The Sun.
London, England, 1829-05-08 00:00:00

ROYAL ACADEMY.

(Continued from our Paper of Monday.)
31. HERO, HAVING THROWN HERSELF FROM Tr?::
TOWER AT THE SIGHT OF LEANDER DROWNED, DIES 0 N
sts Bony.—W. Erry.—The only defect we find in this,
otherwise delightful picture is, the heavy and somewhat
too muscular appearance of the figures. Leander, to be
sure, swam the Hellespont, a feat doubtless that required
strength and breadth of chest ; but still there is no earthly
reason why he should be drawn with the muscles and di-
mensions of a coal-heaver. The picture, however, is of
a bold and striking character.
42. ULYSSES DERIDING POLYPHEMItS,---Oile of TUR-
N LR'S most extraordinary and gorgeous productions.—As
a piece of colouring it is unique ; the artist seeming
throughout to have had recourse to the primitive colours
only. The vessel in the foreground is dazzling rich, and
emblazoned to a degree beyond almost what we have ever
witnessed, and the aspect of Polyphemus abov,;
dimly through a mist upon the rock, has a will and
even awful appearance. We must not omit to notice
the appearance of the sun on the waters.
56. THE SPANISH POSADO. IE• --A painting
full of stern and forcible character, and of a higher nature
than Wilkie's usual subjects. The love scene between the
Posadera (landlady) and the Salamanca student is beauti-
ful. The Contrabandit on his mule, is a very vigorously
executed conception. •
132. DON QUIXOTTE AND SANCHO PA NZA, A FTFft
THEIR RENCONTRE WITH THE YANG UESIAN CA R R
WITHERINGTON,.--AR elaborate failure, devoid alike of
character and humour. The drawing however is passable,
and the colouring very chaste and correct. •

166. THE MORNING AFTER A STOR3I.--.COLLINS..-:-..
Tlll5, to our taste, is one of the, most delightful pictures in
the exhibition. The bluff aspect of the old- ft4herman,
looking through his glass to see if he can discern any
wrecks, is very well preserved. He seems actually stand-
ing out from the picture. The struggling clouds, too, and
the still-heaving sea, are admirable. ,

172. PORTRAIT OF ROBERT SOUTHEY, ESQ., P.
SIR T. LAWRENCE. —This is a likeness strong, but rather
flattering than otherwise, of a well known author. The
eye, however, so far as our recollection serves us, has not
quite fire enough. With regard to tho painting, it is verse
graceful and picturesque.
193. PORTRAIT OF THE MARCHIONESS OF SALisEORT.
—SIR T. LAWRENCE.—A second edition, so tar as styli,
is concerned, of the artist's painting of the Duchess
Richmond. It has much of Sir Thomas's usual elogant
mannerism.

213. THE FIRST CHILD.—W. KIPD.—A very feeling
and promising 'production of a young man, who is among_
the most successful of Wilkie's imitators.
216. PORTRAIT OF MISS PHILLIPS, AS JULIET.--FT.
E. DAwE.—A pleasing, but not a strong likeness. The
style of colouring is good, but the features want nature..
The eye, especially, has any thing but the soft winning,
dove-like appearance of the original.
246. CAMILLA INTRODUCED TO GIL BLAS AT TH E
INN.—G. S. NEWTON.—There is much force and natural
character about this painting. The arch, shy, demure
figure of Gil ?Has is capital.
257. BATTLE. OF BORPDINO.—G. Jorms..--the chief;
feature in this sketch is Napoleon, who contrasts well, be
his simple unassuming deportment, with the bustling and
stirring group around him.
291. BASHAW, THE PROPERTY OF THE EARL OF DU
LEY. —This is in LANDSEER'S best manner, and has a great
appearance of vigour and reality about it.
295. SCENE ON THE RIVER AAR., NEAR
SWITZERLAND, TWILIGHT.—S. J. STEM P.—A lieeral
and highly poetic transcript of Lord Byron's well known-
description in Childe Harold.
The moon is up, and yet it is not night,
Sunset divides the sky with her; a sea
Of glory streams along the alpine height, Sc.
269. LANDSCAVE AFTER A SHOWER.—F. 11.
A very spirited and natural piece of painting.

317. SUI.rSCT FROM THE REVELATIONS.—F. DANnv.
—This artist, we must confess, has disappointed us this
year. The present picture, though meant to be awful, is
simply unintelligible. In fact, the subject is too grant
and overwhelming for even Mr. Dark to, attempt with
success. We dislike the sumo* elaktorate glitter of his
colouring. It reminds us of the',Rtench polish on a new
mahogany table, and is any thing.but imitable to the -sub-
ject which Mr. Denby illustrates.
522. HADLEIGH CASTLE.--THE MOUTH 01' THE
THAMES. MORNING AFTER A STOR3II' NIGHT.—CON-
STABLE.—FuII of nature and spirit, and graceful easy
beauty; though freckled and pock.marked, after its
artist's usual fashion.

337. THE LORETTO NECE.T. A CE..--TERN ER.—A spier)_
did and richly-coloured production, with a xviux.: Italian
sky drenched in Mr. Turner's favourite blue. •
11S2. MARBLE BEST OF PRINCE GEORGE. —W.
BEHNES. —A very graceful and expressive piece of sculp
ture.

1196. A BRAHMIN.—R. WEmtacorr.—There is
much power ands tranquil dignity in this fine statue; it is
worthy of the artist.
1214. MARBLE BUST OF Lam- E. Gowr,a,—.W.
HEHNES.—A production replete with grace and simple
artless beaUty.
1215. MARBLE BUST OF THE DUKE CUMBERLAND.
—An expressive likeness, spirited but not exaggerated ;
with much grace and character about the neck and shoul-
ders. It is in Mr. BEHNES'S best style.
1217. THE PARTING OF HECTOR AND ANDROMACHE.
—CnANTREv.—This is very characteristic and spirited,
with a high air of classic severity about it.
1219. BOY AND TORTOISE.—SIEVIEH.—This, we
think, is the best of Mr. SIEVIER'S specimens this year.
It is very natural and tasteful ; the attitude of the boy
particularly.