The Express.
London, England, 1861-05-03 00:00:00

FINE ART&

THE ROYAL ACADEMY.
PRIVATE VDIW.-{THIS DAY.)

The private view of the e:hibition which will be
opened to the public on Monday was given to-
day. The academy have gained very considerable
advantages by the alterations which have been
made in the building of the National
Gallery ; the large dark hall which for-
merly occupied so much valuable spaoe has
been contracted into a convenient ante-hall, where
the public will find ample room for providing
themselves with catalogues, and depositing
their incnmbrances before ascending to the
galleries. We enter now by steps which
land directly into the old miniature room,
where, by the way, miniatures are no longer, for
the art seems to have been driven out by the
photographers. The old room which was allotted
to the architects has changed into a spacious one
by absorbing the passage, and we now either enter
at once into it or proceed into the principal rooms
of the academy. The roof of the new
I rooms has been much raised, and this has
given them abundance of light, and brought them
into uniformity with the other apartments. The
whole interior has the fresh and cheerful appear-
ance that seems to say the academy has entered
upon a new era, with signs of increased vigour and
benefit to the artist&

The exhibition will be found an extremely inte-
resting one, for though the most eminent of the
academicians have not contributed any work of
surpassing merit, yet the rising men from without
show that they are working earnestly, so that there
is a certain high level of interest pretty generally
distributed over the gallery.
Mr. David Roberts, R.A., fills very ably some of
the best places ; at the end of the great room hangs
his large picture, 108, "The Ruins of the Temple
of the Sun at Baalbeck ;" the subject not new, but
with the crowd of cleverly drawn figures introduced
It becomes a fine work A more important
picture is 158, " A Fete Day at St. Peter's," the
point of view being from the end of
the great nave up to the high altar.
The Pontifical guards are drawn up on each side,
and the aisles are crowded with figures. The
splendid interior, with its monuments in painting
and statuary, is brought before the eye with sur-
prising accuracy ; and being upon a large scale, the
picture is one of the finest of its kind, in which
Mr. Roberta is so distinguished a painter.
Sir Edwin landseer, R.A., occupies the corner
of the great room with a charming picture, No. 135,
" The Shrew Tamed." Which is the shrew will be
an amusing matter of conjecture throughout the
season—whether the young lady horse-tamer or her
antagonist, a superb galloway, who now lies con-
quered in the strawyerd. Both seem to have had
quite enough of the contest, and the fair victor
appears to be quite as much subdued as her horse,
who looks round to be caressed and treated in
future as a pet. The subject is uncommonly happy,
and treated in Sir Edwin's best manner. There
are also three other pictures by Sir Edwin Land-
seer—two scenes in the Marquis Breadalbaue's
deer forest (758, 759), and " The Fatal Duel,"
which are more in his accustomed style.

The centre on each side of the great room is
worthily filled by a very important historical pic-
ture, by Mr. E. M. Ward, R,A., and opposite to it
Mr. Stanfield's fine sea piece of " The Sm !ere."
Mr. Stauheld's " Capture of Sniuggl Goods
on the Antrim Road, Ireland" (No. 57), is a work
trite in his best manner, full of atmosphere and
life. The sea is dashing over the rocks, and the
sky shows what the sailors cell "dirty weather."
A Queen's schooner is riding heavily at her
anchor, waiting for the party to come off that we
see in the foreground passing across a rude bridge.
The mountain form of the coast, with here and
there a flitting gleam of light, are charmingly
treated. A pair of small views of "Homeward
Bound," and " Mazorbo, Gulf of Venice," are in
Stanfield's milder mood, but very pleasing pic-
tures.

169. Mr. E. M. Ward's " Antechamber in
Whitehall during the Dying Moments of Charles
IL" One of the most important works, both as to
the subject and the scale of composition,he has ever
painted. A royal page in scarlet and gold is just
handing a goblet of water, which is taken by &hand
through the half-closed door of the King's bed-
chamber. A sturdy beef-eater stands holding his
halbert on the steps. and near him a group of tho
clergy. Thereat of the picture is filled with cour-
tiers in every guise of gay costume of the time, and
in the front of the canvas a group of pages dance
attendance upon the pet King Charles spaniel. of
the ladies of the court. This will certmnly be one
of the great sights of the exhibition.
Mr. ll'aed's principal work, 247, called " From
Dawn to Sunset," is the interior of a cottage, the
family watching by the deathbed of the grandsire,
whose pale hand only is seen lying powerless on the
patched coverlid of the humble bed. The son, a
hale man, sits calmly by, and the mother of the
young family, nursing her babe, is telling the
youngeters, who are entering in high glee from
school, to be quiet, for grandfather is dying. The
picture is admirably well studied throughout, and
the tone extremely rich and agreeable to the eye.
Mr. Dyee's chief picture is No. 98, " George
Herbert the poet of the Temple at Bemerton," an
illustration from old Imak Walton's "Angler."
The picture, however, is most remarkable for
the extraordinary finish bestowed upon the ivy

grown trees on the banks of the river. Theie
occupy nearly the whole of the canvas, and they
are painted faithfully to every minutest twig, leaf,
and branch. The river Howe by the grassy bank,
and there lie the poet-fisherman's creel and
rod. In another part is seen his bandoline, and
Herbert himself is walking to the river-side dressed
in his long black robe, and apparently inan ecatacy
of anticipation.
Mr. F. R. Lee, R.A., has struck out quite a
new path with his " View of the Signal Station,
Gibraltar, from the Rocks of Breakneck Stairs"
(No. 16). The huge peak of limestone rock rises
boldly right across the picture in strong contrast
with the smooth blue Bea of the Mediterranean, the
clear sky, and the mountains of Spain in the dis-
tance. We catch a glimpse of the town below,
and the foreground is finely painted,with masses of
rook upon which spring out a few stunted palms.
No. 1V gives a fine view of the Rock of Gibraltar,
seen from the sand-banks in the bay, with the
African coast in the distance. This is a remarkably
truthful scene, and painted with the greatest force.
Mr. W. C. T. Dobson has a capital picture of one
of the new drinking fountains (No. 34). A carter
stands with his back to the spectator, holding the
cup to catch the pure stream. A pretty orange-
girl drinks, and a neat maid-servant gives a little
naked-legged child a draught from her stone jug.
The group is completed with a touch of humour
in the butcher-boy, who pulls back his thirsty dog.
Mr. F. R. Pickersgill, R.A., has three rather
small works, but they have evidently cost him
much study. (42) " Duke Frederick banishing
Rosalind," shows us Celia on her knees, entreating
the angry duke, who looks fierce and indignant in
his long scarlet robe and cap. Rosalind stands,
the picture of resignation, in a black gown, embroi-
dered with gold ; her features are those of the fair
model we are so familiar with in this artist's pic-
tures. The two men in armour behind, and the old
stonework and the dark foliage, form an effective
back-ground. The picture No. 360, " Pirates of the
Mediterranean playing at dice for their prisoners,"
is a suect in which Mr. Pickeragill is more at
home. The grouping of the figures here is admirable.
Two ruffians are casting the dice for the possession
of a beautiful dark lady ; one lifts the dicebox in
the air, and looks with aggravatinaggravating confidence at
his rival, who has placed his hand roughly on the
head of the lovely captive. Two beautiful fair
girls cling to her, and form a fine contrast of
colour ; indeed, the whole tone of colour in this
picture is extremely rich. (77) " Miran
Prwpero, and Ferdinand," is lees important thanda,
either of the above works ; but from a certain
melancholy cast of sentiment it will find ite ad-
mirers, though many will pronounce it almost too
sentimental

Mr. Hart, R.A., follows up his style of last
year by his picture " St. Elizabeth of Hungary
distributing Alms," a work full of bright colour-
ing and artistic groups, without, however, being re-
markable for originality.
Mr. Anadell A.R.A., has made a noble advance
in his large and very striking picture (59), "Hunted
Slaves," a negro and his wife battling against
fierce Cuban bloodhounds sent in chase of theas—ei
stirring subject, with which the artist has been
inspired by two verses of Longfellow. We imagine
this picture will prove a favourite ; it is full et
extraordinary energy, and painted with a powerful
hand, and in a rich glow of colour well suited to
the scene. The man meets the foremost hound axe in
hand, and determined to fight bravely for his liberty;
with his free hand he presses back his wife, who
seems as brave as himself in the face of the terrine
beasts attacking them.
Mr. J. C. Hook, R.A., one of the younger acade-
micians, pursues his Cornwall pictures of fishermen
with increased vigour and freshness. His princi-
pal work (No. 118), though small, is admirable for
its delightful naturalness and simplicity, as well as
for its genuine artistic merits of sincere study and
beautiful painthog. It represents a fishing party
leaving fortheWhitby fishing. Bythestonequaylies
the little vessel ; the master is lifting his fair child
for the last kiss, while the young mother stands by,
having brought down her load of good things for
the trip. The rest of the crew are busy getting
the nets and tackle into the boat. Almost an
equally charming picture is No. 317. A fisherman
playing with his children on the green hills of
home, with a view of the wide sea and distant
coast.' No. 522, "Sea Urchins"—two Cor-
nish boys fishing on a rude raft—is also
a very happy conception. Mr. F. Goodall,
A.R.A., contributes a picture which is
not surpassed b' any iu legitimate draw-
ing and painting ; rt is called " The Past Born."
A dark Eastern woman is sitting with her infant
on her lap, deep in her dreams of motherhood.
Though consisting of this one figure, this
is a picture which cannot fail to excite the
warmest admiration. Another work of very
small size, No. 290, "The School of Sultan
Hassan at Cairo," is equally admirable,
from the truth and excellence of the painting. In
eastern subjects Mr. J. F. Lewis, A.R.A., has
several very beautifully-finished pictures on a
small scale, particularly 266, "In the Bezenstcin,
Cairo," and 149, a Bedouin Sheik.
Mr. Phillips (R.A.) only work, another of his
capital pictures of Spanish life and character,
is No. 66, "Gossips at a Well."
Mr. C. W. Cope, R.A., has painted the oft-told
tale of the parting of Lord and Lady Russell
on a modest scale, but evidently with much effort
at expression. 140, "Scholar's mate" shows us
the artist's taste for a simpler theme. Two lovers
play chess, awl the result is that the game soon
comes to a standstill. .

Mr. A. Solomon does not exhibit any work of
the same importance as his last year's picture of
" Drowned, drowned :" He has chosen as his
subject the " Malade-Imaginaire," and the scene
where M. Thomas Diafoiras feels the pulse of the in-
valid. Mr. Solomon, however, shows a disposition to
attempt new themes in his other work, No. 180,
" Consolation," a carefully studied picture of
a nun visiting a poor Italian woman, ex-
hibiting much feeling. Mr. 8. Solomon, the
brother of the well-known painter, has one
picture (493), " A Musician of the Temple, em-
ployed during the Feast of Tabernacles,' which
displays very considerable merits ; and Miss Solomon
maintains her position aniongat the lady artists by
her picture No. 581, " The Arrest of a Deserter."
Miss Osborne also contributes a very meritorious
picture (No. 258) " The Escape of Lord Nithsdale
from the Tower." But the most remarkable
work by a lady is No. 308, "Tobias Best
ing the Sight of Tobit his Father." This
is a picture which strikes us as being very
ly in advance of moat of our painters.
While it shows great mastery over the drawing and
the technicalities, it evinces the finest feeling for
the solemnity and earnestness of the old Italian
master.., with a rare faculty for colour. We observed
also a smaller picture by the same artist (No. 302),
the cloister where Beate Angelico lived and worked.
We can only mention, in conclusion, that Mr.
Creswick, R.A., and Mr. Sidney Cooper, A.R.A.,
and Mr. Faed, have each contributed pictures
well worthy of their reputation ; Mr. W. Linnell,
has at least one remarkable landscape in his richest
vein of colour, and Mr. Holman Hunt has Beni
his highly finished little picture (231) of "no
Cairo-lantern maker's courtship."
The sculpture is well seen in the new rooms, and
finds abundance of room, though there are novery
striking works to be named this year.

The Times says it is far from improbable that
the government of Mr. Lincoln will divert the Creel
Eastern from her peaceful ceiling and take her up a 6
transport of war. There are, however, very few Own et
importance among the Southern cities easily acco.ibit
her enormous bulk. She might go within a short diitux,
of Richmond, end as Virginia has seceded, on her arrival
out it is by no means unlikely that this will be her pert
destination. In ease of an attack on Washington "the
value of such a magnificent transport, capable .f pottinS
10,000 men with all their stores and ammunition on the
shores of Norfolk harbour, in rear of the enemy, would be
inealoulable to the Not therners. A few suoken AO'
the mouth of Norfolk harbour would be a vory frail harri*
against the approach of the Great Eastern under stem."
It is stated in letters from Rome that Queen
Christina is about to return to Fromm