The Sun.
London, England, 1845-05-12 00:00:00

TWO YEAR OLD.

B c by Touchstone, out of Laura
Br c (bro to The Libel)
Br f by Touchstone, out of Maid of Honor 290

THREE YEAR OLD.

-- -_
Falstaff --...
.. 160
Br c, by Touchstone, out of Morea
Br c by Touchstone, out of Laura
B f by Touchstone, out of Languish 340
The sale of Mr. Foljambe s hunters on Thursday last,
realised 3,0121., not 1,800 gs. as erroneously reported last
week.

ON. THE DEATH OF THOMAS
HOOD, ESQ., -
AUTHOR OF " THE SONG OF THE SHIRT."

Alas I poor Hood J thy kindly heart is now at rest ;
Thy playful fancy, which was wont to raise
Delightful thoughts to soothe the aching breast,
Is quench'd in death—no more to win our praise.

Peace to thine ashes ! For if mortal man
E'er did the duty which his Maker wills,
Thou bast done thine in the brief span
Of mortal years which now thy destiny fulfils.

Long will thy memory live whilst hearts can feel
For wrongs and woes which carking care and want
Inflicts on those who are without a meal,
Or scant can gain it by the usp of fingers gaunt.

How true thy pathos I How exact to life,
The wretched life of many a British maid,
And widow'd mother, and heartbroken wife,
Who seeks her pittance for a shirt or braid.

" Song of the Shirt !" Long may it ring with quiv'ring note
In ears that tingle—hearts that learn to feel
The truthfulness of what thy genius wrote,
And have the means such want and woes to heal !

Blest be thy shade ! "Itis a good and holy thought
To pray for the departed" souls of those
Whose acts true charity and kindness taught ;
I therefore pray for thee, at thy mortality's sad close.
May 9, 1845. H.

COWES, ISLE OF WIGHT.
(FROM OUR OWN CORRIISPONDINT.)
ROYAL VISIT TO OSBORNE. -

At six o'clock the Lightning steamer arrived off Osborne
House, and her Majesty and suite embarked in the barge,
intending to land on the sands, but it being dead low water,
and the royal barge drawing 4 feet water, it could not be
accomplished; she was therefore rowed round by Norris
Castle into Cowes harbour, and a landing made at East
Cowes.
Royal salutes were fired from the several R.Y.S. yachts in
the roads, from the Castle, R.Y.S. House, and from a
Swedish barque. Her Majesty was received on her landing
by the Earl of Errol and his daughter, with whom her Ma-
jesty most cordially shook hands, as did Prince Albert.
The Corporation of Newport propose presenting an address
to her Majesty, if she will allow her privacy to be intruded
on by their visit ('tis strange her Majesty's known wish for
retirement should be so intruded on), and no small confusion
has been created amongst the Mayor, Aldermen, and Coun-
cillors to obtain suitable dresses, they never before having
appeared in corporation robes.
But for the passage of the royal barge up the harbour,
nobody at Cowes would be aware of the Royal Family being
so near them. Almost the whole of the supplies necessary
for the royal establishment are found at Osborne, or supplied
from London ; and the town is as dull and quiet as in mid-
winter. There are very few houses taken, much less than
in any former season. It is supposed that her Majesty's
talked-of visits prevents those coming who generally resort
here at this season; and her Majesty bringing no company,.
and living so strictly private, there are no calls for accom-
modation for visitors, and trade suffers accordingly.

VAUXHALL GARDENS.—The celebrated Mr. Wid-
dicombe, of Astley's, has been appointed successor to the late
immortal Simpson, master of the ceremonica to the " real
property," which opens this evening in all its pristine splen-
dour, and with increased attrictlons,

ROY

MY.

The expression is rather that of One in the actual en,
joyment of the beatific vision, than that of a humble
shepherd craving a blessing on his flock.
The attitude is the attitude of triumphant resignation,
if we be allowed the expression, rather than that of
humble supplication. In supplication the hands joined
are uplifted towards Heaven—the face averted, is cast
down towards the Earth. The extreme of supplica-
tion is prostration. There is nothing of this expres.
sion in the figure of the shepherd. The picture not-
withstanding, is one of the gems of the exhibition,
but the shepherd is a mistake. Eastlake, like
Edwin Landseer, contributes but one picture, No. 222,
illustrative of the concluding lines of Comus.
This is an exquisite picture—the expression of the
features of every figure—the group is that of the
most serene calm—and albeit the expression of se-
renity borders occasionally upon weakness, yet upon
the whole the picture is exquisitely poetical—so har-
monious that it might almost be termed musical, for
as there is a harmony of sounds so is there a har-
mony of colour, and who shall venture to affirm that
these harnymies are not cognate. Etty has several
pictures in this room, all miracles of colouring, all
worthy the pencil of him who has been not unaptly
called the English Titian—No. 12, Aurora and
Zephyr, by Etty, is a magnificent specimen of colour-
ing, and of graceful beauty of design. The figure of
Zephyr, how ever, is not that of a youth, it is that of
a girl. In one who studies the nude figure as does
Etty, this mistake is surprising. his flower girl, 185,
is not unworthy of the pencil of Murillo, while 186,
the Votive Offering, is perhaps one of the most beauti-
ful specimens of colouring and drawing that Etty
has yet produced. In expression and form, how-
ever, his best picture is " the Indian alarmed,"
No. 97, an American Indian roused by a distant
noise. Every sense is awake. Sight, hearing, smel-
ling are acutely on the watch—the expression of the
features is that of anxious acuteness, and the muscles
seem all strung, so that he is ready tospring on a
beoin. 109, ~ C
gin amnopmidenitn.terTeehdeincgolowuirtih colouring is
mother for is very fine.
N
n
Psyche," by the same artist, is also a very beautiful
picture. In this room Turner has four pictures, 50 and
77 "Whalers"—the last by far the best picture of the
two ;117, Venice, Evening—going to the Ball; and 162,
Venice, Morning—returning from the Ball. These
two last pictures are miracles of colouring, and
aerial perspective. Look at them closely they are
the veriest daubs in existence—mere palettes on
which colours have been coarsely spread—but give
them distance ; as you retire, the colours begin to
separate into masses. Now, they harmonise—order
arises out of chaos ; and now the picture bursts upon
you as the most gorgeous specimen of colouring,
the most miraculous specimen of aerial perspective
that the pencil of artist has ever produced. To appre-
ciate Turner, however, the connoisseur should go
early in the morning, before the exhibition is crowded.
It is impossible to attain the proper " point of
view" for his pictures after the rooms are filled.
In contrast to Turner, is Clarkson Stanfield,
the successor of Calcott, the painter, whose works are
so beautifully finished, that they will bear the closest
inspection. In this room we have three rems from
the pencil of Stanfield, 65, the Mole at Ancona, a
beautifully finished painting; 205, Dutch Boats run-
ning into Saardam—Amsterdam in the distance—a
picture full of life and animation, as all Stanfield's
sea pieces are—and 254. The action and capture of
the Spanish xebeque frigate El Gamo, of 32 guns
and 319 men, commanded by Don Francisco de
Torris, and H. M. sloop Speedy, of 14 four-pounders
and 54 men, commanded by Lord Cochrane (now
Earl Dundonald), off Barcelona, on the 6th
of May, 1801. As a work of art this last pie-
Lure is certainly one of the most exquisite pro-
ductions of Stanfield's pencil. Asa historical pic-
ture—a pictorial record of the most gallant achieve-
ment of one of the most gallant officers of the most
gallant navy in the world—it is invaluable. This
picture ought to be purchased by the nation, and pre-
sented to Greenwich Hospital. 34. Ruins of Kar-
nak is a magnificent picture by David Roberts. The
subject is treated in a. most masterly style, and the
manner in which the rays of
the setting sun are re-
flected from the columns of the ruined temple is one
of the mast splendid efforts ever produced. Taken
as a whole; this is perhaps the landscape of the exhibi-
tion. 87, Peter the Great, Teaching
Art of Shipbuilding, is by Sir W. Allan. This pic-
ture has scarcely sufficient dignity to be called an
historical picture, although his Subjects the
most likely it is a very
accurate portraiture of the transaction it represents,
as it actually took place.
It would not, however, have
been the worse as a work of art, if it had a little less
of the real, and a little more of the ideal. 131. The
Heiress, by C. R. Leslie,
is one of those delightful
illustrations of existing manners which Leslie alone
can produce. He is the Watteau of his age, and, as
illustrations of the costumes and manners of
the nineteenth century, his paintings will, ages
hence, be eagerly sought after. 200. Fetch-
ing the Doctor, by is an admirable
painting of the Wilkie school. Collins,t
is a night scene,
and a chubby boy has just knocked up the village
doctor, who appears, half-dressed, to answer the
call. The bewildered expression of the doctor's coun-
tenance, neither asleep nor awake, is admirable. 105.
The Greeting, Worthington, is the return from market
of a Welsh farmer's wife, who is met by her husband
and family at the entrance to the farm-yard. The
grouping is very beautiful, and the picture altogether
is excellent. 277. The Water Cart, by Lee, is a land-
scape, in the true Gainsborough style. 125. View of Caen,
by IV. Fowler, is a small cabinet picture ofgreat merit ;
and 126. Ventner Undercliffe, Isle of Wight, W. Col-
lins, is a beautilful picture of some of the most beautiful
attracted by a picture
scenery in the world. We were turning to leave the
room, when our attention was
close to the door—No. 11, The Governess, R. Red-
grave—a little piece of domestic tragedy that goes
at once to the heart. The scene is a school-room in

a gentleman's mansion, opening upon a lawn. The
governess sits at her daily drudgery, her attitude,
her features, betokening that despairing resignation
which springs from she utter annihilation of hope.
She is friendless and broken-hearted. Admirably
contrasting viith this expression of passive grief in
the governess, is the expression of active grief in the
features of the little girl seated on the bench, who
is conning her lesson, and endeavouring to concen-
trate her attention to her book—her endeavours are
however in vain—her • attention wanders to her
two sisters, who are leaving the school-room for
sad story it is.
the lawn, and who in all the joyousness of
youth that knows no care, have already
begun their sports even before they have quitted the
school-room. This one picture tells the story of a
whole
fear i t
is an
over drama—raand a
e•
notice of the other pictures of the exhibition to ano-
ther opportunity.
........-IT—.---.....
dverlyve must defer our

THE SUN, LONDON, MONDAY EVENING, MAY 12, 1845,'

The Royal Academy Exhibition of this year con-
sists of no less than 1470 works of art, so that what-
ever may be said of the quality of the productions of
English artists, no one can have just cau:le to com-
plain of their quantity. Among these, however, there
are a great number of portraits, of which, 33, Lady
Sale, by J. Sant; 81, O'Connell', by N. J. Crowley;
293, Sir William Nott, with Candahar in the hack-
ground, by T. Brig•toek ; 496, another portrait of
Sir. W. Nott, by B. R. Faulkner, and 452, Sir Ro-
bert Sale, by G. Clint, are the only portraits worthy
of observation, inasmuch as they possess an his-
torical interest—of the remainder of the portraits
we observe, in the words of the law reporters
to the newspapers, that " they are of no interest ex-
cept to the parties more immediately concerned."
Having thus disposed of the portraits, we will confine
our attention in the present notice to the pictures in
the east-room. On entering it, the spectator mill
observe a crowd collected at the far end of the room,
immediately opposite the entrance. They are ad •
• miring Edwin Landseer's only contribution to the
Exhibition this year.—No. 141, The Shepherd's
Prayer. This sukect is a shepherd kneeling before
a rude crucifix, his flock gathered around him,
guarded by his dogs, in the distance an open country.
The execution of the sheep is marvellous—as regards
the dogs, it is sufficient to say they are painted by
Edwin Landseer ; the crucifix too is admirable, but
the shepherd has evidently assumed an attitude before
it for the purpose of having his picture taken. He is
clothed in purple, and his eyes elevated to Heaven, and
his hands stretched exactly in the attitude of a saint
expecting the crown of martyrdom. There is nothing
about the expression of the figure of
"Let me with lowly voice a blessing crave,
On these my anxious charge."