FINE ARTS. •

EXHIBITION OP THE ROYAL ACADEMY AT SOMERSET HOUSE.

THIS is "a sorry sight." After all the trumpetings that ushered in this great feast of art—the parade of dishes, and the splendour of the covers—it turns out little better than Timon's banquet of hot water. Out of 1100 pictures, two only have any pretensions to be considered grand historical paintings. Messrs. ETTY and Baxaos are the two pillars upon which the fame of the present exhibition rests, as far as regards historical art. Mr. WILKIE has proved in this respect " a broken reed," and ,Mr. HILTON is altogether wanting. We have had the perseverance to run through the number of "portraits ;" and, will our readers believe it, they amount to just one half of the whole number of pictures ! Moreover, the execution—the mechanism of four-fifths of these, is below criticism ; and in works of fancy and imagination, to what "lame and impotent conclusions" do the majority of the artists arrive ? Instead of exhibiting such works as many which are here displayed, they had need rather hide them ; for they show not only a want of invention, taste, intellect, and feeling, but an absolute inability in technical skill—a want of control over their materials, and of adaptation of their art to its legitimate purposes. But it is an ungracious task to record the disappointed feelings with which we quitted the Academy after our first glance round the rooms suffice it to say, that the derision or disgust which many pictures excited, was turned into sorrow and regret when we con- sidered the melancholy state in which they showed the arts of design to be at this time in England—sunk to the level of a handicraft, and degraded into a mere trade.

A second view has served not only to confirm the impression made by the first, but it has tended to raise in our opinion the value of the few really fine pictures—the splendid and glorious exceptions—which form part of them, and which give proof that British genius yet lives though LAWRENCE be no longer left to us. The pictures of the late President, eight in number, are portraits, which we look upon with still greater interest and with no less admiration than when he was alive. " The Earl of Aberdeen," 116, is as fine -a specimen of painting and portraiture as we ever beheld.

It is simple, natural, and unostentatious as a picture, and at the same time gracefully composed and beautifully painted. It has less of the

Lawrence air (using the phrase in a dislogistic sense), than any picture we know of, and is replete with individual character. The physionbmo- mical expression is defined with that extreme nicety and accuracy of dis-

crimination which stamp the value of truth and identity upon a picture,

and is the crowning wreath in the triumph which belongs only to the greatest masters. If TITIAN had lived in our day, he could not have

painted the Earl of Aberdeen's portrait better. The cautious shrewdness of the Scottish national character is increased by a sly reserve, while a mist of dubiety seems to conceal the slow and methodical process of thought in the scholastic and well-disciplined mind, and an air of courteous suavity pervades the whole. We are not acquainted either with the per- sonal or mental character of the Foreign Secretary, and take our impression entirely from the picture. The next in merit, though not in interest, is the portrait of " Miss Fry," 114 ; which is admirable for nature, spirit, and animated intelligence, and has the same identity of character with the last. 136, " Portrait of •Thomas Moore, Esq." will be looked at with more

general interest and of a higher kind. In giving the intellectual expression to the face of genius, LAWRENCE was not so happy as in the delineation of grace, beauty. and elegance : he gave the outward and respectable man of Sou THEY, with the addition only of a controversial and sp!enetic tone—the

fire of the soul did not kindle in the eye or inform the features. In the present portrait, there is more of the short-sighted man and the accomplished gentleman of refined sensuality and acuteness, than either of the poet or

the genial character of bonhononie which distinguishes Mr. Moon.E's phy- siognomy: but it is unfinished ; and from the spirit which even now lurks in the eye, and the vigour of the marking in the lower part of the counte- nance, a characteristic resemblance of the poet might have been expected. 71, " Lady Belfast," is a graceful portraiture of womanly sweetness, marked

by the refinement of style exhibited in the handsome features and well- turned bust of a truly 'English face of feminine loveliness ; and is co- loured in a chaste and pure tone of freshness and brilliancy—the flesh tints are exceedingly delicate. 79, "The late Sir Ralph Woodford,

Governor of Trinidad "—A well-painted portrait, with the flush of artificial excitement in the face, and an air of grace which LAWRENCE so well knew

how to give to courtly countenances. The vulgar livery (royal though it be), and the cane accompaniment, are lacquey-like, and give a Lord-of-the-fled- chamber air to the person. The legs are well drawn and painted ; and there is a natural ease in the position of the figure which in such a costume is diffieult of attainment. Of the portraits of " The Bishop of Armagh," 100," The Earl of Hardwicke," 312, whose costume is splendidly painted, and "John Angerstein, Esq." 427, we need only say that they are worthy of the late President..

TuitwER has two very droll pictures, which we shall notice, under the head- of Facetim of the Exhibition ; we proceed therefore to his stdendid

composition, " Palestrina," 181 ; where he has conjured up with his wizard

pencil a gorgeous vision, magnificent in composition and brilliant incolour- ing. It is a picture full of the poetry of nature and the genius of art. The dim haze of glowing warmth which suffuses the picture, .seetoas it were, the unsubstantial medium through which the 'splendours of this dream of earthly beauty and grandeur are presented to the eye. It is a creation of

art of the highest order, displaying the wealth of the painter's resources, and the combination of glories in which his mind revels. All that we can fancy of the golden clime of Italy—the city-crowned hills, plains over which the laughing waters spread in blue meanderings, until, gathering themselves

together, they dash headlong down some precipitous cliff—the emerald green of the foliage burnished- with the sun—the prodigality of nature, is here,

adorned with arches and all the pride of nations. Whatever may be the faults of this picture, which we will leave others to find out, tameuess, in- sipidity, and niggardly handling are not among them. This highly imagi- native picture would be worshipped by the connoisseurs if the name of

CLAUDE were affixed to it. 30, " View in Orvieto," is a beautiful picture, rather red in tone, but splendidly coloured and composed. 432, •' Fish-

market on the Sands : the sun rising through a vapour "—A gorgeous na- tural effect, accurately yet poetically represented, and forming a strikingly interesting and beautiful picture.

Mr. STANFIELD has but one picture, but it is in itself an exhibition ;

284, "Mount St. Michael, Cornwall"—A grand and imposing marine scene, finely painted, and, as is usual with this artist, composed with the boldest and most picturesque effect. • The sea is sea : the waves are liquid, and in motion ; and the craft seem npborne by them. The blending of the clouds and rain with the watery horizon in the distance, is beautifully managed ; and the breakers dash against the base of the rock with almost phosphoric brightness.

Mr. Batoos's fine historical picture, "Ines de Castro parted from her Children," is proof sufficient of the injustice of the Academy in passing him over in the late election of an Academician ; and does not need the addi-

tional aggravation of the two bad pictures of the R.A. elect, Mr. EASTLAKE, now in Rome. It is mournful to see such partial conduct in an academy of

liberal arts. Mr. Buroos's picture is the finest of its class (and that is the highest) in the exhibition. The composition is singularly skilful, varied, harmonious, and beautiful ; and the design is simple and appropriate. The old King is a fine study of venerable regality, and the head possesses grand character. The colouring is bright and transparent, and does not o'erstep the modesty of nature. The effect is pleasing, and the execution worthy of the artist's high reputation. The figures are naturally, boldly, and well drawn ; and the expression is appropriate and evinces a feeling for the sub- ject which is interesting and well described. It is an excellent picture, and an honour to/the artist and the English school.

Mr. ETTY has four pictures; the principal one of which is 124, "Judith," being a sequel to the incident which formed the subject of his grand picture exhibited two years ago. The point of time selected is that when Judith is hurrying with stealthy steps from the tent of Holofernes with his head in a cloth ; and the Jewish heroine is represented looking eagerly around to see if the guards still sleep, while she is at the same time handing the head to her maid, who is about to deposit it in the bag of meat. The attitude of Judith is more natural than graceful, and the back of her head is shown, her face being turned from the spectator. This violation of all rule and pro- priety, in concealing the countenance of the principal figure, can only be looked upon as a subterfuge of the artist, and is a blank in the picture. The features of the maid are prominently Jewish in their character ; and the cadaverous hue of her complexion, exaggerated by the strong shadow- thrown by the lamp in the tent, and only relieved by the livid colour of Holofernes's head, has a repulsive effect. We have never witnessed a decollation, certainly, but it cannot be correct to give to the head of a man decapitated the instant before, that deadly, livid colour. The head and features are otherwise finely portrayed. The colouring of this picture is in parts hard and metallic, and the shadows thrown so arbitra- rily, and delineated in so hard and cutting a manner, as to deprive the picture of that harmonious tone and repose in effect which should cha- racterize a scene of such solemn horror. The sleeping guards leaping on their lances are poetically imagined ; and here we suspect Mr. ETTY has taken a hint from the French school. The picture as a whole is grand and imposing, but the capital mistake in hiding the face of the principal figure, is a defect which takes much from its value and interest. 37, " The Storm ;" with a Scriptural quotation very much out of place, is, as far as regards the figures of the man and woman on the wreck, beautiful in com- position and colouring. 331," Candaules showing his wife to Gyges," is a mere adaptation of academical studies to a story. 380, " The Dancer," is a poetical picture, very sketchy, but exhibiting great power and taste in design. Mr. WILKIE disappoints us. His picture of " George the Fourth re- ceived by the Nobles and People of Scotland at Holyruod House," is tin. pleasing, to say the least : it is a difficult task to paint a king in a dig- nified attitude in the uniform of the First Life Guards, but we would rather Mr. WtI.KIE had not taken so much pains to prove it to us. The likeness of the King appears to be faithful and unflattered ; but his attitude is as stiff as the jack-boots and buckskins and tight military jacket themselves, and his left arm appears to be dislocated. There is nothing kingly in his air or person. The Exon of the Yeomen of the Guard appears in dress and attitude like a gallant little game.cock, strutting in all the pride of uncropped plumage. The Duke of Hamilton, who is presenting the keys of the pa- lace, looks very melancholy, and stretches out the salver to the King with a noli we tangere air. The Duke of Argyll looks gravely indifferent, and holds up his claymore perpendicularly, with geometrical precision. Every face is grave, and every attitude rectilinear or angular. Sir Walter Scott stands like a stone image at the door ; and the Earl of Hopetoun, behind him, looks like a footman. Why the old woman in the spectacles is allowed to block up the door-way, we are at a loss to suppose ; and why the people look so motionless and stupid, we cannot tell. The whole picture has the air of the reception of a buckram commander of the old military school, by the lairds of a petty town, all look so staid, melancholy, and demi-officially ceremonious. It is a sad affair, and the streaky handling of the painting makes its dim and murky tone more uninviting. The trumpeters are the best of the picture. 63, "Portrait of the King, in the Highland dress of Royal tartan"—We dare not trust ourselves with a physiognomical comment upon the King's face; but the characteristics of this portrait are fretfulness, pampered sensuality, impatient wilfulness, and bloated pallor. The atti- tude is stiff and wooden, and the cock of the bonnet most ungraceful : we never saw such a pair of legs, though such legs may exist. The colouring is rich and brilliant in parts, but the streaky handling deforms the whole. We gladly turn to 375, "The Guerilla's Return"which is one of four spirited sketches of scenes characteristie of the-war. in Spain. It is admi.. rable for character, breadth of manner, and boldness of style.

Mr. NEWTON has three pictures, of great interest and of sterling excel- lence. 144, " Shylock and Jessica"—The figure, countenance, and look of Shylock are in admirable keeping with the dramatic character ; and the conception displays both feeling and understanding in the artist. Jessica is a pretty, dark-eyed piece of demureness, very likely to listen to the gallant young Christian. 218, "brick and the Grisette fitting On the Gloves"— A portrait of STERNE, wherein the pointed wit of Yorick and the sensual character of the author are happily mingled. It is STERNE as a man : his dress and attitude are in excellent keeping ; and the unconscious sweetness of the truly modest Grisette, and her abstraction and intentness of manner, as well as her attitude and costume, are depicted with great truth, sense, and propriety. It is a faithful illustration of the text of STERNE. 426, "Abbot Boniface, from the Monastery, 'gazing indolently on the fire, partly engaged in meditation on his past and present fortunes, partly occu- pied by endeavouring to trace towers and steeples in the red embers' "—A very striking personification of the ideal character, so remarkable for truth and individuality, that it seems to be a portrait of the gross and indolent sensualist. It is extremely well painted, in a good broad style. These three unpretending works are worthy of posterity.

(To be resumed.)