The Sun.
London, England, 1851-11-01 00:00:00

THE ART JOURAAL.

Despoiled of its brilliant supplement illustrative of
the wonders of the Crystal Palace, by reason of the
closing of the Exhibition, the Art Journal, neverthe-
less, continues to furnish us with a variety of most
attractive embellishments. The Vernon Gallery still
continues to suggest subjects for its engravers. Be-
fore us, for example, we have here lying Cousen's ad-
mirable plate from Stanfield's wonderful painting of
" The Battle of Trafalgar," and Prior's meritorious
transcript from the "Wood-cutting in Windsor Fo-
rest" of Linnet'. " The Bavaria "—being the cele-
brated statue in Munich, by Schwantheler—is the
other principal embellishment. As woodcuts, we find
in the Art Journal sketches from some of the po-
pular works of " Ostade," preceded by a character-
istic picture of the artist himself, and scattered
through a very agreeable biography. " Costumes of
various Epochs," we would especially commend to
public attention in these times, when men are rising
into a hatred for their old chimney-pot hats,
and females are agitating the fantastic project of
Bloomerism. Every future Macbeth should dress
in the costume pourtrayed at page 281, representing
a Scottish warrior of the eighth or ninth century.
It is at once grand, national, and picturesque in its
aspect, and in the decoration of the helmet truly
magnificent.

PUNCH'S POCKET-BOOK FOR 1852.
Pictorially this comical little brochure from the
house of Mr. Punch is glorious, thanks to
the artistic humour of John Leech and John
Tenniel, its illustrators. In a literary respect the
"Pocket Book" is—we must avow it at once—utterly
indifferent. If the pen fails in fascetiousness, how-
ever, the pencil, as we have intimated, proves more
than ever successful. Witness this, Mr. Tenniers
extravagantly funny woodcut prefixed to the list
of foreign ambassadors, where Punch is bow-
ing with such an air of sublime condescension,
or the one where our good Queen is seated cosily on
the British lion—docile to her fair hand, but ter-
rible to all other sovereigns—or the one
where Grog and Magog in the box of a
tavern are lapping up plentiful supplies of
callipee and calipash, or another where Punch is
riding, a la Hernandez, on five horses—besides many
other equally, and some still more, provocative of
laughter. The very elaborate sketch prefixed to the
list of public amusements is almost worthy of
Doyle in its iogenaity and animation. Mr. Leech's
cuts in the " Pocket Book" are somewhat more pre-
tentious of their kind, and will no doubt prove
favourites. The "Recognized Tenor of her Msjesty's
Theatre at the Sea Side," looks really like a sketch
from the life, and is delicious as a pictorial sarcasm.
" Mr. Lothbury's Nightmare," too, is capital—espe-
cially in regard to the expression of Mr. Lothbury's
own face in his slumbers just at the moment when
the apex of his proboscis is being tickled by the
feelers of the lobster. The feature of the whole book,
however, has yet to be mentioned—the coloured
frontispiece from the hand of Leech, representing
"The Progress of Bloornerism ; a Complete Change."
It is incomparably the beet saire on the project of
Mrs. Colonel Bloomer that has yet appeared.
The face of the father of the family (car-