440 REVIEW.-Life and Works of Titian. make such a display (as may be seen by his eloquent Sermon on the death of the Princess Charlotte, Serm. x.), but his taste and conscientiousness are superior to it. He deems the solemnity of the pulpit to be of higher character, and thinks that its oratory is by no means honoured by incongruous embellishment, and selfish motive. Mr. Haggitt, too, is a sound logician. We need only give his remarks concerning Calvinists and Puritans: "If a large portion of mankind, as their system supposes, are born for no other purpose than to experience the wrath and indignation of their Maker, how is it that they are sent into so fair a prison-house as that of this world? how is it that they are sent to partake of so many of God's blessings, when they are already condemned to eternal misery hereafter? Is it that the display of the beneficence of God, which they witness in this world, may render still more intolerable to them the everlasting sufferings to which they are doomed? God forbid that we should so think of our heavenly Father, who, far from desiring that any should perish, desires that all should obtain everlasting life." "Other views there are, less painfully shocking, yet still far removed from that which Scripture points out. Many, and some even good men, would persuade us that there is no way of meriting heaven but by a persevering refusal to partake in any of the enjoyments of this life; and this opinion they ground on certain passages of Scripture, which have plainly the abuse of this world in view, and not its permissible and intended use. What God freely gave, man may without blame enjoy, under the controul of reason and of conscience, which was at the same time given to regulate his choice, and to warn him against excess." Pp. 33, 34. Such is the folly of deeming it necessary to make earth a hell, in order to gain heaven. Speaking of low, vulgar modes of expression in the pulpit, and the use of Scripture with colloquial freedom, Mr. Haggitt says, "It is the opinion of many that the minister of the Gospel would more effectually promote the edification of his flock, by lowering the style and language of his discourses, than by any attempt to raise the comprehension of the lower orders to the usual standard of instruction, delivered from the pulpit. But we may reasonably doubt whether the decorous gravity, the solemn dignity of our Liturgy, can ever countenance this depression. To be plain and perspicuous must be the wish of every speaker; it [May, is especially the bounden duty of the teacher of religions truths to be so. But far from the Minister of the Gospel be that uncouth familiarity, that vulgar diction, and those alarming freedoms with the most sacred topics, which are too often addressed to the itching ears of deluded ignorance. Let us rather prefer and encourage the slower, but we trust the surer means of early religious instruction." P. 192. Notices of the Life and Works of Titian. THIS is a book we have much desired; and when we heard that Sir Abraham Hume, whose correct taste and intimate knowledge of paintings has increased with age, was engaged upon it, we rejoiced exceedingly. Nor are we disappointed, though the work does not so much abound in anecdote as we had anticipated. It is dedicated to the author's son-in-law, Lord Farnborough, with a very affectionate address, and his lordship, whose knowledge and taste was very frequently evinced previous to his elevation to the peerage, and to comparative retirement from public life, it is most gratifying to learn now devotes a considerable portion of his time to the patronage of the Fine Arts. Titian lived to a wonderful old age, and executed a multitude of pictures. To trace the history or destination of all or the great majority of them, is a task of complete impossibility in the present day, since both Vasari and Ridolfi, in their time, admitted the great impracticability of it. The Notices of his works here before us, are of a very interesting and valuable character, combining criticism, history, and anecdote in a very agreeable and easy manner. They will most materially assist any future historian of the Arts. And here we will just mention the grand and extensive design for a work of this character, conceived by a friend of ours, which we sincerely hope he may meet with sufficient encouragement some day to publish. The object is to classify the artists according to their schools, and, arranging them alphabetically, give biographical notices, and lists of their works, accompanied by anecdotes, critical notices, and a species of pedigree, showing the value of each picture at every change of possessor, and the names of the galleries and collections in which they have successively been from the easel to the present time. 1829.] REVIEW.-Coney's Foreign Cathedrals. It will readily be seen that such an undertaking will be one of great labour and extent; but to the enthusiast there are innumerable flowers prettily and attractively strewed along the path, which will render toil a pleasure. But to return to Titian and Sir Abraham Hume. After the notice of his works in a chronological order; and they embrace his three styles, which were those of his master Bellino, cold and formal; of his friend and envious rival Giorgione; and what may justly be termed his own manner, a softeningdown of the gorgeousness of Giorgione; we then have extracts from the various catalogues of the galleries which have boasted of his works. And we cannot look at the list of those which once graced the splendid gallery of our Charles the First, without reflecting on the barbarous character of that religion, and the inhuman tone of feeling, which could have sanctioned the dispersion of this unrivalled collection; and expressing a desire that the Commissioners of the National Gallery will never neglect an opportunity of bringing them once more as near together as is possible. Some of the best of Titian's, we are proud to find in the hands of Englishmen. The Marquis of Stafford has a rich collection, and the galleries of many of our noblemen, &c. were enriched at the Orleans sale. The extracts from the Catalogues are followed by concise and neat observations on the different manners of the artist, on his colouring and mode of painting, a list of some of his protectors and friends, anecdotes of his scholars, a genealogical table of his family, and a descriptive catalogue of engravings after the works of Titian, from the Bibliothèque du Roi at Paris, 1827. To recommend this work to the attention of the artist, and more particu Of the Home Book, or Young Housekeeper's Assistant, by a Lady, we cannot speak too highly. It is a most useful present for Brides, and the hundreds of pounds which it may save, and the vexations which it may prevent, are results from the study of it, which need not be applauded. Mr. HORACE FOOTE's Companion to the Theatres, is precisely what it professes to be; containing views of the façades of all the houses, royal and minor, with descriptions of them, essays on the origin and rise of GENT. MAG. May, 1829. 441 larly the amateur, would be supererogatory; for by this time it must already be in the hands of almost every man of taste and intelligence. Engravings of Ancient Cathedrals, Hotels de Ville, and other Public Buildings of celebrity in France, Holland, Germany, and Italy. Drawn on the spot, and engraved by John Coney, with Illustrative Descriptions by Charles Heathcote Tatham, Esq. and alle assistants. Moon, Boys, and Graves. Elephant Folio. THE First Part of this splendid Work, which is to consist of twelve Portions, contains exterior views of the Cathedrals at Antwerp, Brussels, and Beauvais, and the Hotel de Ville, at Ghent. From the views of the Monastic Remains in England, inserted in the new edition of Dugdale's Monasticon, the rising abilities of Mr. Coney have been long known, and duly appreciated; and now his labours on that important work are drawn to a close, we rejoice to see that he has projected one in which his abilities will have a still wider scope. From the very large size of the Plates (19 inches by 15), the ingenious Artist has been enabled to represent the architecture in a highly satisfactory manner; whilst the numerous and characteristic groups, consisting of religious processions, &c. add greatly to the effect. In the first Plate, the west view of Antwerp Cathedral, the figures are represented in the costume of the seventeenth century. Concise descriptions of each Plate are given in English, French, Italian, and German, by Mr. C. H. Tatham; and most heartily do we wish that the work may be encouraged in the manner it deserves. the Drama; on the early English Theatres, Mrs. WILLIAMS has published a fourth edition of her highly-recommended Syllabic Spelling, or a Summary Method of teaching Children to read. It is considerably improved, and is ushered into notice by many flattering and deserving testimonials, [ 442 ] FINE ARTS. ROYAL ACADEMY. The Exhibition this year has opened with many more advantages than any of the former ones which we have visited. The superior character of the works of the best artists, and the increase of good historical compositions, (of the want of which we have had to complain), render the visit more pleasing and gratifying, and shew strikingly the great improvement which has taken place in art during the preceding year. May the progress thus plainly perceptible continue steadily, brilliantly, and effectively, till British art shall proudly compete with the efforts of Raphael, Titian, Correggio, Rembrandt, &c. This decided superiority in the historical pictures, is mainly attributable to a study of the works of these masters; a close attention to the propriety of colouring; and a bold and vigorous handling. It will be seen, by our enumeration of some of the best pieces, that Etty still improves in his Titian-like paintings; and that Wilkie, who has hitherto delighted us with homely scenes, has turned his splendid talents and active genius into a new walk; and has produced a series of pictures unrivalled by any artist. In his former style he obtained a popularity which none other could aspire to; in his new one he will deserve and acquire still higher fame. And this leads us to the expression of a regret, that there are so few familiar subjects in the present year's exhibition. We looked in vain for the names of M. W. Sharpe, E. V. Rippingille, &c.; whose Sailor's Wedding, and Going to the Fair, were such attractive ornaments to the Ante-room, that the artists themselves might have caught many a pleasing incident from the animated groups which daily crowded round them. As usual there is a multitude of portraits. Some few are excellent as paintings, and attractive from the loveliness and notoriety of the subjects. Sir Thomas Laurence leads both in the number, size, style, and interest of his subjects; and sustains his high character as a flatterer. His subjects are the Duke of Clarence, Duchess of Richmond, Marchioness of Salisbury, whole lengths; Southey, the Poet, seated on a rock; Soane, the architect," a fine in tellectual head; Miss Macdonald; Mrs. Locke, and Lord Durham. Pickersgill has one of Jeremy Bentham, which may be A portrait of Mr. Soane, by Jackson, was exhibited in the British Institution Gallery; but this is by lar the preferable one, though very flattering. Of this celebrated artist Chantrey is engaged in executing a marble bust. In the model the likeness is extremely well preserved. [May, ranked among his best; Wilkie has also taken to portraits, and has produced a very clever one of the Earl of Kellie; and there is an accurate likeness of the authoress of the popular tragedy of Rienzi, by J. Lucas, which is, very undeservedly, placed in a bad situation: Mr. Shee, Mr. Hayter, Sir W. Beechey, and Mr. Phillips, display their accustomed talent. Among the most striking likenesses is that of our respected correspondent and eminent armorial antiquary Dr. Meyrick, by H. P. Briggs, placed in the School of Painting; where are also two well executed portraits of the artist Wilkie. The one executed at Rome, by Smith, we prefer as a painting. Of its accuracy we cannot speak, never having met this distinguished and favourite artist. Mr. Jackson and Mr. Simpson have several very clever portraits. By the latter, is a very good one of Mr. Stanfield. Amongst the landscapes appear the names of Constable, Daniell, Callcott, Eastlake, Stump, and several others of eminence and talent. Constable's are distinguished by that disagreeable custom of communicating to his scenes the appearance of having been scattered over, whilst the colouring is fresh, with a huge quantity of chopped hay. It is an execrable taste, having no resemblance to any appearance in Naturethe artist's standard of excellence. Daniell's are rich specimens of Indian scenery. No. 28. is a magnificent representation of the Waterfall near Vallagunta, in the peninsula of India, in the mountains that divide the coasts of Coromandel and Malabar. The stealing of the beast of prey towards the herd of deer is a happy incident. Another one is the view of the superb Taje Mah'l at Agra, erected by Shah Jehan for his favourite queen. Calcott has but one, a quiet picture, entitled the Fountain. It is painted with surprising skill and effect. A pleasing little piece by H. B. Ziegler represents the Lime Walk, Hampton Court Gar dens. right knee; he bends over her with averted eyes, and hands extended to their utmost stretch, as if hesitating to clasp the cause of ruin. Near them, in the back ground, is a noble figure of a lion; and to the left is the ministering angel behind a burning bush, the flame of which, reflecting on the body of Adam, and the eyes of the Angel, produces a powerful effect. The colours throughout are sad; and the expression and attitude good. 4. Subject from the Revelations. F. Danby, A.-A surprising painting, illustrative of the 12th and 13th verses of chap. 8; and representing the angel, flying through the midst of heaven, crying with a loud voice, "Woe, woe, woe to the inhabitants of the earth." The figure of the extended angel is that of an aerial unfortunate. Furnished with wings, and clothed as with a mist, it pursues its melancholy duty with disshevelled hair, and hands raised to hide its distress. The colouring is in Danby's peculiar style, and the reflection from the warm blood streaks of the darkened sun's light on the angel, is particularly good. It is a small picture, and so is the companion to it No. 817 in the School of Painting. (To be continued.) BRITISH ARTISTS, SUFFOLK-STREET. Great Room.-Looking round the walls of this magnificent room we were greatly disappointed at not finding any thing of historic interest, or a clever production in the higher walks of art. In vain did our eyes seek for something whereon to rest for a while with satisfaction and delight. There is not one picture remarkable for pathos or striking vividness of expression; there are no embodyings of the soul's high wanderings; nor in any one instance do we see art contending with nature for the mastery. There are some familiar subjects, but most of them are not distinguished for force or accuracy of sentiment or expression. The second or third rate ones at the Academy would reign paramount here. We will particularize those that most engaged our attention. 1. The Exile. A. J. Woolmer.-Romantically imagined, but badly painted. The exile is reclining on one of the projections of a great mass of mountain near his rude hut, gazing at the distance, and meditating on scenes afar, and things and events with which he holds no communion but through the memory. A serpent is coiled around a blighted tree, and the crawling reptile is his only living companion. 5. View in the Alps. J. Glover.-Distinguished for its warm burst of light. This artist has three-and-twenty pieces this year; some of them will be noticed as they 443 the land of Egypt. D. Roberts.-This artist possesses talents of a high order. In his conceptions he is vigorous, where he does not merely paint architecture from reality; in his colouring he is correct; and the effect which he produces is true and powerful. This is an attempt to tread in the track which Martin has struck out for himself with so much beauty and magnificence, and were it not an imitation would deserve the highest praise. It is, however, creditable, but we should wish to see more originality of invention. It consists of a street of temples and palaces, with porticos, columns, turrets, &c. in the massive Egyptian style, loaded with hieroglyphics and uncouth sculpture, and countless figures traversing every avenue and crowding every projecting or elevated spot. The colouring is glowing, and the light from above showing that "I will be their guide," is very powerfully touching. 20. Far from home. W. Poole.-A fine head of a poor Mulatto girl casting her eyes over an expanse of water, and sighing for her own rude home and ruder friends. There are two other clever studies from a Mulatto by this artist, numbered 124, and 137. 21. Shall I fight or not? A. Chisholm.— A stqut bravado boy, to use the language of the P.R., has" peeled for a mill," and is provoking a mild intelligent youth to an unequal contest. On the arm of the latter hangs his little sister, with an expressive "You shan't hit my brother;" and behind is a lad persuading him on, and another great awkward tarry-on-his-errands boy with a stone-bottle on is shoulder jeering him. It is very creditable. Opposed to this is No. 30, You shall not fight, by G. Havell, where there is a difficulty in keeping the little warriors from the fray. 42. Corinne. Mrs. Pearson.-Animated portrait; rich eyes full of intelligence. No. 174, is another clever specimen of this artist. 43. Daphnis and Chloe. J. Glover.-It is an Italian landscape, with the palace of the Caesars, the Temple of the Sun and Moon, the Campagnia, and mountains in the neighbourhood of Tivoli. The figures of Daphnis and Chloe are of no interest, but the landscape is remarkable for that brown autumnal tint which this artist delights to impart to his foliage. 50. Fisherman's Children. E. Childe.Very clear and expressive picture. Two children put a stick between the claws of a crab to provoke it to bite. 68. Fruit. G. Steevens.-Prettily grouped and true to nature. This is all that can be expected or accomplished. 71. The Lady's favor. W. M'Call.-A very pretty damsel tying her true blue favor on the plume of her true knight's helmet. It is a goodly painting, but wants elevation of sentiment. There is no enthusiasm blended with the feminine softness of the lady, and no heroism mixed with regret in the expression of the knight. 117. Effie Deans. Miss Beaumont.Plaintive meekness most feelingly expressed in a very interesting head. 126. Burns and Highland Mary. R. Edmonston.-The Highland lassie, sitting on the banks of the winding Ayre, is a sweet modest humble figure, blushingly averting her eyes from the fervent gaze of her poetical lover. The scenery is romantic, and the incident fully accordant. painted with a considerable share of talent and power. It is 132. Borrowdale, Cumberland. T. C. Hofland. This magnificent representation of the stirring and soothing scenery of the lakes, is the production of the Secretary to the Institution, and is a beautiful instance of the powers of his pencil. 139. The Love-letter in jeopardy. W. Kidd. One of this artist's happy efforts. Engaged in lace-making under the cottage window, the damsel has pinned herself into a deep smiling sleep; the lover has placed in her bosom a letter, and retired; which being seen by the old dame, she opens the window, aud extracting from its sacred resting-place the precious aspirations of the wooer, who is seen peeping at the corner and anxiously watching its fate. It is very cleverly done. No. 202, is a very familiar incident. A couple of wanton boys are amusing themselves with squirting into another one's face. The action of the little fellow struggling to get free, is full of natural indignation and resistance, and the merry mood of the other well contrasts. 141. The schooner, Saucy Jack, breaking the blockade of Buenos Ayres, W. J. Huggins.-The best sea-piece in the gallery, and amongst the most correct and beautiful we have seen of this artist. We noticed also a very fair effort of his son, a promising young man. It is 183, Dutch boat off the Dogger bank. (To be continued.) WATER-COLOUR EXHIBITION. The great perfection to which this branch of art has been brought within these few years, renders a visit to the gallery of the Society during the present commendable passion for the Arts, a matter of absolute necessity. We have looked for its annual opening with delighted expectation, and have generally experienced pleasure and satisfaction. The excellent pictures which are painted in this style, have met with great encouragement-and this patronage has contributed still further to elicit the conceptions and talents of the artists. Robson, who last year boasted of forty-six efforts, has now increased his number to fortyeight; and he is closely followed by Mr. Copley Fielding, who exhibits about forty [May, five. The former of these artists is distinguished for the faithfulness of his represeutations of the effects produced on scenery of an elevated character, by the rise or declension of the glorious orb of day. The va riety of the tints which tinge with brightest lustre the distant hills, at even and at morn, duced. In the local landscapes of Fielding are most happily caught, and effectively proand Barret, there is much beauty and judgment, and their compositions display a considerable portion of elegance, and classic taste and feeling. Whichelo has a warm Claude-like picture of great merit; and Dewint boasts several attractive scenes, Austin is the principal coast-scene painter, and his are distinguished by a multitude of superior character, besides his numerous figures; but Prout has one or two of a very architectural pieces, which are picturesquely chosen, accurately drawn, and charmingly coloured. The Secretary Wild, in his interiors, displays his accustomed excellence; and Mackenzie, Finch, Scott, and others, have very respectable pieces. Mr. W. Hunt exhibits three-and-thirty characteristic studies from nature. They consist principally of single figures in particular situations, and in expression and attitude most beautifully ac cord with nature. We particularly noticed Romp, most exquisitely full of sentiment; his Saturday Evening little Girl, and the and the laughing waggish Water Carrier. Stephanoff has several in his usual style. One of them, Feramorz, Fadladeen, and Lalla Rookh, has been already exhibited here; and there are several others in the gallery by different artists which we fancied Cristall's Peasantry and Richter's delineawe recollected, but cannot speak positively. tions of Shakspeare's Characters are excellent; the latter full of the bard's peculiar humour and satire. In a future Number we shall particularize some of the most striking of these beautiful specimens of art. INCENDIO DI BORGO. Raphael's frescoes in the Vatican are amongst the most finished of his productions. In them we trace his progress to perfection, from the cold formal manner of his master Perugino, to that grandeur and majesty of style evinced in his later works. The representation of the fire in the Borgo Vecchio, which occurred during the pontificate of Leo IV. and which was miraculously stopped by the interference of that pontiff, is one of the pieces in the third compartment, and is universally allowed to possess as many beauties as are to be found in any of the other subjects. It was finished in the year 1517. It has been often engraved, and the professional world are well acquainted with its merits; but there may be many of our readers to whom a slight description of |