FINE ARTS. 349 



an ornament, on the top of the head. There is no endeavour to increase 

 the dark mass by a profusion of hair, in order to give a more brilliant 

 effect to the pure carnations of the face and neck. Her face is slightly 

 raised, nearly in a front view, but somewhat turned to the right ; her 

 eyes looking up, and her mouth gently half opened, with an unaffected 

 smile of courtesy, as if cheerfully conversing with some agreeable 

 friend, standing close to her, but not introduced on the canvass. The 

 chastened gaiety of good breeding, and the natural flow of a lively, 

 good temper, light up every feature. The expression is infinitely 

 charming. It reminds me of an impassioned description of a smile, in 

 one of ^eridan's dramatic pieces. I repeat it here from recollection, 

 with some uncertainty of the exact words and order of the metre, but no 

 doubt of the thought : — 



<* Her mouth, -which a smile, devoid of all guile, 

 Half opens to view, 

 Is the bud of the rose, in the morning that blows, 

 Impearl'd with the dew." 



In poetry it is comparatively easy to express a smile by the general 

 idea, and the mind adds the enchantment ; but, on canvass, the particular 

 mode and exact form, also, are to be painted to the eye ; and it is so very 

 difficult to avoid falling into an affected simper or smirk, that it has been 

 very rarely attempted. I do not remember any essay of the kind in all 

 the portraits^ which I have seen by Titian, Vandyck, Reynolds, or Law- 

 rence. But their not having tried one of the most delightful expressions 

 of happiness, is no reason why it should not be attempted by others. 

 Many French painters, about the middle of the last century, exerted 

 their skill and gallantry on this point, but without adding to the charms 

 of their fair sitters. An instance of the trial and complete success is 

 now before the public in this performance. 



The open light is favourable to the fairness of the carnations. The 

 clear, pearly half-tints subside insensibly into the warm, tender shades, 

 which are but sparingly introduced, and only just sufficient to round the 

 delicate forms. A crimson flower in her bosom, and a silk scarf of 

 mellow red, yellow, orange, and purple^ skilfully blended and toned, 

 harmonise the flesh tints, and keep up the vivacity of effect. The 

 execution is that of a master ; the penciling sweet, and worthy the hand 

 of a Guido. The artist has amply acquitted himself, and the fashion of 

 the lady's costume, alone, presents some alloy. The puffed-out forms 

 of her dress on the upper arms, are according to the most admired mode 

 of the haut ton ; but are, by no means, in every particular, favourable 

 on canvass. They not only are unpicturesque and ungraceful in them- 

 selves, but they hide the beautiful forms of nature. In this painting 

 they seem to fly out as if put in motion by the wind, or by a sudden 

 movement of the person. This occasions, at first glance, some appear- 

 ance of a flutter in the effect, and of a studied display in the disposition, 

 I confess something of manner, of a want of repose, and simplicity, was 

 the first momentary impression on my eye; but it was immediately 

 removed by the various merits of the whole picture. 



One sees plainly that this artist has been in Italy ; that he studied the 

 best models, and that he has not forgot them. Sir Joshua Reynolds has 

 remarked that the extreme of the sublime, not infrequently approaches 

 the ridiculous, and the lines of grace sometimes fall into those of 

 affectation ; in all such cases, there will be differences of opinion. 

 Nature is a jealous mistress. A British portrait painter, who has one of 

 his lovely countrywomen before him for his model, must bend his whole 



