FINE ARTS.
ROYAL ACADEMY EXHIBITION.
RESUMING our rapid glai.ce at the most striking points of attraction in the show of paintings in the Middle Room, we commence with another of EDWIN LANDSEER'S inimitable pictures of animal virtue, in which grandeur and comicality are blended with an imaginative feeling. " None but the Brave deserve the Fair," (369,) is the motto-title of a pitched battle between two stags, whose cause of quarrel it indicates : this is no less expressively portrayed, however, in the intense interest of the two herds of does and lawns that throng the rocky ground of the combat, awaiting the issue with pricked-tip ears and sensitive noses, and limbs prepared for instant motion. We may fancy it a scene in un Iliad of Deer: the antlered chiefs, the Hector and Achilles of the tribe, and the shadowy form of some old veteran on the height, a Nestor or Priam, watching the event, belling to the distant hosts to rally round their leaders. The gravity of the lookers-on has a very ludicrous effect. This is the poetry of animal -painting. Near to it are two beautifully- finished and carefully-studied designs by CHARLES LANDSEER—" A Parting Benediction," (326)—a knight receiving a monk's blessing before leaving his ladye-love to go to the wars ; and "Queen Beretigaria supplicating Richard the First for the life of Sir Kenneth," (350): but both are deficient in vigour and elevation of character and intensity of expression. This accomplished young painter soars above the strength of his pinion. Another chivalric subject, " The first Cru- saders in sight of Jerusalem," (2320 has been treated with greater depth of sentiment and felicity of expression than power of execution, by J. SEVERN : but Rome, where this artist resides, though one of the best places for the study of pictures, is the worst for the practice of painting. The effect of sunrise on the cold gray morning is well represented, and assists the sentiment of the subject ; lighting up the countenances of the Crusaders, as we fancy their hearts to be illumined with the flame of devotion and the dawn of hope. A less heroic scene, "The Finale of a Venetian Masque at the Summer's Dawn," (400,) has been depicted with taste and fancy by the same artist ; who evinces invention and refinement that we would fain see combined with a bolder style and more transparent colouring—less dry and meagre, and more finished. G. PATTEN has chosen a theme beyond his power in "The Passions, from Collins's Ode," (270)—and one, moreover, admitting of no medium between success and failure : as an Academic essay it is a creditable performance.
J. P. KNIGHT has been happy in his choice and treatment of the subject of his picture, " The Saint's Day," (323); a party of aged dames, the inmates of almshouses, sitting in state to receive the con- tributions of the charitable. The old women's looks benefit by the robustness of the artist's style ; which also gives a ruddy ripeness to the face of the young mother who leads her boy forward to put his penny into the box, and makes the glutton who is treating himself to the grapes look still more plethoric. Contrasted with the vigour and geniality of this picture, the meagre and literal manner of PooLe is too pauper.like ; but the humble pathos of " The Emigrant's Departure," (2660 is so touching and true to nature, that it seems proper to the subject. The feelings, suppressed by penury and privation, here burst forth at the parting moment : not less eloquent of suffering is the -emigrant's furtive look at his blind old father, than the tears of the women and children. A glance at "A Remembrance," (2420 by ROTHWELL—a very pleasant one, of a couple of unaffected beauties in -II box at the theatre—restores our equanimity. A whole-length por- trait of T. M. Alsager, Esq., (2820 by Bluees ; another of Charles Bruce, Esq., (34I,) by PICK ERSGILL ; and Putt,hies's portrait of another legal functionary, " Sir William Alexander, late Chief Baron of the Exchequer," (274,) are admirable, not merely for likenesses, but as pictures. A portrait of Mrs. Maberley, by Wit.xle, (275,) ought to be the last fashionable beauty he paints : be can't do it—he should leave the task to those who can do nothing else. What a contrast to this is one by Barnes, of a lady in red, (2630 which has such strong individual character that you seem to become acquainted with the per. son. Directly under it is another and more fascinating study of female character, " The Honourable Mrs. Callender," (264,) by LAU- RENCE—a beautiful brunette in the glow and ripeness of her charms, with an arch look of her roguish eye, and a lip of cherry red. The background is opaque and out of harmony, but the head is painted con amore, with a full and juicy pencil, and is the most charming specimen of feminine loveliness in the exhibition. The principal attractions of the West Room, besides EDWIN LAND- BRER's noble Newfoundland dog, are a marine piece, by CHLLCOTT, with stormy effect, (424) ; "The Way-side Inn," (556,) by CHESWICK, a sweet, fresh landscape with waving trees, that chequer the ground with cool shadows ; one of COOPER'S exquisite cattle-pieces, "A Halt on the Fells, Cumberland," (385) ; a moonlight by O'CoNNoR, (527,) in which the effect of the moon suddenly emerging from the clouds is imitated to perfection ; and the few clever designs following. "Venues Travellers' Repast," (386,) by COPE : a group of Italian mendicant musicians, a party of German pedestrian students in a high state of vinous enthusiasm, and a Cockney tourist disputing payment with the host—an incident depicted with the graphic humour of HOGARTH—are the most striking points in this amusing picture: for variety and truth of character it is admirable. W. SaMsoN, not the well-known portrait-painter, but a young designer of great promise, has told the anecdote of Cimabue discovering Giotto, when a shepherd-boy, draw- ing on a bit of stone, (434,) with graceful simplicity and distinct- ness : another picture of his in the Middle Room, " A Monk Showing Relics," (363,) though requiring less invention, is no less well drawn and forcibly painted. The sad story of " Ellen Orford," in CRABRE'S Borough, is most touchingly told by HEDGRAVE, (4'23 ;) and the " Cot- tager's Breakfast," (404,) by WEBSTER, is a pleasant picture of English rust c life.
Such are the leading features of the Academy Exhibition. Add a few grossly-imagined and dirtily-coloured nudities by ETTY ; some feeble commonplaces by Howse') ; several inanities by poor old WARP, (which are more painful than ludicrous, as indicating a diseased intellect, and ought to be excluded) ; with more than a quantum sufficit of mediocre portraits, and the outline of this slight sketch is filled up.
In the room containing the drawings and miniatures, just over the door communicating with the West Room, is a marine picture, by Erman]) COOKE, " Dutch Boats on the Y," (562,) painted in a broader and freer style than any thing of his we have seen. The most striking among the drawings are CHALON'S sketches of " The Dutchess of Sutherland," (744,) and " Lady Wilhelmina Stanhope," (734,) on either side of his small portrait of the Queen—which does not show to advantage beside them ; the two Ladies Campbell, (617 and 632) ; and a spirited life-size sketch of Boz in propria persona, by LAURENCE —a physiognomy indicative of quick perception and vigorous capacity. Among the tesselated mass of highly-coloured miniatures, Ross's tiny head of the Queen is visible, as the central point : we have not space at present to look beyond. The show of Sculpture is very poor, and does not invite attention. The " Statue of a Girl Reading," (1262,) by P. M'DOWELL, looks more beautiful in marble than it did in plaster—we mean in point of expression. Ideal beauty is here blended with the pure simplicity of nature : the sensitive delicacy and unconscious sweetness of a gentle feminine nature breathe in the marble—it is an incarnation of tender- ness and innocence. A bust of the Queen, by H. WEE (a pupil of CHANTREY,) is not only a correct likeness but an admirable piece of sculpture : it has the beauty of contour, delicacy of feature, and graceful simplicity of air, that characterize the original. None of the pictures of her Majesty represent the union of a plump rounded form, with finely cut features, so successfully as this bust. The Architectural Drawings and Models are of very limited interest. As opportunity offers we shall return to the subject, and touch upon tile minuter details, with a view of illustrating the present state of painting.
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