choose this of master Constable's, as the best of my neigh-tallest lady of the group: "you perceive Mr. bour's collection. Perhaps I am wrong." || that I have not forgotten your favorite expression.". "No, Sir, you are right," said the painter, "it is as fine a picture as ever was painted by any of the old masters." "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." How this would mercialist. "No, no, I dare say not-you men of science have been felt by Goldsmith." 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 happy what is your opinion of that portrait in the other room- days of his 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 hailed by posterity as the grandest personification of London's civic chair!" "Very handsomely said, Sir, very handsome indeed," added the commercialist. "Why. Sir. we shall by and by feel as proud of our artists as we do now of our soldiers and sailors!" It is a fine work. Sir, a very fine work, and by one of our most improving painters. "Then I shall begin to think myself something of a judge. I' faith, I could venture to say no one could look upon that piece, and not admire it. What a sweet, gentle, modest countenance. How thoughtful she appears; puzzling out the meaning; hey? Sweet maid, any father might be proud to own you for a daughter; or any son for a lover, upon my life,"-ha ha ha! rejoined the worthy citizen, laughing at the pleasantry of the conceit. We should not feel surprised if his lordship should pay a visit to Mr. Collins, to treat for the purchase of the cottage to present it to the sentimental fair one. We believe. however, that it has already found a purchaser. If not. "the more is the pity, the greater is the shame! We must reiterate that the era is accomplished, when the true patrons 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 taste 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 from this collection. (We must iancy ourselves in possession of a faculty, like that of the late ruler's of France, for taking what we please.) First Sir Thomas Lawrence's half length of the Princess Mary, in honor of her royal highness's dignity and virtue. We should put our seal upon Sir William Curtis, in respect for his loyalty, and social beartedness. We should steal the images of the two beautiful children, and expiate the robbery. by a French compliment in politeness, but an English one in sincerity, with-may theirliving prototypes continue a growing blessing to their parents. Rochester Bridge should be ours. The honest old pilot should go over it in perpetuity, without paying toll. Constable's Lock, should only be opened to the lovers of art, by our golden key. 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, they are so 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 Graces works which elevate our perceptions of fine art.' should be magnificently framed over the fire place. Etty's Pandora should ornament a chosen spot on the opposite angle of the apartment. Cooper's Battle pieces should Occupy conspicuous sites in our choice cabinet room, wherein spaces, on a level with the eye, should be left for Wilkie's Smugglers and his Cottage Toilette. How we miss Turner this year!" observed a nobleman, who was passing round with an elegant group of ladies. "There is wanting one of his fine classic landscapes to support the character of the British school." But my lord, let me beg your opinion of this village scene; what is it entitled? The Cherry Seller, a scene at Turvey, Bedfordshire, painted by W. Collins, R. A." | || A Bedfordshire cottage indeed!" said his lordship. "I know the scene. Bedfordshire abounds with rural villages." At this moment a member of the Water Colour Society was What we should select for our other apartments. we must recognised by the ladies. They were tourists; all the ele- leave for another visit, when our readers may have 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 finer taste for tastes and our tastes agree. the picturesque, had enjoyed the honor of a tour to the lakes with the noble family. "Happy indeed are we to meet with you here. said the ladies." His lordship condescendingly took him by the arm. "I regret that there are none of the works of our great Turner on these walls." said his lordship. "I have this moment heard the same observation from many of my professional friends," my lord, replied the artist: "I believe it is a subject of regret with the whole profession: It seems as though he were dead; he that was the life of the exhibition!" 66 "These ladies," said his lordship, are not of our opinion. Nay, that is not fair, my lord," replied the elegant Indeed we are devotees at the shrine of his ge"Then I forgive you," rejoined his lordship, with a smile. "Is not this village of Turvey, a sweet bit," said the group. nius." EXHIBITION OF THE SOCIETY OF BRITISH ARTISTS, SUFFOLK STREET, PALL MALL The First. THAT there is so great a preponderance of indifferent pictures in this vast collection, cannot surprise, when it is considered that there is no lack of numbers of pictures, drawings, and models, in the other exhibitions that have been submitted to the public within the last four months. The congregated numbers of the whole, with those. rejected from each-together with those which remain in the apartments of their respective authors, and those prepared for northern, and other provincial exhibitions, if seen together, would go near to cover the walls of one of the metropolitan squares. The best of these labours of the last twelve months, generally speaking, we may presume, were consigned for show to the established institutions. The general invitation, as we observed before, held out by this new society, would naturally induce an unusual influx of works of multifarious mediocrity. Hence, we are not surprised that there is so much that is bad, but rather that the collection has so much that is good. in hand, and not to consider it finished, until the last, and utmost effort has been bestowed to render it complete. One well studied, meritorious performance, has borne a rising artist at once within the regions of fame, whilst an hundred hasty productions, with all their cleverness, and smart pretension, would not have || advanced him one single step upon the road. These remarks, as we before observed, are addressed to the rising school. We lament to say, however, that in some instances they may be applied to those who have long passed their probationary studies. We could name a landscape painter, whose compositions in water colours have a thousand times afforded us delight, and 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, || 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 sagacity and foresight. In speaking thus freely of the general character of the exhibition, we mean not to condemn the collection, or to depreciate the talent of even the meanest of the aspirants for the future honours of fame. We know not amongst the young practitioners, whose early essays are here made public, who may be destined to remain dunces in art, or who may henceforth shine amidst a new galaxy of genius. We affect no prescience in these matters. Garrick in many instances, great as he was in his own art, and quick as he was acknowledged to be in his perceptions, condemned many a young actor, who lived to show, that his foreknowledge was not infallible. The great Mrs. Siddons, too, may be quoted as another illustrious instance, of equal fallibility in prejudging thus unfavourably of incipient talent. THE SEVENTH PLAGUE IN EGYPT, PAINTED BY J. MARTIN. "And the Lord said unto Moses, stretch forth thine hand toward Heaven, that there may be hail in all the land of Egypt, upon man, and upon beast, throughout the land of Egypt. And Moses stretched forth his rod towards Heaven, and the Lord sent thunder and hail, and the fire ran along the ground: and the Lord rained hail upon the land of Egypt. grievous, such as there was none like, in all the land of So there was hail, and fire mingled with hail, very Egypt, since it became a nation. Only in the land of Goshen, where the children of Israel were, was there no hail." No writings, the labours of human genius alone, afford descriptions equally awful and sublime for the contemplation of the painter and the sculptor, with those of the sacred scriptures: hence the loftiest works of art, are those which have been derived from the pages of the Holy Bible. cular of the Building of the Tower of Babel, which was truly poetic and imaginative, as the upper part of that stupendous structure was lost in the clouds. With the exception of this, however, no picture that we have seen, is comparable for sublimity of invention with the architectural compositions of Mr. Martin. His lofty and original conception of these subjects make a new feature in the art. 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 the works of the rising artist, and in stimulating him to perseverance in his studies. In many of the pictures in this collection, by artists whose performances, nor even names, we had not known before, we perceive enough to augur favourably of, if they are determined to do justice to themselves. To these we would address a word of advice, founded on the experience and opinion of those who have too clearly demonstrated its truth, to leave a doubt of its importance in the arduous pursuits of painting. It is simply this, to study sedulously from nature. Not to divide the attention by many works in progress at the same time; but rather to bend the whole energies of the mind to the subject This praise, we presume, whatever opinions may be held of his style of painting, few will be found to dispute, even among the most fastidious of the critical corps. That his painting, either as to colouring or execution will not bear the test of sober examination, must be 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.erfully described, than we are accustomed to see, in It was not unaptly observed by a wag, that "Mr. pictures entirely wrought in an artist's sombre metroMartin must have been born with prisms for eyes." politan study. We are not prone to enjoy wit at the expence of great and original talent, but we could not forbear to smile at the conceit. A satirical hint has been sometimes known to correct erroneous habits, that were stubborn against sober remonstrance. We seriously recommend Mr. Martin to avoid those violent oppositions of colour, which prevail in his picture, and to study to be less prismatic in his hues. This grand subject, represented under the same magical influence of light, had the colouring been properly subdued, would have lost nothing of its originality, but have obtained for its author, that which is reluctantly denied, unqualified praise. We may say of this extraordinary work, that the thinking part is sublime, but that the executive part is hyperbolical. ULSWATER, CUMBERLAND, LOOKING TOWARDS PATTERDALE, "Hail to thy beams, O Sun! for this display Delicious Grasmere's calm retreat Windsor, Moonlight, No. 87, and Moonlight composition, No. 27, are painterlike representations of this poetic season of the night. We remember a little picture of Windsor, at moon rise however, with the lamp light, seen through the old gothic casements in the lofty buildings about the Horse-shoe Close, by Mr. Hofland, which surpassed all that has been done since the time of Vanderneer. That admirable scrap was more highly wrought than these, and to our taste, valuable in proportion to the labour which has been bestowed upon it. Mr. Hofland does not always do entire justice to his superior talent. We understand that Mr. Hofland is painting a large commission picture for Sir John Fleming Leicester, The subject, Our Saviour on the Cross, at the moment 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 the display of his abilities. We have heard, but that for this distinguished employment, more of the works of his hand would have added to the present collection. Some studies at Hampstead Heath, and other small pictures, painted on the spot, by his faithful pencil attracted our notice. These are clear, fresh, bold and unaffected—we are great admirers of this artist's bits from nature. THE VALE OF LONSDALE. PAINTED BY W. LINTON. De Loutherbourg, whose delightful pencil first pourtrayed the scenery of the English lakes, declared on 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 national 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. "The scene opens just three miles from Lancaster, on what is called the Queen's Road. Here Ingleborough, behind a variety of lesser mountains, makes the back-ground of the prospect: on each side of the middle distance rise two sloping hills; the left clothed with thick woods, the right with variegated rock and herbage; between them, in the most fertile of vallies, the Lune serpentizes for many a mile, and comes forth ample and clear through a richly wooded and well-pastured fore-ground. Every feature which constitutes a perfect landscape of the extensive sort is here not only boldly marked, but also in its best position."-Gray's Letters to Dr. Wharton. Well might we wonder that every true poet was not a painter, or that every true painter was not a poet. Each seeming to view nature with the same feeling, the same sentiment, and with a like observant eye. No painter could have penned a description of the scene more pictorially. Mr. Linton's picture is an illustration of nature, and of Gray. It is an enchanting scene, and painted in a style which marks his love for his profession, by the great and rapid improvement it displays in his art: an improvement, from which we augur future works that shall rank him among the most admired of our native school. That he is an attentive observer of nature, may be discovered by No. 33, "A scene in Mr. Woodburne's Grounds near Hendon." By No. 78, "A scene on the Lune, near Sedburgh," by "Kirby Lonsdale Bridge," and other studies, which have all the characteristics of true artistical feeling. We congratulate this rising artist on the sale of his chef-d'œuvre, the "Vale of Lonsdale," and doubt not, that his patron is pleased with his purchase. Such a scene, of such dimensions too, must make a splendid feature in a well furnished mansion. A FAVOURITE HAUNT OF MY YOUTH, IN LEICESTERSHIRE. No. 104. PAINTED BY J. GLOVER. Doubtless many a play-fellow of our esteemed painter, delighted too in this favourite haunt. But who among the thoughtless throng but he, picked up that inspiration on the spot, which the favourites of her alone who planted the green wood, and nourished its roots with the pellucid stream that brawls along, could find? We have heard of none. influence of his own perceptions alone, first studied in the vicinity of the spot. We may suppose that this scene, then, is painted con amore. We were particularly struck with the effect of that incident of light which is so truly described up the stream. It bursts upon the spectator with the agreeable sensation of reality. The site is truly enchanting. We have endeavoured to do justice in a former number to Mr. Glover's faculty for catching those evanescent effects, which throw so fascinating a charm over landscape scenery. In his compositions in water-colours, he has exhibited a knowledge of atmospheric appearances, and a display of aerial perspective, from which almost all his competitors derived some advantage. To render the same effects in oil-painting, however, is an operation that demands a power of execution, and a laborious application of the material, much more extensive, and very different from the process with which he, with so much facility, accomplished his former fect, but it is deficient in those indispensable qualities, works. This picture is happy in arrangement and efmasterly handling, and fine execution. It is not sufficiently studied, nor by any means equal to what we have a right to expect from his knowledge of art. We to see, and to feel, what is beautiful and worthy of cannot cease to regret, that an eye so finely constructed imitation in nature as his, should not retain a more faithful and obedient servant, in a hand to execute its commands. ditable essay in oil-his subjects humorous as heretoWe perceive our old friend Heaphy has made a crefore. We have not space to afford them a further notice in this paper, than merely to give their titles. No. 167. "The Game of Put," a scene in a village alehouse, filled with characters, full of fun; and No. 193. Leap-Year Ladies!" a subject of courtship, which, with much point, tells its own story. 66 One more word of Mr. Heaphy we cannot forbear to mention, as it is a pleasurable circumstance to relate. The Emperor of all the Russias, having received a proof impression of The Reconnoisance, a print from Mr. Heaphy's picture of the Duke of Wellington and his Staff, has most munificently acknowledged the present from the worthy English artist, by graciously returning a very superb and valuable brilliant ring, through his Excellency the Russian Ambassador. with a handsome message of approbation, conveyed In our next we shall continue our notices of this ex Nature, in haunts like these, looks on the sportive children of humanity, and now and then selects some one, for incipient worth, unseen by mortal eyes, and hibition, and close the present article with a list of the then adopts him for her own. Shakspeare, perhaps, was 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 melancholyveral days ago; since which we have heard, with much Jaques, lying at length beside the brawling brook, did moralize on man. That one human being is specially gifted in preference to another, amounts in our speculations, almost to a truth irrefragable. This artist, whose original feeling for the pursuits of painting, developed itself under the pleasure, many more have found purchasers. 7. Hare, Wild Duck, &c. by E. Bradley. 15. Christ blessing Children, by M. Brown. 22. Seventh Plague in Egypt, by J. Martin. 27. Moonlight Composition, by T. C. Hofland. 31. Dead Game, by G. Stevens. 41. Antwerp, by C. Stanfield. 60. Ulswater, by T. C. Hofland. 65. I will Fight, by P. Simpson. 84. The Widow, by H. Richter. 87. Windsor by Moonlight. by T. C. Hofland. 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. 123. A Scene in Northwick Park, by T. C. Hofland. 158. Damersgill, near Lancaster, by W. Linton. 173. Ditto do. do. 183. Northwick Park, by T. C. Hofland. 219. Sleep, by B. R. Haydon. 245. View on the Yaer, near Norwich, by J. Stark. 398. Alexander visiting Diogenes, by J. Martin. 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. THE PORTER AND THE THREE SISTERS OF BAGDAD, "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 gem 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 harmoniously 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 designed. The scene is quite characteristic, and the tale is completely told. Nothing can exceed the elegance EXHIBITION OF THE SOCIETY OF PAINTERS of the costume, or the beauty and delicacy of the execution. IN WATER COLOURS, PALL-MALL EAST. (Continued from p. 64.) It is one of the most fascinating little compositions that we remember to have seen, and makes a beautiful feature of the collection. REVIEWS. The Economy of the Eyes: precepts for the Improvement and Preservation of the Sight. By WILLIAM KITCHINER, M.D. London: Hurst, Robinson, & Co. 1824. should sing, and has given us what to sing: and if in spite of all his " peptic precepts," and "peristaltic permaders," grim death will come at last, he has told us how to disarm him of his terrors in his treatise" on VIEW ON LOCH LOMOND, BY G. F. ROBSON. WERE We wanting in further evidence of the romantic grandeur of the scenery of our island, we might instance the magnificent views which have added to the interest of the late exhibitions of this select body of original artists, by this faithful observer of nature. We have still before our WE absolutely love Dr. Kitchiner. His "Cook's imagination, that enchanting mountainous scene, entitled 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 by the English tourist, is so completely brought before us, in this expansive view, that curiosity to view the famed site may be gratified, without the labour, the perils or the expence of a journey to the north. The mountains are so vast, and recede with such natural gradation; the lake is so broad and extensive, and the sky so luminous, that a bird might be tempted to take its flight into so inviting a region. We have been led year by year so imperceptibly, to look upon these extraordinary instances of pictorial illusion, that we can now behold them without surprise. Had we, however, had such powerful imitations of natural scenery at once placed before us, unacquainted with the intermediate improvements in this department of study, and possessing our passion for the imitative art, our admiration on looking into a scene so vast as this, would have amounted to astonishment. We certainly are living in a wondrous age! STORM IN HARVEST, BY G. BARRETT. A NATURAL Scene, painted with the poetic feeling of the author of the Seasons. Thomson would have changed arts awhile, to have owned this piece-it is a painted poem. There is an awful effect diffused to the landscape, that almost impels the spectator to hurry with the appalled reapers to seek shelter from the storm. The general tone of the picture, under the influence of the gathering clouds, the rich, subdued colouring of the extensive mass of corn, the pleasure of making a will." And here we have a fresh outpouring of the worthy Doctor's inexhaustible love for humanity. Is not such a person to be loved? Unthankful, indeed, must be the breast that refuses to recognize the various and strong claims of this modern delicione generis humani. There is a preface, which the doctor recommends "to be read after the work," but we shall quote it before we say a word of the contents of the volume. "Now, friendly reader, before I take leave of you; after your deliberate perusal of this volume, if you vote that my labour has been lost, or has afforded you so little pleasure, that you begin to think you would rather have your seven shillings in your pocket again, than this first part of the economy of the eyes" under your chin, allow me to suggest, that you ought to lend it to every body you know, to prevent others being decoyed, as in such case you will suppose you have been to buy a book which is not worth reading. "But if it so happen that fortunately for the writer, you think you have derived amusement or instruction from his work, if you are so good as to wish to be grateful for the in |