1825.] 
however, it is, not difficult to discover. 
The portraits which have stood the test of 
time, and been the admiration of successive 
ages, are all of them from hands practised 
in the higher departments of the art. Even 
in his representations of female beauty, we 
cannot but think that something of the 
effeminacy of the pencil mingles with the 
feminine grace of the form he delineates. * 
What he adds of the ideal to the native 
charm, may make it more blooming and 
more delicate, but does not make it more 
divine: and though we may never have 
seen, in breathing nature, features of more 
polished symmetry, or complexions of more 
transparent harmony, than on the canvas of 
Sir Thomas Lawrence—we have seen living 
beauty with more of intellectual beaming— 
more of the expressive loveliness of soul. 
Some of his portraits, in the present Ex- 
hibition, are certainly as little open to such 
criticism as any he ever produced ;—and in 
them he has carried the species of excel- 
lence justly attributable to him, we might 
almost say, beyond all. former precedent. 
No. 28, “ Mrs. Peel,” is not only a 
very beautiful portrait, but a very delight- 
ful picture. And 288, “ Portrait of the 
Son of J. G. Lambton, Esq-, M.p.”’ is, in 
many respects, entitled to no meaner com- 
mendation. There is, however, a spot of 
light in a corner of. this picture, which, we 
confess, we cannot understand. It looks 
like a peep of the moon; but the colour- 
ing, in every other part, prohibits the idea 
of moonlight. If it mean nothing but 
effect, we should call it ‘‘ effect defective.” 
We pass by the portrait of H. R. H. the 
Princess Sophia’s velvet (57),—(undoubt- 
édly avery fine specimen of colouring). The 
“ Duke of Wellington”’ (No. 71) is regarded 
as a master-piece ; and, in all the detail of the 
art, undoubtedly it is so. But in this, as 
in former portraits of the same personage 
from the same pencil, we look in vain for 
any other indications of grandeur than that 
of stature, and a certain military stateliness 
of attitude. This may not be altogether 
the fault of the artist: but we must con- 
demn the taste which, in the zeal for high 
finishing, made the handle of the sabre 
such very very gold, and burnished it so 
highly, that when the’ sun is upon it, it 
* Perhaps some part of this is the fault of the age, 
and the super-refinement of the existing state of so- 
ciety: for in what we have seen of the works even 
of Canova, a similar objection seems to apply to the 
painter-like delicacy of his chisel. 
ontury Mac, No. 410. 
Fine Arts :— The Exhibition, Royal Academy. - 
433 
actually dazzles the eye, and draws it 
away from the more important parts of 
the picture. Even the high reputation of 
Sir T. Lawrence cannot prevent us from 
considering this as the tinsel of the art: 
We must pass slightly over six finely- 
finished portraits by Sir W. Beechey, of which 
(92), “‘ Portraits of the Lady and Daughter 
of Sir R. P. Joddrell,” and (111), “ Portrait, 
of a Lady,’ are distinguished by all that 
soft and exquisite grace which this artist 
has the happy tact of diffusing over the 
female figure. We do not think him quite 
so happy in expressing the strength of mas- 
culine character. And, by the way, we do 
not think it would be very difficult to throw 
more of the quick vitality of intellect into 
the features of Mr. Canning, than Si T. 
Lawrence has impressed there, in No. 83. 
We are sorry to pass over Shee; and 
Howard—(whose “ Study” (76), is one of 
the best things we remember of his)—and 
several others not less worthy of critical 
notice—particularly Pickersgill, ‘of whose 
eight pictures, three (39) “ J. S. Buck- 
ingham, esq., and Mrs. Buckingham, &c.” 
—(176), “ Miss L. E. Landon ;” (354), 
‘* Lady Susan Reeve,’’ in the partial sur- 
vey we have as yet taken of this depart- 
ment, stand marked with notes of particu- 
lar admiration in our catalogue. 
But we must hasten to the historical 
department, from which we did not mean 
to have been so long detained, and on 
one or two specimens of which we can now 
bestow only a rapid glance. j 
The principal feature which distinguishes 
the present Exhibition over that of pre- 
ceding years, is its comparative richness in 
subjects of this description; and if pa- 
tronage of the arts, in this liberal and en- 
lightened country, mean any thing more 
than catering for the egotism of opu- 
lence, due encouragement will be ex- 
tended to the sons of art, to render 
this, from year to year, still more conspi- 
cuous. If it be not—let our great ones, 
henceforth, acknowledge—that personal 
vanity is their national glory; as their 
patriotism, too frequently, means nothing 
but a place or a pension. 
Sonie of these historical subjects are upon 
a large scale, and the figures of colossal 
dimensions, fit for the embellishment’ of 
lofty galleries and halls of public assembly. 
Of this descriptionis No. 1. The Combat ; 
woman pleading for the vanquished—an ideal 
group. W. Erry. It cannot be denied,’ 
3 K that 
