ROYAL ACADEMY. Great Room, continued. [ 536 ] FINE ARTS. 14. Rubens and the Philosopher. G. Clint, A. We are glad to become acquainted with the productions of this artist, who always contrives to dispose his subjects in a very judicious manner, and to give great force and accuracy of feeling to his figures, the attitudes of which are generally correct. Here we see the old bald-headed, acute-featured victim of a false philosophy, sitting in a chair with a diagram of a laboratory before him, and listening with wonder to the artist, who points to his pallette and easel as the only way he had found of obtaining the precious metal. This figure is a beautiful contrast to the last, being manly, handsome, intelligent, and happy. By his side is his lady, smiling at the visionary schemes of the alchemist; and behind her a little boy gives the concluding force to the incident, by blowing bubbles with a tobacco-pipe, one of which settles over the head of the visionary. In the grouping this picture is excellent; in the attitudes and outlines there is accuracy and beauty of drawing; and the colouring is proper. Some rich drapery, paintings, and landscape, prove delightful accessories, and very highly increase the finish of the piece. 16. Benaiah. W. Etty, R. A.-A gallery picture of large dimensions, very powerfully painted. The foreground consists of three gigantic figures. Benaiah, one of the distinguished chieftains opposed to the Philistines, whose history is found in the 2d book of Samuel, and "two lion-like men of Moab." One of them, to the left, lies stretched at full length on the ground, with one arm twisted and extended over his shield, and in the other the broken shaft of his spear. His hair is clotted with blood, which lies in large natural masses; and his loins are girded with a lion's skin. Against this recumbent body the Israelite plants his left foot for support, while his hand grasps the arm of the other Moabite, whom he forces over on his shield, and thus subduing his strength and power, prepares to strike with the short weapon reeking with the other's blood. The helmet rolls before him. In the distance is a landscape of mountains, and to the left a city of temples and palaces on fire, with warriors in engagement. The figures are all excellent in their muscular proportions, and richness and truth of colouring and expression. The head of Benaiah is that of an exasperated giant his eye strikes fire, and amazingly developes the energy and fury of the attack. Witness his left hand clasping the arm of the Moabite, and struggling to gain the ascendancy, for an exam [June, " ple of correct drawing and bold expression; and the entire figure of the conquered enemy for constrained attitude vividly conceived and boldly executed. We recognized this figure in one of the fine bronze gladiators which we have seen. In the colouring it is a brilliant example of the Venetian school, of which Titian was the "alpha and omega." The same artist has one other picture (No. 31), the subject of which is more generally interesting and familiar, being the deaths of Hero and Leander. The beautiful priestess of Venus, observing from her tower the body of Leander drowned upon the beach, casts herself headlong and dies upon his body. Leander appears washed by the sea foam; and Hero has fallen on the youth of Abydos in a very poetical manner. Her head is on his breast, with the face seeking his; one arm is thrown across the body, resting the hand upon his heart, while the other entwines the neck. The long jet black hair loosely floats over Leander's body. It is a very happy effort, but there are one or two inaccuracies in the drawing. The right leg of Leander appears too cold and unnatural; and the figure of Hero is by far too long. Her feet rest on the bank, which is a greater distance off the body of the drowned lover than could have actually been the case. It is a fine piece of colouring and expression. 20. An illicit Whiskey Still in the Highlands. E. Landseer, A.-This is the best effort of this very young and clever artist we have yet met with. It represents the fore-court of one of the private stills in the Highland glens, whence the genuine farintosh is derived. The roofing is of turf, and goats are browzing on it. A stern figure of a Highlander just returned from the chace sits on his spoils, and holds an empty glass in his hand, while his countenance indicates displeasure with a little boy near him, and a sweet timid-faced girl, who reclines against a water-butt opposite. By his side are his faithful dogs, and leaning against the rough tree support of the shed's roof is a fine figure of an old woman, with broad and large features, holding under her arm a keg of the true spirit, whence the hunter's glass has been filled, and watching with anxiety the stern character of his manly countenance. In the hut is the gloomy attendant on the stills, with a worm in his hand, and in the smoky space appears the requisite utensils. The accessories are numerous, and well introduced; the drawing upon the whole is very good; and the colouring extremely brilliant and well contrasted. There are one or two other pieces by Mr. Landseer. No. 96 is a beautiful youth, the Hon. Richard Cavendisk, with a favourite greyhound, falcon, &c. most charmingly painted. 225. A dead Roe-deer. And 291. A little dog, named Bashaw, belonging to the Earl of Dudley, painted with amazing force and truth. 29. The Chariot-race. T. Woodward.A masterly delineation of the fire and speed of the horse. Three chariots are seen in close struggle one of them is obliged to rein in, as one of the horses has fallen. The others still dispute the race with energy and confidence. This artist is also the painter of Nos. 413, Two Hunters, and 592, an excellent portrait of John Parker, esq. on his favourite horse Coroner, with the Worcestershire fox-hounds. 36. A Girl at a Cottage Door. R. Westall, R. A.-A pretty little rustic girl entering feelingly into the gambols of a little kitten, who is playing with the ball of knitting-worsted. In the distance is the village and its spired church. 42. Ulysses deriding Polyphemus. J. M. W. Turner, R. A.-Turner is decidedly an original painter; more so, perhaps, than any artist Britain ever produced. In his knowledge of colours he is equalled by none; and it is this superiority which gains him much admiration and many enemies. By an invention of prismatic colours, and a singularly overpowering display of them, he has very considerably extended the boundaries of his art. The effect which is produced by his style of painting is dazzling and surprising hereafter, when time shall have mellowed his tints, the epithet of pleasing may be applied to them. The success of this over-gorgeous school sets a bad example to the pupil. Few of the many imitators of Turner are at all able to effect the same results as the master himself. In the picture before us, the subject of which is known to every one, there is all the artist's warmth of colouring, glare of light, and immense distance. The vessels are of the gayest character, and crowded with figures and sails. The giant Cyclop, reclining on one of the heights of a ridge of rocks, is a dream-like creation; and the water is relieved by the appearance of sea-nymphs with stars upon their foreheads. The Banks of the Loire, No. 19, in this room, is another specimen of aerial brilliancy of effect. 43. The Lady in St. Swithin's Chair. Sir W. Beechey. An incident from the great Northern Romancer's first published novel of Waverley. It represents a lady attired in a white under-dress with a robe of yellow, and a black boddice, leaning on one side of the stone chair, and looking with stifled fear and forced courage to the spot whence the sound comes. In her hand she holds a crucifix, and her brows are admirably drawn together. In the air appears the spirit of the stream-one of the Macbeth tribe of witches, with haggard face, ferret eyes, hood, and wand. GENT. MAG. June, 1829. scream, 537 "Is it the moody owl that shrieks? Or is that sound, betwixt laughter and [stream?" The voice of the demon who haunts the 56. The Spanish Posado. D. Wilkie, R.A. -A representation of a Guerilla council of war, at which a Dominican, a monk of the Escurial, and a Jesuit, are deliberating with an emissary from Valencia. Behind them is the posadera, or landlady, serving her guests with chocolate, and the begging student of Salamanca, with his lexicon and cigar, making love to her. On the right, a contrabandist of Bilboa enters upon his mule, and in front of him is an athletic Castilian armed, and a minstrel dwarf with a Spanish guitar. On the floor are seated the goatherd and his sister, with the muzzled housedog and pet-lamb of the family, and through the open portal is a distant view of the Guadarama mountains. This is a complete picture; every figure in it is a study, and represents the beau ideal of the class to which it belongs. The holy men are stern, grave councillors; the Valencian receiving their instructions displays much anxiety and acuteness, and resting himself upon the table independently and keenly eyes the religious sages; the contrabandist is a sly, muffled, suspicious figure; the Castilian noble, dignified, and impatient for active exertion; the posadera is a coquette of the highest order, and is fully aware of the extent of her influence over the youth, who is a beautiful specimen of eager love, and of the expression of lassitude, which a warm climate and constitution produce on the human frame. In the colouring it is clear and harmonious; the relief is bold and accurate; and the whole is distinguished for breadth, solemnity, and grace. 66. A Dutch Ferry. A. W. Callcott, R.A. -Extensive sea-view, clear and brilliant. The groups at the ferry are pleasing, and prettily painted. 79. The first interview of Henry IV. of France with the fair Gabrielle. R. Westall, R. A. The Great Henri Quatre is on horseback, and stooping to raise the veil of the lovely Gabrielle, while she tenders him the chalice, becomes astonished at her beauty. Westall's Gabrielle, like all his lovely creations, is too aërial, but they are complete specimens of delicacy and softness. How amiable is the virgin blush and downcast look of the fair captivator in the picture before us, and how beautifully it contrasts with the manly iron frame of the monarque. 83. Coast Scene with Fishermen. T. S. Good.-Very good indeed. Besides this, there are some others by different artists, possessing equal attractions, but being of a similar character we need not notice them any further. 92. Night. H. Howard, R. A.-A beau tiful personification of the starry Heavens. It is a rich collection of fine shapes and lovely faces very prettily disposed and admirably painted. The Queen of Night is in the centre with her veil, which she throws aside to permit her radiant silver rays to go forth and illuminate the dark with peerless light. 103. Scene in a Kentish Hop Garden. W. Collins, R. A.-A very pretty incident :putting the babe to sleep in the cradle. Well painted, but hop-gardens are any thing but picturesque. 108. The Snuff-box. F. P. Stephanoff.— A gay scene prettily painted, as this artist's works generally are. One lady has obtained from a gentleman his snuff-box, at the lid of which she is looking, while her companion holds her fan in a threatening posture to the owner of it, who looks abashed but shy, and places his finger at the tip of his nose as desirous of silence. 110. Washing the Pilgrims feet. D. Wilkie, R. A.-The ceremony of the Cardinals, priests, and Roman citizens, washing the feet of the pilgrims, takes place during the holy week in the convent of the Santa Trinita de Pelligrini. The colouring is quiet and natural, and the figures easy, correct, and pleasing. 121. Death of the Mother of Count Fathom. H. P. Briggs, A.-This is a clever, promising artist, and the subject before us, a scene in the commencement of Smollett's novelis well painted. The wounded hussar, wrapped in his glory, watching the female plunderer, and preparing to receive her with powder and ball should she visit him, is an excellent figure. 128. The Defence of Saragossa. D. Wilkie, R. A.-In our last number we mentioned with praise General Le Jeune's representation of one of the incidents in this heroic defence; but our countryman has the advantage of the French general and artist in the poetry of his story, in the more elevated sentiment expressed in his characters, and in his superior acquaintance with the principles and rules of his art. The heroine is here represented on the battery in front of the convent of Santa Engratia, where her husband being slain, she found her way to the station he had occupied, stept over his body, took his place at the gun, and declared she would herself avenge his death. The principal person engaged in placing the gun is Don Joseph Palafox, who commanded the garrison during the memorable siege, but who is here represented in the habit of a volunteer. In front of him is the reverend father Consolaçion, an Augustine friar, who served with great ability as an engineer, and who, with the crucifix in his hand, is directing at what object the cannon is to be pointed. In the left of the picture is seen Basilio Boggiero, a priest, who was tutor to Palafox, celebrated for his share in the defence, and for his cruel fate when he fell into the hands [June, of the enemy. He is writing a dispatch to be sent by a carrier pigeon, to inform their distant friends of the unsubdued energies of the place. No event in the course of the Spanish war created such an intense anxiety over the whole of Europe as the gallant defence, inch by inch, of the town of Saragossa; and the brave, the heroic, and the calumniated Palafox has earned an immortality which can never be wrested from him. The figure of this brave man in Wilkie's picture animatedly exhibits his lofty daring and indefatigability; and the devotion of Augustina, who holds the lighted match to fire the weapon that is to sacrifice to her husband's manes is a specimen of dignified sentiment and defiance as powerful as ever was painted by a British artist. Of the drawing and the colouring we cannot speak too highly, and the picture is almost fault less. 132. Don Quixote and Sancho Panza, after their rencontre with the Yanguesian carriers. W. F. Witherington.-Sancho's face is full to overflowing of humourous distress and complaint; while his thin meagre errant master lies inanimately flung over the sapient esquire's equally sapient animal. It is a most creditable picture. 134. Sir Roger de Coverley and the gyɔsies. C. R. Leslie, R. A.-The only subject this very clever artist exhibits this year. It represents that particular moment when the gypsey woman tells him that he is "dearer to somebody than he thinks," and he repeats that she is an idle baggage, but bids her go on. The gay bachelor is a pleasing figure, full of expression. Mr. Leslie has beautifully pourtrayed the unintentional interest he takes in the intelligence which is both pleasing and gratifying to his wishes. 149. The Soldier's Wife. W. F. Witherington. More interesting from the subject than the painting, being inferior in execution. The late Duke of York returning one day from walking observed a woman in tears sent away from his house. On asking the servant who she was, he was answered, "a beggar, some soldier's wife." "A soldier's wife," returned his royal highness, "give her immediate relief: what is your mistress but a soldier's wife?" 150. A design from Shakspeare. R. Westall, R. A.-Very lovely and pitiable. "How should we your true love know?" 165. A Canal Bank: Moonlight. T. H. Henshaw.-Effect very powerful and cleverly produced. 166. The Morning after a Storm. W. Collins, R. A.-Painted with this artist's usual excellence and accuracy. 180. Meeting of Abraham's Servant and Rebecca. W. Hilton, R. A.-A truly classic composition, and we regret to add the only, one this extremely clever artist has this year produced for our gratification. In richness of sentiment and display of the sweet sympathies of nature; in the drawing and grouping of his figures; and in the colouring and casting of the draperies there is a rich Raphaelesque effect which will be sure to please and satisfy the spectator. The Rebecca, how meek and modest, yet how kind and benevolent, compared with her companions, who take up their pitchers and hasten away in alarm and anger. Their incivility highly increases the heavenly tone of the intended Mother of Israel. The landscape is very good, and the accessories well placed. 181. Margaret of Anjou and her Son. H. P. Briggs, A.-After the defeat at the battle of Hexham, the Queen, with the young Prince, flies to the forest, where she meets with robbers, to whose protection she offers to confide her son. The point chosen is the meeting of the outlaws, and the proposal of the Queen. One of them wishes to dispatch the babe, who looks more sulky than frightened, but the other, desirous of treating with the Queen, a fine confident figure with very rich drapery, pushes him back. It is well painted. 188. Evening-composition. J. Glover.The only piece this artist exhibits here: he reigns predominant in the Suffolk-street Gallery. In his usual warm style. 192. Scene in Calke Abbey Park, Derbyshire, the Seat of Sir George Crewe, Bart. R. R. Reinagle, R. A. Most excellent landscape, with cattle and deer. 200. The Prophet Jonah. W. Allan, A.We alluded to this in our last. It is a fine portrait of the mighty waters in their convulsed moments. The sinner is about to be hove over, and the huge monster is ready to receive him. We regret the absence of Mr. Huggins's sea-pieces. Why is this? We know he has not been idle. 207. Milton's reconciliation with his Wife. W. Boxall.-A scene of the deepest feeling. How imploringly she requests forgiveness; and what a fine expression of sorrow for the past and hope for the future is displayed in the poet's countenance. His affection slept, but never died. 212. Gunpowder Plot. T. Webster.-A mischievous boy has put some gunpowder in the fire under an old stall woman's appleroasting apparatus, which has blown the saucepan lid off and scattered her fruit. A board above reminds one of the satire, with "Parliament-street." 213. The first Child. W. Kidd.-The first Kid. The happy father is just being favoured with the first glance of his first child, and his exceeding delight and happiness is well pourtrayed. The Canary in the cage carols a rejoicing lay, and pleasure beams on every living thing. Through the opeu door of the adjoining apartment we are too much favoured with a sight of the Mamma, and the Nurse administering the caudle! This might be spared. The picture well painted. (To be continued.) HAYDON'S PASSOVER. 539 The new picture introduced by Mr. B. R. Haydon into his gallery is painted from the twelfth chapter of Exodus, verses 29 to 38; the subject Pharoah dismissing Moses at the dead of night, after the Passover. The particular incident is the death of the heir to the throne, and the consequent agony of the queen and royal family. In the centre lies the youth dead; his mother, the queen, in an agony of despair, has placed her hand on his heart, to try if there be the slightest pulsation, and expresses by her countenance her utter hopelessness :-one tear has trickled over her cheek-her lips are bloodless-her throat choaking. On the left is her youngest daughter, who has taken up her brother's hand, which hangs nerveless and relaxed; and on the opposite side is the eldest, wringing her hands at the dreadful loss. The King, unable to look at Moses, waves his hand in sign of dismissal; while Moses with one hand points to heaven, as much as to say, I am the organ of a superior being, and with the other indicates to Pharoah the consequence to himself of his obstinate incredulity. Aaron is wrapped in thought, while an old attendant has buried his face in his hands, and another behind him is looking over distressed and investigating. Behind the queen leans a slave, with Egyptian character of face, which has been avoided in the royal family. On the left, high up, is a crowd rushing along with the dead; and on the right the people are bursting into the palace with their dead children, frenzied and furious, and meaning to demand the instant dismissal of Moses, while the king's guards, by torch light, are seen pushing the crowd back. The figure of the queen, rendered bloodless and almost senseless by her excessive grief, is a powerful figure. It is the result of a sudden violent emotion of a fright on a sensitive mind and delicate frame :-the countenance is ghastly and heart-rending; and the limbs appear colder than the marble statue. What a powerful thought is the pressure of the hand upon the child's heart, to feel if there is pulsation left: she seems to have pressed her hand upon the body with all the energy of a maternal embrace; having endeavoured to fancy a hope from the vibration occasioned by the force of her touch; but failing, sinks into melancholy despair. The youngest sister looks on with the mingled affection and regret of so close a relative and a playmate; while the elder partakes somewhat of the mother's violence in her firmly clasped hands and hurried expression. The obstinate monarch, struggling against his natural feelings, seems ready to sink from his station to the distress around him; while Moses, dignified and upright, takes advantage of the moment to magnify the powers and the terrors of his God. We should like to have seen a little emotion of sorrow in the countenance of the Jewish leader; for though a messenger of God, he was but mortal. The moody enveloped figure of Aaron is copied from the Cartoon of Paul preaching at Athens," and is, we are informed, the only figure Mr. Haydon "ever stole or adopted from the works of another in his life;" and as this was stolen by Raphael from Masaccio, it has become public property. The figures in the foreground, one of the inner courts of the palace, are supposed to be lighted by torchlight, the torches being out of the picture. The background is lighted by the single torch held by one of the guards pressing back the populace. The effect is very clever and powerful. The architecture and hieroglyphics are strictly Egyptian, the plan of the palace being taken from one of the numerous plans of the palaces of the Egyptian Kings in the great French work on Egypt. This picture was painted in the year 1825, and has been sold for 500 guineas. Mr. Haydon is now engaged on a work entitled the Eucles, which will be disposed of by raffle as soon as the shares are all filled up. We sincerely trust the artist may be successful. Of the picture once again on the easel, we shall hereafter speak. Let us hope that high art will, notwithstanding the many impediments which have been and still are thrown in its way, be patronized into a triumph, and England be able to boast a school of history which shall stand unrivalled. Mr. Haydon has published a pamphlet on the causes which have operated to prevent its rise. We shall notice it in a subsequent Number. COSMORAMA, REGENT STREET. The new Views are, the Summer Palace of the Grand Seignior; Grand Cairo; the great temple of Edfou, in Egypt; interior of St. Gudule, at Brussels; distant View of Cherbourg, taken from the Roule Hill; Cape St. Vincent; Mount St. Gothard, with the falls of the Reuss in motion; Village of Roboise, on the banks of the river Seine, with snow and fog; City of Paris, taken from the Pont Neuf; Breghentz; and we believe is since added a representation of the last eruption of Mount Vesuvius, as seen from the heights of the Chateau St. Elme. A more attractive series of views has not been exhibited at this gallery. The temple of Edfou is a magnificent picture of one of the propylaea of an Egyptian temple, covered with statues and hieroglyphics; and Mount St. Gothard, with its three or four active falls of water, and the vapour arising therefrom, is as complete a delusion in that respect as anything of the kind we ever saw. To judge from the numbers which appear eager to catch a glimpse of it, it is the favourite of the gallery; and it may well be so; for, independent of the delusion, it is a scene of the most romantic and powerful [June, character. The interior of St. Gudule Ca thedral shows that remarkable pulpit executed in 1699 by Henry Verbruggen for the Jesuits of Louvaine, and presented to this church by Maria Theresa. It is elaborately carved with the expulsion of Adam and Eve, and the pursuit of death. What will our readers say to the attributes given to the first pair, when they see Adam with the ostrich and the eagle, and the fair Eve with the peacock, parrot, and monkey! The Village of Roboise is another strikingly effective picture. The snow upon the ground and on every object (save within the shed to the right, where is an admirable contrast in a workman's fire), and the rising, extending, and dispersing of the fog, interest for a considerable time. The reflection produced by the fire-light before mentioned on the snow materially tends to increase the power of the scene. The City of Paris is a fine picturesque view of the course of the Seine, with its many bridges, and the numerous splendid edifices on its banks and in its immediate vicinage. We congratulate the proprietor on the superior character and interest of this year's selection of views; and can promise our readers considerable gratification in a visit to 209, Regent-street. Elizabeth [late] Duchess of Devonshire.— The Duchess is represented sitting, nearly in full face, with a black hat and feathers; from a drawing made by Sir Thomas Lawrence when at Rome. The engraving is in stipple by F. C. Lewis, and is most skilfully executed. It appears a perfect fac-simile of the President's exquisite drawing. This charming print forms an admirable illustra tion to Mr.Miller's "Biographical Sketches," whence the following character of her Grace is taken: "The Duchess of Devonshire lived splendid palace in the Piazza Colonna was at Rome suitably to her elevated rank: her open to merit and talent from all nations: her countrymen she patronized, and the British students daily experienced the benefit of her influence and favours. Nature had given her eminent abilities, and a correct taste for Art in general. She excavated an tient remains; printed and gratuitously distributed to those in her favour splendid books; and when she died [March 30, 1824] left a void in the circle of Roman virtu City'." which will long be felt in the Eternal Margate from the Sea.-Huggins. This industrious and talented artist has just published a distant view of this crowded watering-place, with a good portrait of the Lady Kennaway, commanded by Thomas Surflen, Esq. homeward board 1827. The range of elegant houses on the cliffs; the |