The Sun.
London, England, 1833-06-18 00:00:00

~•vrtb dame, and the Chairman wu ordered to report
Progreso.

The House then resumed, and the report was ordered to
be brought up this day (Tue4day).

WEIGHTS AND MEASURES.

Lord EBRINGTON obtained leave to bring in a Bill to
establish a uniformity of weights and measures throughout
the kingdom.
Mr. V. SMITH gave notice that on the 2;ith he should
move an address to the Crown to issue a Commission to
.examine into the state of municipal Corporations through.
out England, Wales, and Ireland,
The other orders of the day were then gone through,
and the House adjourned at half-pa.t two o'clock.

FINE ARTS.

SHYLOCK AND JESSICA.

This is an engraving by Doo, from an original
painting by Newton (now in the possession of
H. Labouchere, Esq., M.P.), of a well-known
scene in the Merchant of Venice, where Shy-
lock gives the keys of his house to his daughter
Jessica, with the strict injunction that she should
not quit it, or go gadding about with young
Lorenzo, on pain of his serious displeasure.
The subject is remarkably well handled by
Newton, who has thrown just the fitting
expression into the countenances both of father
and daughter. Jessica's half-averted glance is a
piquant mixture of archness and simplicity—so
much so, as evidently to deceive the Jew who
reads nothing in it but a strong filial disposi-
tion to be all respect and compliance. Yet
scarcely shall Shylock have turned his hack,
when Jessica—the sly, shrewd little Jewess
Jessica—will hear the tinkling of a harp-
string in the street, and, despite the pa-
rental exhortation, rush, first to the front
attic, and then to the street-door, to hold certain
sweet mysterious communings with young
Lorenzo, who " sealed his love with many an
ardent vow, and ne'er a true one." The en-
graver has performed his share of the task with
skill and spirit, and as the subject is a truly
agreeable
one, we have little doubt it will be-
come a general favourite.

THE LAST GIFTS OF MARY QUEEN

OP SCOTS.

We have just seen an engraving by Phillips
under this denomination. It is executed in a
very artist-like style. But, indeed, the subject
itself bespeaks favour, though we think that the
painter might have turned it to better account—
have thrown more pathos and expression into it.
Queen Mary, is not the Queen Mary who is
going forth on the morrow to execution, as
Hume and Robertson (theformer especially) have
described her. She is at variance with the
truth of history. Her face, which was wan,
haggard, and emaciated, is here plump as a par-
tridge ; her figure, which had become strikingly
en bon point, is here scarcely redeemed from
absolute slenderness. It is clear that grief has
made no very inordinate ravages on her once
lovely countenance, for her eye speaks only of
some trivial regrets and disappointments. The
habit of intense meditation,—of deep enduring
mental agony, such as keeps soul and body con-
tinually on the rack, is wholly absent. The
character, in fact, has not been felt as it
should have been. Of the grouping of the
figures, we cannot speak in too high terms of
praise. It is natural and interesting to a de-
gree. The canvass is just sufficiently filled
without being crowded. One thing, how-
ever, strikes us as a singularity, whether inten-
tional or otherwise, we know not. The Queen's
maid, who kneels opposite to her, is her very
counterpart. In fact, one face looks like the
reflection of the other. Viewed altogether, how.
ever (without looking too hypercritically into
details), the picture is an impressive one, and
must succeed.

It is a curious circumstance that the painting
from which this engraving was taken, belonged
formerly to the Duchess of Berry, and was
torn from its frame in the Tuileries during the
last French revolution. It eventually came
into the hands of the police, and was' sold as
public property by order of the Mayor of Paris,
on the ground that the ex-Regent had in her
hands a number of drawings belonging to the
capital.