20 APRIL 1861, Page 17

fin Att.

THE water-coloar drawings by Mrs. Bodichon, added recently to the French Exhibition, in Pall-mall, show ability of a high order. Consisting chiefly of studies, made in the neighbourhood of Algiers, they are remarkable for varied and poetic feeling, boldness of treatment, and truth of atmospheric effect. This lady justly aims at giving rather the general impression than the minute details of a scene, though there is plenty of evidence to prove that she also possesses the power of delineating the latter when necessary, as, for example, in (1) " Blue Iris," and (34) " Asphodels," with their long delicate stalks sharply defined against the Mediterranean Sea, which, as mere foreground studies, are sufficiently ample in detail to satisfy the most long- sighted Pre-Raphaelite. 8, "Talking to the Dead," a twilight scene, showing an Arab woman mourning over a grave overshadowed by the aloe, and backed by a dark grove of olive trees is noticeable for the intense feeling of quiet and solitude with which it is imbued. 12, "Palm-tree in the Mosque of Sidi-abd-er-Rhaman," is an instance of how much may be done with slight materials. The quiet simplicity of this drawing is very charming. 18, " A Sacred Wood" is sombre and mournful. 23, " Roman Aqueduct, near Cherchel,

ancient Julia Cnsarea," is a fine piece of colour. The profile of the ruinous and deeply-toned arches of the aqueduct are strongly relieved against a sunset sky of greenish blue, fading into orange, and in- tersected by long bars of purple cloud. The solitary stork and the tall rushes gently bowing in the evening breeze, heighten the deso- lation of the scene.

The two largest drawings of the collection are (27) " View of Sun- rise, looking over Rubs," and (28) " Snow on the Little Atlas in February," &c. The former shows the fruit-trees in blossom, and is harmoniously rich in colour, while the sky, as is the case in all Mrs. Bodichon's drawings, is ably and conscientiously painted. The latter—colder in colour—evinces the same thorough study of atmospheric influences. 33, ".Interior Court of an old Moorish House, the Palace of the present Bishop of Algiers," is an interesting specimen of Eastern architecture, which, according to a

note in the catalogue, is to be shortly destroyed in order to make way for modern French building. The perspective of the nearest

arch appears faulty. A marked contrast to the foregoing subjects

will be found in (35) "A Bean-field, Sussex," very true in its sober homeliness. There is great feeling for ,spaoe in (39) "Looking up the Rapids above the Falls of Niagara." The rush and surge of the boiling waters are conveyed with a sense of motion not often seen in works of this character. I have mentioned but few of these clever drawings; but sufficient, perhaps, to induce all lovers of foreign land- scape to see for themselves. Mr. Hogarth, of the Haymarket, is exhibiting for a few days, two very interesting and highly finished drawings in water colour, by Mr. Joseph Nash. One represents the interior of the House of Lords,

on the occasion of the opening of Parliament by Her Majesty ; the other, the interior of the House of Commons during a debate. In the first drawing, Mr. Nash has had every advantage of colour and costume—the richly gilded throne and ceiling, the frescoes, the stained windows, and the brilliant many-coloured robes of peers and ladies combine to make a scene that would present attractions even for those painters who eschew "modern subjects." The pictorial difficulties have been greater in the second drawing, owing to the comparative absence of actual colour and the number of black coats and hats. Despite these obstacles, it is, however, almost as interest- ing as its gayer companion. Lord Palmerston is addressing the house—his is almost the only portrait—the figures are so small in scale that faithful portraiture would _probably only be obtained by the sacrifice of general truth. In both drawings the perspective is first rate, being almost delusive in its reality. The effects of light are managed with great skill-and the execution is precise and masterly. The pictures have been very fairly copied in chromo-lithography. The "Old Westminsters " memorial in the Broad Sanctuary is the most picturesque of our London monuments. The site is well chosen, and its design and character blend well with the neighbouring buildings. It consists of a column of red Aberdeen granite, centrally divided by a band on which are hung armorial shields. A foliaged capital supports four figures seated under canopies. Crowning all is a figure of St. George slaying the Dragon. On the plinth are the names of those Old Westminsters to whose memory the column has been raised. The whole stands nearly seventy feet in height. Mr. G. G. Scott, R.A., is the architect, Mr. Phillip the sculptor of the sitting figures, which represent Edward the Confessor, Henry M., and Queens Elizabeth and Victoria. Mr. J. R. Clayton, of the firm of Clayton and Bell has designed and executed the St. George. Grave, majestic and dignified, there is a quiet consciousness of power

in this figure that a common artist would-have failed in realizing. It

is easy to be melodramatic in sculpture ; lying drapery and ex- aggerated action often pass for genuine metal, while a work of sterling thought is, from its very simplicity,. overlooked. The loudest talker secures most listeners. The attitude of the St. George is quiet, yet commanding, and the composition of the figure with the dragon is so arranged as to carry out the columnar idea of the monument. The group tells its story plainly. From one point of view only does it look awkward or obscure—at the corner of Dean-street and the Broad Sanctuary. Mr. Clayton has thoroughly imbued himself with me-

dieval feeling--he works in the spirit, not in the letter of the past, and I hope that in the Gothic buildings so numerously erected in this

"revival" age, he may find larger scope for his undoubted talent. In modern medieval sculpture there is a lamentable dearth of ability. Mr. Clayton should determine to fill up the gap. I regret that I cannot say anything in praise of the Havelock statue in Trafalgar-square, by Mr. Behnres. It is ill-proportioned- the head being too weighty for the body—and the arms are large

and "stuffy." The pose has neither grace nor dignity, and this new and shining brazen mass suggests, by its tawdriness and want of art,

the gilt gingerbread kings and queens with which the visitants of fairs are accustomed to disarrange the internal economy of their children.

Some modern pictures from the collection of Mr. Uzielli, were sold last week by Messrs. Christy and Manson. The following are some of the more interesting lots : E. Frere, "Breakfast"—a mother feed- ing her child-1731. 5s. Henry Leys, of Antwerp, "Mary of Bur- gundy giving Alms to the Poor," 10501. E. hire, "The poor Semp- stress," 1261. Meissonier, "Le Lecteur," from Dr. Veron's collec- tion, 2121. 2s. T. Faed, " Evangeline," 3521. 15s. T. Webster, R.A., " The Village Patriarch," 1071. 2s. W. P. Frith, R.A., " The

Duel scene from Twelfth Night"—a finished sketch-871. 3s. 3- M. W. Turner, RA., "The Bass Rock," painted at Abbotsford for Sir Walter Scott, 1581. lh. W. Hunt, "The Farrier's Shop at Strath £eldsaye," 511.12s. These last two were water colours.

DRY POINT.