fine arts.
ROYAL ACADEMY.
FIRST NOTICE.
Tex great Art festival of the year—the opening of the Royal Academy —an event for which painters, who boast not the addition of the magical R.A. to their names, have looked forward for some time past with alternate hope and fear—came off on Monday last. The alters- tions which have taken place in the interior of the building served as an additional stimulus to the curiosity of the many who make it a
point of honour to be present at the Exhibition on the day of open- ing, and seldom, if ever, have the Academy rooms presented a more crowded scene than they did on Monday. So great was the amount of jostling and squeezing that rumours were afloat to the effect that many pictures on the lower range were scratched and rubbed by the steel-ribbed petticoats of the lady visitors. A. low iron rail might with little trouble and expense be erected along the walls at a short distance from the pictures ; it would not interfere with their examina- tion, and would be the means of securing property from needless injury. Concerning the alterations, it is not necessary that I should speak. The advantages of them will be better appreciated by your readers at a glance than by any description I could write. A word, however, must be said in favour of the sculpture gallery, which, though it has the defects of conflicting lights and presenting too great a quantity of reflecting surface (owing to the pale, inharmonious violet tint of the walls), is, nevertheless, a great improvement on the cold, cheerless, and dirty "antique school," in which rows of busts ranged like specimens of cranial development in a phrenological museum, caused the visitor to vacate the apartment with consider- ably greater rapidity than that with which he entered it.
The present exhibition is unusually good. If there are but few of those pictures that once seen cannot easily be eradicated from the memory, there is abundant evidence of sound and conscientious labour, which, if well persevered in, cannot fail to raise the English school of painting to a high standard. The Academicians are by no means in full strength this year. Several serious gaps occur through the absence of painters like the President, Messrs. Herbert, Mal- ready, Maclise, Webster, Frith, Egg, Poole, and though last not least, Millais. In the sculpture room the beautiful idealities of Mr. Gibson will be sought in vain. Two of the newly-elected Associates have striven to prove they deserve their lately conferred ho- nours, Mr. Faed, by an admirable picture of domestic life, and Mr. Ansdell, by a large canvas combining figures and ;animals. The younger men have worked well, and owing partly to this, and partly to the large number of Academic defaulters, their works occupy a considerable space on the "line." Seldom have the pictures of young artists met with such general recognition, and with one or two ex- ceptions the Academy have proved that their method of hanging is fairer than that pursued by the managers of the other exhibitions of oil pictures.
As regards the subjects of the mass of works, the same laudable desire is evident, of inventing a theme rather than resorting to the pages of an author for inspiration. The old mines are rarely worked, or altogether deserted. With the exception of Mr. Stone's " Faint- ing of Hero," there are no really Shakspearian pictures. The Waverley Novels have given place to the "Idylls of the King," or the "Morte d'Arthar." In historical and biographical incident, Messrs. Ward and Elmore are prominent, with Messrs. Paton, John- ston, and Rankley as followers. Over the animal world Sir E. Land- seer still holds undisputed sway. Mr. Leighton, whose work appears full of fine poetry and imagination, presents the most conspicuous instance of hard treatment on the part of the hangers. The lady painters are in great force. Mrs. H. T. Wells and Miss J. B. Hay have produced pictures which may fearlessly stand comparison with any on the walls. Travesties of the works of popular painters are almost entirely absent, though there is one instance of plagiarism so flagrant as to deserve immediate gibbeting. In "Dante at Florence" (502), by Signor A. Baccani, several figures are literally copied, both in attitude and costume, from that beautiful picture of M. Cabanel's "Le Poet Florentin." In the architectural room, numerous drawings of buildings in the "early Gothic" manner, attest the pleasure taken by the "Revivalists" in plate-tracery, chamfered buttresses, and that general spikiness considered so "jolly" by the school. Descending to the sculpture, we find abundant proof that those very old friends, "Musidora" and " Godiva" have not deserted us. They pay their annual visit to Trafalgar-square, with a punc- tuality as commendable as their pertinacity is distressing. Taking the exhibition in detail, Mr. Noel Paton's "Luther" (10) is the first picture claiming special notice. The future champion of the Reformation has lately taken the monastic vows. His mind con- fused and agitated by "sophistical books," he is depicted in the li- brary at Erfurt poring over a massy iron-clasped Bible, striving "to make out the meaning of Paul." The night has been passed is prayer and study. A taper expires in its brazen socket, while the cool dawn of morning breaks through the half-opened shutter. A. glimpse of sunny sky, and bright flowers moist with dew, contrast freshly with the hot feverish restlessness of the student's attitude. In aiming at intensity of expression, Mr. Paton has overshot the mark. The face of Luther, though earnest and good in conception, is more hag"ard and care-worn than could have been the case; Lu- ther was only twenty-two when he entered the Augustinian monastery at Erfurt. Here he might pass for five-and-thirty at the least. Every part of the picture betrays deep thought and study. The details indeed are made out with a minuteness so universal as to involve mo- notony of texture and surface, and to distract the attention from the figure. But Mr. Paton may be congratulated on having produced a conscientious and intellectual picture. All will be pleased with the change that has come over _Mr. Lee. His "Signal-station, Gibraltar" (16), is immeasurably beyond the somewhat tame pictures ho has of late exhibited. The palm trees and the steep, almost inaccessible, rock are drawn with knowledge and largeness of style. Equally praiseworthy is "Gibraltar from the Sandbanks, &c." (122), though m both pictures a little more interest in the sky woul&have been an advantage. Mr. Dobson takes an every-day subject in the "Drink- ing Fountain." His success in its,treatment is doubtful. It is ably drawn and composed, and in its peculiar soft style well painted, yet it fails to interest through lacking truth and character. Who would recognize the proverbially saucy London butcher-boy in this good little creature, whose cheeks have lost their colour, and who could never be guilty of the impropriety of " chaff ?" He has evidently strayed from one of Mr. Dobson's scriptural pictures. In 298, a very pretty and pleasing study of a little "Flower Girl," Mr. Dob- son is more at home, and much more satisfactory. Mr. F. B Fickersgill is still stationary. His present *harem, with slight modifications, are very similar to those of former years. In "Duke Frederick Banishing Rosalind" (42), there is no douht that the bilious and red-haired villain in the scarlet robe is the duke, but it would be a matter of greater difficulty to determine accurately which of the two female figures is intended. for Celia and which for 'Rosa- lind. Mr. Pickersgill's single type of female beauty may be also noticed in " Miranda" (77), main' he thick-waisted beantiesfor whom the operatic "Pirates of the Mediterranean" (310)-are casting lots. The painter of the "Burial of Harold" needs not tobe.tokl that he is capable of far higher things if he so chooses. Mr. C. Stanfield Las an excellent example of his powers in " Capture of Smuggled Goods, &e." (57). The rocky coast, the foaming sea, the lowering clouds, and the screaming gulls are all painted with clear workmanlike precision. The Story is well told by means of the revenue cutter in the offing—and the waggon with its bales of goods and wounded prisoners proceeding under charge of a military escort. The mounted dragoons, one of whom claps his hand on his helmet to prevent its being blown off by the wind, are painted with much firmness and spirit. Mr. Ansdell has never shown better than in " Hunted Slaves (59). The subject is of the strongest. A.negro, axe in land, is engaged in deadly con- flict with bloodhounds, one of whom he has already despatched. Be- bind him a negress, though cowering in terror, eagerly watches the results of her companion's blows. The action both of the slaves and of the dogs is energetic, without being overstrained. The colour is more satisfactory than usual, and in the difficult task of drawing life- size nude figures with great approach to accuracy, Mr. Ansdell has acquitted himself with credit. "Gossips at a Well" (66), by Mr. J. Phillip, is a little disappointing. It shows in a remarkable degree, that thorough command of hand and rich painter-like feeling, for colour and texture, which this gentleman possesses, but it wants a trifle more incident to imbue it with vital interest. Mr. hillip never painted a more graceful figure than that pretty dusky girl in the yellow petticoat, who with inclining head is listening to the badinage of the burly muleteer, himself an excellent piece of character. In all technical qualities this picture is perfect. In future works, it is to be hoped that Mr. Phillip will show, as he has often shown before, that without sacrifice of these admirable qualities, he can tell a story and paint expression. Mr. Elmore occupies the " place of honour" in the East Room, with "Marie Antoinette in the Temple" (110). This is a beautiful and pathetic picture. The poor widowed and captive Queen, separated from her son, has now no, other consolation than to-watch for hours at a chink in the wall to obtain a chance of seeing, or perhaps exchanging a look with her child as he walks on the platform of his tower. The face of the Queen is touching in its sorrowful expression, her black dress, the dingy walls and battlements of the prison en- hance the feeling of mental desolation. In a lighter mood, Mr. Elmore has painted "Peace, 1651" (87). A demure Puritan girl, etauding on a chair is bending over her tall bronzed stalwart lover, to relieve him of his shoulder-belt and sword. His 'helmet and bando- hers she has already hung up on the wainscot. In both pictures Mr. Ehnore's thoughtful, careful method of study, and his steady de- termination to realize every portion to the best of his ability, are clearly evident. No part is slurred, yet no part interferes with the main Incident or expression. All is sound, honest, and manly. Mr. Cope sends "The Parting of Lord and Lady. Russell" (103), one of his best pictures; the story is told quietly and without exaggeration, but the ill-mannered gaoler who keeps on his hat in presence of such grief deserves reprobation, as not only is he wanting in politeness, but he is the least successful figure in thepicture. ".George Her- bert, at Bemerton" (98), is the title of Mr. Dyce's principle con- tribution. It is thoroughly in the spirit of the line,
" Sweet day, so calm, so cool, so bright."
Thepoet divine, in plain band and cassock, with upraised eyes, is appa- rently declaiming some passage he has just read in a book he carries with him. On a grassy bank gently sloping towards the stream, broad gnarled trunks of ivy-covered oak uprear themselves, their rigid upright forms opposing the more sloping outlines of a willow that bends to the water. A fishing-rod and basket, and a lute rest- ing against a garden seat, notify the quiet, contemplative life of "Master Herbert." The colouring is somewhat grey and pale, but for skilful and graceful arrangement of lines and masses, there are few pictures of the year that will compare with it. Though some- what dry and thin, the painting is wrought with wondrous love and patience, and eloquently expresses the sentiment of pure, calm happiness.
DRY POINT.
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