PINE ARTS IS PARIS. S93 



copper-plates and lithographs. The architectural designs of vast 

 edifices and temples are mere essays of youthful artists. 



In the survey we have taken of the pictures in the Paris exhibi- 

 tion, worthlessness and even mediocrity have been passed un- 

 noticed — we have applied ourselves only to the most important 

 productions. 



Delaroche, with whom we commence our criticism, though he 

 does not rank among the most distinguished painters, is yet an un- 

 common genius. His picture representing the execution of Jane 

 Grey, is incontestibly that which excites the greatest attention, and 

 produces in the beholder the deepest emotions. Where the eifect 

 is so intense there must be merit. Pity and horror at the sight of 

 such an iniquitous deed freezes the blood, and excites those indig- 

 nant sensations which are produced in the better part of mankind 

 on beholding an atrocious act. 



Returning home, I refreshed my memory with the history of the 

 unhappy Jane Grey, and then revisited the Louvre, to compare the 

 historic features with those which the pencil had delineated, and 

 again to arraign the judicial murder, which had consigned to the 

 grave, in the spring of her life, one of the most beautiful, interest- 

 ing, and innocent of women. This picture was painted by order 

 of King Philip, who referred the artist for his historical conception 

 to the Protestant Martyrology of 1588. The painter, as may be 

 imagined, chooses the mom.ent previous to the execution. A lovely 

 youthful form, with pallid cheeks, representing Lady Jane, is 

 kneeling before the block, and gropes, with her hands, for the spot 

 on which, a few moments before, her husband had expired with so 

 much constancy. Of her two female attendants one has fainted, 

 the other, with averted face, and in the attitude of despair, clasps a 

 column, whilst Bruce, enveloped in his mantle, supports the 

 unhappy victim. The executioner, a tall and somewhat grotesque- 

 looking figure, not of a gloomy and ferocious aspect, but possessing 

 features rather indicative of compassion and humanity than other- 

 wise, stands unmoved like an automaton, holding his hatchet 

 in readiness. He is the second principal character in the compo- 

 sition, nor can we blame the painter for having bestowed on him 

 much of his attention. Delaroche has given him a cold, resigned 

 countenance, a face, which notwithstanding; the burning and 

 boiling of the blood beneath in the trough of the heart, betrays not 

 the slightest paleness, nor is one of its features discomposed. 

 With a look unmoved, he stands as if rooted to the ground. We 

 perceive that both eye and hand only require to be set in motion, as 

 if by a wire, in order that the most beautiful head be severed from 

 the most lovely female form, and roll convulsive in the dust. 

 Every figure, and that of Bruce in particular, is a master-piece. 

 Who can refrain from loving this venerable man, breathing christian 

 meekness, his looks seeming to utter the language of consolation 

 and pity, whilst his countenance is almost concealed by the silvery 

 locks which are divided equally on his lofty brow. The attitudes, 

 the groupings, drapery, colouring, every thing in this picture, is 

 successfully executed, and deserving of the highest praise. 



