AN HISTORICAL FRAGMENT, relative to HER LATE MAJESTY, QUEEN CAROLINE. Twenty-four hours had not elapsed, from the hour of publishing this Fragment, when persors of all parties began to attack us. The reason is obvious-we have administered to the interests of no party; and told some few secrets, that neither party wished to hear. We have a few more secrets to tell them shortly after this. Printed for John and H. L. Hunt, Tavistock-street, Covent-garden. A BIOGRAPHICAL DICTIONARY of PAINTERS and In three sizes-8vo. 9s. 6d. boards-foolscap 8vo. 7s. boards-com mon edition, 18mo. ONE SHILLING, sewed, DON JUAN, Cantos XV. and XVI. Printed for John and H. L. Hunt, Tavistock-street, Covent Garden. Of whom may be had in 8vo. price 5s. THE DEFORMED TRANSFORMED, a Drama, by the Rt. Hon. Lord Byron. MR. STEVENSON'S NEW WORK ON CATARACT, This day is published, in 8vo. price 8s. boards. A TREATISE on the NATURE and SYMPTOMS of CATARACT and the Cure of that Disease in its early stages, by a Mode of Practice calculated to prevent the occurrence of Blindness, and to render unnecessary the common operations of Couching and Extraction; illustrated by Cases. By JOHN STEVENSON, Esq. Fellow of the Royal College of Surgeons; and Surgeon Oculist and Aurist to his Royal Highness the Duke of York, &c. &c. Printed for G. and W. B. Whittaker, Ave Maria-lane This day is published, in 8vo. with a large Map, price 12s. boards. THE GREEK REVOLUTION; its origin and progress: together with some Remarks on the Religion, National Character, &c. in Greece. By EDWARD BLAQUIERE, Esq. Author of "An Historical Review of the Spanish Revolution," &c. &c. Printed for G. and W. B. Whittaker, Ave Maria-lane. This day is published, in post 8vo. price 8s. boards, the Second Edition of THE LUCUBRATIONS OF HUMPHREY RAVELIN, Esq., late Major in * * Regiment of Infantry. "He was wont to speak plain and to the purpose, like an honest man and a Soldier ; and now he is turn'd orthographer."-Shakespeare. Printed for G. and W. B. Whittaker, Ave Maria-lane. ENGRAVERS, from the Revival of Painting, and the alleged Discovery of Engraving by Finiguerra. By MICHAEL BRYAN, In this work is given two Indexes, alphabetical and chronological: and the Introduction comprises a brief account of the Painters of Antiquity. It also contains tive plates, exhibiting the particular marks and monograms used by the different Engravers; together with a list of their works, in two thick volumes, in 4to., price 51. 5s. in boards; and on superfine royal paper, 91. "We congratulate the lovers of the tine arts on the appearance of this important publication. It is a work of the utmost utility, and of great magnitude-One more wanted, and more ably executed it is not possible to specify. The notices are far more full, and particular, and the whole performance contains about thrice the quantity of matter to be found in Pilkington."-Literary Gazette, In Royal 8vo., Price £2. 28. in boards; and in Imperial 8vo., with Proof Impressions of the Plates on India paper, £5. 58. 2. THE SOCIAL DAY: A Poem in Four Cantos. By PETER COXE. Illustrated by Thirty-two exquisitely engraved Copperplates, after the Designs of Wilkie, Smirke, Cooper, Ward, &c. &c. It may safely be stated that the above Work is one of the most elegantly embellished, and certainly the cheapest, that ever issued from the Press; each set of the Plates being alone worth more than the price charged for the whole Book.-A single Proof and Etching of the Broken China Jar," by Warren, after Wilkie, was sold for £3, 16s. at the late Mr. Warren's Sale. And Literary Museum: OR, WEEKLY MISCELLANY OF FINE ARTS, ANTIQUITIES, AND LITERARY CHIT CHAT, No. XXX.] By Ephraim Hardcastle. A stamped Edition for Country Circulation, postage free, Price Tenpence. [SIXPENCE. EXHIBITION OF THE SOCIETY OF PAINTERS of assumption-who now, on looking round, will feel IN WATER COLOURS, PALL-MALL EAST. The Twentieth. disposed to question the merits of that title?" On that day the exhibition was opened as a private view. It is most delightful to attend a gallery of art on these occasions, for then there is a security for meeting those with whom it is delectable to hold a chat: illus THERE are certain circumstances in life which, be-trious patrons, who unbending with noble courtesy to coming epocha, may be likened to resting places for genius, are seen mixing in friendly converse with the memory in its frequent journies backwards and for-professors, are thus most honoured by the honours they wards from infancy to age. Recent years have been pregnant with events, which however mighty in their hour, have been ceaseless in their change, succeeding each other like the waves, even to the confusion of time, who had scarce leisure to enter them in the book of fate. bestow. Here too we met many gentlemen of the Press, and could not but feel a gratification in hearing them express their admiration of this display of original English talent. We could name not one of this potent fraternity who were present, who is not desirous to promote the cause of art: were the Press generally so disposed, with such a powerful alliance, what might not be the triumphs of the British school! In referring to the catalogue of the members of this the great number who commenced with them, and who subsequently joined their ranks, we find that death has thinned the list but of two, a circumstance happily for the interests of the worthy body, widely favorable compared with the ratio of mortal calculation. To us, however, whose philosophical speculations are with the arts of peace, our retrospective data is but a simple chain with here and there a larger link, the length of which is compassed by memory without fa-society, it is perhaps not unworthy of remarking, that of tigue. All the vast events which have agitated the timid, excited the brave, disturbed the gloomy, and given larger latitude to the passions, tempers, and opinions of mankind, have little influence on the minds of those whose pursuits are centered in the love of art; so that danger bursts not with her sister terror into the very closet of the student, he sits calmly at his easel or his desk, and leaves the world to scramble, each for that which he lists, as unconcerned as he, that well known harmless wight of old, who made his mansion of a tub! One epoch with us, then, who have so small a stock of worldly wares to keep us wakeful on the watch, is the opening of the Royal Academy exhibition at Somerset House. We could take the compasses of our memory and stick their points upon the spaces, east, west, north, and south, on the walls where Reynolds, West, Wilson, Gainsborough, Zoffany, Stubbs, and other chiefs of old bung their glorious trophies, now verging fast on half a century ago. These were Samuel Shelley the miniature painter of estimable memory, and one of the original founders, and F. Freebairne the landscape painter, the pupil of the great Wilson, and a very worthy man. We have been suspected of partiality for this society, and a predilection for this species of art, neither of which suspicions are warranted by what we have said, or by what we feel yet were we open to this censure, on what could we better bestow our preference than on that mode of art which has no prototype in any ancient school? It is known, and it is universally acknowledged to have originated with and to have been perfected by, the genius of our soil. As Englishmen then, and as friends to the arts, we profess ourselves to be proud of the British School of Painting in Water Colours. Well may we then remember half that time. Just twenty years, almost to the very day, we on Saturday The amateurs of our standing will remember the publast were carried back by fond reminiscence of the open-lic favour with which this society was hailed, and the ing of the first exhibition of the Society of Painters in high patronage which countenanced their first exhibiWater Colours. It appears verily but as yesterday. We tion at the rooms in Brook-street, Grosvenor-square. met an old friend on entering the new rooms, one of the They will also remember the subsequent successful founders of the society. His visage was as a faithful career of the society, until some of its members, in the mirror, which reflected twice ten years' wrinkles on our restless spirit of change, went near to destroy the charm own brow. "Well," said we, almost simultaneously, it had excited by rashly blending oil paintings with the "time was, in discussing the title for this society, drawings, an experiment begotten in weakness, and perwhether the novel term Painters in Water Colours sisted in by its co-partner, obstinacy, in spite of the might not be considered by the world of taste to savor admonitions of sober judgment and good taste. Hap "Evening," No. 120, and "Sunset," its companion, two small pieces, by G. Barrett, whose superb and glowing landscape compositions adorn the present collection. We remember the father of this old member of the Water-Coberland, painted in body-colours, nearly half a century ago, lour Society, whose admired scenery of the Lakes in Cumwas by some considered to be the precursor of the Panoramas. These well-known works of his ingenious pencil still attract the enlightened tourist to the seat of Mr. Locke in Norbury Park, and are included by the connoisseur among the best of the earliest efforts of the English school of landscape. We have often indulged in the pleasing reverie of the delight it would have afforded the warmhearted and highly-esteemed elder Barrett, to have had a prescience of the fame and talent of his son, for he was an enthusiast in his art. Mr. Barrett painted in body-colours, or what is termed by the French, who excel in that process, gwash. The present art of painting in transparent waterterials thus prepared was practised; but so feeble were colours was then unknown. It is true that drawing with mathe effects wrought by the hands of the ablest professors in those days, that they were designated tinters, and their works, tinted drawings. It was left for Turner, Westall, and Girtin, to develope their hidden powers, with whom certainly originated the present renowned school. pily, the incongruity exposed itself, but not until some Another happy effort of water-colours particularly enof the original members and others who sagaciously talent has remained in obscurity. This is not a landscape, gaged our attention, although by an artist, whose modest opposed the measure quitted the society. Restored to but a coloured study of a gamekeeper, in the service of the its original constitution, the society of late have con- Earl of Essex. It is a very original and masterly example fined their exhibitions to paintings in water colours; of richness and effect. We could here pen some chit-chat a reformation which has been re-productive as we fore-highly creditable to certain members of this worthy fratersaw of the same felicitons results that attended its earlier Who but must honour that genius which, happily being apnity, touching the deterre of this hitherto unknown artist. days, and will so continue we fervently hope even to an preciated, generously applies a share of its merited reward extent commensurate with its superior claims upon pub-in ministering to contemporary talent, pining in solitude, lic approbation. The present collection we feel no and wanting but the friendly hand of patronage to lead it hesitation in proclaiming to be superior to any preced-forth, from unmerited neglect, to run the race for fame. ing one, either viewed as an harmonious tout ensemble, or examined with critical individuality. There is a great preponderance of what is superlatively excellent, original, and generally good, and very little indeed that is not above mediocrity. It is collectively, perhaps, the least exceptionable, if not the most attractive exhibition of modern art that the whole world could produce. That there are not more labels indicating that the picture is sold would have surprised us and excited our regret, had we not recollected that the gallery opened during the Easter recess, a circumstance particularly unfavourable to the members, as the great world at this holy festival is "out of town." In future, when this short season for fashionable rambling occurs thus early, we should suggest for the consideration of the society, whether it would not be beneficial to its interests to postpone its opening until the great world's return? For although we recognized the Marquess of Stafford, Sir George Beaumont, Sir John Swinburne, the brother of that gentleman, and some few other distinguished pa- With reference to the panoramic views, however, protrons of the arts who happened to be in town; yet the perly so designated, it appears that the original thought of first burst of the graphic spectacle amidst a greater asthese grand graphic illusions must be placed to the credit semblage of encouragers of talent, is potent in its bene-day. Sir George Beaumont, in listening to the encomiums of the most distinguished amateur landscape-painter of our fits to artists and to art. The works that are as yet dis- of Mr. Barrett's paintings, as applicable to that complete posed of, are all in small. We wish to see the larger representation of a real scene which should deceive the works promoted to like honours. spectator, denied the premises, unless the picture was disAt the opening of Somerset House we shall be pre-interminable: in illustration of which, Sir George had a played on a circle, where, on looking round, the plane was pared as usual to hear sad murmurings at the prepondescene (we believe in Wales) painted on a limited scale upon rance of portraits; although strange as it might appear the walls of a temporary building, where the spectator, from to foreigners unacquainted with our national taste for a centre, looked around. This was effective, and the first condemning for the pure love of finding fault, that the essay of that popular and most interesting species of pictoEnglish really have an universal passion for portraiture; have derived so much information and amusement. rial representation, from which the public, for many years, so at this display, there are some who begin to affect to think that there are too many landscapes. The English delight in landscape. We can boast the greatest portrait painters, and the most delectable landscape painters in Europe. Proceed then worthy compeers, astonish the world, and continue to please your murmuring countrymen "in spite of their teeth." But of these little landscape compositions of Mr. Barrett's: we are not surprised that such elegant scraps those on the same diminutive scale, by Varley, Fielding, should be eagerly sought by the collector, nor, indeed, that Cox, and others, should as generally please; for the taste and feeling with which they are now wrought in water-colours, by the masterly pencils of these admired artists. render them desirable to all real judges of art. It is only of late that such cabinet productions in this material could be Among those delightful little blue-ticketed scraps of art rendered sufficiently rich and deep in tone, to bear out which are no longer the property of their respective au- against those broad and superb frames, which seemed alone thors, we observed a small landscape on one of the screens, fitted to the power of oil-pictures of the same size; but ex261. A Cottage Scene, by J. Varley," which is a novelty perience has proved that water-colours, by the present imin water-colours. It sparkles with light, and is as transpa-proved process, have an intensity of depth, and splendour rent in depth, and richness of tone, as the purest picture in of effect, which almost raises them to a rivalry with cabinet oil. It is a happy experimental hit. The connoisseur can pictures. only discover that it is not a choice morsel of some old Dutch or Flemish master, by peering at it through his spyglass. "Passengers landing at the Stairs, Gravesend, No. 121, by D. Cox." We are delighted to see the true pictorial sentiment which dazzles in this perfect transcript from na ture. There are moments when the most familiar scenes, on a bright morning, receive a sort of celestial light. Every one endued with that perception which moves the heart to feel the charms of nature, must admit that the author of this little composition has seen and perpetuated that moment. We think this one of the most felicitous bits, to use the Wilsonic phrase, that we have ever beheld in this or any other style of painting. What an unique cabinet collection might be selected from the walls of this elegant gallery of genuine gems of art, and for a less sum than is daily proffered for some questionable, dingy scrap of an old master! There are two other scenes in small," Gravesend Fishing-boats, No. 119," and Boats on the Thames near Gravesend, No. 131," each different in character, but equally well felt, by the same pencil. A scene, "Vessels on the Thames by the Custom House," is another brilliant scrap. It is as aerial as Claude, and rich as Rubens in mind. Had such emanations of genius been struck out with the same happy felicity in oil, by any celebrated master of the old schools, our cognoscenti would load their purses with gold, and outbid each other for the possession of such gems of art. Were it generally understood, that to speculate on the best productions of the English school were a profitable species of traffic, the active spirit of commerce, which is so marked an attribute of our dearly-beloved country, would not only be seen bustling at our exhibitions, but making morning calls at the artist's studies, to forestall and regrate, ere the graphic wares were consigned to the market of taste. We, however, could enumerate many instances of the advantages of this species of traffic of late, and venture to anticipate, that the time is not very remote, when to speculate in works of art will be an object of no mean interest with the British merchant. A recent circumstance will serve in part to illustrate this presumption. The well-known "Wolf and the Lamb," a cabinet picture which does honour to modern art, painted by Mulready, was purchased by our present most gracious Sovereign. It is a recent performance. The committee of the "Artist's Benevolent Fund," among other plans for augmenting the means of that excellent institution, proposed occasionally to have an engraving executed from some choice specimen of the English school, to publish it, and apply the profits to the furtherance of that object. His Majesty, with his accustomed goodness, granted the loan of this picture. A rising artist was engaged to execute an engraving from it, for the sum of eight hundred guineas; proposals have been issued for subscriptions, and the affair is in a promising state of progress. Messrs. Hurst and Robinson, the worthy and liberal successors to that great patron of the fine arts, the late venerable Boydell, with a spirit congenial to their predecessor hearing of the plan, opened a correspondence with the Committee, observing, that as they understood one of the objects for this publication, was to increase the funds of their charitable institution, that they were ready, if agree- || able to the Committee, to take the concern on their own hands: to fulfil their engagement with the engraver, pay him the proposed sum, and as a douceur, to present the Institution with the sum of One Thousand Pounds' "Evening," No. 56, by G. Barrett. We have watched the progress of this artist, we may almost say step by step, from the period when he first commenced his career, and have a drawing before us, a wood scene, from his pencil, drawn twenty-five years ago. We delight in contemplating these early works of distinguished painters, and in comparing them with their recent performances, and not unfrequently fancy we can develope something of the mind and feeling in these germs of genius, which were seen to fructify as they have attained to maturity. We know of nothing so encouraging to the student, as that of exhibiting the various steps by which a genuine master of his art has approached to that ultimate know ledge which raises him to distinction among his ingenious, compeers. He that commences almost, by imitating the style of some favourite master, and attempts no work but through the medium of such a prototype, however greatly he may estimate his own ingenuity, or however ardent may be his practice, must be content with the borrowed honors of an imitator: such a one must, of necessity, remain a mannerist to the end of life. Nothing is more fatal to the progress of a student, than to look to the end with more anxious regard, than to the means; for to expect to rival great and original works of art, by a vain endeavour to do the like, without that previous study of nature, which alone opens the way to originality, would be as futile as to attempt to acquire a knowledge of the ancient classics by mere quotation, heedless of the grammatical rules of the language in which they are written. Mr. Barrett began early to study from nature, and to copy trees, banks, weeds, &c. with careful identity. His early coloured drawings were simple in effect, and chaste in colouring. That depth, richness and luxuriance of general contour which characterize his latter compositions, and which are, at the same time, so faithful to nature, and compatible with the magnificent scenery which he delights to design, has grown imperceptibly from practice, which developing from year to year, new powers in the material in which he works, is thus displayed in pictures that combine all the higher excellencies of the renowned Italian school, and yet are purely original. For although they seem to be composed in the gusto of the Carraccii, or the Poussins, or whomsoever the connoisseur may liken them, they are only comparable with such works, as they are drawn from the same august model, nature in her grandest attire, and copied with a taste genial with the sentiment which operated upon the minds of these renowned painters of old. This scene of EVENING is one of the most elegantly pictorial compositions that we have yet seen from the classic pencil of Mr. Barrett. It is a work of large dimensions for water colours, but there is a breadth of parts, an union as a whole, a display of woods, rock, and water, thrown together with so fine a taste, and resolving into that golden atmosphere, which is the precursor of twilight, with so enchanting a sentiment of repose, that we cannot find terms to express our admiration of its excellence, without the appearance of hyperbole. We could not avoid wishing, as we stood before this admirable specimen of art, that we had seen a few enlightened foreign connoisseurs at our elbows that we might have enjoyed the triumph of their admiration at the perfection of this truly British species of painting. The sky is yet more bright and gorgeous, than we thought possible to effect, by the hitherto comparative limits prescribed to water-colours. Should such a picture as this remain unsold, then should we say that good taste was a dead letter, and that feeling for what is natural in art, was defunct. Surely, until compositions like these find their way into the galleries of our nobility, and others of ample means to encourage native genius, we shall not endure to hear that large sums are expended on new cargoes of Claudes and Dominichinos: such injustice, no sophistry could defend. It would remain an indelible record against such disingenuous upholders of the fame of the dead, to prove that they had a mortal prejudice against the genius of the living, and particularly that of their highly-gifted-countrymen! "An Indiaman Dismasted," No. 207, by S. Prout. There are those who boldly maintain, in the field of speculation, against all combatants, their favourite dogma, that there is no such thing as genius. Be it so we are not rash enough to expose our own heads, by attempting to break a lance upon any wise skull impenetrable. But to deny, that one human being is not more highly gifted with capa city, or perception, or aptitude, for doing that with ease, which thousands labour to do, and never accomplish, Would be no less absurd than to assert, that all mankind were equal in stature, or of the same colour. art. Since the English artists have gone to the great school of Nature for their prototypes, the result has been the same. || Prout, Wild, Nash, Mackenzie, and others eminent in the architectural department, all see with their own eyes, and When we look at the gigantic style displayed in this pic- all describe what they see through the medium of their own torial representation of that ingenious work of man, a huge || perceptions. Hence we have, as it were, Cannalettis, De ship; when we behold its stupendous bulk, thus portrayed Wits, Vanderneefs, and Peter Neefs, and a catalogue of on thirty inches of paper, with all its mighty features large other ingenious worthies, living over again in this new to the eye, as in reality, and compare the delineation of similar objects by the pencils of former artists, in all the Among other subjects from the pencil of Mr. Wild, we puny littleness of common-place imitation, we are lost in noticed "No. 53. The Nave of the Church of St. James at the contemplation of the disparity of human intellect, and Antwerp." This fine interior, abstracted of its great mesee in this picture, as in the writings of Shakspeare, an ex- rits as a picture, cannot fail to excite particular interest; tent of perception, and an original faculty for representa- for within its holy sanctuary is deposited the sacred dust of tion, which must be the gift of heaven to the few, to en- Rubens. At the extremity of the side aisle, on the right lighten the many, who would never advance science, or find of the nave, between the columns, is seen the tomb of this out anything new. "Prince of Painters." No. 245, a small drawing by Mr. We know that there are those who will not be persuaded Wild, represents "The Sepulchral Chapel of Peter Paul that a drawing on paper can merit high encomium, nor that Rubens," in the same church. This particularly interesta picture less than life can exhibit greatness of style. We ing work exhibits a correct view of his tomb, with its moreover know that there are those who will scarcely con-painted altar-piece, before which is placed the crucifix fordescend to allow that painting in water-colours is worthy of merly used in the illustrious artist's private devotions-a a man of mind: but were the respective merits and pro-relic which the whole world of taste must behold with assoperties of science to be estimated by that general vulgar ciations honourable to his virtues and his fame. opinion, which measures only by bulk, or by sound, the double-bass would supersede the violin, and a chronometer would sink in comparison with a clock. Of the other architectural subjects by Mr. Wild, and his able contemporaries, we shall offer our notices at length, and, for the present, only add, that Messrs. Hills, Varley, Much of the additional interest of the two or three last Fielding, Robson, Cox, Turner, Mackenzie, Pugin. Steexhibitions of this Society has been derived from the intro-phanoff, Cristall, and others, have contributed their full duction of many fine topographical works, from the picto- share of original talent to the forming of this admirable rial scenery of the Continent. We had begun to tire of the and attractive collection of paintings in water-colours. endless repetitions of Tintern Abbey from within, and Tintern Abbey from without, and the same by moonlight, and twilight, and every other light in which taste and talent could compose variations to the worn-out theme. So with our castles-old Harlech, sturdy Conway, and lofty Cærnarvon, have every year, of late, lost a century at least of their antiquity, by being so constantly brought before us, and if not let alone, will soon cease to be venerable. EXHIBITION OF THE SOCIETY OF BRITISH SUFFOLK STREET, PALL MALL. The First. THE reasons assigned for the founding of this society are expressed at length in the preface to the printed catalogue of this exhibition. It is therein stated, "that the increase in the number of artists since the founda On the screen farthest from the entrance to this Exhibition, are three topographical representations, which, for boldness of style, and picturesque feeling, we think superior to any works of the kind, of any school, ancient or modern. Had some hireling, itinerant, graphic ferret unearthed these treasures from the site of some Dutch burgomaster's villa, with the initials of old Rembrandt-had they been a little worm-eaten, stained, and torn, the edges corroded, and had they smelt of "dry (or even damp) anti-tion of the Royal Academy by our late revered moquity," what a fortune had it been for the finder. narch, having rendered the rooms of that valuable These admirable traits of modern talent, however, do at- national school inadequate as a place of exhibition for tract, and we were gratified in listening to the encomiums the numerous works of art, annually sent for that purof many able judges upon their extraordinary merit. The subjects are, No. 227, at Frankfort;" "278. South Porch pose; and the British Institution (the only public place of Rouen Cathedral;" 279. Porch of Ratisbone Cathe-of sale) closing its exhibitions of modern art early in dral." Such original examples of the picturesque give a April, in order to diffuse a more general taste for the new impulse to art. The above-mentioned subjects, however, are of a more fine arts by an annual display of the best works of the sketchy character, and not on a large scale. There are old masters, a large body of artists have been induced some views of towns, and some river scenes, of large dimen- under these circumstances to form themselves into a sions, by Mr. Prout, which, for pictorial character, ori-society for the erection of an extensive gallery for the ginality of effect, depth of tone, and general energy of style, || annual exhibition of the works of living artists of the excel all his former works, and may be regarded as wonders United Kingdom, in the various branches of painting, in water-colours. Of these we shall speak at large in a subsequent number. (in oil and water colours) sculpture, architecture, and engraving, at the period when the tasteful and opulent are usually resident in the metropolis, viz-during the months of April, May, June, and July. Mr. Wild is also a contributor of some beautiful and chaste topographical subjects, principally interiors of the ancient ecclesiastical buildings in France and Flanders. We behold with pleasure the growing interest which the water-colour department affords, in the variety of styles That the rooms of the Royal Academy are not suffiwith which each artist depicts what he sees. These cha-ciently spacious to receive for exhibition all or half the racteristics, so eminently displayed in the works of the old masters, were acquired by their sedulous study of the subjects which they painted, from the objects themselves. works that are annually produced, may be readily admitted. Perhaps even one fourth would more than |