The Express.
London, England, 1858-05-06 00:00:00

THE EXPRESS, THURSDAY AVENING, MAY 6,

defendants, though with different degrees of erimi-
nality, were implicated in such eoispiracy.. T j
refusal of the Court to grant the rule having beak
unanimous, the application is conclusively dleposed
of, the verdict of the jury remains unimpeadisili,
and the prisoners whose term of punishment is un-
expired will have to undergo the full residue of
their sentence. This result is satisfactory. It
would have been much to be regretted had any way
been found through which these wealthy culprits
could have escaped the meshes of the law : it is
quite enough that, to the deep discredit of certain
mercantile circles, expressions of sympathy, almost
testimonials of approbation, should have been prof-
fered to one or two of these delinquents. To have
found the law balled in punishing the fr►uds at
which men of business have shown only too much
disposition to connive, would have been a sorry con-
clusion to the history of this miserable and dis-
graceful swindle. As it is, subtlety and ingenuity
have done their utmost, but Justice keeps fast her
gripe.

PARLIAMENTARY DIVISION.

HOUSE OF COMMONS.—lnerrzatay.

NAAWIAI3I LAW AIIINDMINT BlLL.—Order for second
t=reed ; motion made end quell= pr.pmed, " That
he now reed • mooed Hum" Amendment proposed,
to leare est the word " now," end at the end of the game-
Hon to add the words " upun this day six months "—(Mr.
Hope) Qaeetloo put, "That the word ' now' send part
of the qesstica."—The house divided : Ayes, 174 ; Nina,
134.

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,FINB ARTS.
' tintyrnoN oy THE ROYAL ACADMIT.
(olgtoeD NOTICL).
Thatch the Jens cannot get into Parliament they
It see contrived to get admission into the &Pesti° House of Com-
move, for at least one active member, in the person of Mr.
Hart, represents them in glowing colours in his scene
from their ancient Lietory—" Athaliah's dismay at the coro-
nation of Josiah" (79), • picture imp enough and showy
enough to serve as an altar-piece for any synagogue. We
would rather be excused from criticising such an ambitious
performance, but it certainly furnishes a proof that an ar-
tist may have a thorough acquaintance with the theory Of
lie art, as the painter of this picture has shown in his
learned lecture*, and yet be unable successfully to apply
principles to practice. This large, gaudy, theatrical
I yea, " killing" every picture in its vicinity by its sickly
mew, deadly whites, end dirty yellows, must be a beaten-
' does eyesore to the artists whose pictures are placed near it.
The action is ea exaggerated as the colour is forced, and adly
waits some of the more stately and classical, but equally
veltennu, intensity of Racine's Atha'.
Mr. Leslie's contribution (No. 152) should previously have
received attention for the elevation of its ettbjeut, sad for its
situation in the " place of honour," as well as—we might
almost add—for oar high estimation of Mr. Leslie's former
works. But, alas I we are again ernbanmeed how to expense
our impression honestly. We certainly think that—like tido
sellers countryman, West, who was likewise born an Await=
—Mr. Leslie has in the painting of religious subjects mistaken
his vocation. This picture (a repetition aorta painted away
years since) represents Our Saviour calling a little child unto
Him in order to rebuke the dispute of the disciples as to who
should be greatest. The head of Christ is surrounded by
the orthodox nimbus, but not a spark of divinity emanates
from it, and it is altogether the weakest in the picture. The
heads of the Apostles are simply those of honest, inoffensive,
end rather gentlemanlike men, with which the old-masteriah
grouping and the academic draperies are curiously incon-
gruous. There is, we need not say, in all Mr. Leslie pro-
duces, however alight, propriety of expression ; but, beyond
all comparison, the sweetest part of this picture is the bend-
, Ina mother encouraging bra beautiful Luis timid half-naked
child to go to Jesus. This mother and child, however, is
only a variation of several repetitions of pictures Mr. Leslie
has painted (roman exquisite drawing of Raphael. The colour-
ing is of the authorised religious tone, and therefore less crude
than usual, though the green foliage is quite intolerable.
Mr. Phillip is certainly noe of our most rising ornate. He
is a rich sad powerful colourist, manly and vigorous in his
essentlen, end original in conception, The felicity with
which he his caught the Spanish character proves him also a
&ea observer sad accurate delineator of man and nature.
Certainly no country in Europe oilers more picturesque mate-
rials to the artist than Spain. The stimulus this afforded
may be seen also in the superiority of Mr. Ansdell's works
since he accompanied Mr. Phillip to Spain. Mr. Phillip's
dramatic power and pathos are displayed very conspicuously
in his large picture of "Spanish Contrabsndistas" (406). A
young smuggler lies mortally wounded in the stable d•
oases, whither he has been canted, the rosary has fallen from
his relaxed hand, and the spirit seems just to have writ
away. Over him bends a glpey girl—one of her hands feels
for the beating of his heart, and the other holds a smell
looking•glase before his month to see if he still breathes,
The effect of this is extremely original, the refection of the
glass adding fearfully to the ghastliness of death in the pallor
of the bloodless cheek and lips, and the cold glisten of the
glazing eye. At a small window near stand., on the look-
out, a somewhat older oontrabaadista, with his blunderbuss
treirwjo raised ready to shoot down the Bret doganero thee
comes in eight. Another armed comrade is hurrying oil
with the smuggled bales. The deadly determination in the
fellow's face at the window, sad the agony in the girl's

knit and contracted brow, are expressed with the utmost Force.
The striped draperies, the curious trappings of the mule,
eniff_ng over his master, and all the accessories, are capital,
and the colouring superb. A c.hoice specimen of the Spanish
type of beauty may be seen in, we believe, the portrait of a
intone singer, with heraco3mpanying dolma (No. 118). "El
Cartijo" (183), a man taking the Mensal cigaretto from his
mouth and politely lifting his sombrero to • not displeased
young woman as he offers her safe conduct, is a bit of truth
from humble life. To see " Youth in Seville" we have only
to look Tip at the Moreno, window in No. 487, and te admire
the "Daughters of the Alhambra" we must linger before
No. 600.

Mr. Solomon's principal performance, " The Lion in
Love" (464), tempts as to repeat Mr. Buskin's famous tirade
ea Millais, for verily here is " not merely fall, but cater
trophe." The extraordinary and unsuspected power dis-
played by this artist when he had to grapple with the
seriousness of his " Waiting for the Verdict," induced a
general belief that Mr. Solomon would become one of our
most distinguished painters. But, alas I what • falling off
is here, due partly, perhaps, to the critics, who would turn
artists into little better than maa-milliners or Daguerreo-
typirs, and partly to the fact that that fine Crabbe-like pic-
ture has reenered, we believe, on the artist's hands till
within a few weeks, while the present was sold before exhibi-
tion, and will be engraved immediately after. This "Lion"
is a grey old general, with dyed moustache, who, smitten with
the ruddy charms of a sprightly young lady, like Hercules
is the toils of Omphale, is vainly saying with much carica-
tured energy to thread her needle, while she sits roguishly
leashing at his awkwardness. The mere painting is equally
a retrogression with the subject. But with an utterly worth-
ier three, we would as soon, nay rather, have doggrel than
the most polished versification. Much better as • work of
art, and more humorous, is Goldsmith's " Madam Blake"

(No. 464), asleep in bar pew under the influence of emlionpotist
and the summer enemas'. mu 'hieing through the red
curtains, tendering her a still greater contrast to her slim,
wakeful, pale, devoted companion. " The Flight" (228)
a family trying to escape in lad* u we leant from the
servant, the embroidered scarf, and the palms, Is still mare
careful. Mr. 13olomon's sister, Mime A. Solomon, hen,
however, this year evinced far mon Invention than her
brother in " Behind the Curtain" (1,094), in which reel do-
mestic misery present. an affecting contrast te the try*
woes the poor strolling players are about to assume.
There is also a pew Raphaelite attempt to depict the " Real-
lee of Abraham" (1,006), by a very young brother of Mr.
Bolamos.

One of the most marvellous work' of minute imitation,
mid likewise beautiful in colour and true in expremica, Is
" The Binidy Trysts" (29), by Mr. Piton. Accordbig to at
old ballad, "The Harts and Hyndr," • proud, beset/hl
black-haired lady meets her knightly lover at the preom-
certed spot—in the hollow by the clear bubbling rill—and
during the interview, mistaking his jesting for earnest, stabs
him with hi■ own dagger. Learning her mistake from his
dying lips, we see her frantically struggling to escape from
the sight of that too-fondly-leved, handsome, and gallantly
attired, but now lifelem body. The leafy luxuriant vegeta-
tion beside tire Own, the mosses, fermi, grasses, weeds, and
Sowers, the adder on the boulder, and every object in every
fractional part of the picture, is picked out with almost pre-
ternatural delicacy. Similar truth of imitation will be NM
in pert of Mr. Paton'• "In Memoriam" (471), but the
whole effect is comparatively hard and edgy, dry, and fiat.
Tbe subject, however, • Christian mother in India, ear-
reandad by her terrified family looking up with ratignatkin
to heaven, as the bloodthirsty Sepoys seen through the
opiates have, as is evident from their savage yelling, duos
eared Asir biding pleas—the subject, we my, will touch •11
hearts sad wooed tray.

Boaceccio relates of Dante, that ;miming one day • doorway
at which some women ware smerabled, one of them re-
marked, " That le the man who goes down Into hell
sad comes away when he likes, and then write, what he has
gems." This is the Incident Mr. Elmore has taken for •
picture (No. 8), which be contributes atter • year's abeam*
freak the walls. The blended cariosity and superstitious
ewer in the women, who huddle up oat of hie path ; the
lank, abroad like purple dress In the bright sun of Florence,
and the sardonic smile cm the ascetic tare of the author of
the " Initura" me well given. The " Subject from ' Two
Oestiemea of Verona"' (120), though evidently a study of
Weer, le net in this quality quite astidectory. As • picture
the fereehortenhig of the Duke's kge is a grave mistake, sad
all the Weis appear too large, though the expression In that
of the Doke felicitous. This is a dipiosea plasm Whoa
as artist receires hie diploma as fall Amass*** it is cus-
tomary to proem a lamp* of hi. ability. la this way the
Royal Academy his became posemead olds. highly isterestbqg
calleseise of *tura (ilimemetlng, es they tier • mmelier-
able ere* the Istmory of Brit*►h art), which wee lately ex-
hibited et Maasbasitar. Meath, dlplana pietmre le " The
Bribe" (173), by Kr. F. R. Mere% white we Nippon
hoe only rematly bees preemdeL Ike the bat, it is little
more Kam • ley-figure study of costume sad odour, not-
mithstomding that mane Hass which It is inhaled to illwanste
me legged in it hi the (eulogist.

Val Wawa?* is dm ocatrast with me worealiss per
mil r "Ertwafd, He "--a transport about OD lave with
tramp it ha, by Kr. H. 01%4 aa lAA vtao, 'Aar

haying dp7 advanced for some years, has at bat made •
Apia* stride. Down the side of • troop alp • arum of
friend& and relatfiss, mothers, sisters, sweethearts, and
fathers, are lingedigly descending, and reluctantly entering
the boats which stew moments hence will saw them, per-
haps for ever, from all on earth they love best. 'One
honest, weeping wife scarce dare look back to recognise her
husband through her tears. The widow turns in mute de-
jection from her son, • daughter only remaining to comfort
her; another parent takes the last look of love; the young
officer leaves the long-to-be-remembered kiss on the lips of
his betrothed, and sn old pen►ioner shows proudly to his
grandson a medal, which be also is expected to win. All,
and far move than this, such as the red-faced captain aloft,
who sings out, " Time's up," and the half derisive boatman
below, who looks upon his expected boat-load of human
suffering as so truck freight, is discriminated with the
broadest feeling of humanity. There is • commensurate
largeness in the treatment, also, and this picture will place
O'Niel henceforth among the most distinguished artists
of the day.
Mr. J. 8. Clark, whose " Sick Child" attracted consider-
able attention in the last year's exhibition, has • kind of com-
panion picture in "The Doctor's Viat " (89), even less
satisfactory in colour, but full of intelligence th the woes-
scrim of the room, the quiet same:Mai look of the dog, the
purring of the cot, who seem both to approve of the visit,
and the higher merit of truthful expremion in the languor
of the poor sick boy, and the anxious watchful hanging of
the mother on the words as they drop from the doctor's lips.
Yr. It. Carrick likewise, an artist previously almost un-
known, whose exquisite picture of a young mother bending
over her sleeping boy also elicited so much admiration, haa,
In " Weary Life" (300), another excellent work. A poor
mountebank, exhausted with fatigue, has, together with his
poor tired boy, literally "got into clover," for they are lying
in a clover bed, end under •clover rick. Here a country isms
finds them, and mingled compassion and astonlahmsat at the I
strangely dreamed figures are plainly written to her face. The
imitation throughout is very exhaustive. Mr. C. Lucy has •
large canvass representing "General Bonaparte on his
voyage to Egypt" (20). According to the partial Boer-
Aeon., the general wee a religious man I and one Bas
evening on the voyage rebutted some materialistic
arguments made by his philosophic companions by
demanding, " Who made all that?' pointing to the deep
blue firmament. But argument cannot be put into • picture;
the subject is, therefore, a mistake. It has, however, the
merit of sobriety of effect, simplicity of arrangement, sad
the interest of containing portraits of the eminent wawa
who accompanied that expedition. Mr. Cope has • Highland
salmon fly-fisher helping • blushing Issue over " The
Stepping-stones" (94) of • glancing, dizzy, stream. Her
trepidation, if real, is pretty, and still prettier if only as-
sumed. The figures seem embossed, from Mr. Cope's
peculiar white, mealy, execution, and the exaggerated dark-
ening of the shadowy recess of the bark-ground. In No.
61, " Upward Gating," a girl holds her infant sister, who le
looking up with cherub rapture in its full blue eyes at the
stainless, eternal, deep blue sky—type of the unclouded,
heavenly vacancy of its own spotless immortal mind. Mr.
Cope, to judge from the frequent repetition of then
baby "objects, meat be a highly favoured paterfamilias.
Mr. Charles Landseer's scene of gallantry, from " The Devil
en Two Sticks" (192), taken by Itself, is rather watery sad
jejune, though with the proper foils in the pages of Le Sege
It sparkles like a gem. Such subjects are only desirable
for a *lgor like Mr. C. Landseer, who is strong in the
weak parts of the picture ; who excels in painting elaborate
interiors and richly-dressed puppets, but who leaves no impres-
'ion on the mind ; whose flora do not move and breathe,
sad whose faces do not think or feel.

Mr. Calderon has made a notable advance in " The
Gaoler's Daughter" (442), a wane from the first French
revolution. A young priest is incarcerated—an intended
victim for the insatiate maw of the guillotine. Conscious
of his inevitable fate, he hes carved on the back of his rough
wooden prison-chair the woe& " eformir," esounr," self to
persuade himself that sleep sad death are identical. And
then, as it were further to assure himself, be has— just as he
sat carving those words—quietly bowed his head over that
chair-back, as he must so soon under the bloody knife, and
fallen asleep peacefully as an infant. The rough gaoler will
not disturb him; but, alter placing his coarse leaf and jar
of water, is leaving the oell, followed by hie little son. The
poor young pritre to nor yet beyond the sympathy of his
race. The gaoler's daughter, though wearing the records
tricolor, also still lingers in the oell itself, with loving pity
very sweetly expressed in her whole attitude, unwilling to be
drawn away by her little brother. This child's head is •
failure ; but the expression of the sister is the great point of
this touching picture, which is also in other respects we l
painted.

In concluding the present notice we would draw particular
attention to the remarkable picture by Mr. G. A. Thome,
of that most interesting mew, the "Presentation of the
Crimean Medals" (599) before the Home Guards. This ex-
cellent work is bung a trifle too high for the visitor of ordi-
nary stature to appreciate the miniature-like delicacy and ad-
mirable faithfulness of the innumerable portraits of heroes
which occupy the whole of the front plans, but it is not too
far removed to compel admiration of the skilful manner in
which the very nnpictorial peculiarity of our foggy London
atmosphere is taken advantage of to conquer the chief diffi.
calties in such a subject, the preservation of breadth, and
the avoidance of confusion in dealing with the broken
maim or monotony ►n the rank end file. Thus, roadster
Junk is preserved, and pictnreequenese not sacrificed. In
Erse, the truth and art in the aerial perspective, in the gradual
lei/Minton of the distance, in the white light of a summer
morning struggling through a beautiful composition of clouds,
and permeating a hazy, foggy London atmosphere, are effects
se anceeedul as anything In the exhibition.