FINE ARTS. 269 



highly wrought up ; the drapery and landscape, also. Perhaps, if he 

 had laboured less he would have done more. There is nothing neglected. 

 But there are unlucky hours, when men of genius are inferior to 

 themselves ; Dryden and Newton were of this opinion ; and there is no 

 producing good pictures or poems *' in spite of Minerva." After all, 

 here is nothing but what I have already mentioned, a female not over 

 young, standing in a cold, formal attitude, as a model for a painter. It 

 is a specimen of attitudinarianism and no more. The countenance is 

 heavy ; the features are rather sullen than pensive, sad, or sorrowful. 

 There are no touches of gentle sensibility, or tender distress, to move 

 our sympathy ; and, of that youthful beauty, which ought to be the 

 basis of all romantic and ideal character, there is certainly no great share 

 in her face or form. I have seen many pleasing things from the hand 

 of this gentleman, in his fortunate hours ; and it would not be fair to 

 judge of him by this single picture. All those, who have seen his 

 beautiful Catharine Parr interceding with Henry VIII. for her enemies, 

 have had, in that, a very capital test of his abilities. How delicately 

 drawn and painted are the hands in that very interesting picture : and 

 the mild, sweet, imploring expression. It would do credit to Vanderwerf. 



** 379 — Sappho," by H. Howard, R.A. A very small gem, from the 

 classical mind and pencil of the accomplished Secretary of the Royal 

 Academy. The favorite of the muses and victim of love, is dressed in 

 the Grecian costume ; and that elegant simphcity is in unison with the 

 ideal beauty of her form. A cupid, on the wing, insidiously whispers 

 the praises of Phaon to her, and quickens the flame within her bosom. 

 Inspired by him, she is about to take up her lyre and accompany it with 

 her voice in singing the hopes and fears of the tender passion. This 

 ingenious allegory shows the fine imagination of the artist. In this 

 cabinet treasure the colouring is silvery, the light and shadow broad and 

 tender, and the landscape in a taste suitable to the scene and character. 



" 120 — Trajan's Forum," by H Harris j a view well selected, capitally 

 painted, and pregnant with memorable historical recollections. The 

 sculptured groups on the imperial column, are, from its place in the 

 middle ground, and the small size of the picture, only indicated without 

 any making out ; the spectator understands that some such ornaments 

 are on it, but no more. The traces, necessarily, are more indistinct, 

 according to their height, until gradually lost to the eye. All this is 

 right. Marco Ricci painted this forum several times, of this size, and, 

 always, with the defect of marking the figures too distinctly. The artist 

 here has done justice to the perspective. The column, wdth the adjacent 

 shattered pillars and vestiges of ancient Rome, in the days of her Pagan 

 glory, including that lofty edifice, surmounted by the symbol of 

 Christianity, are seen in a noble breadth of warm light. This splendour 

 is well relieved by the broad shadow extending from the centre, on 

 the buildings to the left. The briUiancy of the effect is heightened by 

 the contrast of a sky, in some parts, of as bright a blue as virgin 

 ultramarine. If ever we can be justified (as sometimes we are) in saying 

 the sun shines ia a picture, here we are so. It reminds me of that 

 effect in some of Danby's admirable landscapes. But, although there is 

 a great beauty in it, the eye is so dazzled by the sunny splendour below 

 and the glittering blue above, that I cannot help, for a moment, 

 wishing the blue had been brought into somewhat of a lower tone 

 immediately behind and about the white marble statue of St. Peter, on 

 the top of the column. 



The sky, all on the left side, is admirably toned. So far from wishing 

 the general lustre to be impaired, I think, by being somewhat more 



