Mr James Howe is best known for the truth and spirit with which he represents horses and other animals. Mr Antony Stewart, a pupil of Mr Nasmyth, formerly devoted his attention to landscape and portrait with great success; but since he established himself in London, he has chiefly cultivated the department of miniature painting, in which he displays a delicate and refined taste, and a learned style of colouring. Mr John Wilson, a landscape painter of eminence, who has distinguished himself by the excellence of his scenery painted for the various London Thea tres. MrAndrew Robertson is an eminent miniature painter, who had received the rudiments of his education as an artist under Mr Nasmyth, and now ranks among the most celebrated of the English school. Mr Walter Weir studied in Italy, and painted history, portrait and subjects from Scottish songs, and representations of rural manners. They are works of no great excellence, being deficient in most of the important requisites of art. He died at Edinburgh in 1816. Mr David Thomson, a pupil of Mr Graham, painted landscape with rural figures, in which he displayed an agreèable taste and style of colouring. He died early in life in the year 1815. Mr G. Walker derives his chief claim to be included amongst the artists of Scotland, from his holding the office of landscape painter to his Majesty. He painted most usually in crayons, but his pictures are of little value considered as works of art. He executed the designs for Dr Cririe's Scottish Scenery ; but neither in point of accuracy, of delineation, nor beauty of effect, are they entitled to our con sideration. He died about the year 1816. Mr Archibald Skirving was long distinguished as a portrait painter in crayons, who united correctness of resemblance to masterly execution. He was originally a miniature painter; but, after his return from Italy, where he studied some time, he devoted himself entirely to crayon painting. His portraits seldom consist of more than the head; but as far as they go, they exhibit great correctness of delineation, and the most laborious attention to the most minute particulars, and are consequently faithful, and often animated representations of the originals. In estimating the merits of this artist, we cannot deny that, with all his excellencies, they fall infinitely short of those of Rosalba of Venice, or even Russell of London; and that the eccentricity of his character and lofty pretensions tended, in no small degree, to impose on the credulity of the good people of Scotland, and to invest him with the attributes of genius, to which, in our apprehension, he had no claim. By persevering attention to the study of drawing, he had acquired great accuracy of eye; and his opportunities of observation, during his residence abroad, had increased his knowledge in the art. With such acquirements, his works could not be but respectable. His pictures are, however, frequently dry and prosaic, destitute of force of chiar 'oscuro, and all the higher attributes of genius or imagination. Nay, so servile was he in the imitation of nature, and apparently so helpless without the model, that every part of the picture, from the face to a button-hole, was equally the object of his pains-taking solicitude. In justice to his talents, it must, however, be allowed, that much of the trouble he bestowed on insignificant details, originated in the pleasure he seems to have taken in teazing his sitters, and exhausting their patience. And perhaps the same wayward feeling will excuse his bad taste, in placing in the most conspicuous point of view the personal deformities of his subjects, which he most carefully and accurately represented, without regard to the feelings of the individual. It may here appear not a little surprising, that, in disregarding the first and great maxim of portrait paint ing, viz. to make every one well pleased with himself, he should have at all obtained the suffrages of the public in his favour. This might partly have arisen from the acknowledged fidelity with which he represented every thing he attempted, as well as from his address in impressing the public with the idea, that he was conferring a favour on his sitters in accepting their employment. His works are not numerous, as his enthusiasm and genius were equally divided between painting, darning stockings, turning egg-cups, mending his old clothes, and other useful offices. He died at an advanced age, in the year 1819. There are several other rising artists who have received the rudiments of their education under Mr Graham; among which, Mr John Syme, portrait painter; Mr W. Fraser, a painter of familiar subjects; Mr Baird, a portrait painter; Mr Scoular, sculptor; and Mr W. Lizars, painter and engraver. Mr Lizars at first devoted himself to portrait painting and conversations, in which latter department he attained great celebrity by his pictures the "Wedding" and "the Will," which have been engraved. He has also distinguished himself by his engravings for numerous publications, particularly his view of Crighton Castle for the Provincial Antiquities of Scotland. The arts are under great obligations to this gentleman for his very interesting and important discovery by which copperplate etching is made to apply to every purpose of wood engraving, and with a richness of effect approaching to stroke engraving, has the advantage, like wooden blocks, of printing along with letter-press. The portrait of Dr Morris in "Peter's Letters to his Kinsfolk,"is a specimen of this mode of execution, and possesses great richness of effect and variety of style. Mr Edward Mitchel is chiefly known by a large print of the Death of Sir Ralph Abercrombie, after Northcote. Mr R. Scott has engraved several respectable landscapes of a quarto size, particularly a set of twelve views in the neighbourhood of Edinburgh. Mr John Beugo, a pupil of Andrew Bell, has executed several large plates in a fine regular style of engraving, particularly the portrait of the late Dr Spens, in the costume of the Scottish archers, and the Earl of Denbigh, after Vandyke, in the Hamilton collection. Mr James Stewart, a pupil of Mr Graham, is an artist of great promise, who has particularly distinguished himself by a recent work in the line manner," Tartar Banditti dividing Spoil," after a picture by Allan-a work which, for masterly execution and harmonious effect, may vie with the finest specimens of the British school of engraving. Mr Stewart has recently announced his intention of engraving Mr Allan's celebrated picture of the Circassian Captives, noticed in another place, an undertaking for which, the works he has already executed, amply attest his qualifications, and are a sufficient pledge to the public, that, while it extends the reputation of both artists, it will confer honour on the school to which he belongs. Mr Walker, a pupil of Mr E. Mitchel, has risen to great distinction in a department of engraving of which Scotland has furnished few specimens, namely, in stipple or the chalk manner; his works consist of portraits, and are admirable for the beauty of their execution. His chief works are, the por traits of the Reverend J. Grey, after Douglas, and the Reverend Andrew Thomson, after Raeburn. SECT. XII. grotesque style, of which the drawingroom of Milton House in the Canongate, Edinburgh, affords a favourable specimen. De la Cour was succeeded by Pavillon, also a native of France, after whose death the Academy was superintended successively by A. Run Institutions for the Arts of Design in ciman, D. Allan, and J. Graham. On Scotland. The means that have hitherto been employed for the cultivation of the public taste, and the instruction of rising genius in the principles of art, have not been very extensive; nor can we speak in very high terms of the public spirit and regard for the arts manifested by our nobility in general, or even that portion of them who affect to be persons of taste,-their patronage extending itself only to an occasional portrait or view of a house, while the higher departments of art are totally ne glected; and although a few collections of pictures by the old masters have been formed by individuals, they are not sufficiently before the eye of the public, to produce any very material effect in improving national taste. The first public institution at all connected with art, was founded about the middle of the last century, under the patronage and at the expence of the Board of Trustees for the Arts, Manufactures, &c. of Scotland; but its chief object being the improvement rather of the mechanical arts, damask weaving, carving, and ornament-painting, and the like, it does not appear that the liberal arts derived much advantage from it. The first master of this Academy was De la Cour, a native of France, and an artist of some respectability, but of whose works we have not seen many specimens; he painted some pictures in imitation of Watteau, and he seems also to have been occasionally employed in decorating apartments in the VOL. IX. PART II. the accession of Mr Graham, the views of the Board of Trustees began to extend themselves to the improvement of the fine arts; and to make this institution a school of design, a fine collection of casts from the choicest examples of the antique was formed, and the examples of fruit, flowers, and grotesque ornament, which had hitherto been the only models set before the students, were banished for ever from the Academy. The liberal system which the Board had adopted, joined to the talents and exertions of Mr Graham, met their full reward in the success with which it was crowned, as evinced by the number of young men who received the rudi ments of their education at the Academy, and have since conferred so much honour on the Institution, and their country. On the death of Mr Graham, Mr A. Wilson was chosen his successor, and we have no doubt, from his talents and acquirements, that the credit of the Academy will be maintained, and its benign influence over the arts of Scotland will continue to exert itself with the same success. About fifty years ago, the Messrs Foulis, the celebrated printers to the university of Glasgow, engaged in a very spirited undertaking of this sort, with a view to promote the fine arts in that city. They obtained, at great expense, from the continent, a respectable collection of pictures, by the great masters, casts from the antique, &c. but Scotland not being yet ripe for such an undertaking, it did not meet the success which it merited, and the 2 h fortune of the projectors was very materially involved. About the year 1808, the artists of Edinburgh formed themselves into an association, in order to establish an annual exhibition of paintings, &c. and although they brought before the public, for several successive years, specimens of native talent highly creditable to the arts of the country, the encouragement afforded was not such as to stimulate to exertion, or reward success, and after the eighth exhibition it was discontinued. In the beginning of the present year, (1819), a number of the nobility and gentry, who interested themselves in the fine arts, ashamed of the public apathy and indifference, with a laudable desire to make one effort, established another institution to promote this object, to which they gave the name of the Scottish Institution. It opened with a highly respectable exhibition of the works of the old masters, contributed by various collectors, the proceeds of which are understood to be devoted to some plan of promoting the cause of contemporary art in Scotland. We believe that the directors take as their model the British Institution of London, but as they have not thought proper to declare their object, or ulterior views, although the first exhibition has been closed for many months, we are unable to judge of its probable success. From the character, rank, and influence in society of the persons who have taken upon themselves the management of this important undertaking, we have full confidence that their proceedings will be regulated by liberality of principle and a tender re gard for its interests and advantage, and that the most beneficial effects may be anticipated. We have long wished to see some permanent establishment in the Scottish capital, tending to bring the arts more before the public, and to render them objects of greater interest and attention; and we are of opinion that the directors have it in their power to make the Scottish Institution the foundation upon which all this may be effected. The first object of the directors will naturally be to provide apartments suitable in point of accommodation, and with regard to beauty and elegance not unworthy of the great national purpose to which they are devoted: besides the annual exhibitions, which are both to provide funds and keep up the public attention, a collection of pictures, by the great masters of every age and school, should be formed, and as a necessary appendage to this, a gallery of casts from the antique, models of the finest specimens of ancient architec ture, and a library of books on subjects connected with art, to all which the public should be admitted upon as liberal terms as possible. The fine col. lection of casts belonging to the Trus tees' Academy might be added to this establishment, and the Academy itself grafted upon it with great advantage, for the present apartments are in so obscure a situation, and so inconvenient and ill lighted, and ill adapted for the purpose, that the great bulk of the public know not even of its existence, and the students are ill accommodated. SECT. XIII Present State of Architecture in Scotland. Of the present state of architecture in Scotland we cannot speak in very high terms, and although a taste for building and architectural improvement has for some years prevailed beyond all former example, few of our buildings can be adduced as specimens of sound taste, and likely to ensure the admiration of posterity. In Glasgow, indeed, a city which we in the metropolis have been accustomed to consider as at least a century behind us in general refinement, for a series of years the architectural improvements have been conducted with judgment, professional talents have been freely permitted to find their level, and the names of Craig, D. Hamilton, and Stark, have risen to reputation; so that besides many handsome works of older date, by Adam, the city has been recently adorned with several edifices in a pure style of art; amongst which are Hutchison's Hospital, the Theatre-royal, and Nelson's Monument, from the designs, we believe, of Mr David Hamilton, the Court-houses and prison, and Hunterian Museum, by the late Mr W. Stark. The reputation which Mr Stark had so justly earned, promised to be highly advantageous to the art in Scotland, as his name was beginning to acquire an influence in Edinburgh, which would have been attended with the most beneficial results, when he was cut off in the prime of life, in the year 1813. The style of Mr Stark is admirable for its simplicity and purity, displaying a highly cultivated mind, and an intimate knowledge of the principles and finest examples of ancient art. The court-houses and jail at Glasgow are in the Grecian doric style, and were, we believe, the first examples of it executed in Scotland, and form one of the finest specimens of architectural taste which it contains. St George's church, which is greatly inferior to the rest, was his earliest work, and shews the rapid improvement which he afterwards made; he also designed the interior of the Advocates' Library, and that of the Writers to the Signet, at Edinburgh, which, notwithstanding the disadvantages with which he had to struggle, are works of great elegance and taste. Mr Gillespie, from being a direct antithesis to Mr Stark, as well as from the immense number of his works executed throughout Scotland, next demands our notice. Mr Stark has distinguished himself by his taste and elegance, Mr Gillespie by the clumsiness of his conceptions; Mr Stark rose to eminence by the study of the finest examples of the Greek and Roman styles of art, Mr Gillespie has acquired a name solely by his awkward imitations of the Gothic style, which, however offensive to good taste, have received abundance of vulgar admira tion; and as they have in a great de. gree supplanted legitimate art in Scotland, we conceive it our duty to give, with openness and candour, our humble testimony against all such pernicious backslidings from sound principles. Without presuming to detract from the real merits of the Gothic style, or withholding our admiration from the numerous fine specimens which this country contains, we have already stated our objections to its adoption in modern times, and our conviction of its great inferiority to the Grecian and Roman styles of art. The Gothic of Mr Gillespie is, however, as much inferior to that of Melrose Abbey, &c. as the latter is to the Grecian Doric, and this no one will doubt who compares even the richest of his works, the Catholic chapel at Glasgow, with the corresponding features at Melrose, Holyroodhouse, the College church at Edinburgh, or any other of our best Gothic edifices; the one, notwithstanding all its decoration, is heavy and tasteless, the others are light and elegant. His church at Libberton, near Edinburgh, is beyond every thing clumsy and ill composed, even making every allowance for the necessity of preserving the family vault |