In the absence of Mr. Turner, Mr. Denby takes the
lead in poetic landscape based on idea and invention ; Mr. Liunell in that whose poetry, though not less deep and to the full as delightful, belongs rather to deli- cate and cultivated susceptibility to the impressions of actual nature. Never were more beauty and elevation extracted from a familiar theme than in the former artist's " Slide-Sunset " (335) ; it is the very core of the scene's life, the plucking out of the heart of its mystery. No ideal- ization here, but the ideal essence of fact ; even the hardness of surface, which frequently forms ground for objection in Mr. Danby's pictures, being here a requisite of the subject. In No. 581, "A Ship on Fire," the great excellence resides in the power with which the words of the title, "a calm moonlight, far at sea," are realized. The sense of isolation and helplessness, the great ship blazing to frightful destruction in fathomless mid ocean, a spectacle unseen of awful beauty, is grandly conveyed. In execution something more individual were to be desired. The swimming haze of light in "A Summer Sunset" (622) is finely truthful. Mr. Linnell has almost surpassed himself in " Morning " (768), a heath-scene With sheep; whose repose and nature, from sky to grassy foreground and perfectly graduated distance, and to the flock itself, is indescribably de- licious. " Woodlands " (559) is full of the painter's unfailing charm, though there is less specialty of excellence in the sky than usual. Mr. Roberts appears with a fine picture of most extensive scale, the "Surprise of the Caravan-a scene in Syria" (464), and with three in- teriors. No. 14, "Interior of the Church of St. Anne at Bruges," also in many respects an admirable work, displays his usual defects-want of solidity in working and of truth in colour, with chocolate panelling and milky upper wall and vault. The tone of "A Chapel in the Church of St. Jean at Caen" (370) is deeper and truer. Mr. Stanfield's chief work, "The Battle of Revered°, 1796" (196), is, like Mr. Roberts's, of most im Posing dimensions; highly respectable and laudable, but not striking : the action of the scene is mere bustle, without excitement or impetuosity.
His other pictures, and especially " The Great Tor, Oxwich Bay, S. Wales " (743), are good specimens of his average merits. Mr. Red- grave's landscape, " A Poet's Study" (443),-a glen frequented by Wordsworth, Coleridge, and Southey,-is full of labour and leafiness, but deficient in depth of effect. The minute details in the distant trees, not detractino-' from the sense of remoteness, is excellently given; but the artist has failed in representing the shallow water of the foreground. The most charming example by Mr. Creswick is "The Evening Hour " (147)-deep in colour, well cared for throughout, and with much detail of object : next this may be ranked the coast-scene, " Over the Sands" (416). Mr. Linton has been more successful in No. 612, "Going to the Rescue," a very fine sea-piece, than in " A Festa-day at Venice-the Grand Canal " (540)-a scene the like of which we can re- member better treated by the same artist. Venice has attracted Mr. Cooke also, who in his turn attracts the spectator with a brightly-coloured airy picture, " Bragozzi the Fishing-craft of Venice" (539), and with " The Church of the Salute, Dogana, (732). Mr. Withering,ton con- tinues the improvement observable last year with " Midsummer" (179)- pretty, though cold, and nicely put together. " The Brathay, Westmore- land (59), by Mrs. Oliver ; a very clever sketch by Mr. E. Lear, the Albanian journalist, " Street Scene in Lekhredha " (170) ; two impressive landscapes by Mr. Oakes, (186, 208); the characteristically treated " Water- side Vegetation " (237) of Mr. Dighton, fresh and thick in grass ; Mr. Dawson's " Ullswater" (402)-some of the most watery water in the ex- hibition; Mr. Ferguson's "Gleam of Sunshine" (385), not unlike Mr. Percy, but with more breadth, and, we must add, woolliness ; the very pretty little interiors (401,403) by Mr. Provis ; Mr. Holland's "Rouen" (498), seemingly less sketchy than his 'wont; Mr. Raven's "Scene in Eridge Park" (680), an extremely clever work between the styles of Linnell and Redgrave ; "The Meeting of the Seasons in N. Wales" (712), by Mr. T. Danby; Mr. Pettitt's "Cumberland Stream (731,) nicely con- ! trasted in the hues of sunset effect; and two views by Mr. S. Smith (764,797), giving great promise of care, feeling, and poetically understood colour, though somewhat wanting as yet in depth of handling,-are to be noticed with pleasure among the remaining landscapes. "The Grave of Shelley in the English Burial-ground, Rome" (746), by Mr. Pearce is a very charming little picture, full of quiet solemn sentiment, exactly the fitting treatment for the subject, and mast unfairly hung out of' sight. The sea of M. Gudin's "View of the N.E. coast of Scotland" (569) is boldly and elaborately worked, but with too much of the appearance of liquified oyster-shell ; and M. Jeanron's landscape composition, "The Flight into Egypt " (613), though deficient in natural aspect, is masterly and imposing.
In the popular mind, all idea of competition with Landseer by other animal-painters has long been scouted-nor with much injustice hitherto ; although in one speciality at least, that of bird-painting, the last three years have disclosed a powerful antagonist in the German artist, Mr. Wolf. Sir Edwin exhibits five pictures in addition to his "Bottom and Titania." No. 112 is a noble study of a stag pinnacled among mountain- mists, and snuffing the sharp morning air. The "Group-Geneva" (134), if less significant, is not less wonderful for truth of expression and soft co- lour. The " Highlander " (355), which represents a sportsman holding a dead eagle as his prize, dim through a mist of snow, possesses, in ad- dition to its executive excellence, a certain monumental character, as typical of the sport in abstract. Perhaps the colour is too strongly iron grey. Most beautiful and delightful is the " Lassie " (369) ; which would be numbered with the artist's very finest works were it but carried a little further in detail. The sweetness of repose in the whole composition is one of the hidden endowments of art, of which scarcely any painter possesses the secret so completely as Sir Edwin Landseer. The only exception to be taken to the picture regards the figure of the lassie herself; who, while less pretty than might be liked, is possibly more prettified than need be
desired. The Last Run of the Season" (588) is an admirable piece of truth. The barking gasp of exhaustion is as el 'dent to the sense of sight as ever it -was in cover to that of hearing. Rut for an if-possible- even-more intimate perfection of nature-that is to -.ay, (as any observer of animal life will recognize,) of quaintness in action, expression, and arrangement-more undeniably free, past question, from all adaptation of fact to suit artistic preferences or tradition-commend us to Mr. Wolf's "Falcon's Nest" (825). The intensest and most loving study speaks throughout this picture-a study which must have cost the artist hours ' on hours of anxious observation. Mr. Wolf's noting of minute pecu- liarities must indeed be microscopic ; and it has its reward in the obtain- ! ing of that sturdy literality which is the life of such subjects, appealing equally to the general lover of nature and to those specially conversant with whichever of its individual aspects may have been selected. An Audubon or a Gould might confessThis obligation to Mr. Wolf for im- pressing more vividly on his attention some fugitive point of characteristic detail. The only shortcoming in the artist's works-(and this is strictly a question of pictorial effect)-is the unimportance of their colour. Most accurately and faithfully worked are they even in this respect ; but the ' result does not strike the eye as a whole, and leaves an impression as of a coloured print or water-colour drawing. One word of protest against the hanging of the most elaborate animal-painting in the gallery high up in the miniature-room must suffice.
"The Shepherd's Revenge" (623), by Mr. Ansdcll, is a well-presented incident-the most dramatic we have seen from him ; and his other works fully sustain his reputation. From Mr. Sidney Cooper we have several sensible and correct cattle-pieces, "bat so destitute of subject, and so much of self-repetitions at twentieth hand, as to be quite wearisome : nor can we account for the ener'mthis canvass employed for "The Even- ing Drink" (500). Some Or the animal subjects by Mr. Ward, the pa- triarch Academician, as' for instance No. f1118, are marked by character and invention. Mr. Davis's studies of "Dead Game" (606, 667) are boldly sketched.
The flower and fruit pieces of Mr. Gronland and M. St. lemi are the very best of their kind : Nos. 98 and 104 are the most succeSaful of Mr Lance's ; and that by Miss Mutrie (N0.1300) is good, though cold. Mr. Gavel's " Still-life " (664)-0. nelection, intentional probably, of the most unmeaning materials conceivable, Toquiring the simplest and most unva- ried hues-shows what, even in such case, can be done by a sense of propriety and a good notion of colour. o
Over the miniature-painters Thorburn reigns as king, and indeed ver the portrait-paintess of whatever kind. No artist has done more for hill own peculiar branch of art than this gentleman : he has enlarged it in dimensions, raised it in scope and character, and carried it to the acme of perfection in style. If an Englishman would claim a high rank for any living portrait-painter, he has no one to point to for nobility and depth ap roachirm Mr. Thorburn; if he would insist on the executive ability of hi li countrymen, he can designate scarcely a single one m any department of art to equal him. This is a great position for a miniature-painter. Some of his works this year are so exquisitely beautiful that the prefer- ence remains for the time being, almost of necessity, with the last seen. In execution the most wonderful, because the most full of detail, is "The Honourable Mrs. Upton" (1091). For the loftiest refinement, "The Ho- nourable Mrs. Yorke" (1080)-thoughtfully pacing a corridor, whose treatment of itself shows the highest taste-is perhaps supreme ; but No. 1027, "The Countess of Chesterfield and Lady Evelyn Stanhope," leaves the award more than doubtful. A fault in Mr. Thorburn taxes the power of discovery ; yet we incline to think that the children's faces in No. 870 are somewhat fiat ; and there is certainly too much attitudinizing in the figure of" Sir Alexander Aeland Hood" (1059). For delicacy and sweet- ness the miniatures of Sir '\\r C. Ross are not to be surpassed : that of " The Princess Royal" (986) especially is lovely in a high degree. Mr. Carrick's best are, No. 896, " Henry William Dashwood, Esq ," No. 1056, "Lady Catherine Long," and No. 942, "The Young Cornet "- the latter very solid and excellent : but the fault of' a certain blankness in the faces requires to be cured. Mr. Gray's " Portrait of Miss Fanny Geddes" (905) is pretty and simple ; Mr. Earles's of "The Daughters of T. C. Newby, Esq.," (957) nice in character, though in parts wanting in that finish which is so peculiarly demanded in miniature. The compara- tively large composition by Mr. Wells, " Portraits of the Honourable Mrs. Brand and Children" (988), is exceedingly creditable, but displays a certain heaviness and mannerism in the colour ; and No. 862, "W. E. Kilburn, Esq.," by Mr. Couzens, is effective. Mr. Watts's crayon draw- ings, Nos. 1125, 1144, and 1167, are remarkable for fine design and art- istic treatment ; and yet more notably No. 1098, " Mrs. J. Ruskin,"-a head whose sentiment seems as it were veiled and shadowed into thought. Similar and equally refined in sentiment is Mr. Severn's "Chalk Portrait of a Lady, in a Bridal Dress" (1205). Mr. Dickinson's crayon portraits also, and the Russian sketches by Mr. Yoon, are to be observed ; and there is nice character, with bright but rather opaque colour, in Mr. Pasquier's " Group of Children" (1231). The very pretty " Mimic" (1149) is Mr. Chalon's best contribution in this room.
Before quitting the pictorial art of the exhibition, we should mention a few works inadvertently omitted in their proper place : Mr. Leslie's graceful "Study" (100); a prettily-imagined little thought from faijry 78), by Mr. B. Smith; a most unaffectedly truthful "Study from Life" 340), by Mr. Burt ; No. 769, "The Reading of a New Piece in the Green-room of the Adelphi," by Mr. T. II. Wilson ; the portrait (718) by Mr. Collins ; and that by the Countess of Rochefort (570)-which ranks among the best.
The show of Architecture is most inconsiderable in quality. It seems not improbable that the architects may have taken offence at their relegation to the Octagon room, so very few are the names of the better sort, and so unimportant the works to which they are attached. The room is left, indeed, almost entirely to mere pretentious vagary and the reproduction of threadbare commonplace, staringly patched
• up with some adjunct which is excrescence or deterioration, rather than a mark of originality. What can have induced Mr. H. E. Kendall junior to jumble together his "Composition" (250), or yet more to exhibit it ? This is one of the most debased aggregates of bad materials ever reunited by hallucination-about as much a, "composition" as is the practical ef- fect of the notice "rubbish shot here." The "Suspension Bridge in pro- gress over the River Thames, near Chelsea Hospital," from the design of Mr. Clutton (315), will be a light and elegant structure ; but we cannot augur much from Mr. Blenkarn's "Proposed Improvements of New Can- non Street, City " (314). In default of better, the visitor may look at Mr. Hardwick's drawings of "The Great Western Hotel, now being erected at the Paddington Station," and "The North-west view of the new wing forming the completion of the House at Adore Manor, Lime- rick, now in progress for the Earl of Dunraven " (267). The "Design for the Church of St. John the Baptist, Hobart Town, diocese of Tas- mania" (288), by Mr. Street, is 'a very nice drawing of an eccentric Go- thic building. Among the architectural designs partaking of a pictorial character, Mr. Read's of "The Beauchamp Chapel, Warwick" (2.52), Mr. Bonser's "Interior of a Doorway at Wykeham Chapel, near Spald- ing" (266), and Mr. Falconer's "Interior of an Asiatic Greek Theatre, composed entirely from existing remains in Asia Minor" (321), class with the most interesting in subject and best executed.
To the bareness of the Sculpture Room, and its assignable cause, we have before alluded. There is somewhat less of affectation in the pose of Mr. Marshall's "Robe Rejected" (1254) than he has accustomed us to of late. Next this is a portent of jobby anti-heroism, the "Marble heroic statue of Prometheus" (1255), by Mr. Theed. Mr. Mg:Jewell does not shine in either of his figures, "The Slumbering. Student" (1256) or "Psyche" (1266)-the position of whose legs in left side view is far from graceful ; while the upper part of the figure appears to be a direct copy from the &male in Mr. Frank Stone's "Last Appeal." "The Mother" (1260), by Mr. Foley, is disagreeably florid. Mr. Han- cock's "Youth and Joy" (1257), a pleasing group in marble, the design of which in plaster has been before exhibited here, contrasts advan- tageously with the same artist's "Undine, the Water Spirit, arisen from the stream that encircles the grave of her lover Huldbrand, seated on his tomb, lamenting his loss as she sings" (1263), which is petty in design, sheepish in expression, and affected in sentiment. There are individuality, intention, and good working in Signor Ambuchi's "Giotto Drawing a Sheep " (1301). The quick apprehensive action is finely but delicately rendered; and the form is truthfully studied, though more skinny than is suitable for sculpture.
The " Marble Bust of Lady Constance Gower" (1378), by Baron Ifarochetti, is beautifully modelled, and most pure and lovely in form and character. Some ornament is indicated in the drapery, but with extreme chasteness. No. 1305, by the same artist, "Profiles of two Gentlemen," is a medallion treated with vigorous freedom. The electrotyped rilievo "Portrait of a Lady" (1284), by Mr. Dyee, not only shows the artist's versatility to advantage, but is fine in character and effectively intended in style. - Two good busts are those of "A Gentleman" (1350) by Mr. J. R. Dicksee, and of "Mrs. Moray" (1380) by Mr. Behnes. Mr. Moore's of "Cardinal Wiseman" (1321) is an admirable likeness. Mr. Behnes's (1293)-to be executed in bronze at Leeds-is naturally fore- most among the statuettes and busts nominally of Sir Robert Peel, which obtrude themselves insultingly on the sight in odd corners, and which it would be a satisfaction to sweep, as Carlyk expresses it, "with some celerity into the dust-bin." But, for the supple delineation of flesh Weekes's "Bust of the Artist's Father" (1376), remarkable also for the richly natural arrangement of the hair, stands unequalled ; being, indeed, in execution, the best work of sculpture exhibited this vear.
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