshness, as well as roundness of form : see —would supply. While the svealrhy few, who give commissions or his charming portrait of a lady, (490). The painters of the present purchase pictures, look no higher than a family group, or a view of day mostly paint too thinly and superficially : we see none of the ins- their park, mil the publishers of prints cater to the taste of the many posting which we admire in TITIAN and N ANDYKE, and which REY —as they must needs do—it is only by the purchase of productions of Notsis imituted so slovenly. That brilliancy of colour which is the a higher clues as specimens of the genius and taloa of native artists to result of depth of tone and chiaroscuro is never seen in the present become the property of the country, that the character of the British day : bright, florid hues, flashy and crude, are but a poor substitute for school can be elevated. the highly-wrought effects of the great musters. EASTLAKE would The few painters who have succcessfully treated historical have pleased Queen Bess, for he paints faces with scarcely any and poetical subjects are obliged to turn to portraiture : and shadow ; we don't object to this peculiarity—indeed the error is retort upon those who complain of their neglecting the higher commonly the other way—but his two portraits of ladies, (92 and 351,) exercise of their powers, that they lack encouragement, and are weak in the extreme: they have no more substance than wafer- that even artists must live. nacos painted historical pictures for paste, and the modelling of the features is almost wholly neglected: years without selling a picture. Histoe has been equally unsuccessful this, combined with the literalness of his likenesses—of which the .--though he eschews portraiture. Iltauoses misfortunes are noto- portrait. of Lord Essex, (486,) is a ludicrous example—produces ex- lions. ETTY now and then makes a great effort, as he has this year, tretne feebleness. His whole-length of Mr. Wingfield,(120,) is almost ,upon the strength of his smaller pictures, which are sold for the mike free from this defect, and is an excellent picture : but his miniature of their rich colouring. Easmake is getting to portraiture, though style wants the power requisite for painting the life size : this is the rea- lm dues not forsake the higher walk. Wattle is indefatigable both son of his failure in portraits. Nothing can be more delicately true than -ways. LESLIE exercises his fancy so little, that one would suppose lie the expression of them all : it is impossible to mistake the character of snmet be occupied with humbler subjects. LANDSF.ER seems to have any one individual : the colouring is chaste and clear, too ; the execu- ,enough to do to immortalize the aristocracy and their four footed pets. tion only wants force and finish. WILKIE'S painting is unsubetantial,

an but his effects are powerful. His portrait of the King, (67,) is an

In short, portraiture is the rule—invention the exception. This is exhibition of a corporation of limners. Portraits hold the first rank in identical and lively resemblance, and it is more fresh in colour than the Academy ; the President is a portrait-painter; and no sooner does usual with WILKIE. Nothing can be finer than the head of the man an artist become a member of the Academy than he takes to the pro- reading, with the shadow of his face thrown on the books (431): it is

*table trade, instinct with life and thought, and notwithstanding the peculiarity of

We do not think that painters of history should refrain from por- the manner, is evidently the wotk of a great pninter. His portrait traiture ; but we complain that they are induced to devote themselves of Lord Tankerville, (180,) has the appearance of being a cbaracteris- "holly to it. It is so far from being unworthy of a great painter, that tic likeness, and is a fine picture. We have selected this group of per- its practice constituted the fume of TITIAN and HOLBEIN, VANDYKE traits as being especially admirable for strong individual character —the and VELASQUEZ, REMBRANDT and REYNOLDS. A really tine head by chief excellence of portraiture, wanting which all else is worthless, and a painter of genius is a noble and interesting object of contemplation : the possession of which may excuse great defects. There are two we read the character of the individual in the work. Portraiture is to others that occur to us ; one of them the portrait of a young men, by the higher branches of art what biography is to history and poetry: Einms, (4040 which has the rare merit of apparent uncoils:Aims:less it demands the utmost skill of the finest painter, to "show the mind's that lie is sitting for his face: it is perfectly unconstrained in look and completion in the face : " but an exclusive devotion to it, by allowing air ; the attention is not called to the attitude or the dress. The no scope for the imagination and a very limited range for the invention, painter has evidently studied it from a portrait by TITIAN, and has had narrows the field for the exercise of genius, and begets a mannerism by the good taste to put a dingy glove on the hand, instead of new lemon- the facility acquired by practice, and the want of interest in the pus- coloured kid : in the original the glove is soiled and torn, which the suit. The painter gets a knack of hitting off a likeness so as to tickle grset painter introduced for its quiet effect of colour—an artist of the the vanity of such us: are only desirous to look handsome or genteel; he present day would not venture to do such a thing—end a fashionable is content to seek for character no deeper then the surface, and cares sitter would never consent to it. The othet is a head. of the painter him- self, J. R. WiLDHAN, (5320 an uninviting-looking person as needs be; but be has portrayed himself with such fidelity and power, that the ugliness is lost sight of in the meaning of the face. The painting is more on the system of the old painters than any in the exhibition : it Is highly wrought, and the texture and colour of the flesh and hair are imitated to perfection. This is true refinement. Sir MARTIN SHEE, if he had bad the misfortune to deal with such a bead as this, would have rouged the cheek and lips, oiled and curled the hair, made the squint invisible, and turned out an insipid face ugly in spite of the flattery, but unredeemed by the interest which character gives to the most unprepossessing countenance. Sir MARTIN is the beau ideal of a fashionable limner—the " Mister Smirk" of the day : his portraits have an air of perking self-complacency and assumption : they are painted smoothly, and glow with bright colours and varnish, so that the eye glances over them as the mind does over polished commonplace: it requires an effort to stop before them—there is nothing to arrest the attention or repay examination. Look at his portrait of the Queen : Sir WILLIAM BEECHEY'S was better, for it gave the peculiar look of the eyes ; but here that characteristic is lost, and we see only an ordi- nary woman in a showy dress, that seems neither to belong to nor be- come her, standing for her likeness. There is more of individuality In Sir Bethel Codrington, (174,) and the head of a gentleman, (394,) looks unaffected and life-like. " A Jew Rabbi," (123,) is a specimen Of Sir MARTIN'S conventional style of painting : that venerable air which a long gray beard gives to the most vulgar face is exchanged for a smug comeliness.

PHILLIPS'S portraits have more truth, and are less sophisticated; but be tames down the expression of the face to a gentlemanly propriety. The Duke of Roxburgh, (52,) Lord William Bentinck, (87,) Ser. geant Atcherly, (432,) Mr. Currie, the Mayor of Liverpool, (12,) Mr. Spottiswoode, (336,) and the Bishop of Lichfield, (284,) are all likenesses, no doubt, and they are clever pictures too ; but there is a 'vagueness in the indication of the salient points of individual character: the persons appear not as they actually are, but as the painter thinks they ought to be The difference is like that between the manlier of people in general society, where good-breeding veils idiosyncracies and suppresses strong emotions, and the conduct and feelings of the man at his domestic hearth. PICK ERSGILL'S likenesses are more literally correct, but they evince a want of depth and refinement of observation, and they too are dressed in the holyday look. Lady Hill and her child, (185,) make a very pleasing picture : it has a look of delicacy and sweetness and an unpretending air of gracefulness, that win upon the spectator. Sir John Conroy, (72,) certainly looks like a favourite of fortune, and Lord Hatherton, (425,) appears to be employed in holding

• book in such a position as that his portrait should pair with that famous one of his lady by LAWRENCE, and thinking of nothing else. The Duke of Norfolk, (264,) is a very respectable-looking elderly gentleman. The portraits of these three limners all partake more or less of the common but capital defect of sacrificing truth of character to comeli- ness and gentility ; which we have shown prevails most among those artists who paint nothing else. In the same category may be placed LUCAS'S portrait of Lord Munster, (279) ; and also SAY'S female portraits—Lady Johnstone and her daughter, (170,) Lady Rycroft and her son, (3710 and Lady Caroline Turner, (516,) which, though very pleasing and graceful, and cleverly executed, look too much like the

work of one artist—that is, they have more of the painter's manner than of the sitter's. We were sorry to see the name of HOLLINS to a stiff and formal whole-length of Miss Emily Macdonald. RAmsAv's portrait of Dr. Lardner, (436,) is a libel upon that learned person, who certainly has not such a truculent aspect. A portrait of the Duke of Beaufort, by Gust', (71,) represents a coarse and brutal physiognomy, but of the resemblance we give no opinion. H. ROOM has painted good likenesses of John Barnett the composer, (89,) and Morris Barnett, the actor, (42t). Last, though not least in merit, comes Dr. Chalmers, in his ministerial gown, tottering, (for he does not stand firmly on Lis legs,) with his bead bent forward, his half veiled eyes and thin lips expressive of subtle thought, with a dash of the cunning and reserve of the sophister. This is the most successful effort of WATsoN,Gon- noN's pencil.

The portraits by Mrs. J. ROBERTSON, SIMPSON, and Worn), a hoc germs °nine, constitute ;the mass of mediocre performances ; but there yet remain some isolated points of excellence in this class which we may take up among other gleanings hereafter.