The Sun.
London, England, 1848-11-18 00:00:00

FINE ARTS.

PORTRAIT OF ELIZA COOK. Lithographed by
Brittan Willis from a Painting by .1. Watkins.
What is the surest evidence of any individual's
popularity ? The question might elicit a variety of
answers. The Grecian hero would say a public as-
sembly standing up on his appearance, and the
modern author would place it in a call for a dolmen
editions of his work. Yet, admitting the former to be
an act of very gratifying homage, and the latter a
very substantial proof of satisfaction, we are inclined
to think there is no more convincing attestation of the
popularity of any person, whether prince or poet,
than the rapid diffusion of his portraits among all
classes of the people. This is a mark of popularity of a
peculiarly gratifying kind, for it declares at once that
the people's favourite is not the object of a passing admi-
ration but of a homely and heartfelt affection. This evi-
dence of popular regard has been bountifully lavished
upon Eliza Cook; her earnest features are almost as
familiar to us as her eloquent words ; her intelligent
eyes have beamed upon us from portraits of all
descriptions. But no portrait has yet appeared
which does such justice to the intellectual counte-
nance of the young poetess as that which has just
been lithographed, and in the most effective manner,
be it said, en passant, by Mr. Brittan Willis, from a
painting by Mr. J. Watkins. Not only is this
portrait a most admirable and accurate likeness of
Eliza Cook, but it is peculiarly interesting to the
public, because it represents her in that character in
in which she is best known anallibest loved by the
public—it represents her as the poetess. We are
already familiar with her in the character of daughter
leaning upon her mother's " old arm chair," and
that situation, associated as it is with one of her most
heart-touching songs, irresistably elicits our sym •
pathy. Nevertheless the idea of this new lithograph
is infinitely better. It is as a poetess that Eliza
Cook is beloved in the homes of England ; and this
portrait, which represents her in a moment of inspira-
tion, will therefore be doubly welcome to her innu-
merable admirers. She is seated on the sea- shore, at
the foot of an overhanging cliff. A large Newfound
land dog, crouched at her feet, is looking up
earnestly in her face ; her bonnet is thrown
aside, her hair is abandoned to the sea-breeze,
and her countenance is suffused with joy—.
with a joy natural to the poet when brought
into close companionship with the wild beauty of
nature—" The rapture of the lonely shore." At the
foot of the picture are appropriately inscribed her own
beautiful lines descriptive of the very emotions which
her pictured features here portray—.
My ocean altar, here my heart once more,
Yields the rapt worship that it did of old ;
Again I dream upon thy lonely shore,
With spirit joy all wordless and untold."
This " spirit joy" is beaming in her earnest eyes,
and illumines her countenance with the glow of in-
spiration. Infinite credit is dne to the artist for the
admirable manner in which he bas depicted these
peculiar emotions. With a masterly hand he has in-
fused into the features the very look of inspiration--
the very semblance of vitality. The lovers of Eliza
Cook's inimitable poetry cannot have a happier
opportunity of possessing themselves with her portrait.
the portrait of no favourite of a coterie, no " star," no
" lion," but the portrait of a friend—for Eliza Cook
is a familiar friend by many a fireside. Uer songs
are among the first lispings of infancy and the con-
solatory mutterings of age, and no wonder, for they
are true to nature from the first syllable to the last.
By many a fireside, therefore, this new portrait of the
favourite poetess will be right welcome. It will be
greeted with gladness, and treasured up among the
choice memorials of absent friends, memorials fraught
with many endearing associations—
" The charms of the household—the lares of home."