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SOCIETY OF BRITISH ARTISTS,

11. This day is published, in 3 vols. 12mo. price 218. boards, Suffolk Street, Pall Mall East.

TRIALS; a Tale.By the Author of “ The Favourite of THE GALLERIES for the EXHIBITION and SALE of

Nature,” &c. &c.
the WORKS of BRITISH ARTISTS, is now OPEN.

To man in this his trial state,
W.LIN TON, Secretary.

The privilege is given,

When tost by the tides of human fate.
Admittance Is. Catalogue ls,

To anchor fast on Heaven.-WATTS.

Printed for G, and W. B, Whittaker, Ave Maria-lane. THE SOCIETY of PAINTERS in WATER COLOURS

will open their Twentieth EXHIBITION, at their Gallery, No. 5, Pall Mall East, on Monday, April 26.

This day are published, in 12mo. price 4s. 6d. boards, COPLEY FIELDING, Secretary. ITHE ATROCITIES of the PIRATES; being a faithful

Narrative of the unparalleled Sufferings endured by the Author

during his Captivity among the Pirates of the Island of Cuba ; with MR. ROWLEY'S GREAT PICTURE of PARADISE

an Account of the Excesses and Barbarities of those inhuman FreeI REGAINED, taken from the last, but memorable Words of our booters. By AARON Saite, who was himself afterwards tried at Lord, " It is FINISHED." Wherein are combined with the impor | the Old Bailey as a Pirate, and acquitted, tant historical representation of that most extraordinary event, the

Printed for G. and W. B. Whittaker, Ave Maria-lane. evidences and tenets of Christianity, according to the Articles and Homilies of the Church of England,

Now Exhibiting at MR. STANLEY'S Great Room, Maddox. Street, Hanover Square opposite St. George's Church.-Open from

Early next Week will be published, price ONE SHILLING. 10 to 5.-Admission 18.-Description Is.

A FAMILIAR EPISTLE to SIR TH-M-SL-W--NCE,

Knt. President of the Royal Academy of Arts, in London, &c. Just published, price 49. sewed.

&c. &c. AN HISTORICAL PRAGMENT, relative to HER LATE

And may be had of the Booksellers. MAJESTY, QUEEN CAROLINE, Twenty-four hours had not elapsed, from the hour of publishing | Published by JAMES CARPENTER and SON, Old Bond Street. this Fragment, when persors of all parties began to attack us. The reason is obvious-we have administered to the interests of no

THE FINE ARTS. party; and told some few secrets, that neither party wished to hear. We have a few more secrets to tell them shortly after this.

BIOGRAPHICAL DICTIONARY of PAINTERS and Printed for John and H. L. Hunt, Tavistock-street, Covent-garden.

M ENGRAVERS, from the Revival of Painting, and the alleged

Discovery of Engraving by Finiguerra. In three sizes—8vo. 9. 6d. boards—foolscap 8vo. 75. boards-com

By MICHAEL BRYAN mon edition, 18mo. ONE SHILLING, sewed,

In this work is given two Indexes, alphabetical and chronological: DON JUAN, Cantos XV. and XVI.

and the Introduction comprises a brief account of the Painters of

Antiquity. It also contains tive plates, exbibiting the particular D Printed for John and H. L. Hunt, Tavistock-street, Covent

marks and monograms used by the different Engravers; together Garden.

with a list of their works, in two thick volumes, in 4to., price 51, 5s. Of whom may be had in 8vo, price 5s.

in boards; and on supartine royal paper, 91. THE DEFORMED TRANSFORMED, a Drama, by the Rt. Hon. « We congratulate the lovers of the fine arts on the appearance of Lord Byron.

tbis 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 jull, and partiMR. STEVENSON'S NEW WORK ON CATARACT, cular, and the whole performance contains about thrice the quantity Dedicated by permission, to the King.

of matter to be found in Pilkington."--Literary Gazette.

In Royal 8vo., Price £2. 2s, in boards; and in Imperial 8vo., with This day is published, in 8vo. price 8s. boards,

Proof Impressions of the Plates on India paper, £5. 58. A TREATISE on the NATURE and SYMPTOMS of

2. CATARACT and the Cure of that Disease in its early stages, by a Mode of Practice calculated to prevent the occurrence of

|| THE SOCIAL DAY: A Poem in Four Cantos. By PETER Blindness, and to render unnecessary the common operations of

· Coxe. Ilustrated by Thirty-two exquisitely engraved CopperCouching and Extraction ; illustrated by Cases.

plates, after the Designs of Wilkie, Sinirke, Cooper, Ward, &c. &c.

It may safely be stated that the above Work is one of the most By JOHN STEVENSON, Esq.

elegantly embellished, and certainly the cheapest, that ever issued Fellow of the Royal College of Surgeons ; and Surgeon Oculist and from the Press; each set of the Plates being alone worth more than Aurist to his Royal Highness the Duke of York, &c. &c.

the price charged for the whole Book.- A single Proof and Etching

of the Broken China Jar," by Warren, after Wilkie, was sold for Printed for G. and W. B. Whittaker, Ave Maria-lane

£3, 16s, at the late Mr. Warren's Sale. This day is published, in 8vo. with a large Map, price 12s. boards.

3. THE GREEK REVOLUTION; its origin and progress:

In 12 Nos. 4to. Price £3.3s. in Boards. together with some Remarks on the Religion, National Charac.

RURAL ARCHITECTURE; or, A Series of Designs for ter, &c. in Greece, By EDWARD BLAQUIERE, Esq. Author of "An

. Ornamental Cottages, Lodges, Farms, Boat-houses, &c. &c. acHistorical Review of the Spanish Revolution," &c. &c.

companied by Ground Plans, and Geometrical Elevations. By P. F. I Printed for G. and W. B. Whittaker, Ave Maria-lane.

ROBINSON, Architect.

... Any single Number may be had.-Price 59. This day is published, in post 8vo. price 8s. boards, the Second

Édition of
THE LUCUBRATIONS OF HUMPHREY RAVELIN,

London: Printed by SHACKELL and ARROWSMITH, John. Esq., late Major in • Regiment of Infantry. “He was wont to speak plain and to the purpose, like an honest man and a Soldier ;

son's Court ; and published by W. WETTON, 21, Fleet Street. and now he is turn'd orthographer."--Shakespeare.

and may be had of J. WARREN, 7, Brydges-street, Covente Printed for G. and W. B. Whittaker, Ave Maria-lane.

garden, also of all Booksellers and Newsmen.

And Literary, Museum:

OR, WEEKLY MISCELLANY OF FINE ARTS, ANTIQUITIES, AND LITERARY CHIT CHAT, No. XXX.] By Ephraim Hardcastle.

[SIXPEXCE. d stamped Edition for Country Circulation, postage free, Price Tenpence.

EXHIBITION OF THE SOCIETY OF PAINTERS of assumption—who now, on looking round, will feel IN WATER COLOURS,

disposed to question the merits of that title?" PALL-MALL EAST.

On that day the exhibition was opened as a private

view. It is most delightful to attend a gallery of art on The Twentieth.

these occasions, for then there is a security for meeting

those with whom it is delectable to hold a chat : illusTHERE 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 bestow. Here too we met many gentlemen of the pregnant with events, which however mighty in their | Press, and could not but feel a gratification in hearing hour, have been ceaseless in their change, succeeding them express their admiration of this display of original each other like the waves, even to the confusion of time, | English talent. We could name not one of this potent who had scarce leisure to enter them in the book of fraternity who were present, who is not desirous to profate.

mote the cause of art : were the Press generally so disTo us, however, whose philosophical speculations are | posed, with such a powerful alliance, what might not be with the arts of peace, our retrospective data is but a | the triumphs of the British school! simple chain with here and there a larger link, the In referring to the catalogue of the members of this 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 the great number who commenced with them, and who timid, excited the brave, disturbed the gloomy, and given || subsequently joined their ranks, we find that death has | larger latitude to the passions, tempers, and opinions of thinned the list but of two, a circumstance happily for mankind, have little influence on the minds of those || the interests of the worthy body, widely favorable comwhose pursuits are centered in the love of art; so that | pared with the ratio of mortal calculation. danger bursts not with her sister terror into the very | These were Samuel Shelley the miniature painter closet of the student, he sits calmly at his easel or his of estimable memory, and one of the original founders, desk, and leaves the world to scramble, each for that || and F. Freebairne the landscape painter, the pupil of which he lists, as unconcerned as he, that well known | the great Wilson, and a very worthy man. harmless wight of old, who made his mansion of a We have been suspected of partiality for this society,

and a predilection for this species of art, neither of One epoch with us, then, who have so small a stock which suspicions are warranted by what we have said, of worldly wares to keep us wakeful on the watch, is the or by what we feel : yet were we open to this censure, opening of the Royal Academy exhibition at Somerset | on what could we better bestow our preference than on House. We could take the compasses of our memory that mode of art which has no prototype in any anand stick their points upon the spaces, east, west, north, cient school? It is known, and it is universally acand south, on the walls where Reynolds, West, Wilson, knowledged to have originated with and to have been Gainsborough, Zoffany, Stubbs, and other chiefs of old Il perfected by, the genius of our soil. As Englishmen bung their glorious trophies, now verging fast on half a then, and as friends to the arts, we profess ourselves to century ago.

be proud of the British School of Painting in Water Well may we then remember half that time. Just Colours. 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, ll it had excited by rashly blending oil paintings with the “ time was, in discussing the title for this society, ll 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

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pily, the incongruity exposed itself, but not until some | Another happy eflort of water-colours particularly enof the original members and others who sagaciously

gaged our attention, although by an artist, whose modest

talent has remained in obscurity. This is not a landscape, 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 iheir 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 frater

nity, touching the deterre of this hitherto unknown artist. saw of the same felicitons results that attended its earlier

Who but must honour that genius which, happily being apdays, 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.

6. Evening,'' No. 120, and “ Sunset,” its companion, ing one, either viewed as an harmonious tout ensemble, two small pieces, by G. Barrett, whose superb and glowing or examined with critical individuality. There is a landscape compositions adorn the present collection. We great preponderance of what is superlatively excellent,

remember the father of this old member of the Water-Co

lour Society, whose admired scenery of the Lakes in Cumoriginal, and generally good, and very little indeed that

berland, painted in body-colours, nearly half a century ago, is not above mediocrity. It is collectively, perhaps, the

was by some considered to be the precursor of the Panoleast exceptionable, if not the most attractive exhibition ramas. These well-known works of his ingenious pencil of modern art that the whole world could produce.

still attract the enlightened tourist to the seat of Mr.

Locke in Norbury Park, and are included by the connoisThat there are not more labels indicating that the

seur among the best of the earliest efforts of the English picture is sold would have surprised us and excited our school of landscape. We have often indulged in the pleasing regret, had we not recollected that the gallery opened reverie of the delight it would have afforded the warmduring the Easter recess, a circumstance particularly un

hearted and highly-esteemed elder Barrett, to have had a

prescience of the fame and talent of his son, for he was an favourable to the members, as the great world at this

enthusiast in his art. Mr. Barrett painted in body-colours, holy festival is “ out of town." In future, when this or what is termed by the French, who excel in that process, short season for fashionable rambling occurs thus early, gwash. The present art of painting in transparent waterwe should suggest for the consideration of the societv || colours was then unknown. It is true that drawing with mawhether it would not be beneficial to its interests to post- ll the effects wrought by the hands of the ablest professors in

Il terials thus prepared was practised; but so feeble were pone its opening until the great world's return? For those days, that they were designated tinters, and their although we recognized the Marquess of Stafford, Sir || works, tinted drawings. It w

Sir | works, tinted drawings. It was left for Turner, Westall, and George Beaumont, Sir John Swinburne, the brother of ||

Girtin, to develope their hidden powery, with whom cer

tainly originated the present renowned school. 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 as these grand graphic illusions must be placed to the credit semblage of encouragers of talent is potent in its bene. Il of the most distinguished amateur landscape-painter of our fits to artists and to art.

day. Sir George Beaumont, in listening to the encomiums 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

played on a circle, where, on looking round, the plane was

interminable : in illustration of which, Sir George had a pared as usual to hear sad murmurings at the preponde

scene (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;

rial representation, from which the public, for many years,

have derived so much information and amusement. so at this display, there are some who begin to affect to But of these little landscape compositions of Mr. Barthink that there are too many landscapes. The English | rett's :- we are not surprised that such elegant scraps delight in landscape. We can boast the greatest por

should be eagerly sought by the collector, nor, indeed, that

those on the same diminutive scale, by Varley, Fielding, trait painters, and the most delectable landscape pain

Cox, and others, should as generally please; for the taste ters in Europe. Proceed then worthy compeers, astonish and feeling with which they are now wrought in water-cothe world, and continue to please your murmuring

lours, by the masterly pencils of these admired artists, rencountrymen “ in spite of their teeth."

der 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 ex“ 261. 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 “ Passengers landing at the Stairs, Gravesend, No. 121, Dutch or Flemish master, by peering at it through his spy by D. Cox." We are delighted to see the true pictorial glass.

sentiment which dazzles in this perfect transcript from nature. There are moments when the most familiar scenes, ledge which raises him to distinction among his ingenious on a bright morning, receive a sort of celestial light. Every || compeers. one endued with that perception which moves the heart to He that commences almost, by imitating the style of feel the charms of nature, must admit that the author of some favourite master, and attempts no work but through this little composition has seen and perpetuated that mo the medium of such a prototype, however greatly he may ment. We think this one of the most felicitous bits, to use estimate his own ingenuity, or however ardent may be his the Wilsonic phrase, that we have ever beheld in this or any practice. must be content with the borrowed honors of other style of painting. What an unique cabinet collection || an imitator: such a one must, of might be selected from the walls of thig ele, ant gallery of nerist to the end of lile. genuine gems of art, and for a less sum than is daily prof Nothing is more fatal to the progress of a student, than fered for some questionable, dingy scrap of an old master! || to look to the end with more anxious regard, than to the

There are two other scenes in small,“ Gravesend Fish means ; for to expect to rival great and original works of ing-boats, No. 119,” and “ Boats on the Thames near art, by a vain endeavour to do the like, without that preGravesend, No. 131,' each different in character, but || vious study of nature, which alone opens the way to oriequally well felt, by the same pencil. A scene, “Vessels | ginality, would be as futile as to attempt to acquire a on the Thames by the Custom House." is another bril. || knowledge of the ancient classics by mere quotation need liant scrap. It is as aerial as Claude, and rich as Rubens in || less of the grammatical rules of the language in which mind. Had such emanations of genius been struck out they are written. with the same happy felicity in oil, by any celebrated mas. || Mr. Barrett began early to study from nature, and to ter of the old schools, our cognoscenti would load th

copy trengs, banks.

careful id lentity. His purses with gold, and outbid each other for the possession early coloured drawings were simple in effect, and chaste in of such gems of art.

colourink. That depth, richness and luxuriance of geneWere it generally understood, that to speculate on the ral contour which characterize his latter compositions, and best productions of the English school were a profitable ll which are.

which are, at the same time, so faithful to nature, and species of traffic, the active spirit of commerce, which is so compatible with the magnificent scenery which he delights marked an attribute of our dearly-beloved country, would | to design, has grown imperceptibly from practice, which not only be seen bustling at our exhibitions, but making developing from year to year, new powers in the material morning calls at the artist's studies, to forestall and regrate,

d regrate, ll in which he works, is thus displayed in pictures that comere the graphic wares were consigned to the market of taste. bine all the higher excellencies of the renowned Italian We, however, could enumerate many instances of the ad school, and yet are purely original. For although they vantages of this species of traffic of late, and venture to an seem to be composed in the gusto of the Carraccii, or the ticipate, that the time is not very remote, when to specu

ote, when to specu- | Poussins, or whomsoever the connoisseur may liken them. late in works of art will be an object of no mean interest they are only comparable with such works, as they are with the British merchant.

drawn from the same august model, nature in her grandest A recent circumstance will serve in part to illustrate this attire, and copied with a taste genial with the sentiment presumption. The well-known" Wolf and the Lamb,” all which operated upon the minds of these renowned painters cabinet picture which docs honour to modern art, painted of old. by Mulready, was purchased by our present most gracious This scene of EVENING is one of the most elegantly pictoSovereign. It is a recent performance. The committee of rial compositions that we have yet seen from the classic

st's Benevolent Fund,” among other plans for || pencil of Mr. Barrett. It is a work of large dimensions augmenting the means of that excellent institution, pro for water colours, but there is a breadth of parts, an union posed occasionally to have an engraving executed from some as a whole, a display of woods, rock, and water, thrown tochoice specimen of the English school, to publish it, and gether with so fine a taste, and resolving into that golden

urtherance of that object. His | atmosphere, which is the precursor of twilight, with so Majesty, with his accustomed goodness, granted the loan of enchanting a sentiment of repose, that we cannot find this picture. A rising artist was engaged to execute an en terms to express our admiration of its excellence, without graving from it, for the sum of eight hundred guineas; pro the appearance of hyperbole. posals have been issued for subscriptions, and the affair is We could not avoid wishing, as we stood before this adin a promising state of progress.

mirable specimen of art, that we had seen a few enlightMessrs. Hurst and Robinson, the worthy and liberal suc ened foreign connoisseurs at our elbows that we might cessors to that great patron of the fine arts, the late vene have enjoyed the triumph of their admiration at the perrable Boydell, with a spirit congenial to their predecessor fection of this truly British species of painting. The sky hearing of the plan, opened a correspondence with the is yet more bright and gorgeous, than we thought possible Committee, observing, that as they understood one of the to effect, by the hitherto comparative limits prescribed to objects for this publication, was to increase the funds of water-colours. Should such a picture as this remain untheir charitable institution, that they were ready, if agree- || sold, then should we say that good taste was a dead letter, able to the Committee, to take the concern on their own and that feeling for what is natural in art, was defunct. hands: to fulfil their engagement with the engraver, pay || Surely, until compositions like these find their way into the him the proposed sum, and as a douceur, to present thc In galleries of our nobility, and others of ample means to enstitution with the sum of One Thousand Pounds'

| courage native genius, we shall not endure to hear tha “ Evening," No. 56, by G. Barrett. We have watched the large sums are expended on new cargoes of Claudes and progress of this artist, we may almost say step by step. Dominichinos: such injustice, no sophistry could delend. from the period when he first commenced his career, and It would remain an indelible record against such disingehave a drawing before us, a wood scene, from his pencil, nuous upholders of the fame of the dead, to prove that they drawn twenty-five years ago. We delight in contemplating had a mortal prejudice against the genius of the living, and these early works of distinguished painters, and in com particularly that of their highly-gifted-countrymen ! paring them with th ir recent performances, and not un " An Indiaman Dismasted,'' No. 207, by $. Prout. There frequently fancy we can develope something of the mind are those who boldly maintain, in the field of speculation, and feeling in these germs of genius, which were seen to against all combatants, their favourite dogma, that there fructify as they have attained to maturity.

is no such thing as genius. Be it so : we are not rash We know of nothing so encouraging to the student, as enough to expose our own heads, by attempting to break that of exhibiting the various steps by which a genuine Il a lance upon any wise skull impenetrable. But to deny, master of his art has approached to that ultimate know that one human being is not more highly gifted with capa

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city, or perception, or aptitude, for doing that with ease, || Since the English artists have gone to the great school of which thousands labour to do, and never accomplish, Nature for their prototypes, the result has been the same. would be no leng absurd than to assert, that all mankind Prout, Wild, Nash, Mackenzie, and others eminent in the Were equal in stature, or of the same colour.

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 si art. milar 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 or 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 l 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 Of the other architectural subjects by Mr. Wild, and his double-bass would supersede the violin, and a chronometer able contemporaries, we shall offer our notices at length, would sink in comparison with a clock.

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

cto- || 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 EXHIBITION OF THE SOCIETY OF BRITIS: could compose variations to the worn-out theme. So with our castles-old Harlech, sturdy Conway, and losty Car

ARTISTS, narvon, have every year, of late, lost a century at least of their antiquity, by being so constantly brought before us,

SUFFOLK STREET, PALL MALL. and if not let alone, will soon cease to be venerable. On the screen farthest from the entrance to this Exhibi.

The First. tion, 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 mo

The reasons assigned for the founding of this society dern. Had some hireling, itinerant, graphic ferret un- || are expressed at length in the preface to the printed earthed these treasures from the site of some Dutch burgo catalogue of this exhibition. It is therein stated, “ that master's villa, with the initials of old Rembrandt-had they been a little worm-eaten, stained, and torn, the edges cor

the increase in the number of artists since the foundaroded, and had they smelt of " dry (or even damp) anti

tion of the Royal Academy by our late revered moquily," 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 of many able judges upon their extraordinary merit. The

the numerous works of art, annually sent for that pursubjects 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 towne, 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 in water-colours. Of these we shall speak at large in a

| United Kingdom, in the various branches of painting, subsequent number.

(in oil and water colours) sculpture, architecture, and Mr. Wild is also a contributor of some beautiful and

engraving, at the period when the tasteful and opulent chaste topographical subjects, principally interiors of the ancient ecclesiastical buildings in France and Flanders.

| are usually resident in the metropolis, viz-during the We behold with pleasure the growing interest which the | months of April, May, June, and July. water-colour department affords, in the variety of styles That the rooms of the Royal Academy are not suffi. with 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 sub

works that are annually produced, may be readily adjects which they painted, from the objects themselves. | mitted. Perhaps even one fourth would more than

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