Ij^ Fine Arts' Exhibition: [MARCH, 



censure upon this picture, whilst poking his eyes close to the surface, by saying 

 " He has not covered the canvass, Sir : I can see the canvass, Sir ;" as if the 

 recreant Stanfield had cheated his Majesty of so much paint. 



5. A Falconer. A. FRASER, A powerful bit of painting a fine study of 

 character, and well coloured. 



6. Sabrina, from Milton. W. ETTY. This was in the exhibition last sum- 

 mer. It is a dream of color without the sun mystical full of wild grace and 

 fleshy beauty. The other picture of ETTY'S is called Robinson Crusoe, and has 

 been also exhibited before ; it possesses his usual attractive features of colouring 

 in the figure, but nothing of scenery or nature beyond. 



19. The Contadina di Sonnino. G. HAYTER. We do not see any improvement 

 in this artist since his residence on the continent ; but in this, and La Toillette, 

 and Conversion of St. Paul, rather a declension from his celebrated Trial of Lord 

 Russell. 



We observe several exquisite fruit pieces by LANCE, painted with his usual 

 feeling and power. 



E. LANDSEER has treated us with five subjects, viz.: 23. Hawking. 75. Inte- 

 rior of a Highlander's House. 174. The Auld Guid Wife. 186. Lassie tending 

 Sheep. 326. The Challenge. These are all finished with the nicest feeling and 

 taste, equalling any of the animal painters of the Dutch and Flemish schools, 

 yet drawn and embodied without any apparent reference to any other source 

 than that of nature. The sheep in 186, must be placed among the greatest 

 triumphs of art in colour, texture, drawing and grouping, we know of nothing 

 superior : the girl is very properly made subordinate to the animals, though she 

 too is painted with uncommon sweetness and skill. These pictures are as desi- 

 rable to possess as any of Berghems or Wouvermans. 



52, An Antiquary. A. FRASER. Here is another picture, which for colour, 

 execution, effect, and truth of detail, may be placed in any gallery in the world, 

 We only regret that the interest should be confined to objects of still life. There 

 is a young woman writing at a window, but the charm of the picture is not in 

 her there is an old man reading a letter at a table, but the beauty of the work- 

 manship lies not in the old man. It is scattered over the canvass in a variety of 

 objects, especially to be valued by an antiquary, and appears perfected upon 

 the tall and ample figure of a yeoman of the King's guard, who has brought a 

 royal present, consisting of various pieces of armour, among which a fine Ben- 

 venuto Cellini shield lies, a very piece of deception, in the foreground. On the 

 whole, this picture is among the first of its class brilliant in colour and effect, 

 and of masterly execution. 



Amongst other beauties, MRS. CARPENTER'S Study from Nature, 39, must not 

 be forgotten ; it is of a sweet little girl, quite a character, and coloured like a 

 pure piece of infant flesh, round and rosy, with a little fat hand deliciously 

 coloured. 



We advise J. P. KNIGHT to paint with more care, and particularly to make 

 his girls more attractive, if they are to be introduced as principal figures we do 

 not like his two pictures, 60. Bit of Courtship, and 302. Auld Robin Gray. 



We cannot withhold our warmest congratulations from Mr. LEE, who exhibits 

 five charming landscapes, upon the progress he has made in his art. He has the 

 right feeling, and works it out with corresponding power. His Landscape with 

 Seech Trees and Figures, 264. is worthy of the olden time, 



Messrs. C. Fielding, Stanley, Hofland, and J. Jones, R. A., exhibit some 

 beautiful landscapes : we particularly admire a small subject by Fielding, whose 

 practice has hitherto been almost confined to water colours, in which art he is 

 pre-eminent. In 287, Loch Tuy, the oil painter is worthy of his water-colours. 



Of historical subjects, there is a very scanty supply. Of these, HILTON'S Sir 

 Calepine rescuing Serena, 404, is about the best it is certainly the best of his 

 own pictures. There are two others by the same hand, viz. 178. Jacob parting 

 with Benjamin, a weak and insipid piece of workmansnip ; and 527. St. Peter 

 released by an Angel, which is not very original in its conception. In the Sir 

 Calepine there is more of the grace and spirit that Mr. Hilton has formerly dis- 

 played ; and in the painting of the female bound to the sacrificial altar, a finish 



