268 FINE ARTS. 



features are well drawn, and the face is coloured agreeably, without any 

 leaning to manner, or prevalence of a particular tint. The carnations are 

 clear and true, and are seen to great advantage, set off by the dark and 

 tasteful ringlets of her hair. The hand is well introduced, as a sub- 

 ordinate light, and of a clear hue, but not of the very best form. This 

 small matter may be easily remedied, and is amply redeemed by the very 

 interesting expression of her speaking countenance. 



** 26 — Early Morning on the Seine," by J. W. Allen. Without any of 

 the golden splendour of sun-rise, this is an object of deserved and very 

 general admiration. The tranquil flow of the river, its still tone, and 

 the shadows of the woods beyond, give an additional charm to the 

 ascending rays of light, which are painted with tenderness and beauty. 

 The gentle, and almost imperceptible, transitions of tint and undivided 

 breadth of the effect, delight the eye ; and the chaste harmony with 

 which the cool, early hour is represented, evinces this artist's successful 

 study of nature, and his refined sense of her most delicate beauties. 



*' 98," by T. Woodward. A farmer's boy, about fourteen, mounted on 

 a white horse, is crossing a ford and looking back, encouraging his 

 younger brother, who rides behind him clinging to his waist, with a 

 look of alarm. Their dog, unused to the water, is sitting, in great 

 distress, on the bank, which they have left. His head is raised and 

 thrown back ; his throat distended and mouth open, sending forth a 

 melancholy howl. The helplessness, fear, and agony of this poor 

 deserted little creature could not be better painted by any master. As a 

 fine specimen of animal expression, I do not, just now, recollect anything 

 equal. Thus it is that a man of genius infuses a soul and interest into 

 the meanest object. His magic touch, as it were, converts lead into 

 gold. On the contrary, in the hands of a plodding, mechanical worker-up 

 of colours and canvass, the most pathetic incidents become flat and insipid ; 

 by a base transmutation, his unlucky pencil turns gold into lead. The 

 drawing of the horse and boys is good ; the handling free ; and the 

 touch soft, but suflficiently brisk in deciding the forms. The light is 

 kept broad on the foreground and water, and being united with the 

 white horse, and well relieved by a shadowy landscape, has a very 

 brilliant effect. I have heard this artist was a pupil of James Ward, the 

 Royal Academician, who has painted many animals equal to those of 

 Rubens ; and an abler master he could not have. This excellent little 

 picture is highly creditable to both. Luckily it is in the collection of 

 Sir Robert Peel, where its merits cannot fail to introduce him to the 

 highest patronage in the country. 



*' 239— T/ic Coronal;' by W. Derby. ** Herself the fairest flower." 

 This female seems introduced here to show herself off; and to be looked 

 at. So far she is out of character ; for true sorrow shuns the public 

 gaze, and courts solitude, to " pine in thought." On the contrary, this 

 mourner is standing in a set, upright position, looking straight forward 

 at the spectator of the picture, as if to ask his opinion of her beauty. 



Riddle me — riddle me, riddle me ree I 

 Tell me what my riddle shall be ; 

 I ask you, good Sir, frank and free, 

 Is there any so fair as me ? 



This clever artist cannot be charged with any inattention. He has the 

 merit of always endeavouring to excel ; and a victor, who has been so 

 often successful, may be pardoned one failure. Here he has, with most 

 commendable diligence, exerted his pencil to do his best. There is a 

 degree of careful correctness in the drawing ; the head and hands are 



