in this performance. Mr. O's manner of painting is distinguished by that which painters denominate breadth, by which, when applied to forms, little more is meant than a powerful or extraordinary subordination of the smaller parts of form to the larger ones; a quality which, among others, distinguishes the pencil of Raffael from Albert Durer, of Titian from Carpaccio, and of Reynolds from Mengs. His style is not always adapted to the minute or the superficial inspector, but it is always forcible, determined, and impressive.

In some parts of the background of the present picture, in the resolute attempt, which appears to have been made, to lose no atom - of force that colour or chiaro-scuro can give, the danger that strength may occasionally degenerate into heaviness, has scarcely been avoided. The figures completely achieve their aim. The charm'd Hesperian Dragon's strong lineaments, and natural hue, amount almost to deception.-She sleeps, unconscious that any advantage can be taken of her slumbers. Her features denote a confidence of authority, which will prompt herto feel, when she awakes, no less surprise than indignation at the flight of her charge. Accordant to this idea, the fugitive has neither the complexion or features that augur levity, or proneness to deceit (if there be such qualities among her sex): her dark eye indicates reflection-her countenance is yet marked with the remembrance of past sufferings-she flies from tyranny, from the sense of insult-she seeks protection—but the generosity of her confidence is likely to be ill repaid by the man to whom she entrusts herself. His youthful countenance, though handsome, is marked with flattery, insinuation, and duplicity. Nor does the imagination stop here; the painter, impressed with the same moral idea, has rendered the hues of the sky, which lowers behind the seducer, emblematic of the destiny that awaits the too credulous fair one.

No. 101. Mases and Pharaoh's Daughter. ZOFFANIJ.

Though there is no great vigour of execution in this sketch, there is something pleasing in this as well as several other compositions of the same master in the present exhibition. Age does not always restrain the energy of talent.

No. 125. Three small Sketches for large Pictures, executed in different Compartments in His Majesty's Castle, Windsor. MARTIN. Of these three sketches the Cephalus and Proeris is the best, both in composition and colour,

No. 151. Peter denying Christ. St. Luke. RIGAUD. This composition, of half figures, is well and simply arranged. The effect of the subject is ingeniously heightened by representing the maid servant as casting the light of a torch full on the face of Peter, by which the confusion of his countenance may be naturally supposed to be at once augmented and exposed.

No. 163. Six Subjects from the xxvth Chapter of St. Matthew.

Ver. 35.

DAYES.

"For I was an hungered, and ye gave me meat: I

was thirsty, and ye gave me drink: I was a stranger, and ye "took me in."

Ver. 36. "Naked, and ye cloathed me: I was sick, and ye "visited me: I was in prison and ye came unto me.” Verily I say unto you, inasmuch as ye "done it unto one of the least of these my brethren, ye have done

Ver. 40.

"it unto me."

66

have

There is no method better calculated for impressing the mind with moral sentiments than that of a well digested series of pictures. The present is intended to instil precepts of charity, and derives an interest from the plain, unaffected manner in which the stories are told.

No. 187. The Plague of the Serpents. SMIRKE, Junr. This picture, which has been erroneously marked in the catalogue with the signature of an R. A. is painted by the son of the academician, whose works we have before noticed. It is very far from being an unsuccessful imitation of the manner, both in drawing and general tone, of Nicolas Poussin.

Imitation of different masters may be a very useful mode of schooling to youth. It will serve to make the scholars perfectly acquainted with the dictionary of their art. A farther trial of strength remains to be made, when they throw off their leading-strings, and walk with no other support than their own strength.

No. 193. Rolla. LAWRENCE.

We should be at a loss whether to range this work in the class of history or portrait, if the splendid cognomen in the catalogue had not decided it to be in our present department.

This is a public-spirited undertaking, with a view to transmit to posterity a permanent record of one of the most elegant, and most finished, though not the most characteristic, (a) performances which the stage has ever witnessed. The attempt is accomplished in a

(a) In this point of excellence, Mr. Kemble's laterepresentation of De Montford, is said, by dramatic judges, to have left every other performance far behindų

B&

truly painter-like manner. Mr. L. has not tamely attached himself to any precarious attitude, which happened to catch the applause of a moment at the theatre; but has judiciously summed up the figure, character, and action of the chivalrous Rolla, such as we may suppose him to have appeared, when he saved his friend's child from the grasp of a whole hostile army

Sperare salutem

"Ausus."

His sword is lifted to repel attack; while he retreats, guarding his helpless charge. He stands alone; and, perhaps, from this circumstance, the picture, unassisted by the spectator's recollection of the play, may need some explanation; but, in forbearing to introduce the troop of fear-palsied, torpid enemies, the artist has shewn an accurate discrimination between those appearances which the stage and those which painting will admit. The child, (which is said to be a portrait of Mr. Sheridan's infant son) is, in the same manner, released from the fettered action of the stage. Mr. L's skill in this cannot be too fully held forth as an example. Relying on his own strength, he has disdained the subterfuge of menial imitation.

The head of Rolla is a fine and masterly historic portrait: the menace of his brow, while it defies assault, does not preclude from his countenance an expression of anxiety for his tender burthen :— but it is the anxiety of a hero; he is " confident against the world in arms."

No. 208. The Departure of Cain and his Family. Genesis.

SINGLETON.

The compositions of this artist are distinguished by gracefulness of design, clearness of colour, and lightness of touch. The present object of notice is remarkable for a singular expression of wickedness in the countenance of Cain. He appears to bear the curse of an offended Deity impressed on his features. The figure of the wife is graceful and expressive. The action of the child is rather deficient in natural simplicity. No. 239 (a), in the manner of a finished sketch, is remarkable for its brilliance. 292 (b) is equally so, for its singular imitation of nature. In No. 671 (c), the interesting subject is forcibly told, and the whole composition is amongst Mr. S's happiest efforts.

(a) A subject from the life of Thomas a Becket.

(6) The seapoy's family.

() The death of Captain Hood.

No. 220. Dadalus fastening Wings on his Son Icarus. Ovid. THOMSON.

In the style and general design of this picture, as well as in the drawing of its particular forms, it is easy to discern a mind filled with the examples of the Italian masters. The body of Icarus is of an elegant choice, and well drawn.

This artist is a disciple of Opie, to whose instructions he does no inconsiderable credit.,

No. 228. Echo flying from Narcissus. Ovid. HEAD. There is a display of fancy in the conception of this subject, as well as of that of the following number (a); but the design of both is altogether eccentric. The colouring of the female bodies shews an attentive study of the school of Rubens, and is clear and bright in that manner. The landscape, which is properly subordinate to the figures, is romantic and pleasing.

There is a want of sufficient harmony over the whole of the pictures, which circumstance, together with the too inconsiderate liberty of composition, leaves the eye without that degree of satisfaction, which it demands in the contemplation of painting.

No. 236. The Conversion of the Jews, at the coming of the Messiah. DRUMMOND.

A very ingenious composition, in which numerous figures are skilfully grouped, and the groups are well situated and arranged. It is something in the manner of Stothard.

We have accidentally omitted to mention a preceding picture of this artist, which, though not strictly in the historic class, is enti tled to praise (6) of the same description with the present subject. No. 247. Creon finding Hæmon and Antigone in the Cave. Sophocles' Antigone. HALLS.

The subject is excellently chosen for picturesque effect, and there is no inconsiderable display of academic learning in the drawing of the principal figure.

No. 501. Jaques, from Shakspere's As you like it. DAGLEY. Pleasing both in composition and effect.

No. 553. The Prodigal Son. CHIAPPINI.

The drawing is correct, and the whole is a respectable imitation of the manner of Poussin and Le Sueur.

(a) Iris carrying the water of the river Styx to Olympus. Hesiod's Theogony.

(6) Ne. 314. A design for a picture of dramatic portraits.

The historical works, distinguished by various merit, in the exhibition of this year, proving much greater in number than we were aware before a closer examination, have drawn our criticism to an unexpected length; we shall, therefore, only make a concise review of some of the still more numerous productions of art in the remaining branches of portrait and landscape.

PORTRAIT.

AMONG the most distinguished in this class, by merit or circumstance, retracing the catalogue in the same manner as before, we find

No. 12.

Portrait of his R. H. the Duke of Clarence. SHEE. Bold and forcible in execution; deficient in softness and harmony.

No. 150 (a) possesses equal strength, and much spirit: the active, gallant sailor is exhibited. We likewise notice here the Cottage Girl, which, we hear, is painted for the purpose of being deposited in the Royal Academy, on Mr. S's election as an academician, and is, of course, one of his most studied performances. It has not been ungrateful to his toil.

No. 24. Portrait of Earl Spencer. COPLEY.

Well painted; the head well coloured, and the conduct of the back ground excellent; the imitation of various substances remarkable. The attitude is deficient in ease.

Forcible effect, and striking likeness; exceeded only by the characteristic and speaking resemblance exhibited in No. 79(b). The latter may be reckoned amongst the most successful efforts of portraiture.

The merits of No. 117 (c) are best ascertained by the consenting voice of Mr. O's brother-artists. The ripe and melting beauty of the female, the lightness of the drapery, and the general fulness and richness of the colouring, are, we presume, a part of the beauties that recommend it to their praise.

We must not omit to mention the fascinating expression of a beautiful woman in No. 189.(d)

No. 43. Portrait of Miss F. Kemble. KEARSLEY.

Simple attitude, with breadth of colour and harmony. In No. 252(e), the design of the two figures is remarkably pleasing, and

(a) Portrait of Captain Pierpoint.

(6) Portrait of Mr. Hoare.

(c) Portrait of a lady, in the character of Cressida. Troilus and Cressida.

(d) Portrait of Mrs. Smith.

(e) Portraits of Miss and Miss F. Greville.