358 Picture-Notes. — The Royal Academy. 



nature, fill the world with gloom, and ' c let darkness be the 

 burier of the dead." A grand method of treatment, em- 

 bodying this sort of conception, would, no doubt, have been 

 out of place ; it could only be appropriate to such a scene as 

 that of Calvary, or some other stupendous tragedy, in which 

 one of earth's noblest martyrs died. 



As a rule, nature and life are full of contrasts ; the grass 

 does not wither, nor the puppy turn soot- colour, because 

 death exacts his tribute from the domestic circle. Deep 

 private sorrow casts no shadow on the skies or the fields; 

 the flowers spring up in their glittering brightness, the lark 

 soars and sings in the blue heaven, when the kindest hearts 

 are withered, and the best beloved persons seek their resting- 

 place in the grave. Landseer has failed, egregiously failed, 

 m his delineation; the picture is weak, washy, maudlin, and 

 unnatural. It suggests sore throats and lumbago, rather than 

 the spiritual elements of bereavement and sorrow. Such a 

 painting is unworthy of his genius. It is a dead thing, for 

 which burial and forgetfulness would be the fittest award. 



Mr. E. M. Ward, R.A., has tried his hand at a Shake- 

 spearian scene. " Juliet" — his Juliet, not Shakespeare's, is in 

 Friar Lawrence's cell, receiving the " distilled liquor," which is 

 to cause "a, cold and drowsy humour" to " run through all her 

 veins," so that " no pulse" 



u Shall keep his native progress, but surcease." 



Juliet is a difficult character for any artist, histrionic or 

 pictorial, to pourtray. To satisfy the requirements of the 

 story, we must see her not only " rich in beauty," but in that 

 rare and particular kind of beauty which expresses her cha- 

 racter. Passionate, impulsive, timid, yet brave ; desperate in 

 loving, yet full of maiden modesty and grace. Romeo beholds 

 her full of " Dian's wit," 



" And, in strong proof of chastity well armed, 



She will not stay the siege of loving, terms, 



Nor bide the encounter of assailing eyes, 

 i Nor ope her lap to saint-seducing gold." 



Her passion for Romeo soars above and beyond the sphere 

 of physical attractions. She idealizes his mind as well as his 

 person. After Tybalt's death, when her nurse upbraids her, 

 and exclaims, " Shame come to Romeo," Juliet retorts — 



11 He was not born to shame : 

 " Upon his brow shame is ashamed to sit, 

 For tis a throne where honour may be crowned, 

 Sole monarch of the universal earth." 



Let any visitor to the exhibition keep this delineation in his 

 mind, when looking at Mr. Ward's Juliet, and he will find in 



