The Express.
London, England, 1858-11-15 00:00:00

THE FRESCOES IN THE NEW PALACE AT

The artistic works with which the wells of the

various halls and corridors of the New Palace at
Westminster are being embellished, though executed
by the first artists of the day, and comprising sub-
jects which should of themselves) command conside-
rable interest, strangely are commenced and finished
without attracting the least attention on the part of
the public. There never was probably a great public
building erected equally rich in the works of con-
temporaneous artists. There is not a ball, corridor
or chamber of importance upon which the labour of
DOW OW or other of the great historic painter of
the day les not been bestowed. The decoration of
the Commons corridor, one of the principal avenues
leading from the contest ball to the body of the
House of Commons, has been entrusted to Mr. E.M.
Ward, R.A., and certainly the manner in which he
has performed that portion of his task which
is as yet finished shows us how successful
his work will be when entirely completed.
The Commons corridor contains eight panels, about
8 feet by 7, each of which is to be occupied by some
historic subject. Of these as yet only three are
finished. The first panel on the left hand aide after
entering the door is occupied by the fresco of " Alice
Leslie concealing the fugitives after the battle of
Sedgemon." The scene is painted in illustration of
the passage in Macaulay's History of England in
which be relates how Alice Leslie sheltered
John Finks, a nonconformist, and Richard
Nelthorp, • lawyer, who had been out-
lawed fur his share in the Rye-house plot. The
house was, however, invested in the morning, and
their kind protectress as well as the outlaws shel-
tered, /all into the hands of the merciless troopers.
The moment chosen for representation is that in
which the fugitives are discovered in their hiding
places. The anxious look of the venerable widow
Leslie is finely rendered, and is the moat remarkable
point in the picture. As a set-off against this, how-
ever, the figure of the officer in the ionground is
neither natural nor altogether dignified. The
drawing and the grouping of the figures
are, however, on the whole correct and effec-
tive. The eased subject, which occupies the second
panel on the right-hand side of the corridor, repre-
sents the none in the execution of Montrose, when
es an additional indignity the executioner ties the
works of lit. Wishart and his own manifesto about
the neck of the unfortunate duke as he mounts the
scaffold. The scene is really a striking and impree-
live one. The noble and courtly aspect of
Montrose, who, proud of the case in which he
suffrred, is attired in his gayest apparel, forms a
striking contrast to the gloomy accessories of the
scene. The scaffold and the upturned faces of the
awe.struck crowd ; the calm and dignified expres-
sion of the duke se be cheerfully assists the execu-
tioner in binding him, saying he did not feel more
honoured when his Majesty sent him the Garter, is

one of the most effective features of the picture.
The quaint old houses of Edinburgh riming up in the
background, upon which the light of a summer
morning is just breaking, renders the picture com-
plete in its effect. The third subject, which has but
just been finished, represents the last sleep of Argyll
previous to his execution. This is, without doubt, the
most enrollee of the three. The subject is probably
familiar to many, the oil study for tee fresco having
been a favourite picture in the Exhibition of the
Royal Academy for 1864. The calm and easy repose of
the unfortunate dubs, all the cares and anxieties
of his chequered career, and its approaching tragical
termination seem banished from his mind, in the
few hones of his last earthly repose. The accessories
of the scene are all effective, and augment the
interest in the principal figure. The untouched
repast the previous night is seen in an adjoining
chamber, the watch lying by the bedside, and the
written paper which has joist fallen from his hand, by
which, in his last hoar, he asserted the justness of the
cause for which he suffered. The drawing in
many parts of the picture is of unusual excellence,
and is especially remarkable in the foreshortening
of the hand, as it hangs listlessly front the couch
under the arrangement of the drapery. The frown
does not differ materially from the oil painting, ex-
cept in the light in the background. In the oil
study the whole of the light in the picture was
admitted through the narrow casement above the
conch, which rendered the more distant accessories
of the work too gloomy and indistinct for the ill-
lighted position in which it is placed; Mr. Ward
has therefore introduced a light into the room
through the open door of the second chamber, which
boa had the effect of bringing out a great many of
the details which were before rather obscure, and
heightening the effect of the work altogether.
These frescoes are not painted on the bare wall of
the building, but upon massive slabs of slate ; thus,
if any settlement of the walls should take place, they
will be preserved from injury, and may at any time
be removed from their plains intact.

Tlt• statue of Sir Robert Walpole has been placed
telth these of the other swam= la Bt. Stephen's Hall,
Weitssiaeter.

Xs. Leslie, who is known to be engaged on • life
of Mr leas Repololo, writes to :Vohs end Quersea that he
trUl tw to say see who oral furnish him with say
pertimises wiriling le Theophila Psncr, the mother of Sir
Jaime fiayneidy er with any copies of lefts to or front Sir
Mr. belie says also be Is particularly antics. to
obeli sepias of my Win written by Sir William Chambers
to Semi& TM sieve of Mr. Leslie is Aberow•-place,
Si. John's-wood.