“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 Consolacion, 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. Planche, 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.