SECOND NOTICE.
LAST week our attention was directed to the most prominent features of this Exhibition ; this week we propose to scan its minuter beauties. Our glance at these lesser points of attraction must be rapid: we shall
indicate rather than describe them. Nor can we hope to notice every production of merit : from a collection of upwards eleven hundred works of art we cart select comparatively few examples. In the class of HISTORICAL AND POETICAL DESIGN,
We have not left many to characterize. Of the veterans, Iliurosi has only one small picture-a nymph directing the aim of a Puck:like Cupid (136) ; HOIVARD exhibits three tame claseical designs of Night, the Hours, and Pandora (243, 4, 5), painted for compartments in a ceil- ing in Sir Jone SoAer's house, which they will worthily occupy; and WESTALL WO Of his 11/1111 and elaborate MaliDeTISIIIS. STEPHANOFF'S " Cranmer revoking his Recantation" (267), is in many respects meri- torious; but too feeble to make an impression adequate to the interest of the subject. Let us turn to the youtiger artists. HART itaS made an advance in power of execution since last year ; but his " Richard the First and Saladin" (39)), is may an imposing failure. The scene is from Sir Waeren SCOTT'S " Tri1iSID111)," where Suladin, disguised as an Arab physician, is attending on his CM istian foe. The incident is altogether misconceived, Richard's look and action are those of a madman ; Sabath' is more like his assmned character than his real self; and the looks and gestures of the knights are more appropriate to the artist's view of the eubject than the author's description. In Amese's " Moorish Lote-letter" (49), the fair captive seems list- lessly playing with the dove, not as if sending off her winged mes- senger of love ; while the black slave looks like an Othello. " Prayer" (146), by Ilman.wr-a daughter by the bedside of her sick mother- is admirably painted, but not well conceived. The girl's look is too calm and self-possessed, as if she were svatehing her sleeping parent, not coetemplating what appeers to be almost her dying aspiration. We would recommend this talteited young artist to study unity of purpose in his conceptions, or his beautiful exermion a ill be thrown away. " Shakspeare reading one of his Flays to Queen Elizabeth " (842), by JOHN WOOD, is a subject beyond the artist's powers : his fancy is not sufficiently vigorous. Ile has given Shukspeare .a manly, sensible hetet ; but the countenance does not come up to the idea we have of the great poet of human nature. Queen Liizabeth's face is not like her portraits. The pieture is too gaily coloured, and week in cream.
UNIVIN'S " Fusta della Mationtla del ATCO" (283), is a gay,
sunny scene; only wanting a little more animation and movement. In " The Boy's Swig of Love" (-2B1), LTWINS repeats himself. The group with the light behind is similar to one III it former picture. " A k'erry on the River Ninfa-a Scene in the Pontine Abashes," by P. Wir.LiAms (22(3), though too hot in colour, is strikingly charac- teristic. The bandit and his family in the boat look a little too senti- mental, perhaps ; but the group is an interesting one nevertheless ; and the figure and action of the almost naked ferryman shoving off the boat are admirable. In " The Response to the First Serenade" (397), by Rcernweer., the shamefaced look of the gill is not so genuine as the laugh of her attendeut ; and the colouring is not agreeable. his " Kate Kearney " (28)), is sprightly. LINNELL has agreeably surprised its wiih a picture of a sacred subject, " Christ's Appearance to the two I)iseiples journeyiug to Emmaus" (169). The homeliness of the style accords with the primitive character of the subject. The sendment is riot sublimed, but it is genuine and natural, Claist and the Disciples are only ordinary men; but they :ire real characters, and earnestly sympathize with each other. There is fine expression also in another Script oral eobject, " Ruth, Orpah, and Naomi parting " (405), by G. S:errn. " Meditation " (277), by 'WYATT; " Venus " (194), by P.A.rrnx ; " The Bride of Laninnumuir" (387), by H. MONTAGUE; " The Antiquary Posed" (268), by T. BRIDGFORD; " Expectancy" (l59), by C. LANDSEER; War's Alarms" (197), by FRASER; " Gipsies" (91), by F. GRANT, we had also marked for notice.
SCENES or RUSTIC LIFE AND COMIC CHARACTER Are comparatively few. KNIGHT'S " Tam O'Shanter" (406), is a
hearty and congenial picture of the jovial scene, and painted in a broad and vigorous style, appropriate to the subject. " The Last In" (10a), by Muteeanv-a village-schoolmaster saluting with a profound bow of mockery a lagging scholar-is spoilt by effort and over elaboration. WEBSTER manages these subjects much better ;-see his " Bird- Catchers "(92), where the humour is lively nod the execution free, neat, and clean. With what freshness and truth he has treated that stale subject " The Intercepted Letter" (295). " The Farmer's Horses. and Servants going out in the Morning" (144), by Woon- WAIID,1S a delightful picture of rustic life and character in its most attractive shape. The carter is courting the milkmaid, who listens to his " soft nothings" with bashful pleasure. WOODWARD here shows that he can paint men and women as well as he does animals : he rivals WITHERINGTON, whose picture of " The Ferry" (200), is not more characteristic nor better painted. COLLINS is not what he used to be; but the feeling and nature in his pictures make them always pleasing. In " The Mariner's Widow" (126), and " Welsh Peasants -crossing the Sands to Market" (180), we forget the feebleness of the execution in the subject. This last picture, however, belongs to the -class of
LANDSCAPE AND SCENIC PICTURES.
• A second glance at STANFIELD'S pictures confirmed our preference of Livonzi (8); though the" Fisherman's Abode" (315), is one of his best works. His " Marine View on the Coast of Normandy" (366), is not equal to either; the sea is not fluent. CONSTARLE has spoiled a charming rustic scene, " The Valley Farm " (145), by show- ing it (as usual) as if a shower of sleet were falling from a summer sky. Be prefers his mannerism to his fame. J. J. CHALON, we are pleased to see, has changed his muddy tints for a bright and clear colouring. " The Embarkation " (241), is a gorgeous scene of a party embarking in pleasure-barges on a lake. LEE'S cool green woodland landscapes, " Penshurst Park" (211), " Woodcutting" (227), and " Bolton Abbey" (399), convey much of the appearance of out-door nature in our cloudy atmosphere; but they have all his usual defect.- colness, hardness of texture, and want of atmosphere. Anteaen's moonlight effect, " Coast of Brighton" (259), is true to nature as far as the clouds are concerned ; but the painting is too smooth-the solid objects want texture. Of DANIELL'S Indian scenes we tire by repetition: we always seem to have seen them before. His view of the Citadel of Agra (304), is interesting. The Cathedral of
Burgos, as represented by ROBERTS (339), fails to impress us by its stately magnificence, on account of the unpleasing manner of the artist : the scene has not the aspect of nature. JONES, whose man- nerism resembles IloereTs's in some degree, makes his Views of Cologne (82), and Antwerp (81), (otherwise clever pictures) dis- agreeable. E. W. COOKE, who is new to the practice of oil-colours, exhibits two fresh and truthful water-pieces (292 and 350), which manifest talent of a genuine description. In marine subjects, SEA- FORTH'S scene from time Pilot, of the American Frigate bearing up and making all sail on discovering the English three-decker through the fog (181), and H. PARKE'S " Wreck of Ancient and Modern Splen- dour,"are meritorious. STANLEY, CRESWICK, VICKERS senior, F. C. LEWIS, 'MARSHALL, ROGERS, and LANDELLS, exhibit landscapes that deserve and will attract attention.
In looking at the PORTRAITS,
We can only hope that the majority have more value as likenesses than they possess merit as pictures. BRIGGS by his noble productions has redeemed the character of the Exhibition in this particular. We last week expressed our admiration of his portraits of Lord Eldon and Mrs. Austin : those of the Dowager Countess of Cork and Orrery (174)-a beautiful and delicate painting-of Mrs. Jameson (327), of Charles Kemble (846), and Llanelli., (262), are equally sterling in point of character. The digeity of portraiture is vindicated when a master of the art exercises his kill. It is a very mistaken notion that a great artist COfl(lC.54(Ild in puinting portraits. The old masters did not think so. The study and practice of epic painting exercises that mental refinement which is necessary truly to represent thecharacterin the face. An intellectual likeness of an individual is worth a score of unmeaning " fancy beads ; " and a really line portrait is of more value than an indifferent history-picture, as geittline truth is better than abor- tive frincy. With us the qualification required for a portrait-painter would seem to be the inability to attempt any thing beyond. The only quality that a paieter of portraits can dispense with, which a history- painter should possess, is imagination ; end that is precisely the one which our painters of poetical subjects possess least of. Howarte's faneles are insipid ; but we see whet a living likeness of Alatic Watts he has painted (347). We have seen portraits by Buffos and studies by Eeev, too. that we prefer to many of their inventions. Had PICK.. ERSGI LT. studied the art of design, lie would not have made the Duke of Wellington look ludicrous in the attempt to put him into an impos- ing attitude. His whole-length portrait of Bryan liolme, Esq. (73), is good, because it is unostentatious: there stands the man, as we sup- le may be seen any day in his office, if the character of the face and figure is preserved and the attitude is babitual,-for this, the only excuse for a whole-length portrait with ordinary costume, is too much neglected. PICKERSGILL'S whole-length portrait of Mrs. Fiddle (125), is a beautiful piece of costume-painting; though the attitude is neither graceful nor easy. We prefer his half-length of Lady Augusta Baring (11). PHILLIPS'S portrait of Mrs. Preston (38), is his best ; the ex- pression is unaffectedly agreeable, and it seems to be a characteristic likeness-the painting too is masterly. Lady Pollock (68), is not pleasing ; bow far it is like, we are not able to judge. Mrs. CARPEN- TER'S portrait of Colonel Agnew (87), is one of the best heads in the room. We can only enumerate, as worthy of attention, LINNELL'S miniatures in oil of Mr. Spring Bice (322), and Mr. Phillips the por- trait-painter (4.2); Rirrinverees of Sir Coutts Trotter (43), and Captain Basil Hall (36(3); lVarsoe GORDON'S of the Earl of Dal- housie (25); Moieroses of Lord Frederick Fitzclarence (1); WOOD'S of AIr. Cartwright, the dentist (173); CHINNERY'S of Lieutenant Holman, the Blind Traveller (134) ; ELLERRY'S of Gibson the sculptor (412); SAY'S of Sir W. Follett (193); LUCAS'S group of Sergeant Tallourd's Children (362); and other separate portraits by BEECHEY, HOLLINS, GEDDES, CLINT, FISK, H. L. SMITH, SIMPSON, FAULKNER, PARTRIDGE, EVANS, GRANT, CORRF.T, and Gust', of less known persons. From the portraits of human beings, we turn to the studies of
ANIMALS; In which Enwre LANDSEER of course takes the lead. Of his great picture we spoke last week. His group of" Favourites," the property of Prince GEORGE of Cambridge (303)-a white horse and two dogs isthe perfection of imitation. ABRAHAM COOPER'S portrait of Pleni- potentiary (223), is the most interesting of his series of horse-pictures. SIDNEY COOPER has painted a Bull and Cows-" Stock "-(365), on a larger scale than usual ; but his miniature style is not so effective as in his smaller works. The painting wants breadth and force ; in finish it is exquisite. We must pass by the rooms below-only casting an admiring glance at ALFRED CHALON'S water-colour portrait sketches in the miniature- room-to get to the SCULPTURE ; Which is stowed in this closet for the last time, we hope. Next year, the Academy Exhibition will most likely take place in the New Na- tional Gallery, half of which is allotted to this purpose. GIBSON'S "Sleeping Shepherd Boy," in marble (1048), has all the ease and un- affected grace of nature ; the muscles seem relaxed as in repose. His statue of Paris in plaster is a graceful figure, but it wants interest. BAILEY'S" Mother and Child" (1046)-a recumbent group in marble- isexceedingly beautiful. The form is of ample proportions, and elegant withal; its position is unconstrained and negligent, yet graceful; and the face is lovely in feature and expression, and real-looking. The hand that embraces the infant seems instinctively conscious of its charge. Wesratecorr's marble statue of a female kneeling, "Devotion (1045), WYATT'S, of a" Nymph of Diana" (1047), MACDONALD'S of a" Girl and Carrier-pigeon" (1051), SHARP'S of " David" (1074), and two mo- numental alto .relievi by WYATT (1133), and SIEVIER (1134), are all works of merit. Of the Busts, the only one that is seen to advantage, is JOSEPH'S of the King (1052) : it is characteristic in feature, with a proper regal air. An alto relievo by J. HENNING junior (1060), is a beautiful composition, and well modelled. Two sketches in plaster
The Dream of Jo" (1059), by M. N. WATSON, and "Sorrow "• (1093), by TIMBRELL-display fancy and feeling that premise future excellence.
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