FINE ARTS.
THE ROYAL ACADEMY EXHIBITION.
YESTERDAY the Academicians had a second experience of their most novel institution—a private-view day.
The only positive result we can record of our as yet very cursory view of the collection is, that many of the Academicians and other chief exhi- bitors are at their best, and that the number of works discreditable to us as a nation holding a position in art is unmistakeably diminished. The purging process has been in operation for some years, but it had never reached so satisfactory a point as now ; and we may rest assured that this is but an earnest of its further development. Let any one reflect on what was the average of merit in the Academy five seasons back, and see whet it is now ; he will not hesitate to concur in our statement. Of the average, however, we have here no leisure to speak : a brief summary of the eminent works in each department of art must suffice for the present.
Nothing could have occurred more pleasing to all true lovers of art, unbiassed by clique prejudices, than the fact that the new President of the Academy stands foremost among the exhibitors, with a work—a sim- ple female head—which we do not hesitate to pronounce his masterpiece. We had been led to believe that Sir Charles Eastlake would not exhibit ; and, with such a picture before us, the rectification of our error is not only due, but agreeable. The only work by Mr. Mulready is one painted in 1809. Mr. Leslie's "Falstaff personating the King is among his highest achievements; and " TheGoths in Italy," by Mr. Poole, a picture of highly poetical genius. Mr. Herbert has a sketch of two of his chil- dren, and a study for "The Judgment of Daniel." The other most notable works in the historical and dramatic classes are " Caxton's Print- ing-office," by Maclise ; "King Lear and the Fool," by Dyes,— one of those subjects which cry Noli me tangere " save to the elect; a "Flight into Egypt," by Redgrave ; a picture in three com- partments by Mr. Cope ; "Laurence Saunders, the second of the Pro- testant Martyrs who suffered in the reign of Queen Mary" ; Mr. Millais's three contributions, all whose merits, except their marvellous colour, we leave for future mention; Mr. Collins's "Convent Thoughts" ; and Mr. Hunt's 'Scene from the Two Gentlemen of Verona." Regard- ing the last in every respect one of the completest and noblest works in the building, we can but say that it is sad to reflect either on the notions of art which can have led the hangers to deny it the position on the line which has been granted to a Brooks and a Goodall, or else on the depth to which they will consent to stultify their own better sense at the suggestion of jealousy or party-spirit. The other chief examples in this branch of art are those by Messrs. Cross, Armitage, and Brown, and by Messrs. Egg and his brother Associates, previously specified. Messrs. Roberts and Stanfield exhibit on a very large scale among the landscape-painters; in company with Messrs. Linnell, Denby, Creswick, and Redgrave. The most salient portraits are by Sir Watson Gordon, and Messrs. Knight, Grant, Dubufe, Boxall, and Patten : the huge life- sized Cardinal Wiseman of Mr. Brigstocke is one of the vulgarest mon- sters easily to be met with. Mr. Thorburn's miniatures are what they always: are works of the highest art : and Sir Edwin Landseer is as uniquely admirable and fully as fertile as ever in animal life of all kinds The bareness of the Sculpture-room, a hint of which we gave last week, is remarkable.
One decided improvement in the distribution of the works has been effected this year; and the advantage thus conferred on exhibitors is so obvious that its so late adoption is matter of considerable surprise. The Architectural room has been set apart for the reception of oil-pictures ex- clusively ; and the Octagon room has been converted into a home for the architects. Whether they complain of this arrangement we know not, but we cannot see any reasonable ground for positive, much less for re- lative objection. Water-colour designs embodying the simple forms of architecture cannot suffer greatly in any light ; but the case is very dif- ferent with all the complicated interests and requirements of a picture, to which, by the very method of its execution, certain lights are oblitera- tion and death.
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