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choose this of master Constable's, as the best of my neigh- tallest lady of the group: “ you perceive Mr. ..... that bour's collection. Perhaps I am wrong."

I have not forgotten your favorite expression.” "No, Sir, you are right,” said the painter, " it is as fine " It is quite an artistical phrase,'' said the artist, smiling, a picture as ever was painted by any of the old masters.” " and much honoured by your adoption."

"Pray allow me to ask you-but I do not know that it is “O!” replied the ladies, “it is quite idiomatical. It fair, as you practise in the same line of art.”—“ Out with || implies all we feel, and more than we can describe ; it is cerit, Sir," said the painter, " we have no narrow professional | tainly a most genial expression of one's delight, on beholdfeelings.”-“I am glad to hear it,” replied the worthy com ing so beautiful a trait of the picturesque, Ilow this would mercialist. - No, no, I dare say not-you men of science have been felt by Goldsmiile added another of the ladies. ought to feel superior to such notions. Then I would ask, " It would have led him back, gentle poet, to the bappy what is your opinion of that portrait in the otber room days of bis sweetest Auburn." The angelic maiden whisthat of my old friend, Sir William Curtis ?"--" Think of it, pered, “I could sit and weep over this picture of inSir! Why it is an imperial picture. It is magnificent as nocence and peace.” Rubens, and splendid as Vandyck. Sir, it will be bailed We should not feel surprised if his lordship should pay a by posterity as the grandest personification of London's visit to Mi, Collins, to treat for the purcbase of the cottage civic chair!

to present it to the sentimental fair one. We believe, how* Very handsomely said, Sir, very bandsome indeed," ad- ll ever, that it has already found a purchaser. If not. " the ded the commercialist. “Why. Sir, we shall by and by more is the pity, the greater is the shame !" We must refeel as proud of our artists as we do now of our soldiers and iterate that the era is accomplished, when the true pasailors!)

trons of genius are called upon by contemporary talent in “I am looking for No. 126, the Oriental Love Letter. which all the departments of the fine arts, to commence the formamy youngest daughter has marked on the catalogue : (whis tion of galleries of English works. Could our fiat be potent, pering) these pretty love titles never escape the observance || we should proclaim, " Be it set about accordingly." of the girls, hey, Mr.****. O! there it is I see. Well, || Now if we had a fine mansion, we should hang our state I like your tasie my good girl. Do you not reckon that a rooms with satin damask, as his most gracious majesty has fine piece ? let me see, painted by H. W. Pickersgill. That || done at Carlton House, choosing a colour that should relieve appears to me to be a very fine work indeed.”

pictures with effect. For one apartment, we should select ** It is a fine work. Sir, a very fine work, and by one of our || from this collection. (We must jancy ourselves in posses. most improving painters.

sion of a faculty, like that of the late ruler's 66 Then I shall begin to think myself something of a || taking what we please.) First Sir Thomas Lawrence's judge. I' faith, I could venture to say no one could look || half length of the Princess Mary, in honor of her royal upon that piece, and not admire it. What a sweet, gentle, || highness's dignity and virtue. We should put our seal modest countenance. How thoughtful she appears; puz- || upon Sir William Curtis, in respect for his lovalty, and sozling out the meaning; hey? Sweet maid, any father might || cial beartedness. We should steal the images of the tivo be proud to own you for a daughter; or any son for a lover, || beautiful children, and expiate the robbery. by a French

life" ha ha ha! rejoined the wortly citizen, Il compliment in politeness, but an English one in sincerity, upon my life laughing at the pleasantry of the conceit.

with-may theirliving prototypescontinue a growing blessing - How we miss Turner this year!” observed a nobleman, to their parents. Rochester Bridge should be ours. The who was passing round with an elegant group of ladies. honest old pilot should go over it in perpetuity, without * There is wanting one of his fine classic landscapes to sup- || paying toll. Constable's Lock, should only be opened to the port the character of the British school.”

lovers of art, by our golden kry. Collins's village should " But, my lord, we have many sweet landscape composi be copied by himself in his best manner. The fair lady tions, and very true to nature," said one of the ladies; “ in should have her choice of the two. Leslie's Duchess and deed I admire them o truly English.",

Sancho, should have a centre place. This incomparable "That I admit," replied his lordship. “But the world || piece we should bequeath to the national gallery with an inshould see that we excel in every department of design. | Junction, that no miscreant picture cleaner should touch it There is a loftiness of feeling, a mind, a sentiment in his for nine hundred and ninty-nine years. Hilton's Grace's works which elevate our perceptions of fine art."

should be marnificently framed over the fire place. Etty's 6 But my lord, let me beg your opinion of this village Pandora should ornament a chosen spot on the opposite scene; what is it entitled? The Cherry Seller, a scene at angle of the apartment. Cooper's Battle pieces should Turvey, Bedfordshire, painted by W. Collins, R. A." occupy conspicuous sites in our choice cabinet room, where** A Bedfordshire coitage indeed !” said his lordship. “I || in spaces, on

deed!” said his lordshin. 6 || in spaces, on a level with the eve, should be left for Wilkie's know the scene. Bedfordshire abounds with rural villages." || Smugglers and his Cottage Toilette. At this moment a member of the Water Colour Society was What we should select for ourother apartments, we must recognised by the ladies. They were tourists; all the ele- || leave for another visit, when our readers may bave an opgant-minded among the British fair, are amateurs of land- | portunity, if it be their pleasure, of comparing whether their scape. This artist, than whom no one has a tiner taste for | tastes and our tastes agree. the picturesque, had enjoyed the honor of a tour to the laking with the noble family. - Happy indeed are we to meet with you here. said the ladies." His lordship condescend EXHIBITION OF THE SOCIETY OF BRITISH ingly took him by the arm. “I regret that there are none of the works of our great Turner on these walls.'' said

ARTISTS, his lordship. “ I have this moment heard the same observation from many of my professional friends,'' my lord, re

SUFFOLK STREET, PALL MALL. plied the artist: “I believe it is a subject of regret with the whole profession: It seems as though he were dead; he that

The First. was the life of the exhibition 1;)

6 These ladies,” said his lordshir, are not of our opinion. That there is so great a preponderance of indifferent

** Nay, that is not fair, my lord,” replied the elegant pictures in this vast collection, cannot surprise, when it group. Indeed we are devotees at the shrine of bis ge- || is considered that there is no lack of numbers of pic6. Then I forgive you," rejoined his lordship, with a smile.

tures, drawings, and models, in the other exhibitions ** Is not this village of Turvey, a sweet' bit," said the that have been submitted to the public within the last

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four months. The congregated numbers of the whole, ll in hand, and not to consider it finished, until the last, with those. rejected from each-together with those and utmost effort has been bestowed to render it comwhich remain in the apartments of their respective plete. One well studied, meritorious performance, has authors, and those prepared for northern, and other borne a rising artist at once within the regions of provincial exhibitions, if seen together, would go near | fame, whilst an hundred hasty productions, with all to cover the walls of one of the metropolitan squares. | their cleverness, and smart pretension, would not have The best of these labours of the last twelve months, || advanced him one single step upon the road. generally speaking, we may presume, were consigned 1. These remarks, as we before observed, are addressed for show to the established institutions. The general | to the rising school. We lament to say, however, that invitation, as we observed before, held out by this new in some instances they may be applied to those who society, would naturally induce an unusual influx of | have long passed their probationary studies. We could works of multifarious mediocrity. Hence, we are not name a landscape painter, whose compositions in water surprised that there is so much that is bad, but rather colours have a thousand times afforded us delight, and that the collection has so much that is good.

whose paintings in oil might command any price, Much allowance must be made, however, for the were he to concentrate the whole force of his talent in lateness of the institution, which was not formed until | perfecting one piece, where he gives loose to his imavery recently: not indeed in sufficient time to give it gination in making twenty. To say that we are aspublicity, in all the little colonies of art, now formed | tonished at the fecundity of his invention, or surprised or forming in every part of the empire; whilst in the at the rapidity of his execution, would be but weak metropolis many “ off and on" gentry, were prudently praise, to what we should feel proud in bestowing upon restrained from joining the society, until they had seen his works, if he would consent to do justice to his whether the plan was likely to succeed. If it should, ll great and original capacity. There is no failing more these will be among the first, no doubt, to enlist under | injurious to the reputation of a man of genius, than its successful banners, for the ensuing campaign. If that of being too easily satisfied with his own labours ! it should not, they will plume themselves upon their THE SEVENTH PLAGUE IN EGYPT, PAINTED BY J. MARTIN. sagacity and foresight.

" And the Lord said unto Moses, stretch forth thine hand In speaking thus freely of the general character of || toward Heaven, that there may be hail in all the land of the exhibition, we mean not to condemn the collection, Egypt, upon man, and upon beast, throughout the land of or to depreciate the talent of even the meanest of the

Egypt.

* And Moses stretched forth his rod towards Heaven, aspirants for the future honours of fame. We know

and the Lord sent thunder and hail, and the fire ran along not amongst the young practitioners, whose early the ground; and the Lord rained hail upon the land of essays are here made public, who may be destined to remain dunces in art, or who may henceforth shine

“So there was hail, and fire mingled with hail, very

grievous, such as there was none like, in all the land of amidst a new galaxy of genius. We affect no prescience

Egypt, since it became a nation. in these matters. Garrick in many instances, great as "Only in the land of Goshen, where the children of he was in his own art, and quick as he was acknow Israel were, was there no hail.” ledged to be in his perceptions, condemned many a I No writings, the labours of human genius alone, young actor, who lived to show, that his foreknowledge || afford descriptions equally awful and sublime for the was not infallible. The great Mrs. Siddons, too, may || contemplation of the painter and the sculptor, with be quoted as another illustrious instance, of equal falli- || those of the sacred scriptures : hence the loftiest works bility in prejudging thus unfavourably of incipient of art, are those which have been derived from the talent.

pages of the Holy Bible. Our occupation is not to discourage laudable exertion, We remember various magnificent architectural deby seeking occasion to find fault, but rather to encou- signs, by certain of the old masters, and one in partirage talent, by pointing out what is promising in cular of the Building of the Tower of Babel, which the works of the rising artist, and in stimulating him was truly poetic and imaginative, as the upper part of to perseverance in his studies. In many of the pic- || that stupendous structure was lost in the clouds. tures in this collection, by artists whose performances, | With the exception of this, however, no picture that we nor even names, we had not known before, we perceive | have seen, is comparable for sublimity of invention enough to augur favourably of, if they are determined with the architectural compositions of Mr. Martin. to do justice to themselves. To these we would ad- | His lofty and original conception of these subjects dress a word of advice, founded on the experience and make a new feature in the art. opinion of those who have too clearly demonstrated. This praise, we presume, whatever opinions may be its truth, to leave a doubt of its importance in the ar- | held of his style of painting, few will be found to duous pursuits of painting. It is simply this, to study || dispute, even among the most fastidious of the critical sedulously from nature. Not to divide the attention by corps. many works in progress at the same time, but rather | That his painting, either as to colouring or execution to bend the whole energies of the mind to the subject will not bear the test of sober examination, must be

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ULSWATER, CUMBERLAND, LOOKING TOWARDS PATTERDALB,

acknowledged; but there is an effect so awfully im- || of the school. It is luminous in effect, chaste in coposing, thrown over his works, that we are willing to lour, and painted with a bold and masterly hand. We endeavour to enter into his intention, and receive them think it would have admitted of more careful finishing : with all their faults, as pictures of mighty imagination, || indeed it has the appearance of being principally and painted in a style, not entirely incompatible with painted in the air, for the blaze of light is more powthe supernatural appearances which he would describe. I erfully described, than we are accustomed to see, in

It was not unaptly observed by a wag, that “ Mr. ll pictures entirely wrought in an artist's sombre metroMartin must have been born with prisms for eyes." Il politan study.' We are not prone to enjoy wit at the expence of great || Windsor, Moonlight, No. 87, and Moonlight comand original talent, but we could not forbear to smile at position, No. 27, are painterlike representations of this the conceit. A satirical hint has been sometimes I poetic season of the night. We remember a little picknown to correct erroneous habits, that were stubborn || ture of Windsor, at moon rise however, with the lamp against sober remonstrance.

| light, seen through the old gothic casements in the We seriously recommend Mr. Martin to avoid those || lofty buildings about the Horse-shoe Close, by Mr. violent oppositions of colour, which prevail in his pic- || Hofland, which surpassed all that has been done since ture, and to study to be less prismatic in his hues. || the time of Vanderneer. That admirable scrap was more This grand subject, represented under the same magical | highly wrought than these, and to our taste, valuable influence of light, had the colouring been properly |in proportion to the labour which has been bestowed subdued, would have lost nothing of its originality, l upon it. Mr. Hofland does not always do entire jusbut have obtained for its author, that which is reluc- || tice to his superior talent. tantly denied, unqualified praise.

We understand that Mr. Hofland is painting a large We may say of this extraordinary work, that the commission picture for Sir John Fleming Leicester, thioking part is sublime, but that the executive part is The subject, Our Saviour on the Cross, at the moment hyperbolical.

when the Vail of the Temple was rent. The scene describes Mount Calvary at some distance, with the

surrounding City of Jerusalem. A fine field this for OR PATRICK'S VALE, NO. 60. PAINTED BY T. C. HOFFLAND.

the display of his abilities. We have heard, but that “ Hail to thy beams, 0 Sun! for this display for this distinguished employment, more of the works of Delicious Grasmere's calm retreat

his hand would have added to the present collection. And stately Windermere, I greet,

Some studies at Hampstead Heath, and other small And Keswick's sweet fantastic vale.

pictures, painted on the spot, by his faithful pencil But let the Naiads yield to thee,

attracted our notice. These are clear, fresh, bold and And lowly bend the subject knee,

unaffected—we are great admirers of this artist's bits Imperial lake of Patrick's dale."

from nature. De Loutherbourg, whose delightful pencil first pourtrayed the scenery of the English lakes, declared on ||

THE VALE OF LONSDALE. PAINTED BY W. LINTON. his first visit to the romantic region, “ that the British! Topographical painting, as we have observed beartists need not travel beyond their own island, for || fore, is most congenial to the English amateur, and to magnificent and beautiful subjects for their pencils : | the English collector. We love the beau ideal, somefor the union of these attributes of landscape, met more | thing of the poetry of painting, even in landscape. happily in Cumberland and Westmoreland, than in | We do not consent to curbing the genius of the painter, any country in which he had studied.” It is known or the poet, when either feels disposed to take a flight that he had journeyed in Italy, France, and Switzer- || into the regions of fancy. Elegant fiction appears land, and had viewed all the spots celebrated by the clothed with truth. Here, however, all must be matter landscape painters of old.

of fact to please, This admirable scene painter, was too florid in his |We have no objection to matter of fact sometimes. colouring. Most of his English views have a foreign || Indeed, the English school of topographical painters air-he did not represent the English atmosphere. He, make so much of truth, that we can almost fancy it a however, may be said to have created that fashionable | fiction. This we should say was the highest faculty of rage for exploring the picturesque scenery of our || pictorial composition. It is not uncommon to hear island, which has at length grown into a pational love (the most genuine compliment that can be paid to the of landscape painting. Every family of taste has in- | art) when walking abroad, “How much this gleam of deed produced its tourists, and almost every tourist has | light reminds one of painting." Wilson first struck become an amateur of this species of art Various have out this glorious display of effect-our living school is been the opinions of the Lake School of Poesy. There worthy of its illustrious founder ; we are now speaking has been but one opinion of the Lake School of Paint- of oil pictures.

| The beautiful prospect which forms the subject of This picture of Ulswater, by Mr. Hofland, is worthy | Mr. Linton's extensive landscape, “The Vale of Lons

ing.

dale,” is thus beautifully described by the pen of our influence of his own perceptions alone, first studied in admired poet Gray:

the vicinity of the spot. We may suppose that this “ The scene opens just three miles from Lancaster, on

scene, then, is painted con amore. We were particuwhat is called the Queen's Road. Here Ingleborough, be

larly struck with the effect of that incident of light hind a variety of lesser mountains, makes the back-ground which is so truly described up the stream, it bursts of the prospect: on each side of the middle distance rise

| upon the spectator with the agreeable sensation of two sloping bills; the left clothed with thick woods, the right with variegated rock and herbage; between them, in

reality. The site is truly enchanting. the inost fertile of vallies, the Lune serpentizes for many a

We have endeavoured to do justice in a former nummile, and comes forth ample and clear through a richly Il ber to Mr. Glover's faculty for catching those evaneswooded and well-pastured fore-ground. Every feature cent effects, which throw so fascinating a charm over which constitutes a perfect landscape of the extensive sort is here not only boldly marked, but also in its best posi

landscape scenery. In his compositions in water-cotion."--Gray's Letlers to Dr. Wharton.

lours, he has exhibited a knowledge of atmospheric apWell inight we wonder that every true poet was not

pearances, and a display of ærial perspective, from

which almost all his competitors derived some ada painter, or that every true painter was not a poet.

vantage. Each seeming to view nature with the same feeling, the

To render the same effects in oil-painting, however, same sentiment, and with a like observant eye. No

is an operation that demands a power of execution, and painter could have penned a description of the scene

a laborious application of the material, much more exmore pictorially. Mr. Linton's picture is an illustration of nature, and

tensive, and very different from the process with which of Gray. It is an enchanting scene, and painted in a

he, with so much facility, accomplished his former style which marks his love for his profession, by the

works. This picture is happy in arrangement and ef

fect, but it is deficient in those indispensable qualities, great and rapid improvement it displays in his art: an

masterly handling, and fine execution. It is not suffiimprovement, from which we augur future works that

ciently studied, nor by any means equal to what we shall rank him among the most admired of our native

have a right to expect from his knowledge of art. We school. That he is an attentive observer of nature, may be

cannot cease to regret, that an eye so finely constructed

to see, and to feel, what is beautiful and worthy of discovered by No. 33, “ A scene in Mr. Woodburne's Grounds near Hendon." By No. 78, “ A scene on the

imitation in nature as his, should not retain a more

faithful and obedient servant, in a hand to execute its Lune, near Sedburgh,” by “ Kirby Lonsdale Bridge,"

commands. and other studies, which have all ihe characteristics of

We perceive our old friend Heaphy has made a cretrue artistical feeling. We congratulate this rising artist

| Citable essay in oil-his subjects humorous as heretoon the sale of his chef-dæuile, the “ Vale of Lons

fore. We have not space io afford them a further dale," and doubt not, that bis patron is pleased with

notice in this paper, than merely to give their titles. his purchase. Such a scene, of such dimensions too,

No. 167. “The Game of Put,” a scene in a village alemust make a splendid feature in a well furnished

house, filled with characters, full of fun; and No. 193. mansion.

“ Leap-Year Ladies !” a subject of courtship, which, with

much point, tells its own story. A FAVOURITE HAUNT OF MY YOUTH, IN LEICESTERSHIRE. No. 104. PAINTED BY J. GLOVER.

One more word of Mr. Heaphy we cannot forbear Doubtless many a play-fellow of our esteemed

to mention, as it is a pleasurable circumstance to repainter, delighted too in this favourite haunt. But who

late. The Emperor of all the Russias, having received among the thoughtless throng but he, picked up that

a proof impression of The Reconnoisance, a print inspiration on the spot, which the favourites of her

from Mr. Heaphy's picture of the Duke of Wellington alone who planted the green wood, and nourished its

and his Staff, has most munificently acknowledged the roots with the pellucid stream that brawls along, could

present from the wortlıy English artist, by graciously find? We have heard of none.

returning a very superb and valuable brilliant ring, Nature, in haunts like these, looks on the sportive

with a handsome message of approbation, conveyed children of humanity, and now and then selects some

through his Excellency the Russian Ambassador. one, for incipient worth, unseen by mortal eyes, and

In our next we shall continue our notices of this exthen adopts him for her own. Shakspeare, perhaps, was

hibition, and close the present article with a list of the kid-napped by the same old Dame in that sequestered

pictures disposed of at the period of our last visit, sewood, which he so sweetly painted, where melancholy

veral days ago ; since which we have heard, with much Jaques lving at lenorth beide the brawline brook diIl pleasure, many more have found purchasers. moralize on man.

7. Hare, Wild Duck, &c. by E. Bradley. That one human being is specially gifted in preference

15. Christ blessing Children, by M. Brown. to another, amounts in our speculations, almost to a

22. Seventh Plague in Egypt, by J. Martin.

27. Moonlight Composition, by T. C. Hofland. truth irrefragable. This artist, whose original feeling

31. Dead Game, by G. Stevens. for the pursuits of painting, developed itself under the 41. Antwerp, by C. Stanfield.

so effective without a gleam of light, the sober depth of the trees, yet the whole composition glowing with the hues of autumn, is depicted with that felicity, which could only result from a mind fraught with the subject, which is thus so genially described.

60. Ulswater, by T. C. Hofland.
65. I will Fight, by P. Simpson.
81. The Widow, by H. Richter.
87. Windsor by Moonlight. by T. C. Hotland.
88. Dead Game, by B. Blake.
91. St. Alban's Abbey, by P. Nasmyth.
92. View near ditto, by Ditto.
93. Partridge and Wild Fowl, by G. Stevens.
104. A favourite Haunt of my Youth, by J. Glover.
109. Peacock, and Dead Game, by B. Blake.
118. Liberty, by F. C. Turner..
123. A Scene in Northwick Park, by T. C. Hofland.
135. A Cottage Scene, by E. T. Parris.
158. Damersgill, near Lancaster, by W. Linton.
173. Ditto do.

do.
183, Northwiek Park, by T. C. Hofland.
195. A View near Tunbridye, hy P. Nasmyth.
208. Gypsies encamped, by J. Stark.
219. Sleep, by B. R. Haydon.
245, View on the Yaer, near Norwich, by J. Stark.
262. Portrait of a Dog from Frozen Ocean, by H. Hawking.
29. Blenbeim Palace from the Wood, by T.C. Hotland.
290). The Great Bridge in Blenheim Park, by do.
380. A Fish Girl, by T. Heaphy.
398. Alexander visiting Diogenes, by J. Martin.
149. The Vale of Lonsdale, by W. Linton.

THE PORTER AND THE THREE SISTERS OP BAGDAD,

BY J. STEPHANOFF. “What a gem !” exclaimed a worthy brother editor, who lends his valuable columns to the service of the arts, in walking up to this elegant personification of an eastern tale, adding, “ Had I fifty golden sovereigns in my purse, I should be tempted to lay them on the table, and make this gim mine own.” We viewed it with the same feeling, and had we been rich, should have outbidden bim, with a greater sum-not that we pretend to deserve the treasure more than he. In this cabinet composition, we have beauty, and grace, and elegant costume, rich hangings, and costly furniture, in all the colours of the rainbow-primitives and derivatives, tones and semi-tones, all the chaste and all the gay hues of Flora, and yet so baimoniously wrought together, so sweetly blended in unison, that no pearl can be more pure. For compositions of this class, and of this size. nothing can exceed the capacity of water colours.

The " Three Sisters” are the very beauties of romance, and the “ Porter” is worthy of the group, which is tastefully

signed. The scene is quite characteristic, and the tale is completely told. Nothing can exceed the elegance of the costume, or the beauty and delicacy of the execution. It is one of the most fascinating little compositions that we remember to have seen, and makes a beautiful feature of the collection.

EXHIBITION OF THE SOCIETY OF PAINTERS

IN WATER COLOURS,

PALL-MALL EAST.
(Continued from p. 64.)

VIEW ON LOCH LOMOND, BY G. F. ROBSON.

REVIEWS, WERE We wanting in further evidence of the romantic grandeur of the scenery of our island, we might instance || The Economy of the Eyes: precepts for the Improvement the magnificent views which have added to the interest of and Preservation of the Sight. By WILLIAM KITCHINER, the late exbiitions of this select body of orig

| artists. M.D. London: Hurst, Robinson, & Co. 1824. this faithtul observer of nature. We have still before our

We absolutely love Dr. Kitchiner. His “ Cook's Solitude, by Mr. Robson, which made so prominent a fea- || Oracle" taught us how to eat : from him we learned how ture in the last year's collection. This view of Loch Lo to “ invigorate and prolong life;" he tells us how we mond, so celebrated in Scottish story, and eagerly sought || should sing, and has given us what to sing : and if in by the English tourist, is so completely brought before us,

spite of all his “ peptic precepts,” and “ peristaltic in this expansive view, that curiosity to view the famed site may be gratified, without the labour, the perils or I permaders,” grim death will come at last, he has told the expence of a journey to the north. The mountains are us how to disarm him of his terrors in his treatise “ on so vast, and recede with such natural gradation; the lake the pleasure of making a will.” And here we have a is so broad and estensive, and the sky so luminous, that all the

|| fresh outpouring of the worthy Doctor's inexhaustible bird might be tempted to take its flight into so inviting a region. We have been led year by year so imperceptibly, I love for humanity. Is not such a person to be loved ? to look upon these extraordinary instances of pictorial illu Unthankful, indeed, must be the breast that refuses to sion, that we can now behold them without surprise. . Had

recognize the various and strong claims of this modern we, however, had such powersul imitations of natural scenery

delicione generis humani. at once placed before us, unacquainted with the intermediate improvements in this department of study, and possess

There is a preface, which the doctor recommends “ to ing our passion for the imitative art, our admiration

be read after the work," but we shall quote it before we looking into a scene so vast as this, would have amounted say a word of the contents of the volume.to astonishment. We certainly are living in a wondrous

“Now, friendly reader, before I take leave of you; after age!

your deliberate perusal of this volume, if you vote that my

Tabour has been lost, or has aflorded you so little pleasure, STORM IN HARVEST, BY G. BARRETT.

that you begin to think you would rather have your seven A NATURAL scene, painted with the poetic feeling of the shillings in your pocket again, than this first part of the author of the Seasons. Thomson would have changed arts economy of the eyes" under your chin, allow me to suggest, awhile, to have owned this piece it is a painted poem. that you ought to lend it to every body you know, to preThere is an awful effect diflused to the landscape, that

aufal effect distused to the landscape, that l vent others being decoyed, as in such case you will suppose almost impels the spectator to hurry with the app

you have been to buy a book which is not worth reading. reapers to seek shelter from the storm. The general tone

“ But if it so happen that fortunately for the writer, you of the picture, under the influence of the gathering clouds, think you have derived amusement or instruction from his the rich, subdued colouring of the extensive mass of corn, work, if you are so good as to wish to be grateful for the in

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