The Sun.
London, England, 1863-05-02 00:00:00

was there and then, in 1860 in the How
of Commons), Mr. Disraeli, the Speaker but
self, Sir Bulwer Lytton, the late Sir Georg
Lewis, Lord Stanley and others are 131
feeble approximations to anything like likeneset
Lard Palmerston—though even his effigy le fa
from completely satisfactory—is the nearest pet
haps among the cluster of notabilities her
bearing any resemblance to the original. Th
rest we recognise as intended respectively fe
so-and-so—and that is all. Possibly yr
should hardly have particularised the Premier,
portrait as in any way preferable, but for the ear]
catures of him upon a larger scale in other parts e
the Exhibition. One (330),:painted by W. T. Bode'
for the Town Hall of Tiverton, representing 111
veteran statesman in everyday costume. The otbe
(612), painted by E. B. Morris for the Town Hal
of Dover, portraying the First Lord of the Tres
sury in his ridiculous livery, as Lord Warden of thl
Cinque Ports, giving his lordship a very striking
resemblance indeed to a sort of a sublimatec
Twopenny Postman. Hook has three of his re'
freshing Sea Views in the Gallery for 1863 —yet wall
the best amongst them not painted at his best. 14!
Ruskin, himself, we should think, would abstain
for once from raving so very extravagantly 013011 t
their beauties. Lee's "Where the Trout lie" (1954
lovely though it is, and true to nature, as nature 113
here known to us in England, is nevertheless bardli
enough for Lee's admirers, to feel satisfied with ell
his! Ward contributes too pictures to the Geller/
this year—the smaller of them, the more to our
liking (124), Charlotte Corday's Toillette ! The
toilette of the " Angel of Assassination," as Lamar'
tine called her. " Hogarth's Studio, 1739," le 111.*
teresting as a subject, of course, but to our fan*
in no other respect, agreeable to look at. Whether
we turn to the fuzzy-wigged Hogarth, or to the
self-complacent philanthropist beside him, orLto
the red-headed lout of a charity boy, or to toe
ridiculous little charity girl in front of 111°1'
—gawking at Capt. Coram's portrait ! Intentionally
or not we don't know, but at any rate very aPPricr
priately, Mr. Peabody's Portrait (206), cleverly
e
painted by Pickersgill, hangs close by, and is
numbered the very next in the Catalogue. Dobsel"
(with the many initials) has three of his pretty 011.°A
pictures, the prettiest of all three being, to our 01111 r
(181), the chicken feeding " Friihling." Elmore!
" Lucrezia Borgia" (130) is full of power, and 1°
singularly beautiful in the richness of its eologr.
ing. Out of Roberts' four contributions le
1863, commend us to the boldest of them 1g
both in subject and treatment (114) "St. rallool
from the River Thames." Premising that the "131"
of the season—a hit made this year by an outsider*"
is Marcus Stone's (345)—it is safe, we should gel'
to win him his Associateship—we shall able
our remarks upon the gallery for to-4071
with a reference to that eminently sue°e9a
ful and very beautiful historical picture'
At a single bound young Marcus Stone has" d
the production of this one picture—gone far berg%
his accomplished father. The work will engrave
admirably, and cannot but at once ensure, Oise
early in his career, the popularising of tr,9o
artist's reputation. The subject is from Berange ir
noblest Ballad of the French People, and of the
s,
love for the deathless glory of the Great Narllte
In our next notice of the Royal Academy "..,
shall be tempted to return to this pleat%
indifferently entitled, we cannot but think, °ha
the Road from Waterloo to Paris"—(it should "-
called " Napoleon after Waterloo," or some briet
title of that kind)—but already, upon the inetaP
we uncover our head to the young art 2.;
;}
we hail him as a painter gifted with the powern
winning a reputation. Were we a French soldiebia
we should infallibly accord to him, and eve° iv.
picture, the military salute—gazing upon the P
ture his brush has painted, through our tears.