The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1844-11-12 00:00:00

WALK THE THIRD,

206. " The Moors beleaguered by the Spaniards in the
City of Valencia." P. F. Poole.—A sad want of good
taste has characterised the selection of this subject for the
display of the artist's undoubted powers ; and the skill
with which the subject is worked out is therefore thrown
away. We cannot enjoy a painting which harrows our
senses whilst we look upon it, and of which every detail
is revolting. In one point, perhaps, its production may
be attempted to be excused. It may be calculated to im-
press upon us the horrors of warfare, and to shew us how
heroism and patriotism themselves may degenerate into
cruelty. This is perhaps its only apology.
101 " Portrait of E. Rushton, Esq." S. Gamberdella.
—The colouring and drawing of this portrait are both in
the artist's best style, but we cannot for all that say that
it pleases us. We should have much preferred a portrait
of the Stipendiary Magistrate of Liverpool in his every-
day looks and dress, to this swaggering and pompous tra-
vestie. Mr. Rushton's features are not ordinarily pos-
sessed of anything like the brilliancy here imparted to
them, but may, without intending the slightest offence,
be styled heavy.
126. " The Prisoner." James Buchanan.—A piece of
everyday life, excellently pourtrayed. The rueful visage
of the poor urchin who holds the hank, from which the
old dame is winding, is well painted, as are the expectant
faces of his comranions without, who await his liberation
from his task. The stolid and imperturbable calmness
of the old woman seems to afford little hope of a speedy
fulfilment of their hopes.
193. " The Visit of Consolation." T. F. Marshall.—
A sorrowful subject beautifully treated. The poor victim
of that cruel malady, which seems especially to extend its
fatal force upon the lovely of the earth, is indeed charm-
ingly painted; and the whole family group is in excellent
keeping.

200. V " Dinner Time " in the refectory of the Fran-
ciscan Convent of the Ogrie Santi, at Florence. S. A.
Ha, t.—The subject of this painting is certainly not an
attractive one, but the most is made of it, and the result
is a very fine picture. The " tideless monotony of monas-
tic life, as poor Maturin styled it, must have flung its
shadow over the painter's soul, to enaUle him to impart
the expressionless character to the features which are de-
lineated on his canvass.

215. " The Wedding Party—the Departure." R. Red-
grave, R.A.—This is a very pleasing picture, well painted,
and the characters and detail beautifully filled up.
310. " Rebecca a prisoner in the Preceptory of Temple-
stowe./ R. S. Lauder.—A pretty painting. The Jewish
character of beauty in the face of Rebecca is well brought
out.

355. " Jack Cade and his Rabble condemning the Clerk
of Chatham." .1. Cuwse.—A well executed painting,
well designed. _ _ _

413. "Mary Magdalen, and Mary the Mother of Jesus
at the Tomb." L. Sebbers. A very meritorious picture.
554. " Death of the Duke of York at the Battle of
Agincourt," B. E. Spence.—ln this sculpture Mr.
Spence has produced a work of great excellence. The
mailed figure of the young Prince is well executed; and
the dying aspect and failing strength of the Duke of York
are given with great artistic conception and skill.
558. " A Bust of Thomas Sands, Esq., Mayor of
Liverpool." To be executed in marble. J. Jackson.—•-
With every deference to all parties concerned, we must
say that this bust is in somewhat bad taste. The Mayor
of Liverpool in his robes of office, or in his ordinary attire
as a British merchant, would be a subject fitting enough
for the sculptor's chisel, or the painter's pencil; but the
Mayor of Liverpool in the garb of a Brutus, a Cicero, or
any other character of Greece or Rome, is, in our eyes,
as absurd as if he were painted in the costume of a dancing
dervise or a chinaman. We cannot conceive why it is
that the sculptor cannot do what the painter can do,—
viz.,
give to his subject the form and attire in which he
can be recognized by his friends. As a contrast to the
had taste of this bust, and a proof that the garb of an
Englishman is not beyond the sculptor's skill to represent
faithfully and gracefully, we beg to point to a specimen in
the same room,—viz.,

556. "Miniature Statue of Count D'Orsay," by the
Count himself.—The faultless figure and superb tailor-
craft of this pattern beau of modern days are here per-
fectly and most artistically presented to us ; as are also the
form and countenance of Napoleon, in
No. 557. By the same artist.