THE EXHIBITION OF THE ROYAL ACADEMY, 1804. [Continued from p. 295, vol. xvii.] PORTRAITS continued. 349. Portrait of Miss Brunton. 426. Portrait of Mrs. Litchfield as Lady Macbeth. S. J. SrUMP. Painted with a free and delicate pencil; the colouring brilliant, and the likenesses very good. 509. Portraits of nine Theatrical Characters, viz. Messrs. Suett, Cherry, Mathews, Grove, Emery, Dowton, Fawcett, Blanchard, and Mrs. Gibbs. S. DE WILDE. Well painted heads with great characteristic expression. A collection of Mr. De Wilde's theatrical portraits would be highly interesting and valuable to lovers of the drama. 737. Mr. Incledon in the Storm. 764. Mr. Cooke in Richard.. J. T. BARBER. Very highly finished miniatures; with true characteristic expression; the general effect uncommonly bold. These are among the very best miniatures in the room. HISTORICAL, &c. 8, 9, &c. Subjects from the Spectator, Tatler, &c. By H. SINGLETON: Engravings from which have already appeared in Sharpe's most elegant edition of the British Classics now publishing. 12. 58. Landscapes. J. FARINGTON, R. A. Both distinguished by the skilful choice of subject, clearness of colouring, and general taste of execution. The serene hue of the latter number is peculiarly pleasing. 23. Henry the Third replying to the Bishops. &c. R. WESTALL, R. A. Splendid in colour, and shews facility of execution; but has little expression to interest the Spectator. 28. The Last Supper; the original Sketch for the great Picture over the Communion Table, in the Collegiate Church, Windsor. B. WEST, R. A. In two colours only; a remarkable instance to demonstrate the cause of the high and just estimation in which Mr. West's performances are held in other countries, so much beyond the value set upon them in this; because abroad, he is principally known by the prints, which shew all the merits of his composition,. without the colouring, in which this artist is often less pleasing. CVOL. XVIII. 42. View near Juanpore, in the Benares District, East Indies. T. DANIELL, R. A. There is nothing to be observed with respect to this or the other pictures of Mr. Daniell in the present exhibition, except that they are painted with his usual merits, and may be relied upon as faithful portraits. 51. The Sixth Trumpet soundeth. H. HOWARD, R. A. Mr. H. as in former years, shews a laudable ambition to pursue the classic paths of his art. 71. Gil Blas taking the Key from Dame Leonora, in the Cavern of the Banditti. J. OPIE, R. A. The work of a powerful master; in colour and execution very forcible, but would have been more recommended by minuteness of costume. 72. Cicero, and the Magistrates of Syracuse, ordering the Tomb of Archimedes to be freed from the Bushes that had obscured it. B. WEST, R. A. The subject has been often treated by this eminent artist; it exhibits a specimen of bright colour, but it fails at last in interest. 88. Preparation for a French Master. J. RUSSELL, R. A. Deserves to be mentioned as giving, in a singular manner, the expression of a girl learning by heart :-a very good picture. 90. The Rosicrusian Cavern. H. FUSELI, R. A. In the usual spirited and eccentric style of this artist. 95. The Market Woman. C. BIEDERMANN. Well drawn, and pleasingly characteristical. 97. A Landscape and Figures. R. CORBOULD. A pretty composition; but the tints overcharged. 105. A Landscape; Figures and Castle. SIR F. BOURGEOIS, R. A. Painted with a clear limpid pencil. 116. An Avalanche, or Fee-fall in the Alps, near the Scheideck, on the Valley of Louterbrunnen. P. J. DE. LOUTHERBOURG, R. A. Displays brilliancy of colour and boldness of execution. It is remarkable that the subject which gives a name to the piece is in the back ground; but the picture has all the usual excellencies of the artist. 117. Cottage Scene: Summer Evening. H. THOMSON, Acad. Elect. Possesses agreeable effect and harmonious colour. 127. A Rural Concerto. P. J. DE LOUTHERBOURG, R. A. Excellently painted, and the subject truly humourous. It is impossible not to imagine that you hear the singular concert of boy, sow, pigs, &c. 130. Moonlight. B. WEST, R. A. "What beck'ning ghost along the moonlight shade, 'Tis she!" POPE'S ELEGY. The scene singularly adapted to the author's design;-such a scene, in which the imagination is easily excited to receive the impression of a ghost. 131. Venus lamenting the Death of Adonis. B. WEST, R. A. A good groupe: beautifully composed; the expression equal to the colour. 132. The Ghost, from Bloomfield's Farmer's Boy. SIR G. BEAU MONT, A. A pleasing landscape; but the subject is only intelligible to those who have read the poem-a fault, certainly, in picturesque composition, and the greatest defect in the prosent number. 133. View in Wales: Moel Scabodd, at a Distance. 136. Conway Castle. SAME ARTIST. Executed with great spirit, and in the true taste of a painter. 145. The American Marathon meeting his Wife and Children in the World of Shades,-vide Spectator. H. TRESHAM, R. A. The only picture exhibited by this artist. It was painted for Sharpe's edition of the British Classics, in which a print from it has, some time since, been published. 150. A Summer Evening. P. J. DE LOUTHERBOURG, R. A. The curfew tolls, &c. A very beautiful scene, but too fiery a sky. 151. A Shipwrecked Mariner. H. THOMSON, Acad. Elect. And views the main that ever toils below: A mournful eye, and down his dying heart A picture calculated to excite popular feeling in a strong degree. There is considerable expression in the figure and countenance, and the general hue conduces to the impression intended to be conveyed. The surrounding scene, however, is too placid, and does not suit the description of the poet, "the main that ever toils below." This picture is of the same class with Gainsborough's Shepherd Boy in the Storm. 169. The Musical Maid teaching a Shepherd's Boy to play the Pipe. S. WOODFORDE, A. A pleasing subject classically treated. 183. Boats carrying out Anchors and Cables to Dutch Men of War, in 1665. J. M. W. TURNER, R. A. Shews extraordinary talent and ingenuity. The composition admirable; but the execution verges, in parts, to hardness, more so than in his former works. 198. Beggars. W. OWEN. Well grouped, and painted with great force; not wholly without hardness-a defect, however, not inconsistent with the motto, for Hard is the fate of the infirm and poor. 207. Narcissus and Echo. J. M. W. Turner, R. A. This is not without the artist's usual excellencies; but the general hue is faint. 201. A Woodman reposing. J. BARKER. The figure has to boast much natural expression; and the picture is painted with a free pencil, and clear colour. 230. Tiger Hunting. J. NORTHCOTE, R. A. Done in Northcote's best manner; with prodigious spirit, and a likeness to the animals, stronger than we almost ever witnessed. 248. The Nurse. S. DRUMMOND. Painted with remarkable clearness and chasteness of colour, and with excellent general effect; above which good qualities it possesses the merit of expression of its subject equally clear and chaste. The same praise may be extended to his picture in the great room, No. 49, The drowned Sailor; but the former is the better of the two. Its situation (so much beneath the eye) is an exception to the general good arrangement of the pictures this year. 268. Shipwrecked Sailor rescued from a watery Grave. SAME ARTIST. An interesting subject treated in a masterly manner. 345. The Cottage Door. W. OWEN. The colour, expression, and general effect, especially of the Boy with the Cat, are excellent. This is a proper cabinet picture for collectors. 482. Christ feeding the Multitude; the second Miracle of the Loaves and Fishes. MISS SPILSBURY. A most extraordinary attempt, executed with considerable success. The comprehensive [view of the mountain, which is the scene of the history, is admirably managed. The figures are very numerous, disposed in groupes with great address, and distinguished by due variety of action. This is Miss Spilsbury's greatest performance, and her best. THE MODEL ACADEMY, Though there was nothing in it of very striking pre-eminence, exhibited many very competent and creditable performances. FEMALE COURAGE. MR. EDITOR, THOUGH HOUGH I may, perhaps, appear singular in my opinion, when I consider true courage as one of the noblest ornaments of the fair sex; yet, surely, it must be allowed, that without it, almost every female accomplishment would be lost and sunk in obscurity, and that even virtue itself, unassisted by true courage, would soon dwindle to a shadow. It is not to be doubted, but that all your fair readers will flatter themselves with being possessed of this noble accomplishment; but permit me to tell them, that it is not every dear charmer who even knows what it is: it is not Xantippe, but Lucretia, whom I call the woman of true courage. Xantippe is the daughter of two noble personages, and the wife of a sensible and prudent man, the mother of a promising offspring, and the sole mistress of a plentiful fortune, which the husband can never receive, but with her approbation. Elated with the thoughts of her high birth, and sensible of the dependance her husband has on her will, she subjects him to the most rigorous discipline, is cruelly severe to her children, and arbitrary and tyrannical over her servants: insolent and disdainful is her behaviour to her equals, and haughty and arrogant to her superiors: her jealousy is to be equalled only by her churlishness and ill-nature; the most innocent freedom in the husband, to any but herself, is sufficient, at any time, to give rise to the former, and a smart repartee from a visitor is sure to occasion the latter.-These are her qualities, which she is so far from endeavouring to amend, that she considers them as marks of true courage, or, to speak in a more polite phrase, that they make her pass for a woman of spirit. How reverse is the conduct of Lucretia! Possessed of no other fortune, than what good sense, and a proper education can give her, she passes through life with peace and serenity of mind: the will of her husband, the care of her children, and the due preservation of order and economy in her house, are her principal studies: easy, |