int Arts.

THE ROYAL ACADEMY.

[THIRD NOTICE.]

CONTINUING to crawl along the floor, the spectator will be re- warded by several landscapes which, if not of the highest order, yet imply much honest study of nature; and here and there by a picture which may induce a fresh access of indignation at the impossibility of seeing it fairly in its present position. Mr. V. Cole's "Autumnal Evening" (131), a well-painted slope of open common, with its rich variety of fern and heather, bounded by some ragged trees, which stand against the evening sky, fails of being a very satisfactory picture, by reason of a certain heavi- ness in the sky and too great blackness on the hill-top. A good study of fern is contributed by Mr. H. Garland (303). Unfortunately it is but a fragment, and does not deserve the name of " landscape " given to it in the catalogue. This is a common mistake nowadays. There is no lack of out-of-door study ; but the scraps which are but materials for a picture- memoires pour servir—are too commonly dragged from the artists' portfolio (where they should have remained) and exhibited as pictures. However, as far as it goes, this is a very luminous and forcible bit of painting. Of unpretending subjects there is not on these walls one more pleasing than Mr. Dearle's " Bird- minder " (507). A little scrap of a boy sits on a stile, and "minds the birds" in true childish fashion, by turning his back on the golden-green crop which he is set to guard, and whittles the top-bar with his knife. It is so clear that this very small atom of humanity ought to be at school learning his alphabet that one does not pity the farmer, who keeps him thence at one shilling a week, for not being better served at the price. There is nothing but the boy and stile, with a glimpse of the waving wheat beyond, an ordinary hedge-row, and burdocks, long grasses, and weeds in the foreground; but so well

painted, with so true a feeling for colour and rustic life as to be elevated by their treatment into a very charming picture.

Mr. Boddington knows well how to put his subject on the canvass. Witness his two Yorkshire scenes (251) and (327); but his colour is raw, and he is careless in drawing his tree. branches. Better in these respects is Mr. Hulme's picture of "The Waning Year," with its various foliage and play of sun and shadow (571) It might advantageously change places with such a canvass as Mr. Hering's wearisome bit of scene-painting, "Lago d'Iseo " (563), which challenges comparison only by its proximity to Mr. Hulme's, and its greater luck in position. Mr. F. Dillon always paints to some purpose. But the effect of his gorgeous "Eastern Sunset" (341) is overpowered by the foreground, which insists on being noticed, however much you may prefer looking away to those distant pyramids. Neither Mr. Oakes nor Mr. M'Callum are well represented. The "River in Flood" (5), by the first-named artist, no doubt loses, as any picture with a high horizontal line will lose, by being hung much above the eye ; but it appears feeble and hesitating in treatment, and, except the distance, not very successful in colour. Mr. M'Callum must beware of cramping his powers by repetition. He ought not to be too hardly judged for failing in the difficult task of giving the white glitter of sunshine on the leaves in his "Harvest by the Wood" (636) ; but it is time to choose some other models for tree-painting than the beeches which first made him known.

M. Mignot appears to have caught very, happily the misty grays and yellows of "A Winter Morning" (677), but it is mere guess-work speaking of a picture hung on the cornice. For the same reason it is impossible to do more than suggest that Mr. C. E. Johnson's "Misty Day on Loch Leven" (792) is a very true and delicate representation of Scottish mist and mountains. This last is a water-colour drawing, as also is Mr. G. Mawley's "Har- vest" (758), in which the after-glow of sunset is just giving way to a solemn twilight, deepened by the massive foliage of the trees which bound the corn-field; but the solemnity which is very suc- essfully infused into this picture is jeopardized by the awkward man and dog in the foreground. They are bad in drawing, out of proportion to the landscape, and ought to be expunged. In leaving the landscapes Mr. Whistler's dashing sketch of "The Last of Old Westminster" (352) deserves notice. As a sketch it is very good. For anything else, the greater part of it, especially the water, is far too stenographic.

After Sir E. Landseer comes the deluge—at least, very nearly ; for when you haveoseen Mr. Wolf's "Wapiti Deer." (631), which are very life-like and spirited, and (it is needless to add) correctly drawn and characterized, and his "Row in the Jungle" (769), where a tiger is being fairly hunted from his lair by a crowd of chattering monkeys ; Mr. D. Cooper's little wiry-haired terrier, of much character and little amiability (144), and a promising group of" Cattle in the Marshes" (184), by D. Midler, there is little to attract among the animal paintings. Mr. Ansdell, A., can draw horses and dogs with a certain cold correctness, but, there is no life in them ; and of works by Mr. A. Cooper, R.A. since they do not occupy much space, I prefer saying nothing.

Miss A. F. Mutrie and Miss M. D. Mutrie are thl supreme among flower-painters ; nor is it possible to wish for anything more beautiful in their way than the flowers and plants in Miss M. D. Mutriels picture (115) called " Camellias." The same lady's " Foxgloves " (466) has a background which might shame many a professed landscape-painter. I miss Mr. Lance's gorgeous fruit-pieces, albeit not much enamoured of the sort of subject. There is little to admire of this kind among the oil-paint- ings. But Mr. Ladell's "Fruit and Still Life" (402), which lacks neither vigour nor richness of colour, is remarkable for its avoid- ance of a tawdry and (so to speak) riotous effect, which is a

besetting fault of fruit-painters. Mr. Sherrin's water-colour drawings of apples—one a bough of rosy-cheeked "Beauties of Kent " (755), the other (776) of golden (or at least golden- coloured) pippins—are marvels of "modelling," grouping, and painting.

There are still some figure-subjects which call for remark —none more so than Mr. E. Armitage's "Burial of a Chlistian Martyr" (622). For quiet intensity of purpose this picture is not surpassed in the gallery. The scene is apparently underground in the Catacombs—to which the body of the young martyr, freshly done to death, is lowered by ropes, and these received for burial by his friends and associates. The composition falls in grand and simple lines, well suited to convey the story of suffering and deep feeling. The colour, too, is rich and harmonious, and pleases the eye Without 'any sacrifice of the solemnity of the subject. Mr. Burr's ilhiStration of the passage in "Dora" (250), showing the many-wintered grandsire, with face unused to express the softer emotions, touched at last by the sight of his son's child (the son now beyond the reach of his forgiveness), is a picture of very great merit. The timid anxiety of the widowed mother, who Snatches a look from the half-open door, is finely imagined. Mr. Bat-well's picture of almost the same subject (441) scarcely reaches the same pitch. He has missed the effect of the contrast to be produced by the unbending nature of the old man suddenly giving way at sight of the child ; the grandfather in this version has too Much of the milk of human kindness to have acted with the harshness the story bids us believe. However, the picture is painted with much good taste, and, except in the faces of the More distant figures, with sufficient care. But Mr. Bar- well's touch is rather timid and his colour rather inky.

Mr. Darvall's "Orange Girl" (328) is natural and picturesque in action, and avoids the sentimentality which too often ensnares painters of these subjects. Mr. N. Taylor's soberly coloured illus- tration of the same subject (225) also deserves praise for its free- dom from affectation.

Mr. Fisk's picture of "Robespierre" (353), who affects a character for Self-denial by living in a garret, and for purity by surrounding himself with flowers, but, leaving the old motto of " Ilberte, Egalite, Fraternite," to decay on the wall behind him, sets his ferocious little face towards the guillotine, which supplies unlimited food for his bloodthirstiness, is a remarkable study of character, though a little overdone with details. The refer- ence to the passage in Proverbs, "He that is cruel troubleth his own flesh," is justified by the livid hue and red, unhealthy- looking eyes of the timid tyrant who maintained the Reign of Terror. Mr. Fisk's other picture of" Royalist Prisoners in the Conciergerie," at the same period (620), is also clever ; but it is one thing to succeed with a single figure, another and more difficult thing successfully to compose a picture with several. Mr. Fisk's name is, I belieie, a new one, but it will be looked for again. The heavy woollen drapery of Miss Walker's well-painted "Wo- men of the Himalayas" (75) is as novel as it is picturesque. Miss Osborn, too, in her " Sunday morning" (579), where an old dame struggles to church, Simported On one side by her comely granddaughter, and bY a crutch on the other, has permitted her- self an addition to her farmer merits in the graces of the ober- fraulien costume.

Mr. Rankley's " Gipsies " (504), and their half-suspicious, half- stupid reception of their benevolent visitor, areanaturally conceived and firmly painted. Mr. Weekes'S little picture, "The Ambulance" (211), possesses a full share of that artist's humorous power, which he delights to use in stripping war of its "pomp and circumstance," and showing its professors in a ridiculous light. "Catch" (619) is the title of a little picture, - in which a boy Who has brought his cart-horses to water plays ball the while with a little girl at the village watering-place. The action of the girl about to catch (?) the ball is ungainly; but in other respects.the picture is a pleasing one, the colouring har- monious, and the calm of evening well suggested. There is a slightly French manner about it, but not obtrusively so, which is mora than can be said of Mr. Boughton's two paintings (48 and 506), in which, with much of the Special merits, the artist has imported almost more than the peculiar defects of indistinctness and woolliness of the French school of painting.

Mr. W. H. Hunt is a rare contributor to the Academy exhibi- tion ; but he may be sure of a welcome for all such children as the "King of Hearts" (146). But why load the boy with that cumbrous and old-mannish dress ? One can scarcely believe it possible that with such a coil the little fellow could have been half so merry as, in fact, his laughing eyes tell that he is. Mr. Hunt's other picture is a portrait of Dr. Lushington (613). There is originality in all that this artist paints, and with such a head to work from be could scarcely miss producing a note- worthy picture. Nevertheless,' confess to a feeling of disappoint- ment in the treatment, and wish that the artist had been satisfied with less laborious working up of details. The picture would have gained in feeling and suggestiveness what (if anything) it

lost in force. • Mr. Boxall (only now FLA. elect !) being absent, portrait-paint- ing in England sadly needs the re-invigorating influence of new blood. A detailed account of the pictures sent this year by Sir W. Gordon, by Mr. Grant, and by Mr. Richmond, must be but a repetition of previous years' remarks, except that Mr. Richmond continues to improve in colour, and has given more strength and individuality than usual to his portrait of "Earl Howe " (281). Mr. H. Weigall, too, has done some good wo in the beaten track, especially in his portrait of "Mr. Weston and his Horse" (34). Mr. Sandys has chosen older masters for his models, with what good success the characteristic portrait of "Mrs. Rose" (53), in which care and delicacy of paint- ing stop short of interfering with expression, will attest. Mr. Douglas takes a line of his own, surrounding "Mr. Lang, F.S.A." (116), with a crowd of old books, bronzes, and other antiquities, which doubtless are that gentleman's 'constant companions. As a rule, i t is well in portrait-painting to exhibi tthe person represented in repose. The spectator thus the more easily attributes to him worthy qualities. But an exception maybe made where the action (as here) is concerned with a life's study. Mr. L. Dickenson's best portrait is that of "Mr. Kingsley" (614), and a very good one it is—like, of course, and showing well the character of the man. There is no better lady's portrait than Mrs. Newton's portrait of herself (464), though that of Madame H. Lehmann (674), by her husband, and one by Mr. E. J. Poynter, called " A Day Dream" (38), which I take to be also a portrait, deserve notice. Mr. G. F. Watts's "Virginia" (270), is a specimen, but not, perhaps, a very favour- able one, of that gentleman's power of idealization in portraiture. This artist's remaining picture, " Ariadne" (523), which seeks for human passion and feeling in a myth, is far from agreeable. A half-drunken woman is surely no pleasant subject for painting.

I have left no room for more than a passing mention Of the sculpture ; the less to be regretted, hOWever, on account of its mediocre quality. Among the imaginative works there is little that rises above the common. place, and not much in the busts and statuettes. Mr. Woolner's cast for a bust of the late Archdeacon Hare (1141), Mr. A. Muuro's marble bust of Miss A. L. Smith (1151), and that by Mr. H. Weekes, B. A., of Sir B. C. Brodie (1058) ; as also Mr. Boehm's statuettes (1099 to 1103) must be excepted. Mr. Ewing's bust of "Lord Eicho" (1052) is simply a caution to gentlemen with Whiskers "of the period" against holding them- selves up to ridicule in marble. And all sitters should insist on the sculptor abstaining from drilling a hole in the surface of the eye in order to represent the pupil, which it never does. V.