Mrs. SIDDONS IN THE TRAGIC MUSE. THIS portrait is among the most celebrated works of Reynolds; Barry has characterized it as « both for the ideal and the excecutive the finest picture in the world » ; Lawrence, appealing to the conduct and sentiment of this production as an answer to those critics who questioned the sincerity of the first president's admiration of Michael Angelo, says, « the link that united him to Michael Angelo was the sense of ideal greatness, the nobless of all perceptions. We want no other evidence of its truth than his picture of Mrs. Siddons, a work of the highest epic character, and indisputably the finest female portrait in the world. » A less enthusiastic writer traces a more obvious connexion, and remarks, that Reynolds « seized as a model for his design the prophet Joel with his two attendant figures » from the great Florentine's work in the Vatican. From whatever source the painter derived his first idea the composition unites a grace and dignity rarely to be met with, and combined with its harmonious richness of colour and splendour of effect entitle it to rank with the finest productions of any school. It was sold by sir Joshua to M. Calonne for a sum that has been variously stated, it was then acquired by Mr. Desen fans at the expence of 700 1. and transferred by him to W. Smith Esq. for a more valuable consideration; Mr. D. however had it carefully copied by Score, sir Joshua's pupil, which copy is now in the Bourgeois col lection at Dulwich, where it has been frequently mistaken for the original. The latter, at the sale of Mr. W. Smith's collection, was bought by G. Watson Taylor Esq. for 1050 l. and it has subsequently become the property of the marquis of Westminster at the price of 1760 1. It has been repeatedly engraved, the first and best plate is by T. Haward. REYNOLDS. Mr. SIDDONS EN MUSE TRAGIQUE. On place ce portrait au nombre des plus beaux ouvrages de Reynolds. Barry a dit que, pour l'idée et l'exécution, c'était la plus belle peinture du monde. « Le lien qui unissait Reynolds à Michel-Ange, a dit Lawrence, était la grandeur des idées et la noblesse de l'exécution. On n'a pas besoin d'autre preuve pour voir dans ce tableau de Mrs. Siddons un ouvrage d'un caractère éminemment épique et le plus beau portrait de femme qui existe. » De quelque source que le peintre ait pris sa première idée, il a uni dans sa composition la grâce à la dignité, qualités qui vont rarement ensemble et qui, jointes à la ri, chesse de la couleur et à l'harmonie qui règne dans l'ensemble, en font une des plus belles. Sir Josué Reynolds vendit ce tableau à M. Calonne, pour une somme qui a été diversement rapportée; M. Desenfans l'acheta ensuite pour 700 livres sterling (17,500 fr.), et le céda à M. Smith Esq. pour une plus forte somme. M. D. en fit faire une bonne copie par Score, élève de Reynolds, et qui se trouve maintenant dans la collection Bourgeois, à Dulwich; on a souvent pris cette copie pour l'original. Ce dernier, à la vente de M. W. Smith, fut acheté par G. Watson Taylor Esquire, 1050 livres sterling (26, 250 fr.); il devint ensuite la propriété du marquis de Westminster, au prix de 1760 livres sterling (44,000 fr.). Il a été gravé plusieurs fois; la meilleure gravure est celle de T. Haward. THE VILLAGE SCHOOL IN AN UPROAR. SOME unforeseen cause has obliged the master of a School to absent himself in school hours. Such an opportunity could not be neglected; accordingly reading, witing, and arithmetic, are banished with the pedagogue, and fun and frolic become lords of the ascendant. The principal group is occupied by a travestie on the absentee. A youth, equipped in the gown, cap, and spectacles of the teacher, with mock solemnity examines the performances of two others who stand before him; a mischievous urchin leans over his chair to bestow a libation from an ink-bottle on the cap and face of the usurper, while he is assailed from another quarter by a shower of missiles. On the right, two boys contending for an apple are brought to the ground by a third who overturns the form. The rightful owner is undermost, his antagonist with the expression of a desperado reaches after the object of contention, which is likely to escape him. Under this group a broken slate illustrates vulgar fractions, and the quarrel and lost apple elucidate division, and subtraction. On the left a lad has mounted his wooden horse, the rod furnishes a whip, and his garters a bridle; on the latter appendages we read that England expects every man to do his duty. In the background an embryo artist is sketching a caricature, whose resemblance the opened door enables us to appreciate, as the Master is seen in the act of crossing the the threshold; by his sudden return he has surprised the scout placed on the watch, who enters immediately before him with looks that indicate too well how this scene of riot will terminale. This picture excited general admiration when it appeared in the Exhibition of the Society of Painters in Water Colours and was bought by W. Chamberlayne Esq. M. P. been engraved in mezzo-tinto by C. Turner. It has |