FINE ARTS.

THE ROYAL ACADEMY EXHIBITION.

Portraits.

On the whole, Mr. Boxall is entitled to the palm in portraiture in virtue of the head of " J. D. Coleridge, Esq.," which, with much highly-wrought unfinisb, possesses great ease and vividness of pose and expression. In his other portraits the flimsiness and gauzy insubstantiali are most pro- voking. Those of " The Honourable Mrs. Watson" and "The he Right Hon- ourable J. C. Herries " have somewhat less of this quality than the rest ; but they are still highly artificial. Mr. Knight's best is "Mr. Thomas Vaughan, during half a century the faithful servant of this institution" [the Academy)—and a very strongly painted work it is, well character- ized and bold in relief. The look of age has been excellently rendered„ without pettiness. The bustling offioiality of " Sir John Musgrove, Bart., Lord Mayor," is again remarkably happy, and the gilt trappings of muni- cipal dignity are so well treated as to be exempt from that tinselly appear- ance common in most examples of the class. Very clever also is the anonymous portrait No. 183' so is the one named " The Student," for its powerful dash of colour—its fault is a pink fruity bloom in the flesh ; and the same is to be noticed in the otherwise fair likeness of "Professor Donaldson." However, Mr. Knight is fully up to par this year. Among Sir J. Watson Gordon's, those of " William Herrick, Esq.," of "Lord Rutherford," and "Lord Cockburn," unaffectedly painted, and the official- looking "Archdeacon Headlam," may be particularized. The "Earl of Aberdeen " has a good deal of Mr. Knight's style. The preeminence among Mr. Grant's portraits must be assigned—on account rather of the beauty of the sitter than the merit of the painter—to " The Lady Londea- borough " ; but Mr. Grant must not be denied the credit of thorough good taste and appreciation of his opportunities. The best-painted is the eques- trian "Sir William Fraser" ; the most generally interesting, "The Right Honourable B. D'Israeli,"—a work which we conclude to be some years old, embodying as it does the leader of Young England more nearly than the Chancellor of the Exchequer. The others, and these also in a minor degree, make us once again deprecate the extreme carelessness and insipid- ity of execution to which the artist gives way. Mr. Pickersgill's " Por- trait of General Sir Charles Napier," as being a fairly acceptable render.. ing of a great man, stands out from the common range of his productions of this and former years ; but the clenched look of the original is want- ing. Mr. Phillips and Mrs. Richards stand at the head of the younger por- trait-painters; the former with a head of "Lady Duff Gordon "—the simplest and severest, without stiffness, in the gallery ; the latter, with a "Portrait of the Honourable Mrs. Norton," and a full-length likeness of an unnamed lady descending a staircase; both displaying good flesh- painting and remarkable power of hand. There is a certain sheeny ap- pearance in the lady's portraits, which she will do well to be on her guard against; but they are quite free from the ordinary ad captandum expedients. Mr. Watts's "Henry Taylor" is the ambitious mistake of a fine artist. The visitor should not overlook a prettily-executed little head by Mr. Smallfield, entitled "The Knitter" ; a group of " Three Young Ladies," also pretty, by Mr. Burton ; or, among larger works, some of the portraits by Messrs. Baxter, Herrick, Macnee' Pat- ten Edwin Williams, and Desanges. The three-quarter length figure of "Lady Olivia Ossulaton," by the last, is one of the most attractive female portraits, though not of a recommendable class. Far different from all these is the " Mrs. Coventry K. Patmore " of Mr. Millais ; striking, and almost startling, for the exceeding definiteness of look, action, colour, and expression, which is its characteristic, and for its consequent reality. The face is lifelike in its vigour of rendering, yet has not the shifting look of life. It is a daguerreotype whose production has taken hours instead of moments.

Landscapes.

Here we have—what is the reverse of usual in other departments of English art—a choice of excellences. We begin with our two most tho- roughly established reputations—Roberts and Stanfield. Mr. Roberts's " Venice " has fine space and air, and represents the city of the sea in one of its less hacknied aspects, introducing at the same time the chief objects of interest in their full importance. Its light, though not radiant, is so equally diffused as to absolve the work from the imputation of coldness, so frequent in Southern scenes when not purposely made vehicles for effect : the water has a somewhat marbly aspect. The "Antwerp," with a towering cathedral which makes the town "like a wart," is a fine specimen, especially in tone and chiaroscuro, of that a priori kind of art, resulting from long and scientific practice, which runs the risk of merging into artifice. The " Interior of the Ca- thedral of St. Stephen, Vienna," is an impressive and very remarkable work ; the whole edifice up to the grand altar being seen through the immense span of a comparatively low arch. The mediaeval building, the profuse ornamentation of a Roman Catholic place of worship, whose un- harmonizing frippery it is very difficult to manage, and the picturesquely- disposed groups, are treated in Mr. Roberts's broadest manner. We feel here, however, as in most of the painter's works, some deficiency of mass : his subjects for the most part call especially for this quality, and it is en- deavoured after by method in light and shade, &c. ; but the objects them- selves seem to want solid bulk.

Mr. Stanfield's "Port of La Rochelle" is one of his very best works— admirable in the free, breezy, surfy sea, which is the artist's chief excel- lence, and altogether a highly complete picture. "The Bay of Bake," on the contrary, is excessively commonplace, and even poor : "Citara—the Gulf of Salerno," a capital specimen of his average style, almost, but not quite, above the average in degree.

This year is the first in which Mr. Anthony has exhibited a work of importance at the Academy, and deserves to be borne in recollection as such. We should search in vain through the rooms for another picture evidencing such a large grasp of Nature as she is—her fulness, ease, and freshness. The painter has in a proximate degree the same kind of efort- less productiveness ; everything takes its place in his works, and is there as a matter of course—in a word, is intrinsically natural. We know no living painter to whom the epithet " great" may be more worthily applied. Look at his " Beech Trees and Fern" ; which has no more subject than the title indicates ; but how the foliage—already loose though not thin in the early autumn weather—sways and parts, giving blue glimpses of sky ; and the fern—how dense, and various, and crisply sparkling with moisture ! The detail of incident is perfect;—the par- tridges nestling unconspicuous under the ferns, and the setter which pauses a moment on the scent. Perhaps Mr. Anthony has his rich resources more thoroughly under command in this picture than in any he had pre- viously exhibited. Mr. Linnell's " Barley Harvest—Evening" is a glorious landscape. The solemn depth of shadow overspreading the entire foreground, the gloomy screen of trees, and the sunset-blazing sky, unite to produce, out of the most accessible materials, an effect almost ideal in its brooding im- pressiveness. We must say, however, that the sky is overmuch on fire : not that it is too bright, but the rolling thickness of the clouds suggests smoke-vapour, and the light is too strictly confined to one spot. Both Mr. Linnell's other works are admirable studies of nature—to which we have not space to do justice in detail. The " Woodland Mirror" of Mr. Red- grave is as careful and excellent a landscape as he has yet produced, full of well rendered minutia+ and general truth, although somewhat too blue in

the distance. A little bit whose real charm is strongly felt after a while, crude as it may seem at the first glance, is Mr. Mulready's " Blackheath Park." It possesses beautiful tenderness of feeling, and the making-out of each particular feature of the view is most conscientious. Mr. Cres- wick verges towards mannerism. His " Mountain Lake—Moonrise" is more striking at first than on prolonged inspection, when its silence and solitude are found rather lukewarm and of an obvious kind. There is more stuff in " The Sunset Hour," also essentially a sentimental land- scape, and a good one, allowing for some of the faults of sentimentalism. The views by Mr. Blacklock might probably be closer studies of nature, considerable as is their merit even in this regard, were they not so peculiarly artistic in manner : with Mr. Blacklock, style becomes al- most a part of his subject, and we can hardly make up our mind to regret its prominence as an exceptional case.

In landscape art, as well as in subjects, Pre-Rapbae,litism is visibly making its way ; exemplified here by the scrupulous literality of Mr. Collins's " May in the Regent's Park,"—an excellent little slice of nature—park nature—in its way ; by Mr. Inchbold's very nice "Study" of a tree-stump and scattered autumn leaves ; by Mr. Cary's equally nice and faithful " Foxglove Bank in Evelyn Wood" • by " The Rookery, Worcester Park Farm, Surrey," of Mr. W. H. Millais— whose easy and complete management of a small subject, and truth of aspect, promise first-rate things when practice shall have developed the artist's powers, and among them that of representing solidity of form; by Mr. Burcham's wonderful "Study of Mosses, Sc.,"—for which no amount of inquisitorial inspection is too much ; and by Mr. W. Lin- nell's warm and pleasant " PastoraL" Another member of the same artistic family, Mr. J. T. Linnell, exhibits a landscape subject, " The Disobedient Prophet,"—full of a really grand and poetical feeling, espe- cially in the upward sweep of the hill, whose summit stands forth against the ridges of fierce sunset-clouds, and as full as it will hold of finely- treated vegetable variety. The figures are placed in a singularly inarti- ficial manner, which is carried rather too far.

We cannot call to mind any view by Mr. Lee which pleases us so well as the open expansive "Loch Dochart, in the Forest of Glenorchy" ; and two other views from the same locality are deserving of commendation. Mr. Cooke's clever scenes from Venice—bright, but with a frosty bright- ness • Mr. T. Danby's sun-bathed "Lake Leman," which contains some of the best study of mountain form in the gallery ; Mr. T. D. Hardy's admirable interiors, and those of Mr. Previa ; the dashing spirit of Mr. Kuytenbrouwer's " Chace" ; and the truth and precision of Mr. Raven's landscapes, which only need be a little more conspicuous, as they ought to be, in colour, to make their author's name once for all deserve to be particularized ; and the works of Messrs. Boddington' Parrott, Dawson, W. J. Ferguson, Hahne, West, Pollentine, E. Lear, Oakes, and Percy, to be at least mentioned.

Animals and Still Life. This section, wanting its two chief pillars, Sir Edwin Landseer and Mr. Wolf, makes but little show. Mr. Ansdell reigns in their absence, and as viceroy fills the post reputably enough. The "Lytham Sand-hills, Lanarkshire," though his least important work, is his best ; being a very close transcript of fact : the others display care and knowledge, but want roundness of form and depth of colour. Mr. Ward has some of his ex- ' centric subjects, but which are never pointless or wanting in observation; Mr. Rolfe, a gleaming study of fish; and Mr. Sidney Cooper, several of those cattle-pieces in which it is so vain to look for anything novel or salient. Mr. Lance was far abroad when he bethought himself of paint- ing that huge "Seneschal," amid his plate and dessert, on that monstrous canvass, fit for a grand historical picture. Perhaps the most pleasing bit of still-life is Mrs. Harrison's (82) : for Mr. Gronland's unsurpassed skill does not show to quite so much advantage as usual this year. There are two very good pieces also by Miss A. F. Mutrie, much in this gen- tleman's style.

Miniatures, 4e.

It has so long ceased to be news that Mr. Thorburn is the first of miniature-painters, and all are so well inclined to recognize the high cha- racter as well as the degree of his merit, that we may be excused it in the desire of husbanding our space, we pass at once to less familiar. names; simply observing that Mr. Thorburn's excellences are not quite so strikingly displayed in any one instance as in the last two years. We similarly pass Sir W. C. Ross ; and come to two rising men, who have here put forward their claims very strongly, Mr. Wells and Mr. Couzens. In Mr. Wells's works the colour is peculiarly soft, luminous, and bril- liant: the head of "Miss Mabel Brand," above all, is an exquisite ren- dering of a most lovely child,—the golden tinge of the hair, the modelling, and the expression, leaving nothing to be desired. There is a beautiful spiritual look in Mr. Couzens's miniature of " The Children of G. Col- quitt Goodwin, Esq.," and unusual masterlineas in " John Espin, Esq." ; and this gentleman's others works evince capabilities which cannot fail to place him in the front rank of his art. Messrs. Carrick and Earles keep their own.

In crayons and water-colours, we have Mr. Chalon's very pretty "Por- trait of Miss Tatlock "; Mr. Cope's " Study of a Child's Head "; Mr. Three's " Study for Fresco,"—a grandly-drawn half-figure, embodying apparently one of the scientific arts ; Mr. Watts's perfect crayon heads of " Lord john Russell" and "Francis Albert Rollo Russell' ; Mrs. P. Phillips's capital still-life (1025) ; and clever portraits by Mr. Lowes Dickinson and Mr. Pasquier.

Architecture.

As exemplified and patronized at the Royal Academy, architecture has reached a point at which it behoves all self-respecting professors of the art either to insist on a radical change, or else to secede to more con- genial quarters, which are now ready provided for them. The show is this year less in quantity and less favoured in location (although moved back to the North Rooin from the Octagon) than it had ever been before; and so inconsiderable in quality, that it would be merely a roundabout way of saying nothing were we to attempt to speak of the works other- wise than in brief generalities.

Sculpture. Only one of the magnates, Mr. Baily, shows to advantage; and only two of the advancing generation of art, Mr. Woolntr and Mr. Munro,— except, indeed, in the matter of busts. Mr. Baily's " Statue, in marble, of the late Thomas Fleming, Esq., of Manchester," is a work noble in its simplicity ; in which no difficulty of modern costume has been shrunk from, no particularity of portraiture evaded, and which is nevertheless treated with such consummate art tha the extremest purist need not withhold his admiration. " The Infant Bacchus—a portrait, in marble "—is a figure charmingly modelled, and studied with intimate knowledge of childish form and character: but we question whether the subject of the portrait has any special Bacchie adapta- bility.

Mr. Woolner's "Sketch for a Monument to William Wordsworth" is the most intellectual work of the collection, and its art is equal to its idea. On a pedestal bearing a relieve from Peter Bell, the most thorough expression of the poet's distinctive qualities, Wordsworth himself is placed, seated, large of limb, and composed, body and mind, to meditation. This figure admirably combines the individuality of portraiture with sculpturesque and characteristic dignity of repose. At the sides are placed two groups, "symbols of the two great principles he strove to in- culcate," the description of which we quote from the Catalogue—" 1st, Control of passion, being the basis of Law—a father admonishing his sullen boy; 2d, Nature contemplated to the glory of God, being the basis of Religion." The former is a male, the latter a female group, represent- ing a child, who, having plucked a flower, which she has brought to her mother, has her thought directed by a gesture of reverent awe to the Maker of the flower. The subjects could not have been better chosen, or more completely expressed ; while they possess an elevated spiritual grace, a classic feeling with a modern soul, in the truest sentiment of sculpture. There is something in this work at once thoroughly apprecia- tive of the subject and strikingly high and original. Mr. Woolner con- tributes also two designs for medals,—" England Rewards Agriculture," and the " Competition of the Lever"; both, and especially the last, dis- playing fine form and style, and depth of appropriate conception and sym- bolism, severely simple. Three medallion portraits of Thomas Carlyle, William Wordsworth, and a Lady, evince rare powers of sculpturesque portraiture. The first is a speaking likeness of the man—not taken from the features outwards only, but from the soul inwards ; stern, impetuous, gigantically strong, and sad as only a great human soul can be. The second is studied with extreme earnestness from the known likenesses, but with a mind and a purpose in it which none of them convey. All are executed with the mastery of a true artist. In none of these works is there anything vapid, commonplace, or lax. Mr. Munro's work is the group of " Paolo and Francesca, " in marble, of which the Great Forbibition contained the plaster cast. It has gained greatly as well in passionate feeling as in dignity and refinement of execution. This also is something new : Mr. Munro has thought for himself, and to good effect. His group is extremely graceful ; and there is a life in it, a burning tenderness in the Paolo, a yielding sweetness in the Francesca, worth any amount of those merely classical and respectable traditions with which we are so familiar. In the back view the figures have a somewhat huddled look ; but this cannot be helped, and there is beauty enough in front to make us dispense with the back altogether if need were. We do not like the plumed cap lying in the centre, however. It certainly gives a point d'appui ; but we do not understand how a sculptor can contemplate the hacking and hewing out of a feather with equanimity, for his own sake or his art's.

There are some other works that would repay criticism; as Mr. Mao- dowell's "Love in Idleness," Mr. Hancock's "First Impulse of Love— an angel teaching two children to kiss one another,"—a very pretty sub- ject; Mr. E. G. Papworth junior's "Tired Water-carrier," Mr. Wooding- ton's "Happy Days," and Mr. Haydon's " Rose " ; also Mr. Weekes's " Shepherd," which may be described, in play-bill phrase, as a "bur- lesque extravaganza." But we must restrict ourselves to a few words on the busts. These comprise three exquisite examples by Baron Maro- chetti, in whose female heads there is lovely purity and nobleness ; seve- ral by Mr. Park, in his peculiarly free picturesque manner, very clever and lifelike, though of dangerous precedent; some good ones by Mr. Bally; and single specimens of Messrs. Macdowell, Behnes, and Foley.