The Sun.
London, England, 1856-05-19 00:00:00

THE SUM LONLON, MONDAY EVENING-, MAY 10, 1866.

vote a dower of even 7,000/. (to say nothing of
70,000/., which is perfectly ridiculous). Such a
resolution may abate the ardour of the "love-
sick" Prussian, although we fear it would not pre-
vent the marriage, the collateral advantages
whereof to the Court of Berlin would induce it to
accept the juvenile Princess without portion,
aihough, according to its usual policy, it will, like
the Irish patriot, " take all it can get, and keep
grumbling."

Owing to the inclemency of the weather there
was no demonstration in the Parks yesterday.
Had the day been specially provided for the Poor
by Exeter Hall it could not have been more un-
genial. The rain fell in all sorts of showers, inter-
rupted at intervals by a momentary glimpse of
sunshine, overcast almost immediately by wild
gusts of wind charged with pattering hail—hail,
on one occasion, of the heaviest description. No
band could, under any circumstances, have played
on such a day in the open air, and the people
wisely stayed away. Exeter Hall is quite at
liberty to make the most it can of the
event. A table covered with communications
from all parts of the kingdom, and from
individuals of various classes in society, tes-
tifies, apart from what we have seen and heard,
to the resolution of the public to do battle
with Exeter Hall on the Sabbath question—com-
munications, it is but justice to say, characterised
by so much intelligence, and worded in a strain
of such indignant earnestness, that it is with
much regret we find ourselves unable, through
want of space, to admit them into our columns.
One gentleman who, as nearly all have dose,
gives his name and address, after expressing his
satisfaction at the stand now being made by the
London people against the hot-headed Sabbata-
rians, thus vindicates Yorkshire from participation
in the Pharisaism of the Leeds Mercury :—" I
write to assure you that many of the most ardent
admirers of Mr. BAINES, as far as regards his
general politics, have been fairly sickened by the
endless repetition of his Pharisaical views against
he observance of the Sabbath, and his long
tirades against every system of National Educa-
tion which has been brought before Parliament."
Another, " A Presbyterian," testifies unequivo-
cally not only to the order which characterised
these Sunday reunions, but also to their educa-
tional tendencies, and expresses the most pro
found surprise at the undignified conduct of the
Premier. So satisfied is he of the good morn•
effects of these reunions, that, though
a " working " man, he is prepared to
subscribe a sovereign to the payment of the band.
Another correspondent, apparently a professiona
gentleman, takes up and amusingly deals with th:.
subject of sacred music, showing to what irreve-
rent tunes those who object to polka or waltz music
in the Parks are accustomed to sing the praises
of GOD. Another demands to be informed whether
" the glorious and happy sight in the Parks i,
never to be seen more by those who have the bad
taste to prefer our Great Master's own example,
and the teachings of such men as JEREMY TAYLOR,
PALEY, and WHATELY, to SUMNER, CUMMING, and ,
the Ranters." Again, this is addressed to the
opposition, " Open our British Museum, our
great national institutions, gardens, and galleries
—you may then, and not till then, shut up our
gin palaces and take away our park music."
Others are in a more indignant key, but in
ooe thing they all coincide, and that is in saying,
Speak unto the people of London that they go
forward." The people of London, we are per-
suaded, have set their hands to the plough and
will not go back. The wrong done them rankles
deeply in their breasts, and we must say they
would deserve to be turned outof their theatres arr,
other places of week-day amusement proscribed b.l
the Sabbatarian party also if they did not persist
in having it righted. There will be a demonstra-
tion, possibly of triumph, next Sunday, if th,
weather does not resemble that of yesterday.
and we would recommend our readers to
use their utmost influence in getting up of
in any way promoting the signature of peti
tiona for the restoration of the Bands in their
respective localities. The House of Commons i-
on its last legs ; and, consequently, is weak an.
timorous, and but too easily persuaded by th
Sabbatarian party to vote against its inclinations.
The Premier depends on the House, and, between.
the two, the cause of the people has fallen to th,
ground. Let them both be made aware, by host
of bona fide petitions, that it will be their wisdon
not to provoke the people too far ; for, if any
harm ensues, the Sabbatarians 'won't be able t,
guarantee them their seats. In point of fact
the number of those who would absolutely with
hold their ♦otes from a non-Sabbatarian Membem
is much smaller than is supposed even by those who
believe themselves well-informed on the subject.
The difference between signing a petition and re-
fusing a vote is immense. We would fain hope
that Honourable Members will arrive at the con
viction that the London population, knowing
what is right and proper for themselves, really
desire Sabbath recreation, and will withdraw al
ungracious interference with their enjoyment, 8(
as to enable the Premier to muster up resolution,
to rescind the prohibition. The people really
mean to succeed one way or other—and peaceably
if possible.

THE ROYAL ACADEMY.

(THIRD NOTICE.

Already in our two previous criticisms upon
the Royal Academy Exhibition for 1856, we have
given, first of all, a general survey of the promi-
nent characteristics of the collection ; and, se-
condly, an analysis of the chief contributions from
the more conspicuous masters in the old•new
school of the Pre-Raphaelites. It remains for
us now to adventure upon some more comprehen-
sive estimate of the 618 pictures disposed upon
the walls of the three principal apartments. Ap-
propriately enough, the motto selected for the
title-page of this year's Catalogue, is the senti-
ment from La Harpe—" Les Artises sont les en-
fans de la Paix, ils sont bienfaissants comme elle,
et c'est par elle qu'ils prosperent." Appropriately
enough, we say, when viewed merely as an ab-
stract sentiment, and not as one having reference to
any immediate application of it—seeing that most
of the paintings at present exhibited on the walls
of the Academy must have been carried tolerably
far towards completion before this amiable Patron
of Art was summoned anew into being by the
Paris Plenipotentiaries !
The Royal Academicians themselves are in some
force this season, notwithstanding the visitor looks
in vain—as usual of late years—for any new ma-
nifestation of the genius of perhaps the greatest
of all living English Painters, William Mulready !
Although Creswick has retired, for once, from the
annual competition ! Although Cope, and Her
bert, and Maclise have all restricted their energies
)f late to the advancement of the legislative
palace at Westminster ! Although among
the defaulters for 1856 may be yet fur-
ther enumerated —Knight with his speak-
ing likenesses, and Danby with his gor-
geous and romantic landscapes, and Egg
with his wondrous realisations of the day-dreams
alternately of the poet, and the novelist, and the
chronicler. Regretting the absence of those emi-
nent names from the list of exhibitors, we have,
nevertheless reason for some degree of exultation ,
tver the treasures of art actually contributed to
he Gallery of the Royal Academy by the Royal
koarlemicians themselves. Leslie, it is true, con-
ents himself with the display of but one solitary
n'oduction, and that a very inadequate one, as a
.01sen of his rare abilities whether as a designer or
,s a colourist. No. 144.—a statuesque glimpse
,f " .Elermione," the flermione, however, rather
.f the Atelier than of the stage, of Lsslie than of
illakspere. Webster, again, delights his adcni-
•ers with no more than a single painting, but
melb a painting !--one so wondrously worthy in
-very way of this Hogarth of the Cottage, this
9stale of the Playground, this Wilkie of the Vil-
lagers—No. 114—" Hide and Seek." A picture
in which the great artist-humourist has tasked
his invention so very charmingly in stowing away
; "dispersed cluster " of youngsters, one in the
'iaby's cradle, with an obtrusive boot sticking
cut from under the coverlet ! another beneath an
tverturned basket, with a hand forgotten outside
lie wicker-work ! a couple of breathless urchins
fattened together in anxious complicity behind the
pening door, through which the eager laughing
ioy-seeker is peering, in hopes of detecting his
oerdtt-playmates. Mother all the while, good, com-
:ortable Mother, sitting in the midst with an
evident though suppressed appreciation of all
-he fun lighting up the grave mouth and the
aughing eye—as though she feared by the mere
'xpression of her maternal features to betray the
whereabouts of her boyish Romps and her girlish
Hoydens ! Stanfield, moreover, has but two
aictures in the collection, but one of these two a
very masterpiece, No. 94, "The Abandoned"-
-le hull of a wrecked vessel far away on the wild
ocean, rolling heavily upon the rolling billow;
luridly lit up by a sun-burst streaming down upon
it from a sudden cloud-rent overhead—altogether
he most wonderful bodying forth of a wierd. ideal
)f solemn, pathetic, and uttermost desolation.
Compared with this magical sea-seape, Stanfield's
other marine piece, admirable though it is in
several particulars, No. 191, " A guards costa
siding out a gale at the mouth of the Bidassoa,"
iwindles into insignificance. A couple of paint-
ngs are alone supplied this season, also, from the
•asel of Sir Edwin Lattdseer, No. 147, "Saved,"
fery appropriately dedica.ted to the Humane So-
;iety, and No. 208, "Highland Nurses," most
:aappropriately dedicated to Miss Nightingale.
like former picture being the representation of a
canting Newfoundland, who is supposed to have
'reserved a little boy from drowning, though
•when must ever remain matter of the wildest con-
jecture seeing, that the child appears to be, some-
tow or other " as dry as a bone," while the dog,
to less strangely, seems to be only slightly damp
bout the hind quarters ! The latter picture being,
a the other hand, a nut very graceful tribute to
se benevolence of the heroine of Scutari, through
he medium of an incident not unusual in forest•
ife—where the fawns are seen tenderly licking
he bleeding bullet-hole in the flank of a wounded
toe, tumbled down in pain and exhaustion among
he grass and fern of the green wool Shaw.
" Saved," though hung rather too high to be
een to advantage will be regarded, we doubt not,
is the painting the less unworthy of the two, as
an exemplar of those rare powers which have
;floured to our great animal-painter his unrivalled
Ind European reputation. Redgrave, likewise,
tas but two pictures in the present collection, as
ve hace just observed to be the case, in 1856, on
the part of the animal-painter Lsndseer
;nd of the marine-painter Stanfieli—Redgrave's
;ompanion contributions being, however, as neither
•n the instance of Stanfield or of Landseer, emi
'ently pre-Raphaelite in their general treatment.
\To. 68, " Little Red Riding Hood," a delicious
green vista of forest scenery, with a wondrous sil-
serecl, moss-dappled, gnarled, and lichened bole in
:he foreground, the whole of the wondrous little
wood view actually "lit up" by the scarlet cloak
tf the tiny, light-footed lady of the nursery song;
ind No. 182, " Handy Janie," the " knowing-
)st" little country lassie that ever had her portrait
imued by the cunning brush of a pre-Raphaelite

Lcadamician ! Another of these potent acadami-
cians, who tantalises us with merely two contri-
butions to the present year's very remarkable exhi-
bition, has yet to be particularised, as he ever
deserves to be particularised most honourably and
3ulogistically-E. M. Ward—one of the youngest,
is he is also one of the most gifted, of the R. A.'s

)f England. Both of these contributions, howbeit,

),re so admirable of their kind, that we have no
serious cause to complain of the artist's indolence,
or to speak of such pictures in sober earnest as in
Any way merely tantalising. No. t 5, " The last
)arting of Marie Antoinette and her Son"--
,nother of Mr. Ward's pathetic mementoes of the
•lungeon life of the Bourbons, in the earliest and

nost terrible of the three great French Revolu-
,,ions. The painter, who has already celebrated
ipon historic canvass the incarceration of Napo.
eon Bonaparte during the first days of the Direc•
tory ; and the passage of Charlotte Corday to
execution under the gaze of Robespierre, and
Banton, and Desmoulins ; and the prison-griefs
)f Louis NVI. and his Family, with the Queen
patching the threadbare vest and the Princess
ending another Picciola in the window-sill-11as
iere, in No. 75, no less gracefully, no less ten-

lerly, no loss pathetically portrayed, the last
parting of the luckless and beautiful Marie An-
einette from . her unfortunate Children. 13Jsides
.he Queen, the Dauphin, his sister, and
the sister of the dead King, there glo3nl
Ton us from the background various members of
ho Revolutionary Committee, soma terrible and
:one in their preposterous dresses absolutely and
“otesquely ridiculous. Inimitable, too, is the
litter of the still-life accessories of the picture, the
' .:anvass frame with its half-completed embroidery,
,he ball of worsted rolled into a tangle, the gut-
,.ered tallow on the neglected tin-sconce, the
broken slate with its sums partially obliterated,
he gaudy tricoloured sash wound round the
,vaist of the child-Dauphin, then indeed regarded
'1), the emigres as King Louis .XVll.—all help
marvellously to point the moral of that melan-
choly story of royal suffering and Republican de-
basement. Ward's other picture No. 587,

"Byron's early love," is altogether a smaller and
less pretending work of art, chiefly noticeable for

the skilful contrast of the wax-light of tile draw-
ing-room interior seen through the lattice window
and the moonlight of the rural-scene outside Annes.-
ley Hall—the figure of Byron standing midway
between the moonlight and the waxlight looking
in upon the lovely form of his beloved whirling
about in the dance—his own exquisitely chiselled
profile being precisely turned the while to the
gaze of the spectator, the very type of a poet-
face.! Frith has three paintings in the gallery
this year, one of these an universal favourite
with mammas and little children—No. 131.
"Many Happy Returns of the Day," a charm-
ing peep for after times at the home-life of
well-to-do English folk of our present
comfort-loving generation. Grandpapa turn-
ing from his newspaper, and looking amused
over the top of his spectacles, from his easy-chair
in the chimney corner as the little puss at his el-
bow brings him (carefully) his brimming glass of
wine—Grandinamma, silver-haired and good hu-
moured at the dessert-table—Papa, comely but al-
most Jewish in his smugness, giving out the
Toast of the Day, the Health of the little Dar-
ling under the }Towering arch of flowers !—it
all admirable—adinirable from Mamma herself
verging prettily to the matronly epoch of embon-
wint, or from her unmarried sister (who is never
intended, we wager, to degenerate into an old maid,
but who will doubtless, in a very few years, have
cogent reasons of her own for wishing the same good
wishes to others than nephews and nieces) to
those same nephews and nieces in all the many
stages of child-like excitement, or to the prim lit-le
parlour-maid in the back-ground bearing in her

hand, the birth-day present of a doll or a punchi-
nello ! It is all, we repeat, admirable :as No. 7
from the same hand, " A Dream of the Future,"
is exquisitely graceful, or as No. 341, also from
the easel of Frith, " Garden Flowers," is really
charming as a specimen of something better than
floral loveliness. Roberts We have already spoken
of in our earliest notice of this year's Exhibition
of the Royal Academy—the notice which ap-•
peared in our columns on the very day of the
" private view "—in those earnest terms of ad-
miration which are peculiarly due to the principal
among his five very noteworthy contributions.
No. 10, a wonderful interior view of " Christmas
Day at.S:,. Peter's, Rome, 1854 "—an interior
resplendent by its marvellous combination of
papal pomp and architectural Magnificence.
No. 337, " St. Peter's—looking back upon
Rome ;" No. 383, " Venice—approach to the
Grand Canal ;" No. 541, an "Old Temple on a
Sunny Promontory ;" and No. 552, " A Monu-
ment at Venice," are exteriors by Roberts of sin-
gular and varied excellence, but his interior of
St. Peter's, No. 10, is incomparably this year in
every way the artist's. chef d'oeuvre. Without
subscribing to the rather pert opinion of Uwins,
as expressed once upon a time to Mr. Morris
Moore, by the Honourable Member for Perthshire,
we may content ourselves with a hint that the
old painter is somewhat passe, Nos. 261, 472.
and 893 being scarcely passable, the picture, the
least unworthy of his former fame being, without
doubt, No. 454, his very English scene of
" Gleaners leaving the Stubble-field." Jones's
least unsatisfactory painting, again, for the pre-
sent season, is No. 186, being a very melo-
dramatic, smoky, theatrical representation of the
battle of " Trukkee" (28th Feb., 1845), when
Sir Charles Napier was a greater "God of War"
than Dalhousie, " Lieutenant-Celonel to the Earl
of Mar," conquering Sciude by a series of thunder-
strokes, and only laying aside the sword of the
Conqueror to take up the pan and the fasces of the
Administrator. Witherington rejoices our sense
of the beautiful in rural scenery as agreeably as
ever ; while ,the two Pickersgills display their con-
trasting merits—larger promise being observable in
the Associate than in the Academician as cannot be
said to occur in regard to the two Coopers—the
Academician here revealing, as hitherto, astonish-
ing ability as a painter of horses, and in regard
to the mere number of his picture- more than
ordinary productiveness. Of alt his eight contri-
butions, the one which will doubtless be
examined by the generality with the liveliest
interest, being No. 245, the " Portraits of Two
old Campaigners," Marengo, the white war-hone
of Nap aleon, and )ponhagen, the bay-charger of
his Grace, the late Duke of Wellington. Cooper,
the Associate, in his turn, contributes half-a-dozen
of his Cuyp-like Cattle-scenes to the Gallery, one
of them in combination with a landscape by Le':.
according to their wont, as the Beaumont and
Fletcher of the brush—Lee's noblest work this
Season, however, being No. 221, an exqaieire
marine piece, a view of " The Plymouth Break-
water,",:a masterpiece of water painting, whether
viewed in regard to the feathery curls of spray
blown off from the crests of the distant surges, or
in reference to the wide ample wash of the waves
over the level. stones of the breakwater in the
foreground. Frost continues to be as ever clas-
sically conventional both in theme and treatment
—but charmingly so, we admit, in No. 162, his
group of the " Graces." Horsley, among five
pictures of great beauty gives us one, No. 311,
" A Novice," which we do not hesitate at once to
select as of *all the " best beautiful." G odal 1
forsakes this year, for once, the field in which he
reaped his first laurels, for one in which we cannot
think he will ever add to them very considerably ;
we mean that of historic° religious painting
to which he has exclusively dedicated his energies
this year through the mediums' of his one large
picture, No. 359, " Cranmer at the Traitor's
Gate"—a picture of which we are constrained
to say (in spite of our admiration for
the artist's genius) that it is decidedly
larger than it is meritorious. Neither can
we regard Frank Stone as having, by his one
solitary production, displayed in this year's ex-
hibition, extended very considerably his repute—
let us say—as a love-painter 1 No. 319, " Doubt"
being (in.spite of twe or three comely faces) both
in general merit and in actual purpose, eminently
doubtful. Poole hardly realises, for once, the
expectations cherished, season after season, by
those who appreciate, as it deserves, the genius of
that Defoe of the Pencil : No. 373, -" The Con-
spirators," being only remarkable for its chiaro-
scuro. Elmore, on the contrary, has surpassed
himself by his admirable historic picture No.
175, portraying "Charles V. at Yuste" —the
old Emperor bidding a last farewell to the earth
with all its beauties, looking 1:1;s last upon his
favourite Titian, upon the portrait of his beloved
wife, as she was in her youthful loveliness,
breathing, for the last time, the fresh and scented
air floating in from the garden into the coolness
of the cloisters, basking in the last gleams of the
evening ,sunlight—prior to his being carried, for
the last time, into the gloomy cell, from which he
was to came forth no more alive ! The aged
112 march,.
_as
_portrayed by the brush of Elmore,
is a marvellous limning of reverent and dejected
senility. The accessories, many of them, are in-
troduced with singular adroitness—the favourite
parrot upon the chair-rail with the nutshells
littered on the ground beneath its perch—nay,
the mere velvet covering of the chair, black
velvet, old, worn, and threadbare—everything is
painted with colours of astonishing verisimilitude.

Conspicuous, if
,nOt preeminent, among the
failures of the present year, is that pre-
sented by the one picture contributed to the
walls of the Ac idemy by the young artist who last
season delighted the world of art with the im-
mense promise visible in his painting of a Pre-
Raphaelite Procession. Leighton's picture for
1856 is again, indeed, a large one, and so far,
but no farther, hears a resemblance to its prede-
cessor. It is, No. 508, entitled "The Triumph
of Music"—the subject of it being in reality no
more the Triumph of Music than its treatment
by Mr. Leighton can be considered, in any way at
all, a token of the Triumph of Painting. It is
Orpheus, in fact, trying to redeem his wife from
Fla,des ! Such a blear-eyed, hand-clasping, high-
shAildered,' hobgoblin of an Eurydice, being, in
fact, the most horrible object, perhaps, Orpheus
could anywhere have discovered in all the horrid
recesses of that diabolical realrfi of the purloining
Dis and the ravished Prospine. Tire effect of
the picture altogether would be absolutely laugh-
able, but that it happens at , the same time to be
positively and irredeemably revolting. While
Orpheus fiddles—Eurydice seems to be gibboxing.

We turn our glance from this big painting with
a shudder of disgust, and happily find an exqui-
site relief by walking over to an opposite corner
of the same apartment, where T. Faed, another
artist who gave large promise last year, has in
some respects already justified the popular expec-
tations in his regard by a little picture, No. 592,
of " Highland Mary"—a picture delicious in
colouring, the red bundle on the lassie's lap har-
monising, with the loveliest effect, with her looped-
up kirtle of green, and the under petticoats of yel-
low and brown, toned down by the neutralising grey
of the shepherd's plaid thrown over her shoulders
—the charm of the whole figure being crowned
by the lovely face so soon to be lamented in its
grave by the tender heart and eloquent lips of
the Poet Ploughman ! This cabinet picture of
" Highland Mary" we take to be, in every way,
a more notable contribution to the gallery from
the easel of Mr. Faed than that larger painting,
No. 273, " Home and the Homeless," which is,
strictly speaking, but a weakened repetition of the
idea expressed by the artist's popular picture of
last year, " The Mitherless Bairn."

Prominent among the successes of 1856, how-
ever, let us mark especially two most charming
contributions to the walls of the Royal Academy
by a young artist of much more than large pro-
mise, already, be it said, of very considerable and
remarkable. achievement ! Pictures they are by
J. M. Carrialc: one of them, No. 86, " Biook
Ford, Devon"—with its overhanging branches
chequered into light and shade by the gleaming
sunbeams, and the cool end transparent current
underneath stirred into minutest ripples by the
pleasant zephyrs and the. hooves of the quaffing
horse driven down to water by the little urchin
bestriding honest D )bbin : the other, No. 262,
" The Village Postman" searching in his letter-
bag for good
.news for the expectant cottager—
every detail of the rustic scene sketched in by
the youthful observer of nature with a really
marvellous truthfulness, not merely in regard to
the rural perspective, but in reference even ro the
tiles up )n the house-top, the clambering ivy, the
dusty road, and the twinkling leaves of tree and
thicket. Another artist of the same name, popular
now for some years among our most popular
miniature painters, T. Carrick, the miniature
painter of Lord John Russell, and Daniel O'Con-
nell, and Signor Lablache, and William. Farren,
and other varied celebrities—with whose features
the English public have been familiarised by no
hand more successfully than by that of T. Carrick
—tppears during the past year to have been more
than usually industrious and in some instances
more than ordinarily successful. Instance this—
Nils. 702, 709, 721, 727, 751, 778, 797, atid 826
—particularly in regard to No. 751, the likeness
of Miss Cushman, the celebrated tragic and melo-
dramatic actress, a fine, clever, characteristic face,
to often seen disfigured in the hag-like guise of
the gipsy witch, Meg Merrilies.
Returning from the Miniature Room into the
principal suite of apartments, we would more par
titularly direct some few words of most cordial
admiration to a very noble picture, villanously
hung, close down by the ground, so that you are
obliged to kneel to see it properly, t remarkable
painting by H. Wallis, No. 352, "Chatterton."
Mr. Wallis has two other pictures •in the gallery
of no inconsiderable merit, No. 56, " Marten's
Tower, Chepstow Castle," and No. 5 L 6, ‘"Andrew
Marvell returning the Bribe"—but this splendid
work, depicting the suicide of Thomas Chatterton,
white it is the finest production yet given to the
world by the genius d. Mr. Wallis, is also, be it
said, one of the most extraordinary works of art
in the whole Exhibition. We may conjecture
that the painter (for the exigencies of colour, per-
haps) has some the raiment of the
"marvellous bay, the sleepless soul that perished
in his pride," depicting him in white silk (?)
stockings, and violet satin (0 knee breeches, and—
on the chair by the sidn, of his miserable death-
pallet—a crimson velvet (?) doublet clothes
poor Chatterton (who de-itrsyed In.nself after un-
dergoing two or three days and nights of absolute
starvation) would c3rtainiy (if he had had them)
have turned into bread at the pawnbrokers. But
forgiving this solliciiim as to the app trel of the
boy-creator of Rowley—what pathos may we not
discover in this representation of his suicide ! In
dho lithe still, almost childish, fi4ure, in the thin
stripling face, in the wild disorder of the reddish
auburn hair, in the torn and scattered manuscripts,
in the clenched. hand, in.the very bloom which has
been shed the plant in the flowerpot upon the
window-sill.l And the distant morning view of the
great city (this " stony- hearted " dreadful London
of ours) seen through the dim and broken glass of
the Brooke-street garret window—iurely never be-
fore was light, seen through window glass, so won-
derfuly, truthfully, astonishingly painted ! It is
the very triumph of actual fact and tragic power in
painting ! Honour say we to the hand that could
depict so powerfully, so poetically, and so pityingly
the death-scene closing that astonishing career
of Chatterton. Another painting we would also
mention in terms of well-merited praise, ,Na. 35,
" Koine" by Paton, the most pathetic memento
of the late war that has yet come under our ob-
servation. And so—with a glance of chagrin into
the dark and chilly store-room devoted below-stairs
to sculpture—we pass once again into the daylight
from this eighty-eighth Royal Academy Exhi-
bition.