342 



Fine Arts' Publications. 



[MARCH, 



called Serjeant Bothwell, it might have 

 had more pretensions to character. 



76 and 82 are gorgeous specimens of 

 colouring, in Etty's best style. 



Clint has sent only one picture, 95. 

 He has been happy in his subject, and 

 it is handled with peculiar care and 

 attention. The arch face of Mistress 

 Ford, looking as full of innocent fun as 

 any " wife," be she ever so " merry," 

 ought to look, the ponderous and luxu- 

 rious Jack, lifting the arras the ela- 

 borately carved wainscoat the rush 

 matting all are touched with something 

 of the spirit of a Zoffany. 



Webster has three pictures ; we select 

 his very humorous illustration of the 

 late political panacea, The Catholic 

 Question, 113. It is an admirable bit 

 of mischief, almost Hogarthian in its 

 composition. 



11G, Country Gossip. Tennant seems 

 to have caught some of the brilliancy of 

 Cuvp ; the cattle, the heibage, and the 

 rolling off of the morning mist, are ably 

 depicted. 



161 and 164. Walnuts and Filberts, 

 by Oliver, might be considered, even by 

 such a critic as Lord Norbury, as crack 

 productions. 



The Signal, 171, Parker, possesses 

 considerable merit ; a little more atmo- 

 sphere to separate the fore-ground from 

 the rest, would have improved it. 



172, Uvvins, a singular and well ma- 

 naged eifect. 



186, The Truant, Good, is uncom- 

 monly good. Heaven keep the rising 

 generation from the cane of such a 

 domine! The schoolmaster is not 

 " abroad" here. 



Singleton's Richard's Dream, 189, is 

 frightful enough to scare a conscience 

 less troubled than the usurper's. 



Knight's Pedlar, 215, has many clever 

 points, but is unequal in its finish. 



228 and 481, Mexican women, fry 

 Boaden, are striking pictures, in this 

 young artist's best mannernovel, in- 

 teresting, and picturesque. 



Lance has nearly outdone his former 

 efforts. The Royal Wine Cooler, 250, 

 although a most imposing and elaborate 

 picture, does not please us so much as 

 the Casket, 489. How sparkling and 

 brilliant the gems ! how delicate and 

 rotund the pearls ! Nothing can exceed 

 the exquisite group of blossoms, leaves, 

 and fruit, 270, or the finish and truth 

 of his " Fruit Piece," 353. We saw 

 ladies longing for a slice of a most par- 

 ticularly attractive pine, that appeared 

 as though it were offering itself to be 



snatched, and only waited to be carried 

 away. 



447. Mount St. Michael, is from the 

 pencil of Stanfield. The transparency 

 and agitation of the water, and those 

 peculiar tints we invariably find " in 

 shore," the spirited action of the figures, 

 the sharpness of the architecture, the 

 aerial effect that pervades the more dis- 

 tant points of this very singular and 

 interesting rock, are all worthv of the 

 painter in his most inspired mood. 



There are two pictures, by A. Hen- 

 ning, which we cannot permit ourselves 

 to pass over one is an old Sjotch con. 

 noisseur in Whiskey, evidently from 

 life ; and the other, a bolder and equally 

 masterly attempt, presents a very Shak- 

 spearian group in the persons of Old 

 Jack and his Eastcheap companions. 

 Undepictable as Falstaff is, and difficult 

 as it may be to approach even within the 

 shadow of his immortal shoe-tie, this is 

 a composition which those who know the 

 subject best will relish most ; the glori- 

 ous knight, as he sits here, is worthy to 

 be the centre of such a circle of humour. 

 It is excellent both in character and 

 colouring. 



We had marked several pictures for 

 notice, which we must now content our- 

 selves with bringing within a more 

 restricted compass : such as, 1 0, Going 

 to Mass, Hart. 57, by Hilditch. 74, 

 a sweet bit of English scenery, Chalon. 

 87, a touching picture, by Bridges. 

 142, The 'Fair Day. 153, Greenwich 

 Hall. 1C6, by llogers. 302, The Bitter 

 Morning, by Buss, 304, Reingale. 347 

 and 529, by Brockedon. 355, Burgess. 

 Windsor, sweetly painted, bv Naysmith, 

 439. Dean's Rotterdam, '441. Chis- 

 holmes, 448. A magnificent cascade at 

 Cader Idris, 494, by Lewis. 527, by 

 Harriott ; and 546, The Forecastle of a 

 Leith Smack. 



Why the eye should be distracted, 

 and the taste offended, by the exhibi- 

 tion of such pictures, for instance, as 

 Nos. 56, 58, 63, 416, 518, and 542, we 

 cannot conveniently imagine. Surely 

 bare Avails, or an occasional blank space, 

 would be better than bad pictures. 



From the few pieces ojfc' sculpture, we 

 select for notice Carew^s Falconer, as a 

 noble conception, executed with consi. 

 derable felicity. 



Looking at it generally, the collection 

 may be pronounced a gratifying one. 

 It is an evidence of the gradual im- 

 provement of the art; and will, we 

 trust, be the means of calling forth an 

 additional proof of a growing disposition 

 to cherish and advance it. 



