Page images
PDF
EPUB

among which were many of high and deserved celebrity: this however he did at the cost of some thousands, in order to enter again the pictorial world as an amateur, in which strange project his success fell much short of his expectations. The mortification of not being able to purchase and distray his inimitable whole length of Garrick as Richard III. for which he offered the late Sir William Wynne one thousand guineas, is said to have deeply affected his mind to the end of his life. He possessed by his union with Mrs. Dummer estates to the amount of £18,000 per annum; and among these was the ancient and beautiful Abbey of Net- || ley, on the Southampton river, and which it seems derived nothing from Sir Nathaniel's taste on the score of preservation. He represented the borough of East Grinstead many years in parliament, and is supposed to have amassed nearly £200,000, most of which he bequeathed to his relatives, the Dummer estate being strictly entailed on that family. Sir Nathaniel was a royal academician, and was created a baronet in 1800, and died at Winchester at the age of eighty-two, but in what year I have yet to learn(Query, 1812)-while on a visit to that city. He was viewing the monument of the late Dr. Littlehale, accompanied by Mr. Sturges, one of the clerks, and complained that he was very cold. On leaving the cathedral, he went to Mr. Hume's, in King-street, and reclining hishead on Lady Holland as she attended him on a sofa, almost instantly expired. Among his works are-" the portrait of the late Duke of Cumberland in the Robes of the Garter, in the State Apartments, Windsor Castle." "Portrait of George the Third at Kensington." "A beautiful Landscape.' "A View in the New Forest," exhibited at the Royal Academy as honorary exhibitor about twenty-one years ago, after he had resigned his diploma, and the last work exhibited by him. His "Orpheus," a fine specimen of English art, was with his "Richard the Third" and "Lord Camden," exhibited in Pall-Mall, in 1817. He also painted "Timon," at the Queen's Palace; the "Bishops Terrick, Thomas, and Cornwallis, at Lambeth Palace." Altar-piece of St. Allhallows, Barking," "St. Paul Restored to Sight by Annanias." a copy from an ancient master, and presented by Sir N. Unfortunately there have been but few engravings from the works of this artist. the majority of his best performances being in the collection of private individuals."

FINE ARTS.

"The

There is now exhibiting. at Rome, a large picture, painted by Mr. J. P. Davis, a British artist, whose works have often been at Somerset House. The subject of the present one is, "The Family of the Talbots receiving the Benediction of the Pope," and it contains sixteen figures of distinguished personages, the size of life; and amongst others, those of the late Pope, Cardinal Gonsalvi, and Canova; and is curious, as being the last portraits for which they ever sat. The picture is mentioned by our Correspondent at Rome, as having excited very great interest, and possessing extraordinary merit. Mr. Davis is also engaged to paint another, as a companion to it, for Mr. Talbot, who is the presumptive heir to the Earldom of Shrewsbury. The picture is 15 feet high, and 12 feet wide.

ARTIST'S SCRAP BOOK. No. IV.

RAPHAEL.

DU FRESNOY, speaking of this extraordinary man, says, "He surpassed all modern painters, (considering the Greeks as the ancients), because he possessed more of the excellent parts of painting than any other; and it is be

lieved he equalled the ancients, except that he designed not naked bodies with so much learning as Michael Angelo; but his gusto of design is purer, and much better. He painted with not so good, so full, and so graceful a manner as Correggio; nor has he any thing of the contrast of the lights and shadows, or so strong and free a colouring as Titian; but he had without comparison a better disposition in his pieces than either Titian, Correggio, Michael Angelo, or all the rest of the succeeding painters to our days. His choice of attitudes of heads, of ornaments, the suitableness of his drapery, his manner of designing, his varieties, his contrasts, his expressions, were beautiful in perfection; but above all, he possessed the graces in so advantageous a manner, that he has never since been equalled by any other.""

HOLBEIN.

HANS HOLBEIN was introduced to Henry VIII. by Sir Thomas More. The latter invited the King to an entertainment, and in the great hall of his house, hung up all the favourite pictures of Holbein, disposed in the most advantageous situations they could be placed. The King was so delighted with the pictures, that he requested to know if the artist were alive, and if any money would tempt him to reside in his court. This was precisely the effect Sir Thomas More wished the pictures to produce. Holbein was introduced to the King, who took him into his service, and recommended him to the nobility, and thus it is that we have so many original paintings by Holbein in this country.

SKETCHES FROM THE CAUSEWAY.

THE BOAR'S HEAD, EASTCHEAP. "Prince Henry. Meet me to-morrow night in Eastcheap, there I'll sup." Hen. IV. First Part.

"P. Henry. Is your master now in London? Bardolph. Yes, my lord.

P. Henry. Where sups he? doth the old Boar feed in the old frank? Bardolph. At the old place, my lord-in Eastcheap." Hen. IV. Second Part.

such visitors, and which Shakspeare has immortalized, as ALAS! for the poor Boar's Head, which once could boast the rendezvous of the facetious Falstaff, his royal Hal, and their ragamuffin associates.

favourite Boar's Head; the blood would perhaps be sumWas Hal to rise from his grave, he would blush for his moned up to Sir John's purple visage; nay, even the brassy cheeks of Bardolph might be invested with a crimson, as deep as that with which his nose was generally illumed, on seeing the tavern they once loved so well, in its now comstone, still ornaments the front of a building in Eastcheap; paratively obscure situation. A Boar's Head, carved in but the sculpture and the structure are both modern, and to make matters still worse for antiquarian prejudices, the bricks, when I saw them, had been newly brightened with ochre, and the grim Boar, partaking of the general improvement, had been painted Waterloo blue, with rosy lips of red, and teeth that would have done honour to any dentrifice employed to scour them.

THE SHADES.

I HAD a worse, or, at least, a less gallant purpose than Orpheus, when I descended to the Shades. The attractions they now hold out are of a different description truly; not to regain a lost Eurydice, but to quaff a glass of good wine,

SOCIETY OF BRITISH ARTISTS,

Suffolk Street, Pall Mall East,

the WORKS of BRITISH ARTISTS, are now OPEN. W. LINTON, Secretary.

Open from 8 till dusk. Admittance Is. Catalogue ls.

after the fatigues and drudgery of a busy forenoon. To this inducement they are now indebted more than their classical associations; the wine may still be as exhilarating: its warmth and sparkle as delightful, though it no longer THE GALLERIES for the EXHIBITION and SALE of soothes the idle hours of an Addison-though its roofs no longer echo to the gay revelry of the wits who with him loved to pass their afternoon in this social haunt of genius. Nay more, it is still reported of the Shades, that here the careless profligate, Charles the Second, would steal from his court, and under the license of his incognito, enjoy the unbounded freedom, and vacuity from care and trouble which the Tavern, not from one but twenty reasons, better felt than explained, is known to authorize and excite.t-Pall Mall East. "Mais Helas! This trysting place of wits has fallen from its high estate,' now almost alone frequented by weary honest citizens for a meridian glass of wine, during the drowsy hour of the siesta."

I descended a short flight of steps, and entered a low, arched apartment of considerable size. and rather dark, so that the Shades of Mrs. Anne Gooding and the dreary abode of Proserpine, in some respects, resemble each other, as both are gloomy and under-ground; and in justice to our fellow-citizens, we presume the comparison to extend no further.

Mr. Rowe observes," that many readers lament to see Falstaff so hardly used by his old friend." Johnson seems to think he had bis deserts:-forshame Doctor, I could approve of Hal's reforma. tion, and the kingly courses he afterwards pursued, without admitting the propriety, or justifying the harshness with which he rejected the jolly knight on his elevation to the Throne. Thousands had his vices, who had not one atom of his humour; indemnity and patronage might have been offered to every one who could lay claim to his wit, without adding to the rewards or enlarging the adherents of folly.

Such is reported of the Shades, that it was in high favour in that period of our history, when even wise men seemed to like every place better than their own fire sides.

MISCELLANEA.

PEYRESC.

THIS learned Frenchman was in England for a few months in 1606. He was presented to King James, who often sent for him to converse with him, and was particularly pleased with the following incident, which Peyresc related to him:

"Peyresc was present at a dinner given by a person of some consequence in London, who had invited many men of learning and science to meet him. In the middle of the dinner, one of them, Dr. Torie, drank to Peyresc out of an immense cup, filled with strong wine, and pledged him to drink it after him. Peyresc excused himself, no less on account of the size of the cup, than on account of the liquor it contained; giving as reasons, the weakness of his stomach, and his not being at all used to drink wine. The excuse, however, was not allowed, and he consented to drink after Dr. Torie, provided he might afterwards be permitted to challenge him in any liquor that he pleased. To this the company, as well as the Doctor, consented. Peyresc then immediately, taking the bowl in his hand, drank it off boldly, all at once, and filled it again with water, he drank to Dr. Torie. The Doctor, little used to such potions, beheld him with astonishment and affright; yet, as he was not allowed to recede from his agreement, he puffed and blowed, put the cup often to his mouth, and as often took it away again, pouring out at the intervals so many verses from the Greek and Roman poets, that the day was near expended before he could get all the water down his throat, so little was he accustomed to so frigid a beverage.'

[ocr errors]

THE EXHIBITION of the SOCIETY of PAINTERS in

WATER COLOURS is now Open at their Gallery, No. 5
Admittance 1s. Catalogue 6d.

COPLEY FIELDING, Secretary.

THE PROPRIETOR of the SELECT GALLERY of ANCIENT PICTURES now Exhibiting at Mr. Cauty's Rooms, 801, Pall-mall, begs most respectfully to offer to the Nobility and Public generally, his sincere acknowledgments for the liberal patronage they have hitherto honoured him with, and acquaints them that in order further to gratify their taste, and to ensure a continuance of their favours, he has possessed himself at a very considerable price, and added to his Gallery the justly celebrated, extraordinary, and most interesting of pictures, the SPANISH INQUISITION. In this picture will be seen at one glance depicted with fearless truth and considerable judgment, the principal tormentors and agents of that most infamous and diabolical institution, at once the execration of the civilized world, the curious and lovers of art will find themselves further gratified in this Exhibition in witnessing Twelve very beautiful compositions in Shell Work, the contribution of an English lady of rank, whose only ambition in submitting them to the notice of the Public, is to show to what perfection art in all its forms may be brought. Open from 9 till dusk.

Admission Is. Catalogue ls.

VIEWS ON THE RHINE, &c.

This day is published, by Robert Jennings, 2, Poultry, Part I. of

A SERIES of SIXTY VIEWS on the RHINE and

MAINE, in BELGIUM and HOLLAND. By Capt. BATTY, of the Grenadier Guards, F.R.S.

A Part, containing Five Plates, engraved in the most finished line manner, and Five Vignette Wood Cuts, with Descriptions in English and French, will appear every Two Months, and the whole be completed in Twelve Parts. The First Part will contain Views of

[merged small][ocr errors][ocr errors][ocr errors][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small]

And Literary Museum:

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

No. XXXI.]

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

EXHIBITION OF THE ROYAL ACADEMY,
SOMERSET HOUSE.

The Fifty-sixth.

NOTWITHSTANDING the increasing Exhibitions of the Fine Arts, which compete for public favor, at this memorable epoch of mental superiority, the Old Royal Academy, on Monday last opened its fifty-sixth annual display to the world, with undiminished eclat..

[SIXPENCE.

The injudicious, not to say preposterous error of enlarging our principal theatres, has rendered an increase of paint indispensable to heighten, into an extravagant expression, the faces of our actors into stage effect, that the spectators may be enabled to see; to keep pace with which, for one error ever begetteth another, the tenderest sentiments must be raved, that the auditors may be enabled to hear: hence the beautiful and elegant ladies in the dress boxes, lovely as they are when seen alone, by comparison with the painted ladies of the stage, appear so many pale faced ghosts. Thus all the natu ral and beautiful touches of the histrionic art, all the pathos of acting, even by the most accomplished per

We learn that many pictures, savoring of all manners, modes and styles, submitted to the critical ordeal, have been rejected, and that, as usual, the condemning fiat of the council, has been received by the lisap-formers, lose their charm, by being overcharged! pointed with inward anger, and outward complaints; with the usual murmurings against injustice, favoritism, prejudice and want of discernment in the executive || department of this proud government.

We, in our office, may be likened to foreign ambassadors, who look on in safety upon these civil broils, and to continue the parity, may write to our own courts, and make our comments freely. We fear not the tyranny of the oppressors, nor are we constrained to make party with the oppressed. We may behold these tumults as aliens, and with Machiavelian spirit secretly enjoy the commotion, or with better feelings moralize on these academic doings, becoming us as philosophers or citizens of the world.

So far however from making cause with the rejected party, we applaud the act of rejection, and heartily wish, that judgment in this affair had been seconded by unlimited authority, and that ta te might have been commanded still to weed out the collection.

This may appear harsh, but we look further than the present, in our zeal for the promotion of the general interests of the arts, and hope the day will arrive, and that we may live to hail that day, when it shall be considered, that to see a picture on those walls shall be sufficient test to warrant, that its author, to use the old chivalric expression, has won his spurs, or proved himself worthy his profession: when, indeed, the liberal, yet unlearned amateur, might venture to purchase any picture congenial to his fancy, by the stamp of currency thus impressed upon it by the Royal Academy.

There is some reformation yet wanting within the body itself, ere this hoped-for consummation. We mean in the shape of a mutual agreement, among some of the most distinguished members of the Royal Academy, to entirely abandon the long too prevalent fashion, of painting up to that fallacious scale-the exhibition key.

VOL. II.

||

So with painting, too much has been, and something still is sacrificed to exhibition effect. Hence, that artist who would depict nature as she is, with that unaffected grace, with that elegant simplicity with which she was wont to be pourtrayed of old, has been thought deficient in fire and spirit: but her vain admirers have at length discovered that the immortal goddess can play the coquette, and that those who do not woo by flattery, will not be the last to win her smiles.

Of the present collection, we can say with genuine feelings of the highest gratification, that it is not only the best generally, but that it is the least exceptionable of any display that we remember to have seen upon the walls of the Royal Academy; and that this exhibition affords examples of painting and sculpture, that would do honour to any of the ancient schools of art.

With respect for the ardour which still urges a distinguished member of our national academy to pursue that high species of composition, which our great arbiters of taste exort contemporary genius to follow as the noblest pursuit of art, but which they do not patronize, when thus meritoriously accomplished, we shall first notice the classic design of Mr. Hilton's Love taught by the Graces. (No. 60.)

"By whose clear voice sweet music was found,
Before Amphion ever knew a sound."

Were a group, as beautifully disposed, as elegantly drawn, with all the attributes of this species of composition so ably combined, as they are displayed in this picture, to be found abroad, and consigned to England, for sale, we are mistaken indeed, if we should not hear of a general competition among our collectors for the possession of so chaste and accomplished a work, to add to the splendor of their mansions. The subject is finely conceived, is purely high sentiment which the story is intended to convey: it is a classic, and wrought with a feeling compatible with the picture painted without the most remote tendency to manner, orstyle; nature pourtrayed with that elevated feeling,

LONDON, MAY 8, 1824.

that elegant simplicity, with which she is drawn by the particularly if it be his first performance, for he will bear great poets of old.

down man, woman, and child, who stand between him and

Portrait of her Royal Highness, the Duchess of Glou-the cbject of his search. cester. Painted by Sir T. Lawrence, P. R. A.

When we take a retrospective view of the collections that were exhibited on these walls subsequent to the death of the illustrious Reynolds, and trace the progress of the arts from that to the present period. When we bring to memory, the meretricious performances coeval with the forming of the Shakespeare Gallery, in the historical department, and the slovenly painted portraits by the hosts of imitators of the great prototype; when we except the few pictures by a remnant of the talent that had been contemporary with Sir Joshua, we can draw a proud comparison in favor of the living school.

Another stalks in, looks at a picture through his quizzing glass, and then at a pretty woman, takes a hasty peep around, and gaping stalks out again. To listen to the general conversation on the pictures however, indeed, is a dramatic treat. We have the scene of the first opening completely before us. There stood a group of engravers, wrapt in wonder before the portraits of the two children of B. Calmady, esq. No. 99. Painted by the President. 66 By Heaven what a picture! what an engraving would it make. Talk of Vandyke! what animation.""Look at the momentary expression.-By the Lord what a magnificent gustodid you ever see locks so preciously plastered on-so gloriIn Sir Thomas Lawrence, we behold a memorable in- ously loose to?" "Pray whose sweet babes may those be ?" stance of mighty talent, after many aberrations from good said a matronly lady: "what a blessing to their parentstaste, after many flights of fancy beyond the boundaries of such angels I never beheld." Next a group of painters, truth, after sweeping on fantastic wings the dazzling regions Well, how d'ye do-what think you of us this year ?" of fiction, returning with new ardor to that path which can "Think! why Sir Thomas has outdone himself again.” only lead to fame. When we behold this moral phenomenon, "Just what I have been observing, 'pon my soul," said we are disposed to rejoice, as on the return of some loved another. "But I say," (half whispering) where the prodigal, who having seen his error, shines the more bright-devil is this to stop?" The party were joined by the vely, as he proceeds to eclipse his former self. At the period nerable *****. ***, an amateur. "So, gentlemen," (bowing of which we speak, this great painter had indulged in a spe- very ceremoniously) "I congratulate the country on this cious, though brilliant style of painting, which had so much very meritorious display-I have always felt confident that of genius to rescue it from censure, that it was tolerated, and || the genius of England is competent to rival all that has yet hailed for a time with such eclat, that it went nigh to been done in any age. This is indeed a proud sight!" corrupt the English school. With no competitor to keep at the same time offering his handsome gold chased pace with him in his carreer, we feared that prosperity snuff-box. "Sir, I remember my illustrious friend, Sir would have spoiled him; but that superior taste which Josh-u-ah once observed to me-Sir, those who succeed enabled him early in life to do that which called forth the me, will see another Athenian age in England.'-That admiration of Sir Joshua Reynolds, has left its wanderings, great man, Sir, like my honoured friend, Mister Edmund and with all the subsequent experience of thirty years of Burke, was gifted with a sort of prescience.- By the way, active exertion, has renovated, and resolved itself into a with deference-Do pray oblige me by your opinion of that course of study, that is no less complimentary to his judg-portrait of Sir Anthony Carlisle-Is it not a very sterling ment, than honourable to modern art. picture? Sir, as Sir Joshua would have said, that is unWe have regarded the recent improvement of the presi- sophisticated, and will go down well with time-a very dent with peculiar satisfaction, having in common with manly fine picture indeed. By the way, I met Sir those who honor genius, felt that by not doing entire jus- An-tho-ny lately in the Park, he appeared in a philosotice to his own rare talent, the country would be frustrated||phical reverie, his coat open thus, his thumbs within the in the proud hope of seeing a contemporary whom poste-arm-holes of his waistcoat-so I would not disturb his sperity should regard, as we regard a Reynolds or Vandyck. culations-very like your learned professor indeed:-I shall Of this we now have nought to fear. call in Cavendish Square, and pay my respects to Mr. Shee, and congratulate him on this happy effort of his art.

This portrait of the daughter of our late venerated Sovereign, is a work that would have graced the highest school of old. It is finely drawn, admirable in colour, unaffected in style, and expressive of that benignity of countenance, and dignity of mien, that adorns the royal prototype-a lady whose virtues are truly worthy of her royal parentage.

Those who really desire to profit by the opinions of artists, upon the works of their contemporaries, should do as we do, on these occasions; that is, make a point of being present at the day of opening an exhibition. It is on the first sight of a picture, that the impression is made,-that impression which conveys the force and sentiment intended by the painter,-and it is at these moments that a looker on may discover the genuine feelings of approbation, or disapprobation, measured with a nicety of discrimination that would, perhaps, astonish those unobservant of such matters, and certainly would teach them something of connoisseurship.

It is amusing to notice the many modes in which the visitors to these delightful morning lounges view the collections. One staring about not at the pictures, but for the numbers, enquires of all whom he elbows, pray do tell me, which is number one? To such it is a six hours' journey round the walls.

Another rushes in, predetermined to make his way to some picture painted by himself, some fifteen stone amateur. He too in essence and in spirit, is only heedful of number one. It is well to keep aloof from such as he

There was so much mobbing before The Widow, No. 113, by W. Mulready, R.A., that the story which is so ably conceived and well told, could only be picked up by instalments. Nothing can be more unjust than the common observation, that artists are remarkable for their envy of each others talent. Now many years of experience enables us to maintain that no profession is less deserving the aspersion. The artists themselves, the highest and best authority, are the very persons who are most busy on these occasions, in pointing out to the visitors at our public exhibitions the merits of the respective works of their coadjutors, and with a most exemplary zeal for the general cause, are the loudest, and most enthusiastic in their commendations of those traits of art which are hit off with felicity.

"What a step, hey!" exclaimed a brother artist, on catching a glimpse of this picture, at the same time yielding his place that his friend might have a chance for the same privilege. It would appear something like a coincidence, were we to know only of this composition, and that by Richter at the Suffolk Street Exhibition, by the respective catalogues. The two subjects, however, although each entitled The Widow, have not the least affinity to each other, excepting that they are both truly original designs, and replete with character.

In this of Mulready's we see an affair of courtship, and to repeat the smart saying which we have related before of the witty widow, the shop is let although the sign is not taken down. This widow still wears the cap of widowhood.

This admirable dramatic composition requires no explanation-every point tells. You are introduced to the parlour behind a shop of business, which is rendered obvious by a well-conceived episode, seen through a window looking thence. Butter and cheese are being weighed out to a crowd of customers. The Widow has three children, two boys, suppose one six, the other seven, and a daughter eight or nine. The tea table is decked, and a suitor is seated by my lady, who, it is obvious, from his self-sufficiency, would rather accept the shop, without the living addendas to the lot. She is pretty, and looks very lack-a-day-sical; he is a smart, well-looking, unpromising help-mate, a rattle and a profligate, without a feeling but for himself. Spendthrifts are always selfish. The boys, with the usual rudeness of chits of that class, with such a mother, are taking freedoms with their step-father elect, who is slyly pinching the ear of the Widow's favourite dog, seated on her lap. An old maid servant makes a capital feature in the composition: she has placed the tea equipage, and waits for the keys of the caddie, which her mistress dangles unconsciously on the ring: appearing lost to all around but the thoughts of her new spouse. This old sour looking soul, stubborn in her integrity, is obviously the friend of the children of her defunct master. A touching incident cannot be overlooked, the daughter, tenderly indulging in sorrowful remembrance of her father, makes a striking contrast to the thoughtless boys; she leans with her elbows on the table, and hands under her chin, in tearful sadness.

Since it is almost demonstrable that the general public taste does not feel the higher excellencies in art, as applied in the more recondite studies of the epic in painting, we cannot but congratulate the professors in this department for the originality with which they invent these truly interesting pictures of common life, the admirable discrimination with which they point their characters, and the truth of expression with which they make each act their part, in their pictorial dramas.

What a Duchess too! How well the noble lady plays her part. "Commend me to her grace." Picture to yourself a Duenna; who but she, this staid piece of Nature's winter work. His is the Duenna! What a group of spring creation, in the waiting women, and the laughing African, with ebon face, and teeth of pearl! yes, it is a precious piece of art. "Bravo, Master Leslie," said our lively friend, clapping his hands, rejoining," but master, re member you are a disciple of the British school!" At this moment, who should press forward but the veteran of the English school. What a day for Nestor to come forth, when St. Swithin, some months before his time, seemed to open the sluices of his reservoir, to drown us all. "Well, my worthy Sirs," said the venerable grey beard, "I have lived almost from the very planting of the tree of arts, but never expected to see it thus attain maturity. Surely, here is enough to pick and cull from to form a gal. lery. His most gracious Majesty should set the example He has subjects, whose genius will mainly help to perpetu. ate the glorious æra of his reign. We should have a Na. tional Gallery of British Art, and every nobleman should patriotically afford His Majesty a helping hand."

EXHIBITION OF THE SOCIETY OF PAINTERS
IN WATER COLOURS,

PALL-MALL EAST.

(Continued from p. 48.)

THERE is much original poetic landscape in this collection, and some landscape from original poetry. Among the latter our attention was arrested by what could not easily be overlooked, an elegant English pastoral composition from "Milton's L'Allegro." To poetic description we are apt to attach so much of the beau ideal, that to personify a poem in painting, the artist is almost expected, if he would desire to please, to outstep the modesty of nature. In this pastoral, by the chaste pencil of Mr. Fielding, we have, however, no imagery, but what may be found in an English landFirst on this range is Leslie's inimitable personification of scape, wherein all is natural, rural, simple, and pic

What a vein of sterling ore "" observed an intelligent friend, pointing from one number to another, all on the same line, conveniently placed to meet the eye. We were particularly struck with the aptitude of the expression,-a vein of sterling ore. We might well liken the surrounding scene to a rich and extensive mine of talent, but this truly is a pure vein.

turesque.

Such was the beautiful native picture of rural felicity which Milton drew. Here we behold no Virgilian shepherds, nor Driades, nor Fauns; nought but simhusband-men, milk-maids, cottagers, and clowns. What a morning scene!

a scene from the most original romance that genius ever
penned: then the two angelic children, by the President, next
the beautifil Leonardo-da-Vinci-like bust by Howard, then
the Widow, by Mulready, the golden line lengthened out by
Wilkie's genial group, from the only true pastoral of nature,
and another, an original emanation of his observant genius.ple
"Faith!" exclaimed our enthusiastic friend, in looking along
these few feet of splendid strata, "I feel proud that I am a
Briton!"

But hold, there is Leslie, a Transatlantic genius. "Phoo!" answered our friend, "has he not been educated in art among us? and has he not sprung from an old English stock? Sir, we hail him of our school!"

"But what a picture it is ye gods!" added another worthy, who joined our group. "I' faith I thought his old Sir Roger de Coverley a capital hit, but Sirs, this leaves it a thousand degrees behind." "My opinion of that composition," added a well-known voice, which is usually listened to as an oracle on art," my opinion is, that this delectable composition will beget a new epoch in taste; for after having seen this incomparable specimen of translation of one art into another, we may henceforth expect graphic works that shall outstrip even imagination! What a Sancho! Hogarth endeavoured to personify him, but he failed. Frank Hayman tried to hit him off, Frank's was the better of the two, but not the squire whom Cervantes drew. Leslie's is the Sancho, and will remain the stock squire for a thousand years!"

"Sometime walking not unseen,
By hedge-row elms, on hillocks green-
While the ploughman near at hand,
Whistles o'er the furrowed land,
And the milkmaid singeth blithe,
And the mower whets his scythe,
And ev'ry shepherd tells his tale,
Under the hawthorn in the dale.

Straight mine eye hath caught new pleasures,
Whilst the landscape round it measures;
Russet lawns and fallows gray,
Where the nibbling flocks do stray;
Mountains, on whose barren breast
The labouring clouds do often rest;
Meadows trim with daisies pied;
Shallow brooks, and rivers wide;
Towers and battlements it sees
Bosom'd high in tufted trees,
Where perhaps some lover lies,
The cyrosure of neighbouring eyes."

« PreviousContinue »