''•= 11 FalittiltrON OF 310DEILV BRITISH ART.
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ittedgrave's " (12.5) is not Shaksperea-n,—the face in- exp're'ssive, and the general tone of colour disagreeably dark : the hands arc well drawn and painted. The E4 riuS of "Morning Prayer," &c. (161), including the design of "The Child's First Prayer," exhibited at the Academy, is throughout puny and eenonneplace in sentiment. "A Pool on the Greta " (235), and "A Nest of Weeds " (242), by the same artist, are charming scraps of landscape. We are often tempted to wish that Mr. ]lndgrave would ooefine himself to.this branch of art, in which his greatest successes have undoubtedly: been achieved. Mr. F. R. Pickers- gars contributions are all int Vetter:coheir. In the sketches, of " The Sirend' an-I " Marine'," frem the Peery Queen (131), aliberal'use is made of opaque white paint to represent the high lights. No_ 144, " A Citizen of London Defending his Uouse during the Riots in the reign of Henry the Seeond" (244), by far the bestor'these bestdesigns, contains much appropriate airdVaried action: the woman whose form, leaning out of the window in anxious watching, intersects the orb of the pale full moon, is poetically introduced. Why will not Mr. Pickersgill give his in- vention. fair play,, and lay aside mannerisms, prettincsses, and academi- cal conventions? A fine picture might be made from this design, would he but resolve to do so. Mr. Patten attempts "The Christian Graces" (T41). In outward aspect they certainly present no affinity to the Graces of Pagan mythology : Faith is a frowsy femme de quarante ens; and atiarity's face is as much like a rabbit's as a humanised celestial's. The white drapery-of the nymph in "The Golden Age" (147) is a study for badness. On the other hand, badness is made a study, and a most me- chanically wooden one, by Mr. Tenniel, in No. 144, "Alexander's Feast." And this is to be perpetuated in fresco as national property, by the mandate of the Fine Arts Commission ! The selection is to be re- gretteds not only in the general interest, but even for the sake of Mr.
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nniell himself; whose Study in Chalk and Charcoal " (169), shows him to be thoroughly accomplished in executive cleverness. An amount of surface-finish equal to Mr. Edward Corboulds is here united to greater fieedom and lightness. The latter artist exhibits one of his worst pro- ductions, "Ennui" (66). By Mr. Cope is a graceful "Sketch for a Pie- hire of l'astorella " (152.), treated with poetical feeling. "A Study from Nature" (181), by Mr. Lucy, is the head painted as Cromwell's daughter in the artist's excellent work of last year. Minute attention has evidently been bestowed on the details of expression. Earl Compton sends two or three studios, among which that of "An Italian guitar-player" (119) shows chaste and refined feeling. There are works also by Mes.srs. C. Landseer, Gilbert, and Cattermole ; an artistic combi-
n istion of colour (195) by Mr. Lauder ; some-sketches by Mr. Frost, con- taining somewhat more of life than his finished posea non-plastiques; and two designs by Mr. J. Godwin, where, through much that is objectionable, a power of dramatic construction may be perceived.
Mr. Niemann distinguishes himself among the landscape-painters, with his wonted force, and more than his wonted care. Works of considerable merit are sent by Messrs. D'Egville, Palmer, Davidson, Ilulme, Holland, and Lake Price ; and by the brothers Williams, whom "one touch of landscape makes kin" across all transformations into Boddington, Percy, and Gilbert. By Mr. Ansdell are two " Sketches from Nature" (103),— e,apItal reproductions of tracts of rock-scenery. - Mr. Wehnert's " Bridge a 'Vernon, en the Seine" (46), is highly artistic though at some compro- nieeiof natural aspect Mr. Turner, Mr. Roberts, and Mr. Martin, re- present our "greater lights." In animal subjects and still-life the chief eaatributors are Messrs. Ansdell, Wainwright Harrison Weir, (always ex- oallent,). and Lance. In conclusion, we would recommend the managers of this exhibition to abandon next year the plan here adopted of a uniform pasteboard mount- ing or framing for all works whether in oil or water colours ; a plan which sacrifices the essentially diverse characters of the two methods, and the display-of their pictorial properties, to a merely decorative ad- vantage.
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