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During the last month, a picture of stupendous size, lately imported from Brussels, has been exhibited to the public, in the great room, belonging to the Society of Paint ers in Oil and Water-colours, in Pall Mall. It represents the Coronation of Napoleon Buonaparte, and is the production of M. David, the celebrated French painter, whose conduct during the French revolution is well known, and who was sent into exile by Louis XVIII. for his political principles.

Before we enter into any par ticular investigation of the merits of this work, we think it but common justice to the artist to state several general reflections, which occurred to us on viewing it.

In the first place, it is probable that the spectator will be very much influenced in his judgment of the picture by his opinions with respect to the real character of the extraordinary individual, whose exaltation to imperial dignity it is intended to commemorate. By a number of persons in this country, that individual is considered as having been the illustrious champion of liberty and knowledge; as having warred, and during the greater part of his wonderful career triumphantly warred, against despotism and superstition; break ing the chains with which the one seeks ever to enslave, and dispelling the mists with which the other seeks ever to blind the human race. But, by a still greater number of persons, he is viewed merely as a military adventurer, of genius and goodfortune; who availed himself of intrigue, and of the ample means which the French Revolution placed at his disposal, to grasp supreme power; and who then lost the noblest opportunity, that man ever enjoyed, of obtaining a truly glorious and immortal fame, by abusing that power for the purpose of selfaggrandizement, and for the gratification of an ambition, that evi

dently contemplated the subjugation of the civilized world. It is manifest, that the latter class of person's will not regard the picture with so favourable an eye as the former.

In the second place, it is probable that the English spectator, whose acquaintance with the Fine Arts is comprehended in an annual visit to Somerset House, may be struck with the great difference between the style in which this picture is executed, and the style to which he is accustomed; and, with a true John Bull feeling, may instantly pronounce the former inferior, because not the same as the latter. Far, very far, are we from denying that it is much inferior: all that we deprecate is a sudden, and ignorant, and partial judgment. The only just criteron of excellence in the Fine Arts is a comparison of their productions with nature, properly understood, and with those works of the great masters which have endured the test of centuries, and have passed down to the present day, sealed with the admiration of the competent judges of all countries. Such a comparison can be made by few.

In the third place, it is certain that no spectator, unless he is a professional artist, or one very intimate with professional artists, can be fully aware of the manifold miseries attendant on the execution of such a subject. Several of those miseries, and among them the Emperor's orders, sometimes very difficult to put in harmony with the exact truth, and also the pretensions of powerful men, who were all ambitious of the most conspicuous place, are slily hinted at in the little printed account of the picture, sold in the room where it is exhibited but they are only hinted at. It is impossible, however, to doubt that if M. David chose to publish a faithful narrative of the obstacles which ignorance, presumption, and caprice, threw in his way, in the

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progress of his work, he might easily fill an octavo volume. From the general conception, down to the minutest details of finishing, the artist's sense of what would be advantageous to his picture must have been constantly subservient to his sense of the necessity of not displeasing the numerous, dignified, and powerful individuals who contributed to its composition.

In the fourth, and last place, great allowance must be made for the insufficient size of the apartment in which the picture is shown. Although large, it is not large enough to permit the spectator to retire to al station, whence he might embrace the whole picture at one glance; and thereby be enabled to judge fairly of the effect. Some remedy for this evil is attempted by sus pending a mirror on the wall opposite the picture. This, however, would be a poor expedient, even if there were only a single spectator present, and is entirely unavailing in the usually crowded state of the

room.

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The original picture was painted by Buonaparte's express command. As, in the somewhat mysterious language of the printed account, "it exists no more for the public," the present picture, which is, repetition by the same artist, considerably improved," is probably the largest in the world; being thirty-three feet long, and twentyone high; the Marriage in Cana, by Paul Veronese, hitherto entitled to that distinction, being only thirty-three feet long, and eighteen high. It contains the portraits of two hundred and ten persons; nearly eighty of whom are represented from head to foot. The scene is the choir of Notre-Dame, at Paris. The period chosen is when Napoleon, after having been attired in the

imperial robes, and, after having crowned himself, first with the imperial crown and then with the crown of France, advances to place the latter on the head of Josephine. He stands rather to the right of the centre of the picture, at the edge of the highest step of the altar, in an erect posture, holding the crown with both hands, his arms stretched out before him, and somewhat elevated. Josephine kneels on a cushion, placed on the lowest step of the altar; her head bowed, and her hands closed, as in prayer. The Pope, in his pontifical robes, is seated immediately behind Napo leon, and near the altar; his right hand and arm gently raised in the act of benediction. Close to his holiness are Cardinal Caprara, (the legate to the French court,) Cardinal Braschy, a Patriarch of the Greek church, and several other dignified ecclesiastics. Behind this groupe is the great altar. At some distance on the other side, and filling up the space between the papal groupe and the altar, are the various foreign ambassadors, resident at the time in Paris. In the foreground, towards the right hand corner of the picture, are the Duke of Plaisance, holding_the imperial sceptre, the Duke of Parma, (Cambaceres) bearing the wand of justice, the Prince of Wagram, (Berthier) holding the Imperial globe of Charlemagne, and the Prince of Benevente, (Talleyrand) carrying the basket containing the imperial mantle. On the steps of the altar, and rather more distant than the last mentioned personages are Prince Eugene Beauharnois (Josephine's son) the Duke of Vicenza, (Caulincourt) and the Prince of Porte Corvo, (Bernadotte, now King of Sweden) just before them are the Cardinals Pacca and Fesch, and just behind are several Roman clergy to assist in filling up the composition to the side of the picture; which object is completed by part of a descent from the cross, in marble, elevated on a pedestal. We now return to the centre of the picture. Josephine's train is supported by her ladies of honour, Madame de Lavalette and the Countess of La Rochefoucault. On the side opposite to the spectator,

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and of course fronting him, are seen Prince Murat, (afterwards King of Naples) the Duke of Conegliano, (Moncey) the Duke of Treviso, (Bessierre) Conte Segur, the Pope's cross bearer, and several Roman prelates. Ata small distance behind the ladies of honour appear the three sisters of Napoleon, namely, Maria Annunciade Carolina, (Prin cess Murat) Maria Paulina, (Princess Borghese) and Maria Ann Eliza, (Princess of Lucca and Piombino). On their left, are Hortense Eugenia Beauharnois, (daughter of Josephine, and wife of Lewis Na poleon) and Maria Julia Clary, (wife of Joseph Napoleon). Approaching the fore-ground, towards the left hand corner of the picture, stand Lewis Napoleon, (afterwards King of Holland) and Joseph Napoleon, (successively King of Naples, and King of Spain.) The interstices between them and the ladies, and on the further side of the latter, are filled up by the Cardinal du Belloy, (Archbishop of Paris) allowed to sit in consideration of his great age, the Duke D'Abrantes, (Junot) the Duke of Dantzic, (Le Febvre) the Duke of Frioul, (Duroc) and about a dozen other men of high rank. There are several galleries. In the principal one, which is in the centre, is represented Madame Napoleon's mother, (who, however, was not actually present at the ceremony) attended by her ladies in waiting, and the officers of her household. In the other galleries are a number of spectators; among the most conspicuous of whom are M. David, with his wife and daughters, the painter Vien, the poet Lebrun, and the musician, Gretry.

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To arrange such a multitude of individuals on the canvas, in a way which, while it conveyed the idea of fulness, should avoid that of confusion, must have been a matter of much consideration and diffi culty. We think M. David has eminently succeeded in this respect. In strict accordance with the old maxim, “Ars est celare artem," great skill in the general plan of the composition is concealed under the appearance of complete simplicity. It forms an extensive sweep, of a circular, or rather of an oval ten

dency; occasionally swelled, occasionally indented; with just as much variety as the nature of the subject would admit.

The chiaro-scuro, also, is evidently the result of much experience and study. The principal light falls on the groupe near the centre, of which Napoleon is, as it were, the focus. It is contrasted by the dark figures of the Duke of Plaisance, Cambacéres, Berthier, and Talleyrand, in the for fore-ground; and is carried off the other r way by gentle gradations, until it dies into half-tint. Some larger masses of deep shadow would unquestionably have strengthened and improved the effect; but it ought to be recollected, that they could not have been easily introduced without sacrifices, which it is probable the artist could not venture to make.

It has been said by some, that the moment of time is not well selected; for that the picture represents the Coronation of Josephine, and not of Napoleon. This objection does not appear to us to be just. An artist is not bound to adhere to the very: letter of accuracy in such a case. He is to exercise his own judgment and discretion. To have represented Napoleon placing the crown on his own head would have been to represent an awkward action. And besides, French gallantry would scarcely have tolerated the introduction of Josephine as a spectator, instead of a participaton of her hus band's elevation.

Of the colouring, and mechanical execution of the picture, we regret to say that we are unable to speak in terms of high commendation, With the exception of the central group, which is comparatively warm and pleasant, the whole canvass is pervaded by a coldness of hue, that in some parts becomes absolute ice. The drapery is painted with great care, and occasionally with success but, in general, it savours too much of the lay-figure; and wants that union and breadth, that neglect t-of. small folds, in order to communicate greater value and dignity to the large, so essential to the character of historical painting. The flesh is very indifferent indeed. Some of the older heads are tolerably, and only tolerably coloured, the sha

dows being all heavy and opaque; but every attempt to represent the tender and pearly tints of youth and beauty has so completely failed, as to have been productive of little but the resemblance of lead, wax, and snow. Great deficiency also is betrayed in that quality of the art which is technically, called "keep ing. This is peculiarly manifest in the galleries; where, although the tone of colours is properly enough diminished in strength, there is nothing of that slurring of distinct ness in form, inseparable from distance. With regard to the execution we are no friends to slovenliness or bravura of pencil; and we willingly admit, that the English school, though reforming, has still much to correct in that point; but we are sure that to those who are familiar with the works of the great masters of antiquity, and with the bold, painter's feeling, which those works evince, bold, in the confidence of knowledge, not in the audacity of ignorance, the constraint and littleness in the handling of this picture must be very disagreeable.

But there is a fault yet untold, in comparison with which all other defects shrink into insignificance. We allude to the absence of MIND in the picture. The personages of whom. it is composed are, generally speaking, the essence of tameness and insipidity. So far are they from resembling intelligent and sensitive human beings, assisting (to use the French idiom) at the performance of an august and interesting ceremony, that they have not even the second-hand expression of the theatre. There they stand, like so many statues, or, rather, puppets; and, indeed, it is difficult to believe, that M. David did not, in addition to his own, borrow all the Manequins," which are so abundant in the.atteliers of the leading artists in Paris; and, having clothed them in appropriate costumes, did not make them his sole models, without further reflection, or any troublesome and disconcerting reference to nature. From these remarks, there are but

five individuals, who have the slight est pretension to be exempted; and of those we cannot say much in praise. The attitude of Josephine is graceful; but her countenance is vacant. Of her two attendants, one is singularly plain, and ill-shaped." The face of the Pope resembles that of a dull boor, by Teniers; and even in Napoleon himself there is scarcely the least indication of that. profundity of intellect, which all who have seen that extraordinary person concur in declaring to have been the marked and distinguishing characteristic of his head, and which, is so powerfully expressed in the noble and unrivalled bust of him by Canova, now, we believe, in the pos session of the Emperor Alexander. As for the surrounding spectators, we must confess we never saw so many unmeaning, and, where not unmeaning, hideous visages assembled together.

Such is our opinion of this laborious but spiritless production; an opinion which has been most conscientiously formed, under a thorough sense of the numerous disadvantages to which M. David must have been subjected, and on which we have already thought it due to him to dwell. It would be a work of supererogation to enter into any further consideration of minor imperfections, otherwise, we might comment on the absurdity of representing Josephine as about eighteen years of age, in the presence of a son and daughter, who appear quite old enough to exchange relations with her; we might remark on the vulgarity of Napoleon's sisters; a vulgarity which, even if it actually belonged to them, ought to have been softened, if not obliterated, by the refining pencil of the artist;we might point out the unpardonable bad taste, which, on the one hand, refused to mitigate the avowed ugliness and deformity of the Countess de la Rochefoucault, and, on the other hand, chose to display her, thus ugly and thus deformed, in full view, instead of making her change places with the beautiful