The Sun.
London, England, 1803-05-09 00:00:00

,ROY :• L d C.ORMY

No. frt. oOftt4it of the 13islip of
tt.k.

, THIS is one of the best -Portraits in the Roorti.
The like-ness is exact, anti there is a venerable sitn:
plicity in the general expression, suitable to thd.
character. The colouring is clear, and the whole,
painted With a firm pencil:
..

No 103.

Portrait ofthe'Right Hon. Wm. Windham.

T. LAWkENCE,

A spirited Likeness of the Original, painted in a*
style of simplitity not usual to the Artist, anal
though much, very much inferior to his Portrait of
Lord TH t./ R LOW , a proof that the glituring Phan:
tam which has long haunted his imagination and
presided over his Pencil, is beginning to lose het
ascendancy.

No. 14;. Portraits of Mr. Ashton and Mr. lioste.—
NURTHCOTE, R. A.
We noticed this pifture before its appearance iti
the Academy, and we have no reason to reteaft the,
favourable account we gave of it. The figures are.
painted with great spirit, and all' the subordinate
parts are cxal, without, mina:chess. The Artist.
chews the powers of a-Landscape Painter in the
scenery. This is really a ple:►sing..reposo.

No. So. Huhnlia; or, The Spell. Gay's Shepherd's
Week.—J. Orct, R.A.

Tuts Piaure has excited great notice, and has
heel) very much commended, but not beyond its
merits. The Artist has very successfully entered
into the imagination of the Poet, and has given
characteristic force anti simplicity to the incident.
The Damsel is of the simple rustic order, such as__

might be supposed to yield to superstitious illusions.
There is a strength and modesty in the colouring,
and a fine breadth of light. The Ainly fault seems
to be the dead flatness of the foreground, which
ought to have been broken appears too much
like board. This, however, is a very trifling de.
lea in a very pleasing performance.

No. 14S. Portrait of Nlrs. Port.--,M. A, Satz, R.A.

The Adress is supposed to be sitting in the cha.
rafter of Juliet, in the Garden Scene. The Artist
has caught a strong resemblance of the Lady, aria
displays a meek. appearance of " retired leisure,"
very interesting. We cannot, however, consider
this appearance as quite appropriate, fir Juliet is
supposed to have conversed with Romeo, ;slut must
have felt a tender anxiety that would have been
sible in her countenance. As a private Portrait
only it possesses • great merit, exhibiting a pure
simplicity of colouring, an easy elegance in the at.
titude, and an engaging sweetness in the expression.

No. t 66. Crossing the Brook.-1.1. THoMsoN, A.

Few of our young Artists have' made such rapid
strides to excellence ;s Mr. THomsoN. The Pic_
tore before us is one of the chief ornaments of the
Exhibition. The scene is interesting. The cdu-
tious timidity of the Child is well conveyed, and so
is the care of his Condu;itess. There is a peculiar
richness in the colouring. I t may be said, that the
large body of clouds is too much in a parallel line
with the hushes, bur this etil7;tt may be easily ob-
viated, and the Picture may then bid defiance to
petty cavils.

No. r 56. Holy Family.—J. M. W. TuarsrEß, R. A.

It is a pity that the Artist did not consult some
judicious friend before he submitted this speciinen
of his historical genius to the rude discourses of the
Public. It seems to be an attempt to unite the
merits of some of the ancient Artists in one per-
formance, but it is a barbarous and clumsy imita.
tiun. The whole is a glaring mass. The figures
seem to have been designed in a studied contempt
of every thing interesting and graceful ; and unless
the artist can produce something better, we advise
him to take an eternal farewell of History.