Star.
London, England, 1830-05-10 00:00:00

ROYAL ACADEMY.

This Exhibition is one of the best we have lately seen,
and we cannot help feeling proud of the talent of our
countrymen, as we gaze upon so many splendid examples
of it, on the walls of this Institution. There are the al-
lotted number of Portraits from the pencil of the late
President, and they represent some of England's most
illustrious worthies. That of Mrs. Fry, No. 114, is life
itself; and Tom Moore's, No. 136, is nearly starting out
of the canvas. The painter has caught that happy ex-
pression of liveliness, which so frequently animates the
features of our lyric bard.
Mr. Wilkie has fallen several degrees in our estima-
tion by his paintings in the present Exhibition—more,
however, on account of their subject, than their execu-
tion. Instead of treating us, as formerly, with some
touch of nature—some sweet representation of rustic life
—he has become a worshipper of Kings, and a painter
of Kingly portraits. He has two portraits of George
IV. in the present Exhibition : One of the King in the
Highland Costume, which is stuck up in the principal
spot in the large room for every one that likes to wor-
ship; and the other—No. 125, represents his Majesty
eaten •# the Palace of Holyrood. This, however, com-
prises a degree of interest by the representation of many
celebrated Scottish characters, and is, indeed, a fine
painting. The artist has thus described it--

" In the principal station of the picture is represented the King,
accompanied by a Page, and the Exon of the Yeomen of the
Guard, with horsemen behind, announcing by sound of trumpet to
all ranks of his expecting subjects, the arrival of the royal !defter to
(at) the palace aids sneesters. In front of his Majesty, the Duke
of Hamilton, first peer of Scotland, in the plaids of the Earl of Ar-
ran, is presenting the keys of the palace, of which be is hereditary
keeper. On the right of the King is the Duke of Montrose, Lord
Chamberlain, pointing towards the entrance of the palace, where is
stationed the Duke of Argyll, in his family tartan, as hereditary
keeper of the household. Behind him is the crown of Robert the
Bruce, supported by Sir Alexander Keith, hereditary knight mar.
shal, attended by his esquires, with the sceptre and sword of state.
Near him is carried the mace of the Exchequer, anciently the Chan.
cellar's mace, when Scotland was a reparate kingdom. On the left
of the picture, in the dress of the royal archers, who served as the
King's body guards, is the late Earl of Hopetoun, and close to hint,
in the character of historian or bard, is Sir Walter Scott. These
are accompanied by a varied crowd, among whom are some females
and children, pressing forward with eagerness to see and welcome
their Sovereign upon this joyous and memombk occasion."

This splendid subject is, indeed, painted in Wilkie's
best manner ; the grouping,—attitudes--portraits, and
-colouring, haying never been surpassed by him; and af-
fording
-palpable evidence that the artist worked upon it
con amore.

Mr. Wilkie has another picture—a Guerilla subject—
similar to the style and execution of those which he ex-
hibited last year. It is clever, and indicative of a mu-
ter's talent—but it does not engage our admiration to the
extent which his portraiture of Scottish manners was
wont to do.

Turner has some splendid pictures. He is, without
exception, the most poetical painter of the day,—and if
his productions are occasionally exaggerated, they are
still beautiful,—still surprisingly interesting: He dashes
his pencil about him with a poetic vigour, which makes
all his productions delightful ; and, although he is some-
times furiously mare, be is always attractive and full of
imagination.
Calcott has, in 172, one of the best water-stapes
which he has ever painted. It is entitled a Brisk Gale,
`and whoever has had the luck to be exposed to the exci-
itation of such a peril, will duly appreciate this very de-
lightful picture.—Were we rich enough we would buy it
at any risk, and be glad of our bargain.
We are compelled to defer, until another day, the no-
tice of several very deserving specimens of pictorial art ;
we may nevertheless, in our present number, mention a
few mere.

Amongst those a Dell Scene, No. 19, by Constable,
deserves special regard. It is one of the best produc-
tions of that very talented artist, and is calculated to add
very considerably to his reputation. We are glad to see
that it is sold.

&enfold has s splendid picture of St. Michael's
Mount, No. 284. The water moves—livingly moves,
and the painting Is altogether extremely beautiful.—Mul-
ready, who is a clever follower of Wilkie, has two good
paintings. No. 115. A Dog of Two Minds, and No.
345, Returning from the Hustings. They are both ex-
tremely well painted, and amply contibuto to this able
artist's well-earned fame. _ _

Euy shines very conspicuously among the exhibitors.
He is, indeed, a very bold and masterly historical painter;
and inks amongst the foremost in this high line of art.
Hie picture of Judith, No. 124, is a splendid specimen
of his talent. It represents the Hebrew heroine handing
the bead of Holifernes to her servant. 'l'be attitude of
Judith is extremely well conceived, and the picture,
altogether, one of the finest historical paintings we
have ever seen, even in compulaon with the best pro-
ductions of West.

We have DO TOMS for " further particulars ;" but our,
catalogue reminds us of many other favourable notices.
We have several able works to eulocise,—and we shall
take the opportunity of doing strict justice to &sir
authors.