Page images
PDF
EPUB

ARTISTS' BENEVOLENT FUND, established 1810.

THE FRIENDS of the FINE ARTS are respectfully inSTITUTION, for relieving the Widows and Orphans of Artists, will

formed, that the FIFTEENTH ANNIVERSARY of the IN

be celebrated in Free-Masons' Hall, on Saturday the 5th of June. His Royal Highness PRINCE LEOPOLD in the Chair. STEWARDS.

The Right Honorable Earl Gower.

The Right Honorable The Earl of Strathmore.
The Right Honorable The Earl of Tankerville.
The Right Honorable The Earl of Wilton.
The Right Honorable Lord Prudhoe.

The Right Honorable Frederick Robinson, M. P.
The Right Honorable Robert Peel, M. P.
The Honorable George Agar Ellis, M. P.
Sir Frederick Baker, Bart.

Sir William Adams, Knt.

John Angerstein, Esq.

John Ilderton Burn, Esq.

Thomas Curson Hansard, Esq.
William Peacock, Esq.
Will. H. Pickersgill, Esq. A. R. A.

Edward Hodges Baily, Esq. R. A. John Pye, Esq.
Francis Bernasconi. Esq.
Robert Branston, Esq.
Benjamin Bond Cabbell, Esq.
Samuel Cartwright, Esq.
George Clint, Esq. A. R. A.
William Bernard Cooke, Esq.
Henry Fradelle, Esq.

William Croft Fish, Esq.

E. N. Thornton, Esq.
Edwd. Vernon Utterson, Esq.
James Vine, Esq.
Ambrose Warren, Esq.
Charles M. Willich, Esq.
Francis Wilson, Esq.
Michael M. Zachary, Esq.

Tickets (including Dinner, Dessert, and Wine,) Seventeen Shillings, to be had of the Stewards :-of the Secretary, 23, Mornington Place, Hampstead Road; or at the Tavern. Dinner on the Table at half-past Five for Six precisely. N. B. The whole of the Musical arrangements, and the Grand Piano, will be under the direction of Mr. Broadhurst.

The interests of this Institution are entrusted to the management of a Committee of Fifteen Members annually elected, Ten being Amateurs, and Five Artists. The Society has been open to every Artist of Merit in the United Kingdom, ever since its establishment in the year 1810, and by the payment of an annual trifle to the Joint Stock Fund, for their own relief, should they ever happen to require it, their Widows and Orphans become entitled as a matter of right, to an Annuity from the Benevolent Fund.

On the 1st of July, will be published, to be continued Monthly, No. I. Price 10s. 6d. of the

CARICATURES of GILLRAY; with Historical and Political Illustrations, and Compendious Biographical Anecdotes and Notices.

To expatiate upon the originality of style, the fertility of ima gination, the fidelity of character, the force of expression, or the endless variety displayed in the unique designs of this Artist, would be needless; for the political works of Gillray are almost as generally known, not only in England, but on the Continent, and other foreign parts, as the events that gave them birth. Even the humorous designs of his prolific pencil, though characteristic of English manners, contain so much of "graphic point," that like the humour of his great predecessor Hogarth, they speak a language intelligible to the whole world-hence, these are equally, with his political subjects, sought by the foreign collector.

By the English people then, a republication from the choicest plates, designed by their ingenious countryman, of sufficient dimensions to convey the entire spirit of the originals, cannot, we presume, be received with indifference. Many of the plates of GLLBAY are become scarce, some are worn out or destroyed, and the expence of making even a selection from his best designs, amounts to a sum, which but a small proportion of the admirers of his talent and humour could conveniently spare. The work proposed, will comprise enough of the POLITICAL, to form a connecting chain of history, during the administration of the illustrious PITT, and his able compeers: and of the HUMOUROUS, sufficient to prove that to genius, every epoch affords enough of absurdity, inconsistency, and folly, to excite the laughter, pity, or contempt of mankind.

This work will contain all the best designs of this celebrated Caricaturist; and will be published in Monthly Parts, each part to contain Nine Coloured Plates, printed on Imperial Quarto, with descriptive letter-press, price 10s. 6d. each Part: and will, it is expected, be completed in Nine or Ten Parts-London: Published burgh; and Sold by all Booksellers. by John Miller, 5, New Bridge-street; William Blackwood, Edin

SPANISH MAGAZINE.

Just published by R. Ackermann, London.

SIR JOHN EDWARD SWINBURNE, Bart. F. R. S. F. S. A. Chair-No. III. PERIODICO TRIMESTRE, intitulado VA

man and Trustee.

[blocks in formation]

J. and R. BURFORD are now EXHIBITING in their Great Room a "Second View of Pompeii." containing the Tragic Theatre, Covered Theatre, Temple of Isis, Small Forum, and many other interesting Remains, which, from their situation, could not be introduced in the First View exhibiting in the Strand. These Views were taken by Mr. J. Burford, who resided several months at Pompeil for that purpose.

Open from Ten till Dusk.-Admittance 18.

A VIEW of LAUSANNE is now also Exhibiting. Admittance ls.

RIEDADES O MENSAGERO de LONDRES. This quarterly work will in future regularly appear on the 1st of April, July, October, and January. Each Number will contain 11 coloured Plates and a Portrait of an eminent Character. The present Number has a fine Portrait of SIR JAMES MACKINTOSH, Royal 8vo. price 10s. 6d.

Also, just published, a SPANISH FORGET ME NOT (NO ME OLVIDES), partly translated from the English, and partly Original Spanish Prose and Poetry, pp. 400. Illustrated with 13 very beautiful Engravings; neatly bound and gilt, in a Case, price 12s.

This day is published, in one large volume octavo, price 14s.

HISTORICAL SKETCH of the PROGRESS of DISCO

VERY, NAVIGATION, and COMMERCE, from the earliest Records to the beginning of the Nineteenth Century.

By WILLIAM STEVENSON, Esq.

This Historical Sketch has been drawn up with reference to, and in order to form the 18th and concluding volume of KERR'S VOYAGES AND TRAVELS.-But though drawn up with this object, it is strictly and entirely an independent and separate work. At the conclusion of the volume is given a SELECT CATALOGUE OF VOYAGES AND TRAVELS, which it is hoped will be found generally useful, not only in directing, reading, and inquiry, but also in the formation of a Library.

Printed for William Blackwood, Edinburgh; and T. Cadell, Strand, London.

[blocks in formation]

And Literary Museum:

OR, WEEKLY MISCELLANY OF FINE ARTS, ANTIQUITIES, AND LITERARY CHIT CHAT. By Ephraim Hardcastle.

No. XXXV.]

A stamped Edition for Country Circulation, postage free, Price Tenpence.

EXHIBITION OF THE ROYAL ACADEMY,

SOMERSET HOUSE.

(Continued from p. 95.)

The Fifty-sixth.

66

[SIXPENCE.

painting," said the amateur. "How broad and grand, too.
Now, I should think that picture will improve with age."
"Doubtless," replied the painter. "I would give the
world to see it, as it will appear as old as a Vandyck."

"Pray what is your opinion of that female head, by Howard, that so like a picture by Leonardo da Vinci; that young lady in the Florentine costume, Anno Domini, one thousand five hundred? Do you approve of showing off our living beauties in these ancient habits?"

"I do."

66

in the third place, it spares the subject from the ridicule which the change of a few years' fashion is sure to cast upon a portrait. Besides, Vandyck was allowed to compose the dresses for his sitters, and many a beautiful woman was gracefully attired by his tasteful fancy, who would have figured a dowdy in the dress of her day. That elegant dress, moreover, which is still so much admired, in which he clothed many of his young men of fashion, was a mighty improvement upon the costume then worn. Even in his own time, his portraits were clad in what was denominated a Vandyck dress. Many of the young people about the court were painted in the fanciful dresses in which they appeared in the royal masques at Whitehall."

"What a change in the affairs of art since this great room was built, hey," said our old friend the amateur, in return- Well, that is laconic. But why? I would beg to ing from the antiroom, where he had been called by a inquire." member of the Royal Society, to give his opinion on that "Why, Sir, I know not why a painter should not be at strange phenomenon-The Sun Set at Sea. Why Sir Wil-liberty to represent a lady or gentleman in a fanciful liam Chambers was rallied with-Well, Sir, you have built a dress. In the first place, it is more pictorial, in the second magnificient apartment, it is true, but where are the pic-place, it may be more becoming, if designed with good taste; tures to come from to fill it?" Now," rejoined the observant old gentleman," the complaint is, the want of space. Why, Sirs, there are almost as many pictures rejected each year, as there are numbers received. Rare times for the artists! Pray, my worthy friend," said he, “addressing himself to a distinguished professor, and a R.A. to boot, "what is your opinion of the prize pictures, The Contention between the Archangel Michael and Satan, for the body of Moses?" Why, Sir," replied the candid painter, "my opinion is, that the subject was one of the very worst that could have entered the wits of the council to propose.' "Faith!" returned the amateur, "I should have thought it had emanated solely from the wild imagination of the Professor of Painting. Now, had your whole body had a trial of skill for the prize, doubtless Mr. Fuzeli would have borne it off, for no other mortal would have devised how to set about the personification of such a subject. By the way, how fine a tone that picture of his has acquired. That Amorett delivered by Britomart from the spell of Busyrane. It has all the richness of a picture painted in the old times. How happens this?"

[ocr errors]

"I asked your opinion, Sir," said the amateur," and I agree with you. I wish it were the general custom to clothe portraits in a costume suited to their rank and age. We should have much more agreeable pictures, with the likenesses as well preserved, or better indeed; for the resemblance appears to last, in many instances, no longer than the fashion in which they are painted."

"I heartily wish you were comptroller-general of taste, then," replied the painter," for of all the miseries, that of

"Why, Sir," said the painter, "Fuzeli's style is one that improves by time; his colours were laid on without a mix-painting the modern costume is sometimes the greatest. ture of those nostrums that have been fatal to certain works of coeval date with this picture, and now you perceive the result. Hogarth's works, which were purely wrought, have already acquired the mellow tint of time. There are many paintings, however, that could be named, which will derive no advantage from age, from the erroneous attempts of their authors, who forced a present splendour by the trickery of varnishes and vehicles, which time has already, and will continue to expose, in that leaden dulness which nothing can remove."

"I do not know that I am right," said the amateur, "but I think there is less of that trickery of late; less, indeed, in the present exhibition than in any one that I could name, for the last twenty or thirty years.'

"I hope

A modern coat is surely the most unpicturesque garb that the superannuated Goddess of Fashion could invent. The sweeping ever-lengthening collar, rolled round the neck, and meeting the preposterous sharp-eared lappelles, the short skirts, and shapeless sleeves, nothing could be worse devised for painting: tight without form, and wanting in every characteristic which well arranged drapery assumes, united with the human figure. What an advantage had the portrait painters of old in these matters. Satin jackets, velvet bonnets, slashed breeches, Spanish boots, aye, and Spanish cloaks; and then every military hero was painted in armour, with mustachios and a manly beard!"

"Why, truly," said the amateur," should posterity judge of manhood by no better test than the present costume, ours would be designated a drivelling age !" "As for the ladies," rejoined the painter," their taste

"I am of your opinion," replied the painter. to live to see the end of such trumpery subterfuge. The prevalence of this single error has been a greater impedi-in dress is so various, and their busts so pictorial, that you ment to the legitimate growth of art, than all the fopperies of style and manner, which correct themselves in time. But this phrenzy, time seemed by exposure to render worse. However, Sir, there seems to be a prospect of the return of good sense in art: there is talent enough in the country, it only waits to be judiciously applied."

may represent them in the costume of every age. Their hair, too, is so gracefully disposed, that the painter cannot do better than copy their locks, as they come undisturbed from the toilette. The head of which you speak, by Howard, savours almost as much of this as the early age with which it is assimilated, and a sweet head it is."

"That head of Miss Chester, by Jackson, in the anti- How very finely Sir Thomas Lawrence manages the room, appears to me to be a piece of fine unsophisticated || hair," said the amateur; "I think Vandyck himself, in his

[blocks in formation]

best day, could not exceed the beauty and glossyness with which he expressess the character of this most difficult attribute of portraiture."

magnificent whole-length portrait of his Majesty in the Throne-Room, in the coronation robes?"

I have, Sir," replied the painter; "it is a magnificent portrait, indeed-one of the grandest of portraits. It is splendid as Titian, and elegant as Vandyke. Now, that is a picture that will improve by age. I would give the world, could a magician show me that portrait as it will appear with two hundred years over it-when the gorgeous costume shall glitter through the obscurity of time. As it is, powers could have managed so much glitter in so subdued a tone, and yet so sparkling and fresh an effect. The crown is, perhaps, the finest piece of painting in the world. Yes, posterity, in beholding this picture of King George the Fourth, will have a mighty treat!"

"He displays great taste in the arrangement of the hair, certainly," replied the painter," and imitates it with masterly execution. It is greatly owing to this, that his heads assume so general an air of fashion. There is no exterior characteristic, perhaps, which marks the young people of high life, so much as the style of the hair. I remember some years since, a tip-top hair-dresser in the neigh-how admirable it is for keeping; none but a man of his bourhood of Bond-street, observed, if I could toss the hair about as loosely and elegantly as Mr. Lawrence, I would ride in my coach and four. At this period, however, powder was worn, when to dress the head with skill was considered no mean science."

"How divinely Sir Joshua painted powdered hair," said the amateur. 66 His colouring of a well dressed lady's tete, bloomed outright; nothing could be more pearly in its general hue.'

66

Faith, Sir," said the painter, "you speak of these matters with the enthusiasm of an artist;" adding, "I have heard that Sir Joshua said, that our present sovereign, when a young man, had the most elegant head of hair of any man of fashion, and that even the French frisseurs, who held the English artists of their fraternity in contempt, allowed his Royal Highness's head, when frizzled and frosted, secundum artem, according to his taste, to be a masterly performance."

"You are jocose, Sir," replied the amateur; and that reminds me of a story related of that artless old man, my ingenious friend, Mister Nollekins. It is a case in point, for it relates to his most gracious Majesty's fine head of hair. The story is from Mr. N********, who, you know, is a bit of a wag.

"The Prince Regent, it seems, according to this authority, was pleased to make a visit to the sculptor, to see some bust which he had recently finished in marble perhaps it was that superb head of his royal brother, the Duke of York, which is now, I believe, in the armoury at Carlton Palace. Well, Sir, his Royal Highness the Prince Regent, with his usual graceful condescension, accosted Nollekins with Well, my worthy old friend, I am glad to see you-it is some years since we met.'

[ocr errors]
[ocr errors]

"I have often wished to see the King painted in armour,” said the amateur. "I think all our sovereigns should be represented in this ancient military garb. Sir Thomas Lawrence would touch off the effect of armour to admiration. What a magnificent composition for the President comes across my mind. His Majesty and his royal brother, the Commander in Chief, in armour on horseback, attended by the Duke of Wellington as standard-bearer, with Windsor Castle in the back ground. I can fancy, in such a composition, the President would outdo himself-Sir, such a picture would immortalize him!"

[ocr errors]

Bravo! I like your thought," said the painter. "We want one such work to shew the world what the English school can do. The King should be represented in polished steel-there is a suit at Carlton House, that his noble portrait would grace; it would be fitting, moreover, for it was worn by an ancestor of his Majesty, one of the ancient house of Hanover. By Jupiter-what a subject for a picture! I will write to the President-That is the wordMark you, Sir, it must-it shall be done!"

"Well, I admire your enthusiasm! You painters must surely love your art, thus to revel in anticipation of the glory of your compeers. That is a noble portrait, too, of our venerable sovereign, his late Majesty, over the chimney-piece in the next apartment in the palace. It is a posthumous likeness, I understand; but the resemblance is as faithful as any that I remember to have seen."

"It is indeed, good Sir-your Royal Highness. Ah-be so by all the royal family. I agree with you-it is a time flies! Your Royal Highness was then a fine young

man.'

The Prince smiled.

"Yes, your Royal Highness was a fine young man, indeed. And I am happy now to see your Royal Highness is looking well. This visit is doing me great honour indeed. Sir. I am growing an old man-but, good Lord!-hey! your Royal Highness-why-hey-can I believe my eyes! Why, what is become of your Royal Highness's fine head of hair?'

"Exchanged for a wig, Mr. Nollekins,' replied the Prince, still smiling.

66

"O dear! O dear!' exclaimed the sculptor. How great a pity-to part with so fine a head of hair! Alas! alas! and to take to a wig-to look like an owl in an ivory bush!'"

"Poor old Nollekins!" exclaimed the painter. "He was a strange mortal-he said whatever was uppermost, whether to the king or a stone-cutter. But surely you do not credit this idle tale?"

"Indeed, Sir, I do," replied the amateur. "The old sculptor was a favourite with the royal family; and the Prince Regent would smile at his honest simplicity with the same princely condescension as King Charles the Second. Give me a prince, Sir, who is acquainted with lifeone who can appreciate character. Such can be familiar vithout the loss of dignity, and such alone rule in the hearts of the people!

66

Talking of costume-pray, Sir, have you seen that

"Yes, Sir," answered the painter, "it is considered to noble portrait: the countenance is the very personification of benignity. It is a manly, dignified portrait, indeed.” "Hey-day! what have we here?" exclaimed the amateur. The Triumph of Rubens.' Upon my word-and who may this Rubenesque scrap be painted by?—I do not know the hand."

"It is by Philip Stephanoff,” replied the painter, "and a very clever bit it is. The arrangement is extremely good-he has caught a little inspiration from his hero."

"There is something wrong about the horse surely," said the amateur: "it seems to have sunk into the mire. This is rather slovenly, Mister Stephanoff. I know what you might answer-Rubens was careless in these matters;' but I would whisper-To become a Rubens is not by imitating his defects."

[ocr errors]

Nay, nay, interrupted the painter. "this is not worthy of your usual liberality, my friend."

66

[ocr errors]

Stay, stay-pardon me, Sir," rejoined the amateur: you have not heard me out. I was about to add--but we will overlook this little aberration, for the sake of the general design. There is so much good taste, and true pictorial feeling thrown into the composition, that I admire it as a very meritorious work. Now I recollect-Stephanoff! There are two of that name. The brother has some beautiful figure compositions in the Water-colour Exhibition. It rarely happens that brothers have the felicity to pursue the same art with such an equality of talent, and without rivalry. And now I recollect, it does not rest with their professional pursuits alone; the same rare felicity at

tends their amusements. I remember their performance in a quartett, some years ago, at a private crash, when they were but youths, and now, I understand, they are considered to be two of the best dilletanti violins of the day. You cannot remember the two Barons? No, they were before your time. They were painters, too; one was a pupil of Reynolds. I mention them, as they were capital amateur performers on the violin.

to be very faithful-there is so much identity about them, that they must be like."

[ocr errors]

The organs of discernment must be strongly developed in master Daniell's eranium, I should think," said the painter, for during the eleven years that he has been engaged in this latter pursuit, he has coasted the whole island, explored every bay, and peeped into each creek. A geographical friend of mine has lately amused himself and his children, by tracing his annual progress on Arrowsmith's large map, and it is incredible the distance he must have made each year. The collective voyages amount to many thousand miles."

"That view of Ben Suilveinn from Loch Inver, on the north-west coast of Scotland, is one of the engraved subjects I think," said the amateur. "It is very wild and romantic. I am an admirer of the views by this artist. They appear to have nothing artificial, nothing extraneous in their composition. If a picture professes to be topogra"Since we are upon the subject of similarity of pursuits|phical, let it be true. When a painter gives loose to his in the same family, I have been admiring one of the East imagination in pursuit of poetic composition, then let him Indian compositions by the elder of the Daniels. I per- plume his wings and take his flight where he lists." ceive that the nephew too has arrived at academic honors. Certainly their joint labours have for many years contributed largely to that topographical variety, which is so congenial to English taste. But for the talent and persevering research of these gentlemen, how little should we know of the magnificent scenery of our vast possessions in the East. I never look upon the works of these worthy orientalists but with interest and delight; for I am spared the perils, even in imagination, of a voyage off the Cape, and can safely sit with my lamp, by my winter tire-side, in the bosom of my family, and behold the regions afar, "Strange!" exclaimed the amateur, "so it is. One and live as it were with the inhabitants, and contemplate man achieves a succession of adventures, traverses the the habits of a people, whose manners are still the same, globe, performs wonders, returns safe, and modestly retirwith those recorded in the sacred history. Ah, Sir, whating from the gaze of men, assumes not the traveller's prido we owe to these enterprising geniuses who thus journey vilege. Whilst another will hold you an hour by the button, to the remotest regions, endure the vicissitudes of clirecounting the dangers and vicissitudes of a voyage from mates, tempt the dangers of the ocean, expose themselves Darkhouse-lane to Dover. The great Johnson, who to the perfidy of savage tribes, and philosophically submit though no great traveller, was certainly too wise to play to the privations consequent upon such vast pursuits, for the boaster, yet has left us a journal of his hair-breadth the pure love of science, and thus contribute by their re'scapes in sailing from the Isle of Coll to that of Mull; and searches to enlarge our minds by opening new sources of his amanuensis, the delectable historian of the voyage to rational pleasure, of a nature indeed that makes us wiser the Hebrides, has " sung the dangers of the seas" off and and better men. "" on these fearful coasts, to the terror of generations of tourists; whilst the author of the coast scenery of the whole island has performed his annual voyages, in all weathers, on board all sorts of craft, and in all seasons; and happily for his amiable family, and numerous friends, has accomplished his meritorious work without vain boasting, and is now pursuing his elegant studies in peace."

"Yes," replied the painter; "and how little are these mighty pursuits regarded by the age in which they are accomplished. When such men are no more, then the biographer takes his pen and fills his volume with their wondrous exploits. Nothing contemporaneous that is great and good makes a due impression upon mankind. It is too much the custom with the world to search the tombs for the merits of the illustrious dead, to taunt the living with their nobler deeds. How should it not be so, when in our boasted age the universities and other rich and learned institutions would by the sanction of a base law have exacted eleven copies of the expensive and limited volumes of that magnificent folio work on the eastern world, published by these distinguished artists ? Sir, rather should the learned who preside over these institutions have patronized such noble publications, placed a set of the splendid volumes in each of their libraries, and rewarded the authors with academic honors."

66

66

we

EXHIBITION OF THE SOCIETY OF PAINTERS
IN WATER COLOURS,

PALL-MALL EAST.

(Continued from p. 95.)

THE general preference for landscape and topographical views, must be urged for the want of that variety Faith, if we talk so loud," said the amateur, which characterized the early exhibitions of this soshall be overheard, and become excommunicate!"-whis-ciety. We remember some of the compositions on pering) Is it not passing strange that our universities ivory by Mr. Samuel Shelly, which attracted very geare so dead to the interests of the fine arts? Sir, they nerally,-certain of his studied works were chaste in have, as you know, that magnificent bequest, the Fitzwilliam Collection at Cambridge; but it is of no more use to design, and beautifully coloured. His Diana and her the students of the different colleges from paltry prohibi- Nymphs was perhaps the most perfect representation of tory conditions for the sight, than if the library were the naked that had been painted on ivory. We are not standing within the Druidical temple on Salisbury Plain." "Sir!" replied the painter, who is somewhat of a cynic, given to obtrude our opinions upon the plans and regu"the kitchens in these learned regions are too hot-and lations of this or any other society of artists, but we the libraries too cold-and there is an end of the matter." are inclined to suggest for the consideration of the members, whether a selection of miniature portraits on ivory, by painters of celebrity, might not be added to the collection, with advantage to the general display. We should at the same time object to the admission of any but miniatures of the highest order of excellence. Experience has long proved that portraits in small, excite great public interest-even in the Royal Aca

So Mr. William Daniell has completed his voluminous work of the English coast scenery," said the amateur. "No doubt you are well acquainted with them." "I am, Sir," answered the painter," and a most interesting series of views they make. Here again is a produc- || tion which could only be accomplished by the most persevering spirit of labour and research. If I mistake not, the author devoted many months of eleven successive

years in collecting his materials. The views strike me

demy exhibition, where there is so great a variety of which might be performed by an artist without any great attractions in every class and style of art.

The compositions of Mr. Hills, contribute to lessen the monotony of landscape, by the domestic animals which form the leading features of his designs. We have this year, however, no striking subject from his prolific pencil, such as we have dwelt upon with pleasure in former exhibitions. We particularly advert to his farm yards, crowded with cows, some of which, for truth of drawing, were nearer to nature than any works of the same class that had been painted even by the masters of the old schools. Certain of his interiors, too, no less successfully studied,were regarded amongst the finest works in the collections in which they appeared. His large upright composition of fallow deer foddering under a magnificent group of lofty trees, a scene on Windsor forest, would have excited great interest in this chaste collection, and the two subjects, red deer and fallow deer, in the collection of Mr. Wheeler, that munificent patron of works in water colours, would have here appeared with every advantage. What he has contributed this year is marked with the same accurate knowledge of the animal which we have admired in the works alluded to, and the animals in the farm yard, are grouped with that truth which alone results from a constant recurrence to nature.

effort of mind, and that such subjects demanded little more than a mere mechanical application of the executive part of painting. This opinion Mr. West combated with his accustomed liberality, and, as we thought, completely refuted, by insisting in his turn that there was as high a feeling of the beau ideal thrown into this individual piece, and in many of Turner's views of similar buildings, as in works of a superior cast of composition. "It is true," added this consummate judge of art," that an accurate view of this or any other building may be drawn on mechanical principles, bat to describe the scene under the influence of this grand and pictorial sentiment, is as much an affair of mind, as to represent nature under the gorgeous colouring of Titian."

VIEW OF THE FALL OF NIAGARA.

In the knowledge of the drawing of domestic animals, Mr. Hills perhaps has no equal. Should this exclusive praise || be doubted, we would refer for the truth of the compliment to his voluminous work of etchings, and point to his heads of cows, oxen, bulls, sheep, and horses, and indeed to his preceptive studies of the parts of these animals, which are marked with such characteristic accuracy and extensive knowledge of all that constitute their distinguishing varie-ings contribute much to the variety of this collection. In ties, that by comparison, almost all the works of the old masters, in these particulars, are proved to be false.

The estimation with which the print collector treasures the few etchings of animals by Paul Potter, Adrian Vandevelde, and Karel du Jardin, is well known to those conversant in the pursuits of virtu. That these remnants of their skill, in transferring their animal studies from their paintings to the copper, should still be held as treasures by the connoisseur, is a credit to existing taste; but that we should have among us an artist of our own school, yet sojourning with us, who with his masterly etching tool has rivalled these specimens, in a voluminous work of more than a thousand plates, and that these should remain unnoticed by the same collectors, is neither creditable to the taste or liberality of the modern dilletanti.. Yet, so it is, although our ingenious compeer has produced a folio work, making two immense volumes, the labour of the greater part of twenty years, which contains studies of the horse, the ox, the sheep, the deer, the ass, the mule, the dog, the goat, and the swine, in all their varieties, drawn from nature, and etched with a freedom and beauty of execution,|| that have rarely been equalled, and never surpassed.

WESTMINSTER ABBEY. BY F. NASH.

Ir is to be regretted that we have so few topographical scenes from the regions in the new world, where landscape is met in all its wild grandeur and vastness, as it were from the original hand of creation, undisturbed and unaltered by the busy meddler, man. To represent a spacious river at one burst, precipitating itself down a vast steep into an ever deepening abyss, to express the mighty crash, and to make it rise again in rage, as though it would regain the height from which it had been forced, seems better fitted for the poet's pen than for the painter's pencil to describe: yet, in this piece, the subject is so well told, and squares so completely with the description of the traveller to these romantic regions, that we feel ourselves in presence of the mighty scene, and almost hear the raging conflict of the waters. This scene so powerfully described, is the work of a gentleman who visited the spot, and whose drawrepresentations like these, nothing that can be substituted by art, is so sublime as the identity here displayed. It is true, that the greater is the painter's knowledge, the finer and the more faithful will be the scene which he chooses for the object of his imitation. Water colours, however, are particularly congenial to scenery like this, where the identity of the effect may be said to be wrapt in mist and foam. We understand that Mr. is a new disciple in this school of art, and augur from this specimen of his talents future works which will add new interest, to the exhibitions of the society, and raise himself in public estimation.

[ocr errors]

Many English artists have painted "The Fall of Niagara, but we believe all have been indebted to travellers for the sketch of the scene. Wilson made a magnificent picture from a sketch by some gentleman who had visited the spot. The view by comparison with Mr.'s, has the appearance of the place, the effect of the fall is conceived in a style creditable to his powerful perception.

When he was occupied on this picture, which is of considerable dimensions, a patron of the arts called upon the painter, and being an amateur artist, felt a particular interest in standing by as he spread his colour upon the canvas. The amateur admired his skill, as the picture grew into reality under his magic pencil, when Wilson observed, "It is nothing at present, but call upon me to-morrow, I

THIS rich and painter-like representation of one of the most picturesque parts of this ancient building is a repeti-will dash away until I make it roar ! tion of the same subject painted by Mr. Nash for the collection of Mr. Wheeler, à gentleman who possesses some of the finest specimens of the modern school in every department of water colour painting. We are led to notice this circumstance from the recollection of a morning visit to the house of this liberal patron of the arts, in company with the late president of the Royal Academy. Mr. West had expressed a wish to see Mr. Wheeler's collection, and received an invitation accordingly. Amidst other observations on the subject of the arts, Mr. Wheeler repeated what had been recently insisted upon by a distinguished amateur relating to this drawing. That it was a work

This great landscape painter was as remarkable for the energy of his observations upon art, as for his masterly application of what he knew. He was sometimes sarcastic, and not unfrequently laconic. Jones, formerly one of his disciples, and a copyist of his manner, had painted a composition on which he prided himself. He was anxious that his old preceptor should see it. Wilson had been worried upon the subject, and at length he called upon Jones. The picture was placed on the easel. Wilson remained silent, and Jones on the tenter-hook of suspense. "Humph!" at length quoth the cynic, "That is my cupola !-it is black enough! Good day to you, Master Jones!"

« PreviousContinue »