The Express.
London, England, 1855-07-09 00:00:00

FINE ARTS.

LORD WARD'S GALLERY or PAINTINGS, AT TER
101 'TIAN. MALL, PICCADILLY.—Lord Ward bar adopted
the liberal proceeding of opening his very ieterestieg gal-1
Miry M libitum freely to the public. Hie lordship is the
more entitled to the thanks of the commesity for this act of
'abstained pair:ode= from the fact of this gallery contain-
ing a amber of works of surpassing aunt. The attractive
t►aracter of the pistons will be well understood when we
state that ameeg these are to be fond favoturattle specimens
of the following masters :—Aagelieo, Ballet, Perugia°,
Raphael, Guido, Ds Vinci, Correggio, Peron',
Titiar, Rembeandt, Tesler, Certain!, Ike. The gallery
has ban mewed freely to the public at different periods liars
1831; it has now »noised ones for a year, ntthisig more
ben* required of the visitor than the ineertiog of his nuns
and address in a book at the door.

MR. SACCO'S PAINTING OF A HEAD OF emarr.—
Of Mr. Stow's production we may say that,. as a speemen
of elaborates:station, it is • marvel. Although the head
is large, still when looked at through • magnifying glees
every part, the nose in particular, reveals exquisite draw-
ing. This, hlwerer, is all the praise we feel justified in
bestowing. The espreuion of the countenance is by no
steins what we amid desire. The artist appears to have
midesvoared to expels the supernatural by pbysical means,
such as paisting the eyes iatenaely blue, the hair and beard
in strikieg contrast as regards colour, and the lips very
pick. These ;walla:dies distract rather than arrest the
atteatan of the spectator. Mr. Sacco is a native of Naples,
sad is, we believe, elicited to the court. Among the
miniatures, of which there is a small cAlectien exhibited
with the abommeetioned head, is one of the King of the
Two Skill's, which, from the opportunities affarJed Mr.
&repot studying the original, we make no doubt is a cor-
rect Lkomee, and as such ere rsoommend it to the attention
of Mr. Samo'• visitors.
DIALOGUX AT WATERLOO, BY SIR EDWIN LAND.
sash.—We regret to say we must mix much crittoism with
oar admiration of this wor c. It the oomposition be intended
merely as the representation of an incident, with aU its
fester's, as described by the Marchioness of Douro in that
lady's diary, we should, perhaps, not have reach to object
to ; but as the representation of the hero of Waterloo
revisiting the moose of his triumph, it is, to oar feelizg, by
no means • satisfactory work. The Doke is naturally
represented as engrossed with his theme, but the lady who
accompanies him, and to whom be is supposed to ha espial'.
ing some intensely interesting plumage in tho battle, is pro-
vakaid:y inanimate were she deaf she could not
be more indifferent ; the moral interest, therefore,
does riot 'mead itself, but remains Reed where
it originates—is the Duke. This greatly detracts
from the charm of the composition. Bat to our mind
the chief interest of the subject is still more weakened
by the introduction into the immediate for:ground of the
tpicture of a man and woman, accompanied by a dog, en
oying a repast al fresco. All this may be perfectly natural,
and ju't as it happened, but it fails ti make the tithed,e
composition which we naturally look for in reading the
title of the moth. A. far as the Doke is concerned it is •
monologue ; " the dialogue" is going on between the parties
lasehing. The hots' on which the Duke sits is drawn and
painted in Sir Edwin's beet manner. The picture has many
pleu:ng points, bat is by so mesas impressive sea whole.