EXHIBITION OF THE ROYAL ACADEMY.

THIS renewed display of British art has been variously treated by critics. Some have said, that it is the best collection that ever appeared since the institution of the Academy; but this is a point which cannot be ascertained; for no one can retain in his recollection both the best and the worst pieces (or the former only) that have been exhibited from the year 1768 to the present time. Another amateur condemns the major part of the new pictures, and allows little merit even to the rest. The true state of the case is, that many of the works of art are excellent, more are faulty and imperfect, and not a few are contemptible.

We begin (as we are in duty bound) with the contributions of the president to the general stock. Among his new productions, the portrait of the duchess of Richmond holds the first rank. It is delineated in the true style of the accomplished artist. The design is particularly elegant; the drapery is finely represented, and the features are admirably expressed. We also admire the portrait of Miss Macdonald. The light of life and of youth flashes from the lady's sparkling eyes, while the most complacent smiles adorn her cheeks; and her round and well-shaped arms are not less recommended to our notice. The marchioness of Salisbury, we think, is not so happily delineated. The presumptive heir of the crown is drawn by the same artist with an air of manly plainness and unaffected simplicity; the dignity of the

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prince and the ease of the gentleman are happily united. The likeness of lord Durham is well preserved, and the countenance has its due expression.

Mr. Jackson's new portraits well sustain his former reputation. That of Dr. Wollaston is finely expressive, and that of Mr. Stothard is as well-finished as it is characteristic.-The portrait of the eccentric political philosopher, Jeremy Bentham, is a happy delineation, tending to augment the fame of Pickersgill.Mr. Shee's representation of Sir Thomas Strange, the late chief-justice of Madras, is admired by good judges both for its resemblance and its execution.

Among the best pictures we may reckon the Meeting of Abraham's Servant and Rebekah, by Mr. Hilton. The design is good; the figures are well grouped; the coloring is rich, without being too florid or gaudy; and, in some of the female forms, there is a pleasing imitation of Raphael, though not the energy of that noble artist.

Mr. Etty's Benaiah, or the Jewish Warrior, is a fine performance, the effect of which would be much increased if it were seen in almost any other place. The number of smaller paintings which surround it divert the attention of the spectators, and, by being contrasted with it,

create an impression that the figures, though not larger than the life, are gigantic. Notwithstanding this disadvantage, the picture is unquestionably an excellent one; highly creditable to the artist, and a triumphant proof of the advance which the pictorial art has made and is making in this country. The drawing is admirably

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correct, the design spirited, the coloring skilful and natural, particularly the flesh, and the whole effect vigorous and striking.

Mr. Danby's picture, taken from the Revelations, and representing an angel flying through the midst of Heaven, crying "Woe, woe, to the inhabitants of the earth," is not equal to its argument, or to the high reputation of the artist. There appears no sublimity in the design, and the composition is not skilfully managed. The observation that the painting is beneath its subject, is still more applicable to another piece borrowed from the Revelations, intimating that there should be time no longer.

Allan's Prophet Jonah is a well-conceived design, and the execution is vigorous and skilful. The artist has judiciously made the action which is taking place on board of the vessel subservient to the majestic scene which surrounds it. The stormy sea, the overwhelming waves, and the whale which is approaching the ship, are so managed as to give a striking notion of vastness to the whole composition. It represents that moment at which the terrified crew of the ship are taking up Jonah to cast him into the

sea.

Mr. Wilkie's re-appearance as an exhibitor in the scene of his former fame is announced by eight pictures, the subjects of which are chiefly drawn from continental scenes and incidents. We particularly admire the Guerilla Council of War, in which are represented, seated at a table, a Dominican, a monk of the Escurial, and a Jesuit, who are devising some plan of national defence. The air of each is perfectly characteristic, and at the same time all are distinguished with remarkable truth from the emissary in a provincial costume, who is leaning forward with his hand upon the table, clenched. They are the legislative, he the executive; they are the head; he the feet, hands, and wings. Near them, bringing in chocolate, is the landlady, whose attention is divided between her guests and a young student, making love to her. We also observe a fine ironsinewed Castilian, armed; behind him a contrabandist enters, mounted on a mule; a dwarf-minstrel appears with a guitar; and on the floor are seated a goat-herd and his sister, with a muzzled mastiff and house-lamb beside them. The whole scene is very striking, and it is finished with a firm and spirited pencil.

The Defence of Saragossa, in which Palafox is working at the artillery as a volunteer, and a heroine takes the place of her slain husband, is also a fine picture. A "Roman Princess and her Attendant washing the female Pilgrims' Feet," and the "Calabrian Shepherds playing Hymns to the Madonna," are likewise highly creditable to Mr. Wilkie's taste and judgement. His portrait of the earl of Kellie ought not to pass unnoticed. The countenance is very expressive, and the inequalities and furrows produced in it by the lapse of time are very naturally delineated.

Mr. Haydon's new Picture. - This piece represents the death of the heir to Pharaoh's throne at the passover, and the agony of the queen and royal family in consequence of that melancholy event. In the centre is the chief point of attraction--the dead child, apparently of the age of nine or ten years, beautifully featured, and admirably drawn. Immediately behind it is the distracted mother, pale and weeping. On her left is the younger daughter, holding the flaccid hand of the stricken child; and, on her right, the elder one is wringing her hands in distress at the dispensation. All these are either lying on the ground, seated, or kneeling. Behind the last-mentioned, on an elevated step, stands the king, motioning with his hand to Moses and Aaron, who are opposite to him on the right of the painting, to be gone with their people. At the back of the queen is an Egyptian female slave, the character of whose face is well preserved; and behind the younger daughter are two old male attendants; one with his face buried in his hands, the other in distress, contemplating the scene of misery. Through an avenue in the back-ground on the right, some soldiers with their spears are restraining the people, who are rushing in; and on a terrace to the left is a confused mass of people hurrying to and fro through the gloom of night. The whole design is laid out and grouped with a masterly hand; the coloring is rich and yet chaste, possessing at the same time the depth of tone and solidity of character of the Venetian school. The broad folds displayed in the white drapery of the Hebrew leader, have a fine effect, while the attitude and expression of the figure, with one hand raised to Heaven, and the other pointing to the result of the king's obstinate incredulity, are simple, severe, and resolute. The back of the elder

daughter, which is turned toward the spectator, is a beautiful piece of coloring, and finely contrasts with her dark drapery. Indeed, for design, drawing, and coloring, the picture may take its station among the best productions of modern art.

Mr. Burford's Pandemonium.-This is a bold attempt on the part of the artist, who, instead of copying from nature and art, now has recourse to the imagination; for, whatever may be said of the devil and his angels in Scripture, even the most orthodox divines have no precise knowlege of the operations of those personages, or of the demoniac region which they inhabit. Milton describes Pandemonium as a huge fabric,

"where pilasters round
Were set, and Doric pillars overlaid
With golden architrave; nor did there want
Cornice or frieze, with bossy sculptures graven:
The roof was fretted gold."

The architecture of Mr. Burford, how ever, exhibits none of the above gorgeous ornament; on the contrary, it is a design of plain and simple magnificence. Terrace rises over terrace, heaping up and supporting an enormous structure, worthy to be the "dark divan" of beings surpassing "earth's giant sons." At its base is the "land that ever burned with solid, and the lake with liquid fire." Far beyond the confines of the building is seen the Alpine region, the "frozen continent" beaten with perpetual storms of whirlwind and dire hail, whither all the damned are brought, and feel. by turns the bitter change of fierce extremes. All this is well described; yet, in contemplating the painting as a whole, we felt the want of the following qualifications:

first, relief: in the midst of the glare reflected from those penal flames we expected the contrast of deep and sullen obscurities-desolations, as described by the poet, "void of light." In the second place, we wished for a story, which here we would defy any one to make out unassisted. Here and there, on points of rock, or on the causeway up to the palace, may be observed solitary and swart-looking spirits, energetically stretching forth the right hand, in the act of summoning others; but for what purpose, as there is no prominent feature in the action, seems impossible to discover. Thirdly, the spectator does not realise the ideas which he had ever entertained respecting the agents and their stupendous dimensions, as described by the poet; for all the figures are either so far removed, or are so diminished, that their forms appear insignificant. To give an idea of proportional magnitude in his architecture, the artist has placed, in the foreground of the causeway leading up to the temple, a gigantic ornament of a bronze dragon clinging to a column: why did he not represent, in a similar way, the chief actor in the drama? How much better would have been the effect had he only attempted the following noble description!

"Forthwith upright he rears from off the pool His mighty stature; on each hand the flames, Driven backward, slope their pointing spires, and, roll'd In billows, leave in the midst a horrid vale."

Lastly, the painting has the air of being unfinished. The best parts in this exhibition are, the architecture, and the desolate mountainous region opposite, with its turbulent masses and frowning crags.

THE KING'S THEATRE.

THE return of Mademoiselle Sontag to this country has increased the attractions of the Opera-house: yet this lady's reputation as a vocalist seems to decline, as she is thought to have less energy than even the small portion which she displayed before, and also less power of voice: indeed, some critics think that she is not "in good condition." She lately performed Semiramide to the Arsace of Madame Pisaroni; but the applause bestowed on her performance was not loud or cordial.

Madame Malibran has appeared in the part of Ninetta in La Gazza Ladra. As an actress she ranted too much; but her singing was admirable, and in concerted pieces her voice was powerfully effective.

DRURY-LANE THEATRE.

The success of an opera, borrowed from that French piece which gave rise to the splendid ballet at the Opera-house, has been marked and decisive. The title is, Masaniello, or the Dumb Girl of Portici. The plot, which is not complex, may thus be stated. Masaniello's dumb sister, Penella, the idea of whose character is