not in the white," said Mrs. Wadman. My uncle Toby looked with might and main into the pupil." The lady is justly figured as a remarkably comely woman, whose appearance might well excuse the mistake into which her doctor fell, he being evidently much more taken up with the attractions of her person, than with a chase after the obstruction of which she complained. He does look, indeed, with might and main, into the pupil; but the close contact of his foot with her dress betrays the game of amorousness which the veteran soldier was playing all the time-a game not unsanctioned by the coquettish supplicant for his assistance. "My uncle Toby" is pourtrayed to the life. His sanguine, self-willed, and strongly-marked countenance, his copious crown of thick hair, his dress and manner, fully realize the ideas which the readers of Tristram Shandy usually form in their minds of that most eccentric and amusing personage. The artist would, perhaps, have improved the appearance of his work, if he had given himself a little more range. As it is, the figures fill up the whole space, and seem, if we may so say, to want elbow room. There would have been no harm in making the sentry-box a little larger.

""

Mr. Westall's eight pictures comprehend almost every variety in the departments of his art. He has given us two fancy subjects from Faust, a Holy Family, a composition of the Death of Mary Magdalene, a Rustic Scene, a Portrait, and two Landscapes. Of these the two first alone may be said to be worthy of his genius. These are "Margaret at Church, tormented by the Evil One;" and "Faust preparing to waltz with the Young Witch, at the festival of the Wizards in the Hartz Mountains.' When we first look at Margaret, who is the principal figure in the scene, a most unpleasant sensation takes possession of the soul. She is falling backward from her genuflectory in a fainting fit; her person is in a most distressing position, and the frightful paleness of her face is rendered ghastly, by the cloud of golden hair which floats around it. The sensation becomes still more painful, without being excited to the sublimity of horror, when we look at the Evil One, who is represented like an immense vampire, with a solid bodily configuration, which coincides in no degree with our previous ideas of the condemned angel. Yet the boldness of the poet's fancy, in filling the soul of Margaret with such black despair,

"The glorified are turning

Their foreheads from thee:
The holy shun

To join their hands in thine:
Despair! Despair!"

is strongly conveyed to our minds by the means which the artist has adopted. The distant scene, in which the bishop, priests, and attendants, are represented as engaged in the divine service, undisturbed by the shriek of Margaret, and seemingly unconscious of

her presence, is exceedingly beautiful. The piety and happiness of heaven itself seem to be there, while the terrors of hell are gathered around Margaret, who is separated from the altar by the horrid screen, which is formed by the wings of the demon. The rich vestments of the clergy, the mitre and crosier and robes of the bishop, the splendour of the altar, and the mysteries celebrated there, form fine accessaries, of which the artist has taken every possible advantage. He has committed a ludicrous mistake in representing the bishop as reading the Missal with his mitre on. This never occurs, the mitre being taken off on all such occasions. Mr. Westall should also know, that when the bishop wears his mitre, he, at the same time, has his crosier in his hand. There are some other discrepancies in this part of the picture, which would render it quite laughable in Italy.

The other subject is a wonderfully fine performance. Faust is seen in the foreground, preluding as it were with the young witch, to whom Westall has given the most exquisite shape, which, perhaps, beauty has ever worn. Her figure is so buoyant, that it seems to float in the air; the countenance is lovely beyond expression, and the whole frame, which is slightly and gracefully shaped, might serve as a model for Venus. The manly form and rich dress of Faust himself, serves to set off the sylph-like idol, who, for the moment, engrosses all his soul. Upon the left hand; wrapped in his dark mantle, appears the commanding spirit of the scene; his unearthly eye-balls glittering with fiendish joy in beholding the entire captivation of his victim. But the genius of the artist has especially displayed itself, in the filling up of the back ground, a dark cavernous space, in which numerous parties of wizard-waltzers and unearthly musicians, are seen exercising all their power, to continue the enchanting spell that binds young Faust. The eye wanders, with unwearied delight, over the mystic charms which are found in every part of this scene of unhallowed festivity.

Mr. T. Phillips treads closely upon the heels of the President, outstripping him in the number of his portraits, as well as in the rank of his patrons, among whom he can enumerate Lords Winchilsea and Stowell, Lady Janet Walrond, Sir Alexander Johnson, and Mr. Wilson Patten. The portrait of the latter is one of the most pleasing pictures we have ever seen. That of Lord Winchilsea is also a great ornament to the exhibition. It fully expresses the well-known manliness and frankness which distinguish his lordship's personal appearance. Indeed, we might say of all Mr. Phillips's works, that they are painted in the best style, carefully finished, free from all blemish of fantastic taste, or affected ornament. He is advancing rapidly to the head of the profession, and must make the President bestir himself, unless he choose to be surpassed.

Mr. G. S. Newton does not shine in the present exhibition, with quite so great a lustre as he did on former similar occasions. He

has but two pictures, one from the Merchant of Venice, the other from Lear, neither of which is distinguished by more than ordinary merit. In the former, the solicitude of Portia, in seeking to know the tidings contained in the letter, which is brought to Bassanio, is depicted with considerable effect; but the drapery hangs loose upon all the figures, as if-what happens often enough in stage economytheir dresses had not been made for them.

Callcot has seven landscapes, all of which are deserving of being placed among the best efforts of his pencil. The view of the long, low, Dutch coast, is a triumph of perspective. So also is the "View of Trent in the Tyrol." The character of the scenery is admirably preserved. Two Italian landscape compositions, exhibiting the effect of morning and evening in that land of the sun, are full of the true poetry of painting.

Of eight paintings produced by Mr. Edward Chalon, only one need call for any remark from us,—that which he has been pleased to entitle" Hunt the Slipper." The subject was, in the first place, ill chosen for so large a picture, as, whatever it may be in practice, it is no very pleasing spectacle to behold in a painting, a numerous company of grown-up persons, male and female, engaged in so frivolous an amusement, particularly as it does not seem well calculated to display either their countenances or figures in an interesting point of view. We must candidly say, that we never saw so ugly an assemblage of ill-dressed persons before, as those which Mr. Chalon has here brought together. Not one of them excites the smallest interest in our feelings. The women are as brawny as fishwomen, and the men remind us of the party who occasionally play high life below stairs. We cannot conjecture, from their costume, to what country they belong. We suppose that they are in fancy dresses, and, if so, we must observe that they had but a very limited quantity of taste diffused amongst them, for a less graceful style of apparel we never beheld. It would seem as if some of the ladies had indulged too freely in champagne, or some less elegant beverage, not to mention brown stout.

Mr. R. R. Reinagle will not, perhaps, be flattered by our praise, when we say that we are more disposed to bestow it upon his landscapes than his portraits. His principal picture, consisting of the portraits of a lady and her two daughters, which is placed in the great room, is not at all to our taste. The whole three are painted as if they had just come out of a band-box, so carefully is every curl of hair arranged, so methodical the tie of every string, so well-regulated are all their attitudes. The mother must be a handsome woman, though Reinagle has spoilt her beauty, by giving her a forward smirking face. The picture has considerable merit in the details, but the design is too studied. In his landscape style, the Village of Clappersgate on the river Brathy, above Windermere," is a very delightful work. So also in the "View of Loughrigg mountain," on the same river.

Although Mr. Collins has but three pictures in the exhibition, and only one of these is particularly deserving of our attention, yet it will be admitted, we apprehend, by judicious critics, that he stands, as an artist, in a very enviable position. His "Venturesome Robin " is, both in the story which it tells, and the manner in which it is told, one of the happiest sketches from rural life, which have been produced for some years. The back ground is enriched by the tints of the advancing autumn. In the front, the little simple bird is seen confidently approaching to some provender, expressly placed to attract him by two wicked urchins who are bent on making him a prisoner. For this purpose they have already provided themselves with a cage, the door of which is open ready to receive him. The younger of the two is particularly intent on his object. He has stolen the salt-box from the kitchen, and his elder associate is seen ready to petrify the poor red-breast, by throwing some grains upon his tail, the moment his vigilance becomes absorbed in his appetite. The boys are both heart and soul in the conspiracy, but the younger evidently enters into it as an enterprize of cunning. The expression of every feature of his countenance is in harmony with his purpose. Even his jacket has an air of cunning about it. These depredators have their contrasts in a group of children hard by, who, with more innocent looks, are anxiously waiting for the successful application of the salt. The colouring of this painting is distinguished for the rich and blended variety of its tints, the scenery is beautiful, and the story has those characters of unity and clearness, which always indicate the mind of a master. We should much like to purchase this picture, for we should never be wearied with looking at those urchins, who seem so ardently engaged in treacherously compassing the captivity of their feathered guest.

Three portraits and one historical painting, vindicate the title of Mr. Briggs to the honours of an associate of the Academy. The former we shall at once discard, as unworthy of our notice, especially the portrait of Mr. Justice Alderson, which, whether it be considered as a likeness, or as a composition, is one of the most unfortunate pictures in the exhibition. The learned judge is represented in his wig and robes, with his leg and thigh thrust out from beneath his gown in the most undignified manner. In fact, he looks much more like one of the London Aldermen in Richard III., than a judge of the Court of Common Pleas of the present day. The historical painting, however, not only saves the reputation of Mr. Briggs, but raises it to a higher point than it had ever reached before. The subject is the progress of civilization in our own country, exemplified by the Romans instructing the Ancient Britons in the mechanical arts. A man of skill, or what the French would call a savant, arrayed in the Roman costume, protected by a military officer, and attended by a fine patrician-looking youth, who holds his charts and designs, is seen explaining to a mixed group of British men

and women the art of architecture. The Roman youth is kneeling down, bearing an unrolled scroll, upon which an architectural sketch is traced; his limbs and sandalled feet are full of the promise of manly beauty, as is also the upper part of his face, which appears above the top of the scroll, and evinces a playful interest in the explanations, which his philosophic master is giving to the demi-savage audience. Yet, rude and half naked though the Britons be, they pay an intelligent attention to their enlightened teacher. Their forms manifest great strength, and the women display those rich golden locks, that transparent fairness of skin, and those laughing blue eyes, for which their feminine descendants have so long been the envy of the world. The grouping of the audience is managed with great tact; and the rich costume of the Romans, with their intellectual and polished appearance, affords an interesting contrast to the half draped figures, and uncivilized, yet aspiring, aspect of the Britons. The Mechanics' Institute at Hull, for which this picture has been executed, may well be envied the possession of so great a treasure.

To Sir W. Beechey has been entrusted the honour of pourtraying their Majesties for the present exhibition. Both the portraits are full lengths, and as like the originals as perhaps any painting could be. Yet they did not strike us as being at all worthy either of the originals or the artist. The King is represented in the dress of an Admiral, the Queen in a purple velvet gown, with muslin sleeves, without any other ornament in her hair than a wreath of pearls. There is a decided want of the regal character in both the portraits, for which no elaborateness of detail can compensate. The other works of Sir William are but very mediocre affairs.

Pickersgill has six portraits, all of them excellent. Lady Clanwilliam has the misfortune of not being able to furnish a very interesting subject, yet the artist appears to have made the most of his materials. The portrait of Lord Lyndhurst, taken when he was Lord Chancellor, is a capital likeness, and a picture of great value. Those of Sir George Murray, and Mr. G. L. Bulwer, are also works of the highest order. Pickersgill is, we are happy to observe, making great strides towards the pinnacle of fame.

Mr. Etty has not yet done, we perceive, with his anatomical paintings for the Academy at Edinburgh. He now exhibits, as a pendant to his former work on the same subject, "The Maid of Judith waiting outside the tent of Holofernes, until her mistress brings her the head of the tyrant." This picture is free from the most revolting part of the transaction, namely, the presentation of the head, which no power of genius can so disguise, as to render it agreeable to the eye, or pleasing even in reflection. The maid is represented as sitting down outside the tent under a palm-tree, anxiously watching the slightest noise, firmly devoted to her mistress, and prepared to execute her commands. Her figure is displayed to the utmost advantage, such display being the artist's