CANDIDATES UNDER DIFFERENT PHASES

CANVASSING. What a love of a child
THE DEPUTATION. If you think me worthy
THE SUCCESSFUL CANDIDATE. Constituents--rascals
THE HUSTINGS. Don't mention it I beg
THE PUBLIC DINNER. The proudest moment of my life

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FINE ARTS.

PUNCH begs most solemnly to assure his friends and the artists in general, that should the violent cold with which he has been from time immemorial afflicted, and which, although it has caused his voice to appear like an infant Lablache screaming through horse-hair and thistles, yet has not very materially affected him otherwise—should it not deprive him of existence—please Gog and Magog, he will, next season, visit every exhibition of modern art as soon as the pictures are hung; and further, that he will most unequivocally be down with his coup de baton upon every unfortunate nob requiring his peculiar attention.

That he independently rejects the principles upon which these matters are generally conducted, he trusts this will be taken as an assurance: should the handsomest likeness-taker gratuitously offer to paint PUNCH’S portrait in any of the most favourite and fashionable styles, from the purest production of the general mourning school—and all performed by scissars—to the exquisitely gay works of the President of the Royal Academy, even though his Presidentship offer to do the nose with real carmine, and throw Judy and the little one into the back-ground, PUNCH would not give him a single eulogistic syllable unmerited. A word to the landscape and other perpetrators: none of your little bits for PUNCH—none of your insinuating cabinet gems—no Art-ful Union system of doing things—Hopkins to praise for one reason, Popkins to censure for another—and as PUNCH has been poking his nose into numberless unseen corners, and, notwithstanding its indisputable dimensions, has managed to screen it from observation, he has thereby smelt out several pretty little affairs, which shall in due time be exhibited and explained in front of his proscenium, for special amusement. In the mean time, to prove that PUNCH is tolerably well up in this line of pseudo-criticism, he has prepared the following description of the private view of either the Royal Academy or the Suffolk-street Gallery, or the British Institution, for 1842, for the lovers of this very light style of reading; and to make it as truly applicable to the various specimens of art forming the collection or collections alluded to, he has done it after the peculiar manner practised by the talented conductor of a journal purporting to be exclusively set apart to that effort. To illustrate with what strict attention to the nature of the subject chosen, and what an intimate knowledge of technicalities the writer above alluded to displays, and with what consummate skill he blends those peculiarities, the reader will have the kindness to attach the criticism to either of the works (hereunder catalogued) most agreeably to his fancy. It will be, moreover, shown that this is a thoroughly impartial way of performing the operation of soft anointment.

THE UNERRING FOR PORTRAITS ONLY:

Portrait of the miscreant who attemptedto assassinate Mr. Macreath.The head is extremely well painted, and the light and shade distributedwith the artist's usual judgement.
VALENTINE VERMILION.
Portrait of His Majesty the King ofHanover.
BY THE SAME.
Portrait of the boy who got intoBuckingham Palace.
GEOFFERY GLAZEM.ORTHUS:
Portrait of Lord John Russell.Anadmirable likeness of the original, and executed with that breadth andclearness so apparent in this clever painter's works.
BY THE SAME.
Portrait of W. Grumbletone, Esq., inthe character of Joseph Surface.
PETER PALETTE.
Portrait of Sir Robert Peel
BY THE SAME.ORTHUS:
Portrait of the Empress of Russia.Awell-drawn and brilliantly painted portrait, calculated to sustain thefame already gained by this our favourite painter.
VANDYKE BROWN.
Portrait of the infant Princess.
BY THE SAME.
Portrait of Mary Mumblegums, aged 170years.
BY THE SAME.

THE UNERRING FOR EVERY SUBJECT:

The Death of Abel.This picture is well arranged and coloured with much truth to nature; thechiaro-scuro is admirably managed.
MICHAEL McGUELP.
Dead Game.
THOMAS TICKLEPENCIL.
Vesuvius in Eruption.
CHARLES CARMINE, R.A.
Portraits of Mrs. Punch and Child.
R.W. BUSS.
Cattle returning from the WateringPlace.
R. BOLLOCK.ORTHUS:
"We won't go home till Morning."
M. WATERFORD, R.H.S.This is one of the cleverest productions in the Exhibition; there is atransparency in the shadows equal to Rembrandt.
The infant Cupid sleeping.
R. DADD.
Portrait of Lord Palmerston.
A.L.L. UPTON.
Coast Scene: Smugglers on the lookout.
H. PARKER.
Portrait of Captain Rous, M.P.
J. WOOD.

Should the friends of any of the artists deem the praise a little too oily, they can easily add such a tag as the following:—“In our humble judgment, a little more delicacy of handling would not be altogether out of place;” or, “Beautiful as the work under notice decidedly is, we recollect to have received perhaps as much gratification in viewing previous productions by the same.”