may be desirable. His "Castle of
Indolence" is much in imitation of Turner. The poet uses a singular
expression,

"O'er which were _shadowy_ cast _Elysian gleams_."

What meaneth Thomson? He further calls the hue, "a roseate smile," and
is reminded of Titian's pencil. By all which hints and expressions we
conclude that the poet saw this "pleasing land of Drowsyhead" as
through a coloured glass, subduing all the exciting colours of nature to
a mellow dreaminess. No strong, no vivid colours are here--all is the
quiescent modesty, the unobtruding magic of half-tones. What shall we
say of such a Domain of Indolence being painted without shade or
shelter; with violent contrasts of dark and light, and of positive
forcing colouring? All repose is destroyed. Then again we see too much;
there are too many parts, too many figures, too many occupations:
indication that the territory was peopled would have been enough; this
is more like a _fete champetre_. Besides, the scene itself is not one to
give delight to contemplate; it is not suggestive of pleasant dream, but
looks out on an ugly, swampy, fog-infected country. The only "Indolence"
we see has been devoted to the execution, for it is slovenly to a
degree. We find the same fault, though not to the same extent, with his
"Scene from Boccaccio." It sadly wants repose, and affects colouring
which is neither good for itself, nor suitable to the subject. His
"Subject from Chaucer" has the same defects. Mr Woolmer is decidedly a
man of ability; but we think he has strange misconceptions with respect
to colours, their sentimental effect and power.

There is a "Scene from the Arabian Nights," by Mr Jacobi, which, though
it is an attempt, and by no means an unsuccessful one, at an accidental
effect of nature, which is generally to be avoided, is extremely
pleasing. It is a portrait of great loveliness, grace, and beauty--we
look till we are in the illusion of the Arabian tale--the foot of the
Beauty is not good in colour or form; and the distance is a little out
of harmony. There is considerable power; such peculiar light and shade,
and colouring, offered great difficulty to keep, up the effect
evenly--and the difficulty has been overcome. Mr Herring greatly keeps
up the character of this exhibition in his peculiar line. His "Interior
of a Country Stable" is capitally painted, even to the ducks. The old
horse has been evidently "a good 'un;" goats, ducks, and white horse
behind,