THE PANTHEON GALLERY.
A new lot of pictures covers the much-suffering walls of the Pantheon Gallery : but this time it is a collection by no means destitute of interest, and comprising some works which raise it above all competition from the minor picture-shows of the year. Haydon's Nero and Aristides are re- stored to this gallery, where they were first hung about the time of the painter's death ; they are accompanied by a sketch for a picture of the guillotine-cart in the French Revolution, which was to have formed one of the series illustrative of Government, and by two portraits ; as also, we need hardly add, by the perennial Lazarus. There are also paintings by Von Hoist, sketches by Wilkie and Millais, historical art by the bro- thers Foggo, a study by the late Mr. Deverell for his picture of Hamlet, and lesser fry enough to fill the space, not always amiss. But the real attraction of the gallery are the works by Anthony—of which there can hardly be fewer than a score—from " bits " and costume-studies to com- pleted pictures in that unexampled but real system of finish of which he possesses the secret. As a body, the whole set are admirable specimens. A moor-scene and a manorial terrace are among the artist's very best works ; but one, a sunset behind a sea of absolute blue setting on sullen fire a corn-field from which the reapers are trooping home, is a glorious flood of colour, a canvass changed into a flash of nature, perfectly entran- cing. One is almost tempted to exclaim that Anthony is the first man who has found out what colour means. To all readers we say, see it and be- lieve,—or don't believe, if you won't.
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