178. The Combat between Balfour and Serjeant Bothwell. Ab. Cooper, R. A.

A spirited little battle piece; but the characters are neither Balfour nor Bothwell.

182. No. 1. The House of Rubens in Antwerp.

2. St. Jaques, Antwerp.

3. Jardin de Rubens.

Geo. Arnold, R. A.

Mr. Arnold in these three pictures has shewn a talent we have not of late given him credit for. He has been at a stand still for some time, but these are really a stride. 211. The Three Dogs of England, Scotland, and Ireland, from a Poem written by Thomas Bridgman, Esq. in imitation of Burns's "Twa Dogs." E. Landseer. A canine conversation piece in which character, spirit, and national distinctions are well preserved.

213. A Highland Whiskey Still at Lockgilp Head, Argyllshire. D. Wilkie, R. A.

Wilkie's himself again! The expression of the sparkling eye, piercing the no less sparkling spirit, just drawn from the illicit fountain, was never surpassed in this line of art. Every part of this picture beams with Wilkie's best points, and a head or hand from this is worth a wilderness of his Bacchanalians or Bathshebas.

219. A Female in a Roman Costume.

A fine specimen of colour.

J. Jackson, R. A.

250. Cottages near Linton, Kent.

C. R. Stanley.

A pleasing bit of nature.

256. The Reposo; composition.

An historical landscape of the Italian school.

A. Aglio.

266. View in Rotterdam.

J. B. Crome, jun.

Fame has reported well of the works of the President of the Norwich Academy, this is but the first of his works that we remember to have seen, and she has not reported falsely. There is an originality of feeling, a truth of nature and a pictorial arrangement of the Port of Rotterdam, with its picturesque vessels, that bid fair to place this artist in a righ hank of marine painters. 270. View of Greenwich from Blackwall.

G. Vincent.

Mr. Vincent's best picture this year; but is marked with a carelessness and an apparent want of study that does not indicate so great an improvement upon his former works, as his youth and inexperience in the depths of his art would warrant. Let this young scion of the Norwich school be careful of entering the territories of Thomson's Castle of Indolence. The gates are strongly barred, and few escape.

277. Alpine Mastiffs reanimating a Distressed Traveller. Edwin Landseer.

This picture will bear us out in our assertions, for Snyders never painted better than the heads of these dogs, could not have painted the dying traveller near so well, and never gave half the historical interest and elevation to any of his pictures, unassisted by Rubens, as this possesses.

279. Landscape; Anacreontic Revels.

"Listen to the muse's lyre,

Master of the pencil's fire!

Sketch'd in painting's bold display,
Many a city first portray;

Picture then a rosy train,

Bacchants tripping o'er the plain;

Piping as they dance along,

Roundelay or shepherd-song.”

W. Linton.

ANAC. OD. 49, ed. Barnes.

" "Aye, Cwyęάpwv," &c. et passim in cæteris.

A beautiful idea, embodied in a poetical and picturesque union. If this young painter continue improving as he has done, in his art and in his studies from nature, aided by the poetical feeling and architectural taste which pervade this graceful composition, he will take a place in the art at present nearly unoccupied, and add to our landscape department, tasteful and elegant composition, graced with poetical figures and imagery, and embellished with beautiful architectural gems, studded in sweet and natural landscape. The composition is formed of a distant city of the purest Greek architecture, grandly composedthe distance aërial and Grecian, and the foreground a rich and sunny glade, on which a group of nymphs and fauns are treading the mazy dance with pipes and cymbals. It is the most poetical landscape composition in the rooms, and has a delicacy of execution and a sweetness of tone truly Anacreontic.

286. The Island in Claremont Grounds; a Storm passing off. Miss H. Gouldsmith.

Fair scenes like these should by such a fair pencil be depicted. Miss Gouldsmith equals her former work in this delineation of beautiful English scenery.

292. The Venetian Curiosity Shop.

Full of truth, spirit, and high finish.

Mrs. Ansley.

294. Pistol announcing to Sir John Falstaff the Death of King Henry IV. John Cawse.

In the paucity of first rate works this year, the decent mediocrity of this picture rises into notice. The pomposity of Pistol is exquisite. Cawse's paintings from Shakspeare are on a par with Young's acting, and this may be taken by some as no compliment, but we are sincere.

301. Mercury bringing the Golden Apple to Paris. C. L. Eastlake.

A classic air, the result of study, and the feelings of a mind deeply imbued with ancient literature, are spread over this picture, which was painted at Rome. Its best parts are the back ground, and the idea of Mercury; its defects a low and weak tone of colour over the flesh of Paris, and incorrect drawing in the fore-shortening. Mercury is well imagined, but floats too heavily; the back ground is Grecian and such as must have graced the scene. The dog is the very dog of Paris, and the face of the principal figure is beautiful and expressive, colouring excepted. From this example we conclude that Mr. Eastlake is a man of classical feeling, possessed of learning and a poetical fancy, deeply in love with the old masters of the Roman school, in whose presence he conceived his colouring, and that a speedy return to England, a study of nature, and the glow of colour that distinguish its best masters, will alone entitle him to rank high in our growing national school. A longer stay at Rome will reduce him to a Gavin Hamilton, a Guy Head, or a Durno*.

311. View of Portsmouth, with the Dock-Yard; Boats recovering a Ship's Anchor; with the Ryde Packet standing into Harbour. C. M. Powell. A very beautiful piece of English nature. The sea is

* This latter English painter, who is known by a picture or two from Shakspeare's "Merry Wives of Windsor," painted for Boydell, and now in the possession of Mr. Soane, is thus spoken of in a periodical work of his day (1775), published at Rome: “Il Signor Giacomo Durnò Inglese occupa un distinto luogo fra gli artisti oltromontani che dimorano in Roma." Let any one look at this picture, which is lauded in this very Roman work as high as words can go, and say if they would be ambitious of occupying such a place.

truth itself; the vessels are neither Vandevelde's nor Backhuysen's, but British, of the present day, and correctly painted.

XIV. WILLIAMS's Tour in Italy.

TRAVELLERS through Italy, who have afterwards published their lucubrations, have generally been either tutors in the train of nobility, dandies with a train of their own, or poets so full of fancies and fervour, high flights and brain-maddenings, that to have expected any thing like a rational account of the pictorial state of this delicious country would have been quite absurd.

Tutors generally go out ripe from the universities, tainted marrow-deep with classic lumber-they could not be supposed to acknowledge the existence of such an art as painting-they would much sooner see a dusty brick from Dioclesian's baths than the loveliest look of the loveliest head that Correggio ever painted; and poets are so full of their high calling, that to give any thing but an unintelligible notion of the effect of some unintelligible picture, was as much as any reasonable person had a right to hope.

It is evident, therefore, that from painters, and from painters only, we could expect any interesting account of art: yet most of the painters who have been in Italy were generally so occupied in copying, and so little in thinking, that they had nothing to say when they came home, except "gusto," "grandioso" and "di sotto in su" then they shrugged with their shoulders, took snuff, talked of the local colour of Titian, the morbidezza of Correggio, the grace of Parmeggiano, the "terribil via" of Meechel Annyowlo, and the learning of Poussin. Any thing like a rationał account of the character of the country, the nature of the inhabitants, or the principles of the great works, was out