The Mirror of Literature, Amusement, and Instruction. Volume 13, No. 376, June 20, 1829. Various

Hen. B.'s difficulty in your last MIRROR, which I send at foot, and thereby oblige a constant

SUBSCRIBER AND FRIEND

      The solution, or attempt at solution, of Hen. B.'s difficulty as to what Goldsmith means in his poem "Retaliation" when he concludes his ironical eulogium on Edmund Burke, thus:—

      "In short 'twas his fate, unemployed, or in place, sir,

      To eat mutton cold, and cut blocks with a razor."

      By being "unemployed" it is presumed that he was not engaged in the ordinary avocations of life, or in other words was not engaged in those legitimate avocations which have for their object the procuring the means of subsistence for the masticator; but if it is meant to have a name of extensive meaning, the solution is unanswerable.

      Assuming the former to be Goldsmith's meaning, the answer to be given to the solution might be that eating mutton cold, is eating cold mutton in its cold state, cooked or uncooked; but if the more general meaning is insisted upon, I cannot see how the masticator is unemployed, as his jaws which form a most material part of himself—are set in full motion by the operation of eating—hence full employment is given them—and as much to the "he" who is the owner of such jaws.

      FINE ARTS

      EXHIBITION OF THE ROYAL ACADEMY

      (Continued from page 338.)

      91. Portrait of the late Earl of Kellie, Lord Lieutenant of the County of Fife.—D. Wilkie.—A noble portrait, painted for the County Hall, Cupar.

      92. Night.—H. Howard—An exquisite scene from Milton:—

      "–now glowed the firmament

      With living sapphires: Hesperus that led

      The starry host, rode brightest, till the moon,

      Rising in clouded majesty, at length

      Apparent queen unveiled her peerless light,

      And o'er the dark her silver mantle threw."

      102. Portrait of the Duchess of Richmond.—Sir T. Lawrence.

      110. Cardinals, Priests, and Roman Citizens washing the Pilgrims' Feet.—D. Wilkie.—This ceremony takes place during the holy week, in the Convent of Santa Trinita dei Pelligrini; and Mr. Wilkie has infused a devotional character into this picture which is highly characteristic of Catholic solemnity.

      127. Portrait of Jeremy Bentham—H.W. Pickersgill.—An admirable likeness of the veteran-patriot and political economist.

      128. The Defence of Saragossa.—D. Wilkie.—The subject is so well explained in the Catalogue, that we quote it:—

      "The heroine Augustina is here represented on the battery, in front of the convent of Santa Engratia, where her husband being slain, she found her way to the station he had occupied, stept over his body, took his place at the gun, and declared she would herself avenge his death.

      "The principal person engaged in placing the gun is Don Joseph Palafox, who commanded the garrison during the memorable siege, but who is here represented in the habit of a volunteer. In front of him is the Reverend Father Consolaçion, an Augustin Friar, who served with great ability as an engineer, and who, with the crucifix in his hand, is directing at what object the cannon is to be pointed. On the left side of the picture is seen Basilico Boggiero, a priest, who was tutor to Palafox, celebrated for his share in the defence, and for his cruel fate when he fell into the hands of the enemy. He is writing a despatch to be sent by a carrier pigeon, to inform their distant friends of the unsubdued energies of the place."

      In this part of the room are half a dozen excellent portraits, all by different artists.

      149. The Soldier's Wife—W.F. Witherington.—This picture is from an anecdote of the late Duke of York. His Royal Highness, as he returned one day from a walk, observed a poor woman in tears, sent away from his house. On asking the servant who she was, he answered, "A beggar, some soldier's wife." "A soldier's wife!" returned his Royal Highness; "give her immediate relief: what is your mistress but a soldier's wife?"—An interesting picture, although we do not think the likeness of the benevolent Duke is very striking. However, the incident must have occurred a few years previous to his decease.

      157. Lord Byron's Dream.—C.L. Eastlake.—A rich oriental landscape, and a most delightful scene of desert stillness.

      172. Portrait of Robert Southey, Esq.—Sir T. Lawrence—We hope the president's portrait will please the laureate, for he has been rather tenacious about his "likenesses" which have been engraved. The present is, perhaps, one of the most intellectual portraits in the room, but is too energetic even for the impassioned poet.

      181. Queen Margaret of Anjou, being defeated at the battle of Hexham, flies with the young prince into a forest, where she meets with robbers, to whose protection she confides her son.—H. P. Briggs.—This subject is by no means new in art, but is here cleverly treated, and the whole is very effective.

      214. Othello and Desdemona.—R. Evans.—Why is Othello in armour? Let Mr. Planché, in his Costumes, look to this.

      216. Portrait of Miss Phillips, of the Theatre Royal, Drury Lane, as Juliet.—H. E. Dawe.—This picture is entirely devoid of flattery; and is by no means a good likeness of the interesting original.

      224. Roman Princess, with her Attendant, washing the female pilgrim's feet.—D. Wilkie—An affecting picture of a truly devotional incident.

      246. Camilla introduced to Gil Blas at the Inn.—G. S. Newton.—This picture is considered to be Mr. Newton's chef d'oeuvre. The landlord is entering the chamber with a flambeau in his hand lighting in a lady, more beautiful than young, and very richly dressed; she is supported by an old squire, and a little Moorish page carries her train. The lankiness of Camilla is somewhat objectionable, but the head is exquisitely animated. The sentimentality of Gil Blas too, is excellent.

      293. The Confessional—Pilgrims confessing in the Basilica of St. Peter's.—D. Wilkie.—An interesting picture, though not equal to others by the same artist, in the present exhibition.

      322. Hadleigh Castle. The mouth of the Thames—morning after a stormy night—J. Constable—The picturesque beauty of this scene is spoiled by the spotty "manner of the artist."

      352. Coronation of the Remains of Ines de Castro.—G. St. Evie.—An attractive picture of one of the most extraordinary scenes in history. The remains of Dona Ines de Castro taken out of her tomb six years after the interment, when she was proclaimed queen of Portugal. This is an illustration of Mrs. Hemans's beautiful lines which we quoted in a recent number of the MIRROR.

      455. Portrait of Mrs. Locke, sen.—Sir T. Lawrence.—A Reubens-like portrait of a benevolent lady, and which we take to be an excellent likeness.

      592. Portrait of John Parker, Esq. on his favourite horse Coroner, with the Worcestershire fox hounds.—T. Woodward.—We can relate a curious circumstance connected with this picture. While in the room, a country gentleman and his lady inquired of us the subject—we turned to the number in the Catalogue, and gave him the desired information. "Ah," said he, "I was sure it was Parker, and told my wife the same, although I was not previously aware of his portrait being in the Exhibition." We should think the resemblance must be very striking.

      The Antique Academy is almost covered with portraits, and the miniatures hang in cluster-like abundance—so that what with bright eyes and luxuriant tresses, this is not the least attractive of the rooms.

      In the Library are several fine architectural drawings; among which is a view of Chatsworth, by Sir J. Wyatville, including, as we suppose, all the magnificent additions and improvements, now in progress there. Mr. Soane's Designs for entrances to the Parks and the western part of London, (which we alluded to in our No. 360,) are likewise here.

      In the Model Academy, Messrs. Chantrey and Westmacott have some fine groups, and Behnes three fine busts—the Duke of Cumberland, Princess Victoria, and