With regard to the “ferocious splendour of their eyes,” and the exposure of their canine teeth by means of the Ringentes, the reader will find here a strict accordance with Mr. Bell’s theory.
[No. X.]
The Tigress of Bengal, which has been designed, as well as etched, by Mr. Thomas Landseer, from that at the Exeter ’Change Menagerie, affords also a pertinent illustration of the principles which Mr. Bell had derived from combining study with dissection: theory with practice. The “three muscles infixed in the eye-lids, which, drawing the eye-lids backward upon the peculiarly prominent eye-ball, produce the fixed straining of the eye, and by stretching the coats, give a greater brilliancy to the reflection,” are here brought into action by a violent and unexpected outrage done to the maternal feelings. Here too is exemplified the origin, insertion, and physical use, of those snarling muscles, which are so properly named and defined by our learned anatomist. We cannot but wish, however, that he had written also of those of the lower jaw, which so powerfully conduce to this snarling and dreadful expression.
The mother has arrived at a fortunate conjuncture for her cubs, which lie sleeping below, in a small den or dark recess of the bank, whither a Serpent has stolen. Twisted among the jungle, which affords an advantageous post both of attack and defence for the Serpent—the Tigress has reason to dread an enemy so powerful and insidious; and, as in the preceding Engraving, both parties are prepared for the encounter, and fully aware of the importance of a first blow.
[No. XI.]
These rampant Lions, bear the name of Rubens as their author. Sir John Sebright, we believe, has the original picture. It would neither deteriorate from its intrinsic merit as a work of art, nor from its nominal value (we suspect), should it turn out to be from the pencil of Snyders; or a performance of Rubens and Snyders in conjunction. They not unfrequently painted on the same canvas; but the high reputation and rank of Rubens, has in some measure absorbed that of his coadjutor, except among first-rate connoisseurs—whereas, in all that relates to the details of Nature, Snyders was the superior painter of animals: and our reasons for thinking that he had at least a hand in this picture of the rampant Lions, are, 1st, The superior attention which is here paid to the details of Nature. 2ndly, That the action of the nearest of the two Lions, is precisely that of the same animal, in Snyders’ very capital picture from the fable of the Lion liberated by the Mouse, now in the Cabinet of Thomas Franklin, Esq. 3rdly, That the study in oil of a dead Lion, in the collection of G. Watson Taylor, Esq. also believed to be from the hand of Snyders, bears internal evidence of being painted, not only from Nature, but from the very same individual Lion, with the above. They are all portraits of the same animal. It appears as if Snyders, having obtained possession of a dead Lion, after making the study now belonging to Mr. Taylor, had put him in this rampant attitude, and painted from him as long as he lasted. But perhaps Rubens and Snyders did this in concert: for on the other hand may be recollected a masterly sketch in oil of the heads only of these rampant Lions, which was exhibited at the British Gallery two seasons ago, bearing the name of Rubens. If this name was written by Rubens himself, the probability is as above stated, that both artists painted at the same time from the same model. On this point we do but sum up such evidence as is before us, leaving the verdict to the reader.
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Thos. Landseer delt. et sculpt.
Tigress after Nature.