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which he assigned to Brughel, but which, instead of the || Il Gates, which to access should still give way, warm colouring of that master, was as tame and cold as a Ope but, like Peter's paradise, to pay; sign-post. My companion suggested that there were two If perquisited varlets frequent stand, Bruxhels, who painted in very diilerent styles, the one And cach new Walk must a new Tax demand, called Brughel de l'elours, the other by the less soft and What foreign eye, but with contempt surveys ? winning designation of Hell-fire Brughel”; you may What Muse shall from Oblivion snatch their praise?" enquire to which of them it belongs.-1 did so, but on mention of the latter of these sobriquets, he started, and looked as if he smelt gunpowder, or feared singing, all the while sidling off towards the door which led to the Cartoon gal

• Byron. lery, as if his protection could only be complete among the Apostles, and adding, in a hesitating tone, "Some say it is the one, and some say it is the other.” It is no part of my purpose to criticise these wonderful sketches, for as such,

ARTISTICAL SCRAPS. properly speaking, they must be estimated; their power can best be appreciated by their effect on visitors, for here attention is no longer distracted, nor desultory, but fixed To the Editor of the Somerset House Gazette. and solemn, as the gloomy aspect of the apartment in which they are contained.

Sir, Generally speaking, a picture gallery, to most people, | I Having no inventive faculty, nor but little of any other aflords but little gratification; they do not chuse to ac- ll valuable commodity at your service, saving and excepting knowledge this, but it cannot be concealed, in the rambling, || time, which I am grieved to say is not of nuch value to me, abstracted, un-purpose-like way in which they run over | I sit down to lulfil a sort of conscientious obligation which I them. Each one is anxious to point out something to his seem to owe to the Somerset House Gazette," for the pleaneighbour, which he admires, which springs less from his l surable hours it has filled up in in rousing me out of occaown enthusiasm, than from his anxiety to ascertain if he is sional fits of ennui. I would willingly repay the debt in right in his estimate of particular beauties, by learning kind, by sendings now and then a contribution, but the their effect on the judgments of others.

deuce of it is, that you seem to have read all that is readable This holds true even with the finest pictures, and often on art, and can invent so much better than all your reading even with the highest triumphs of wit, as being least

can afford, that I am at a loss to know how to set about it. accessible to what Ben Jonson calls their “ grounded | What I offer you now, Mr. Hardcastle, you must attricapacities.” But to these pictures, little connoisseurship

bute to the Thunder. I think I hear you say " this is a is required; no display of petty dilletantiship is here even

contribution indeed! by Jupiter !” No Sir, it is without tolerable, for every one feels himself at home, and that fire, and cannot be from Heaven-I mean the Heathen he can speak the language of admiration correctly, without

Heaven of course. I will tell you, to be brief then, good being taught, or obliged to borrow it from any other Mr. Editor, I was engaged the last evening, to an evening source than one which cannot deceive himself, namely, his party, to meet a little conversation on the arts, when loukown feelings. If we can but understand the situation, we ing towards my looking-gluss, I saw a coruscation reflected, are familiar with the picture which has embodied the sub and at the same moment heard my landlady screamject; if we can sympathise with the reality of it in nature, “ Betty we are going to have a tornaquo, take in the parrot. we yield our full tribute to the triumph of the painter. Mercy! I feel all over in a nervous fantasy." This acThey are not pictures but things; not representations, but

counted at once for the peace of the chattering bird, and existences; we forget the painter in the creations of his that of the no less loquacious mistress, for I had sat in luxsancy, and give our sympathy to the supposed realities of it,

urious tranquillity for two hours at least, in my dressingrather than our wonder at the means by which they were gown, -you know, I take it for granted, that the thermometer achieved. The fact is, whatever critics may say to the con was at seventy-eight. But we often see,'' as Shakspeare trary, the illusions of the pencil as well as of the drama says, against some storm a silence in the Heavens." Faith must constitute its highest efforts; any other excellence it came pouring down, I looked abroad, and O! what Wilmust be technical. Look at Elymas the Sorcerer; we do sonic lightning. “ Sniall showers last long, but sudden not require to be told that he is blind, nor to see his sight storms are short,says the same bard, who has a saying for less orbs, in order to learn his misfortune and his punish every thing, so I consoled myself by looking at the case of ment; we learn it from the physical appearance of helpless. || my boots, I shall not go in shoes to-night, that is settled ness about him; his hands stretched out, with strong thought I. No, nor in boots neither, as it happened; and despairing muscular tension, to ascertain the objects he no so I made up my mind to stay at home. longer gees; and his body bent forward, to explore his way, “ I took my flute, that would not do. I took up my fiddle, like the out-posts of an army, or the feelers of a fly, recon the first string went crack, and gave me a switcher across noitring with a part, before the rest is put in peril by a the eye. I am not fiddle-gone so far as to send a maid serfurther advance. I have seen with great pleasure an admi vant out in such a pelting pitiless storm for a bare yard of rable copy of this particular subject, made by a very accom cat-gut, and so I took up a book. That would not do; and I plished sculptor, as one of his Studies for the Royal Acade tried another and another. It then came into my head my, and who received great and well-deserved praise for his that I had no head at all, and throwing myself on the sofa, head of the late Mr. West, at the last Exhibition in Somer I began to cogitate upon what might be passing among my set House.

Artistical friends from whom I was separated by this comBut I forget that I only proposed Sketches, while I am || motion over head. “ Let it thunder to the tune of green elaborating a Dissertation. The good English custom of sleeves,” said I (Shakspeare again you see

ou see), I will sit me exacting money for every thing that is shewn, exists in full down and make out a paper for my worthy old editor of the force at Hampton Court. Savage, in his poem on Public “ Somerset House." Walks, alludes to this disgraceful license, with the more How the deuce you writers on the Arts can contrive to bitterness of effect that its truth cannot be disputed: ring the changes upon light and shadow, chiaro scuro, in

tensity, breadth, sentiment, and not flag, is past my shallow

comprehension-yea "past the good conceit I hold of thee.1 " But what the flow'ring pride of Gardens rare,

This query floated uppermost, and so I went straight to the However Royal or however fair,

purpose. "I will write, said I, a few scraps, from which Mr.

Somerset House may, if he ever be listless like myself, and Richard Payne Knight, which has very sensibly been confined by a storm, pick up a hint. First then of

copied into several of the public journals. Query.--Fine

as these drawings are said really to be, and I take your BORGOGNONI,

worship’s word for it, with submission, how much do you The famous painter of battles. Lanzi says, “ In beholding suppose that late distinguished connoisseur and “sworn aphis pictures, we seem to hear the shouts of war, the neigh- || praiser,'' of the Elgin Marbles, would have given for the ing of the horses, and the cries of the wounded!”

lot, supposing that Sir T. Lawrence, and some other disWhat think you of this, Mr. Hardcastle ? I have seen tinguished artists, had not first raised their value by proTurner's grand picture of Trafalgar, lately put up in St. || nouncing them to be his-the identical Claude's? I ask this James's Palace, and Jones's Waterloo and Vittoria, all in pure simplicity, Mr. Hardcastle. three as you know painted for our gracious King, God bless

With regard to aerial landscape, Claude excelled all him!--but if I beard the shouts of war, the neighing of the masters. We are at a loss whether most to admire the horses, or the cries of the wounded, may I be hanged on a simplicity, or the effect of his distances. vibbet ten times higher than Haman's. This might have done for the Greeks, Master Ephraim, for their pictures are

SALVATOR ROSA. not visible, but as for Borgognoni !--Lanzi however might

Claude and Salvator received, or might have received bave been blessed with a tiner sense of seeing for hearing

their ideas from the same archetypes; they were both than I ; I know, compared with some, that I am but as a

Italian painters, but Claude studied in the campagna of block.

Rome, Salyator among the mountains in Calabria.--Vide

Gilpin. I should suppose that the other Gilpin, of horseDOMINICHINO, Is considered as being the most perfect of the school of

back celebrity, (you cannot suppose I mean Gilpin the the Caracci. Algarotti even prefers him to those great

horse-painter,) honest John, for a short season of Edmon

ton, might have said almost as much to the purpose. masters, and N. Poussin placed him next to Raffaelle.

Mr. Gilpin adds, “ The chesnut-tree of Calabria is conCORREGGIO.

secrated by adorning the foregrounds of Salvator Rosa.” We cannot close our observations on his powers of ex. Ils

So indeed should be the birchen-tree, consecrated alike for pression, without adverting to a beauty which he possessed

whipping learning into idle school boys, at the background exclusively, or at least shared only with Leonardo da Vinci;

of their capacities. . namely, the lovely and exquisite smile which plays on his

NICHOLAS POUSSIN. female countenances, and which has been distinguished by

Is allowed to have been an admirable artist; and the the epithet of Correggiesque, or grace of Correggio. This

immense price which his pictures produce in every part of trait, as difficult to describe as to imitate, has been happily

Europe, is an incontestible proof of his established merit. indicated by Dante,

No works of any modern artist have so much of the air of " Della bocca il discato riso."

antique painting as those of N. Poussin. His best perforTUE MULE AND YULETEER, BY CORREGGIO,

mances have a remarkable dryness of manner, which

though by no means to be recommended for imitation, yet In the gallery of the Marquis of Stafford, is said to have

| seems perfectly correspondent with that ancient simplicity been once used as a sign for an Inn. Mr. Walpole says,

that distinguishes his style. Poussin in the latter part of that in a gallery on the Continent, (I think at Strasbourg), ||

his life, changed from his dry manner to one much softer is a picture on a panel of a school, which was painted for a

and richer, where there is a greater union between the schoolmaster's sign-board, by Hans Holbein. Who would

figures and the ground, as in the Seven Sacraments. not trudge on foot, Mr. Hardcastle, an hundred miles to

GASPAR DUGHET POUSSIN. see such a sign!

Every thing in his works breathes elegance or grandeur. RAFFAELLO DA URBANO.

Such are the admirable landscapes by Gaspar, formerly in Bernardo Divizio, Cardinal di Bibbiena, offered his niece

lonna Palace, at Rome, several of which have been in marriage to Raffaelle, but it appears the painter refused

brought to England. the honour. He would have married her, perhaps, had she

JACOB GERRITZE CUYP. been a good model for a Madonna. One might swear, that His pictures frequently represent the borders of the she was no beauty.-Or hold, he might have becn pre-en

Maes river, with shepherds and herdsmen attending their gaged. What sort of divinity be might have chosen to wed cattle. These subjects he has treated with an enchanting who can tell. Reubens has left a record of his taste for simplicity, that may be truly said to be peculiar to him. human carnation. What spacious examples of fair, luxuri No painter has surpassed him in the purity of his aerial ous female Flanderkins--what glorious living studies for

tints. breath !

1 The finest pictures by Cuyp are in England, and in the CLAUDE GELEE LORAINE.

greatest number. England has long possessed many of his most perfect

REMBRANDT VAN RHYN. works: and since the acquisition of his celebrated pictures.

Rembrandt pursued his art with incredible industry formerly in the Altieri Palace, at Rome, and in the collec

during the whole course of his life. His genuine pictures tion of the Duke de Bouillon, at Paris, it may be confi

y numerous. His etchings are no less esteemed. dently asserted, that we possess more of his capital works

The best collection of them ever made in England, was than the rest of Europe.

that by Arthur Pond, (the engrayer,) which was sold after Claude, with a just regard to his fame, determined on a

his death in 1760, for £554 79. 6d.; but the largest was plan, which should make his drawings so many authentic

that of Monsieur Amadee de Burgy, at the Hague, which warrants of his genuine pictures. Upon the back of his

was publicly sold in 1755, and contained 257 portraits, 161 several designs, he notes their true history, as to the per

histories, 155 figures, 85 landscapes, consisting on the sons and places they were painted for. He is said to have

whole of 665 prints, with their variations. composed no less than six of these books: “Libri di

REMBRANDT's wife. Verita." One, “ Liber Veritatis," was procured by She was a pretty peasant girl, whom he married for love William the first Duke of Devonshire, who died in 1707. in early life. He delighted to paint her portrait; and she Two volumes containing two hundred fac-similes, engraved was his only model whenever he attempted to give the idea by Earlom, were published in 1777.

of female beauty. Chacun a son gout, Mr. Editor ; but You have given us, in your Somerset House Gazette, a || Lord help Mynheer Rembrandt Van Rhyn's taste! faithful account of the last collection, purchased by .Mr. Il

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OR, WEEKLY MISCELLANY OF FINE ARTS, ANTIQUITIES, AND LITERARY CHIT CHAT. No. XLII.) By Ephraiın Hardcastle.

[SIXPEXCE. Isinmned Edition for Country Circulation, postage free, Price Tenpence. WORKS ON THE FINE ARTS.

be overlooked. The author of this volume, however,

is known to have contributed his share of encourageSome Account of the Life of Richard Wilson, Esq. R.A.

ment to the existing school. The reflections of the with Testimonies to his Genius and Memory, and Remarks

pen, then, that here celebrates the genius of Wilson, on his Landscapes, &c. &c. Collected and Arranged by

and the pen itself may be said to be sanctified to the

cause, T. Wright, Esq. London: Messrs. Longman and Co.

The first chapter of this account comprises the birth “ (! attend,

and family of Wilson, his coming to the metropolis, Whoe'er thou art; whom the delights can touch, and practising as a portrait painter, his visit to Italy, Who-e candid bosom the refining love

his taking up of landscape, &c. with some reiections Of nature warms, And I will guide thee to her favourite walks,

upon the pleasure to be derived from the contemplation And teach thy solitude her voice to hear,

of nature, &c. And point her loveliest features to thy view.”

Akenside.

“ This great landscape painter, the distinguished orna

ment of the British school, was the third son of a clergyman ere

in Montgomerys re; his father was of a very respectable this promised publication, and throwing out, on hear-|| family in that county, in which he possessed a small benesay evidence, our good report of its author, a gentle

fire, but was, soon after the birth of our artist, collated to

the living of Mould, in Flintshire; his mother way of the man with whom we have not the honor of aquaint

family of Wynne of Leeswold. They had six sons and a ance, that we should have to thank Mr. Wright, for so daughter, all of whom died unmarried. The eldest son many kind notices of our humble efforts in the service | obtained a situation in Mould, as collector of customs, and of that cause, for which it is evident he maintains |

died two years after the painter. The socond was a clergy

man, who had good preferment in Ireland. Richard, born | congenial opinions : such circumstances, however, are in 1713, was the third. The fourth was a tobacconist, at too grateful, not to be felt when they occur thus mutu- | Holywell ; be afterwards went to Pennsylvania, where he ally well intended they help to sweeten the cup of died. The youngest, when a little boy, was killed by part

ll of the Barley-bill, at Mould, falling upon him, whilst playhumanity.

ing under it. Miss Wilson was an attendant on Lady San

ONSCI

interesting theme-it so continued as we attained to || through whose means Richard Wilson was introduced to manhood, and it has encreased with the number of

"It is not known that any of the family of Wilson had a our grey hairs. If a knowledge of the just honors

taste for painting except Richard, whose marked predilecallotted to the dead, should reach the regions of purer tion for drawing discovered itself when he was quite a child. spirits, that of Wilson would be appeased, in the || At that early period, he might be frequently seen tracing veneration now offering to his fame, at the shrine of

with a burnt stick, figures upon the wall. His relation, Sir his neglected genius.

George Wynne, took him to London, where he was placed

under the tuition of one Wright, . an obscure painter of Our interest was excited for the appearance of this

portraits. Wilson however acquired so much knowledge volume immediately on hearing that it was in the from his master, as to become equal to most of his contempress, from our respect for the subject of the memoir,

poraries, in that line of art. He must also have acquired a

degree of rank in his profession, as about the year 1748, he and our esteem for its author, on finding that the pro-||

painted a large picture of His late Majesty, when Prince of ceeds of the publication were to be bestowed on the Wales, with his brother, the late Duke of York, which was Artist's Benevolent Fund. We love fitness in morals | done for Dr. Hayter, Bishop of Norwich, at that time as well as in arts, and what could be more fitting in | tutor to the princes. He also painted another portrait of an encourager of arts, whose theme was to be neglected | tinto print by Faber. The original picture is announced as

all the same august personage, from which there is a mezzotalent, to illustrate the sentiment by pouring his bene- || in the collection of the Rev. Dr. Ascough, and is dated {volence into this channel.

1751. There is also a ball-length portrait of the late MarWe have not been sparing of our animadversions quis of Rockingham, painted by Wilson, in Italy. It is in

the style of Rembrandt, and belongs to Lord Fitzwilliam. on those, his coevals, connoisseurs and amateurs of art, | who brought it from his seat of Wentworth House, to bis who looked on, and saw the great Wilson pine neg- || residence in Grosvenor Square, where it was at the time lected, his talent disregarded a dead letter in the very school founded by the energies of bis mighty hand.

.Thomas Wright, an artist of whom Mr. Walpole takes not

the least notice, nor does any mention appear to be made of him, the living, that they might not be alike amenable to

except what can be found in the inscriptions under three prints by Gerard Vander Gutch, engraved after cartoons of Guido, In the colleetion of T. Wright, Painter, Covent Garden.'"

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that Mr. Edwards wrote his Anecdotes of Painters, who || studies in landscape must have been attended with rapid remarks, that in this picture Wilson made great use of success, for it is well known that he had pupils in that line asphaltum, throughout, to produce the deep transparent while at Rome, and his works were so much esteemed, that tones of Rembrandt.'

|| Mengs painted his portrait, for which Wilson in return ". As a portrait painter,' continues this writer, Wilson | painted a landscape. | is not sufficiently known, nor are his works marked by any || " He remained abroad six years, having left England traits which distinguish them from the general manner

in 1749, whither he returned in 1755. His residence which then prevailed among his contemporaries. No de

in London, after his return, was over the north arcade of cided character can therefore be affixed to them. It may,

the Piazza, Covent Garden, 'He afterwards lived in Charhowever, be asserted, that in drawing a head be was not

lotte Street, Fitzroy Square, and also in Great Queen excelled by any of the portrait painters of his time. A

Street, Lincoln's Inn Fields, in apartments which have proof of this was formerly in the possession of J. Richards,

been since occupied by Mr. Theed, the sculptor. Besides Esq. one of the founders, and Secretary to the Royal Aca

the above-mentioned, he is said to have had several other demy; it is the portrait of Admiral Smith, drawn before

places of abode, following his great instructress, Nature, Wilson went abroad. It is executed in black-and-white

into the fields, in Mary-la-Bonne, and changing his quarters chalk, as large as life, upon brown French paper, and is

as often as his view was intercepted by the erection of a treated in a bold masterly manner: but this is not a work

new building, with more regard, perhaps, to his love of which can authorise the critic to consider him as superior

landscape, than to his pecuniary circumstances. At ope to the other portrait painters of his day.'

period he resided at the corner of Foley Place, Great Port" After having practised some time in London, he was enabled, by the assistar

land Street. His last abode in London was at a mean bled, by the assistance of his relations, to travel into

house in Tottenham Street, Tottenham Court Road, in Italy, where he continued the study of portrait painting,

which he occupied the first and second floors, almost withbeing still unacquainted with the bias of his genius. He

out furniture. frequented good society, and was much respected by his countrymen abroad.

“ To the first exhibition of 1760, in the Great Room at “ Wilson, probably, might have remained ignorant of the

Spring Gardens, be sent his picture of Niobe, which confirmed peculiar bent of his talents, but for the following circum

the reputation he had previously gained as a landscape stance: One day, while waiting for the coming home of

painter. It was bought by William Duke of Cumberland, Zucarelli, upon whom he had called at Venice, he made a

and it came afterwards into the possession of His Royal sketch in oil from the window of the apartment, with which

Highness the Duke of Gloucester. In 1765, be exhibited, that artist was so bighly pleased, that he strongly recom

with other pictures, a View of Rome, from the villa Mamended him to apply himself to landscape painting. Ano

dama,' or rather, perhaps, from the neighbourhood of the ther occurrence, which happened not long afterwards,

Monte Mario; a capital performance, which was purchased tended to confirm him in his inclination to follow that pur

by the late Marquis of Tavistock. suit. The celebrated French painter, Vernet, whose works, “At the institution of the Royal Academy, Wilson was at that period, were held in the highest estimation, hap chosen one of the founders; and after the death of Hayman pening one day, while both these artists were studying at Il be solicit

tuation of librari Rome, to visit Wilson's painting room, was so struck with until he retired into Wales. He appears to have possessed a landscape he had painted, that he requested to become the powers of his mind when every thing else almost the possessor of it, offering in exchange one of his best seemed to have failed bim; and during the last two years pictures; the proposa) was readily accepted, and the pic of his life,' as Sir George Beaumont, who was well acture delivered to Vernet, who, with a liberality as com quainted with Wilson, very obligingly informs me, 'a feeble mendable as it is rare, placed it in his exhibition room, and Hash of what he once was would occasionally burst out, and recommended the painter of it to the particular attention his sound and unerring principles produced a considerable of the cognosce

oscenti, as well as to the English nobility and Il effect. I have continues this septleman. Sa small gentry, who happened to be visiting the city. Don't talk | done by him in this last stage ; and although it is nearly of my landscapes, wben you bave so clever a fellow in your || void of form, and the trembling hand, and failing eye, countryman Wilson,' was the observation of this liberal visible in every touch, yet still there is a general effect, French artist.

supported by breadth and hue, which a judicious imitator “ Though there is reason to believe that Wilson had might transform into a Wilson.' painted some landscapest before he went abroad, yet it is “ The last years of Wilson's life were passed with his certain that he did not commence a regular course in that || brother, in Mould, and with his relation, the late Mrs. study until after he had been sometime in Italy. Whe

Catherine Jones, of Colomondie, near the village of Llanbegan, however, he did not waste his time, nor subjugate verris, now called Loggerheads, a few miles from Mould. his powers to the unimproving drudgery of copying pictures

At the time of his residence in that neighbourhood, he had of the old masters, but contented himself with making his

nearly lost his memory, and was reduced to a state of childobservations upon their works, and afterwards confirming

ishness. Richard Lloyd, a servant, living not many years those observations by his studies from nature. In conse

ago at Colomondie, attended him in his last moments: he quence of this prudent method of cultivating his talents,

at first only complained of a cold, but upon retiring to bed, he wisely avoided any decided imitation of the pictures of

almost immediately expired. His remains are interred in | the Italian masters who preceded him, and at once struck

the churchyard at Mould, near the north door of the out a manner, both of execution and design, which was

church : a gravestone has been erected within these few classical, grand, and original.

years by Mrs. Garnons, upon which is the following in“ of the originality of his style we are convinced, by in

scription: viz. The Remains of Richard Wilson, Esq. specting his works, and in most of them he has represented

Member of the Royal Academy of Artists, interred May the gen-ral character of Italy, with more decided precision

15th, 1782, Aged 69. than can be found in the works of his predecessors. His

| “For the foregoing particulars I am chiefly indebted to Miss Garnons, a lady residing at a short distance from Co

lomondie, by whose polite attention they were furnished at • Edwards's Anécdotes of Painters.".

my particular request. 1. There is a print, engraved by J. S. Miller, from a picture

is with a view, however, of obtaining some further acd by R. Wilson, a View of Dover,' without date, but generally supposed to have been executed before he went abroad."

count of this celebrated artist, of whoin so little appears to

ich he retained

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