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has since been, while inspecting the study of one of the most deservedly popular productions of a celebrated artist of the present day, and tracing its decided superiority to the laboured transcript, in vivacity and originality. Nor is it difficult to account for this; since, independently of the circumstances which we have already suggested, it is obvious that, notwithstanding the advantages which the painting derives from the thought, selection, and criticism of which it is the result, it is, after all, nothing more than a copy, revised and corrected indeed, but shorn of some of its higher qualities by the very processes which have been employed for its perfection.

These considerations are sufficient in themselves to account for the admiration in which the drawings and sketches of distinguished artists are held by the discriminate observer. But there are others, of equal weight, which are not to be forgotten, when we are assigning reasons for the apparently exaggerated value of these imperfect works, and for the eagerness with which they are bought up by collectors. The great productions of the masters of design are rare and costly the results of protracted effort, both of mind and hand, they are prized on a mixed calculation of scarceness, labour, and intrinsic worth. But the sketches and studies of these same illustrious men are in much greater abundance, and from this circumstance, were there no other, are comparatively, and sometimes positively cheap. From their unfinished and frequently mutilated condition, they are generally unfit for decorative purposes, and their peculiar character prevents them from being ostentatiously exhibited, in gilt and varnished glory, as furniture or gallery pictures. But, though they are less showy, and though, of the list of high qualities which go to make up the full compliment and rate of a perfect work of art, they have but a limited portion, yet, those which they possess, are so excellent in their kind, and so impressive in their display, that there is no cause for wonder at the intense interest which they excite, and the eager rivalry with which their purchase is disputed. There is, indeed, something exceedingly delightful in the feeling that we have in our own custody, and that we can take up at will, and contemplate at leisure, the works of the noble spirits of ancient times; that the very substance which they handled is in our hands, that the lines which they traced are before our eyes, and that the first vivid expressions of their imagination are enkindling ours.

The value, in traffic, of these admirable fragments, has occasioned some difficulty to collectors. The demand for these drawings has deluged the auction-rooms and the print-shops with an inundation of copies; and it requires much tact and some

practical skill, to determine between an original and a clever imitation. At the same time, the excess of the fraud has not only assisted in its own defeat, but has enabled persons of limited means to possess themselves, on easy terms, of works which, though unquestionably inferior to originals, are yet far more satisfactory representations than prints. We have seen some of these copies which had been obtained at a low price, and were exceedingly meritorious in execution.

Another method has been devised of rendering these treasures of the art more generally accessible, by multiplying transcripts through the medium of the graver; and men of high fame have distinguished themselves in this way. Ryland, Bartolozzi, Earlom, have produced engraved copies from the drawings of the great masters, which have given, with admirable spirit, the very lines of the original. Such works as those of Pond and Rogers, and the Liber Veritatis of Claude, by Earlom, outweigh all the tinsel which seems so fashionable in the present day. Of the latter work, it is scarcely possible to speak too highly, though the subjects are frequently more highly finished than the originals from which they are copied.

Mr. Reveley's volume is an able attempt to supply a deficiency in the literature of Art, by giving a series of short historical, descriptive, and critical essays on the professional character and productions of the principal artists whose works are in request among the collectors of drawings. The Author has executed his purpose very judiciously, and his son has done well to publish a book which communicates a great variety of useful information in a very intelligible and interesting manner. As a specimen of the book, we shall extract the article which is assigned to

• HANS HOLBEIN.

N. 1498.
D. 1554.

'Of Basle; possessed an uncommon genius both for history and portrait-painting, but particularly excelled in the latter.

The pictures of this artist are sufficiently well known: his drawings are equally admirable in their way. Even his slightest sketches in black chalk are fine: but his most finished ones, consisting chiefly of heads executed in coloured chalks upon stained paper, have a boldness and relief, which, considering the little use he made of the effect of light and shade, is truly wonderful; and an air and character of truth and nature, an expression of individuality, if I may be allowed the phrase, peculiarly his own.-In this latter style of handling, are two large volumes in the Royal Collection at the Queen's Palace, filled with original portraitures of the principal personages of the court of Henry the 8th. This inestimable treasure, which once belonged to Charles the 1st., after having long disappeared, was acci

dentally discovered by Queen Caroline in a bureau at Kensington Palace. In the King's Library in the Green Park, is a small upright drawing, framed, of the Queen of Sheba before Solomon, highly finished in Indian ink, and coloured: it has been etched by Hollar.At the Duke of Devonshire's at Chatsworth, are portraits of Henry the 7th and 8th, the size of life, handled in black chalk, and heightened with very fine effect.-Mr. Hervey has a volume of twenty-three capital Portraits of the court of Henry the 2nd of France: the faces are very highly finished in coloured chalks; and over many of them are inscribed the names of the persons they represent.-The Earl of Carlisle has a room at Castle Howard.completely hung with a set of his Portraits of distinguished personages in the court of France.-In the British Museum, is a Book for jewellers to work from; and a collection of designs for Weapons and Ornaments of different kinds, some of which have been engraved by Hollar.- Sandrart has a folio volume of his drawings, representing the Passion of our Saviour, which he so highly prized, that, there being a deficiency of two to complete the set, he publicly offered a reward of two hundred florins for their recovery.—At Basle are many historical designs by this master, intended as patterns for painters on glass.-But by far the largest collection of Holbein's drawings ever got together, was that made by the great Earl of Arundel; some of which have found their way into the present royal collection, and form the most valuable specimens it possesses of the style of this admirable artist.'

Reveley. pp. 16-166.

We have added to this article, the title of the Liber Studiorum, that we might have an opportunity of briefly noticing a series of engravings, which, in our opinion, stands at the head of all similar publications. Were we to make any exception, it could only be, and that with much hesitation, in favour of the Liber Veritatis; of course, not including in our estimate any other than prints in imitation of drawings. The fourteen numbers. contain about seventy subjects, historical, mountainous, pastoral, marine, and architectural.' Of these, three or four are insignificant, as many more have failed in the hands of the engraver, but the rest are admirable, with a large proportion above all eulogy. Two of the Plagues of Egypt, the fire running along the ground, and the death of the First-born, are a mixture of the historical and architectural, combined with the powerful effects of the elemental war their design and execution are alike excellent. All the five subjects of the first Number are examples of interesting scenes finely treated, and full of exquisite sketching; etched, as are the outlines and marking features of all the remainder, by Turner himself. This gives a peculiar value to the work; and, in some instances, when the engraver has not felt, or, feeling, has failed to realize, the character of the drawing, this alone gives expression and effect to what would, without it, be altogether poor and unmeaning. We have often felt surprise that works like these have not

been more frequently employed in the business of education. There seems, indeed, to prevail a notion altogether mistaken as to the real object of instruction in the arts of design. If, as is too frequently the case, it is intended merely to communicate a superficial accomplishment, and to enable the pupil to produce, as speedily as possible, a groupe of tawdry flowers, or a portfolio of showy landscapes and sprawling figures, to be handed about and indiscriminately lauded among friends and visiters, we dare say, that the approved methods of manufacture, may be well enough suited to the purpose. But if it be designed to impart real and practical knowledge, the art must be taught in its highest principles as found in the productions of its genuiue masters; and as these are not accessible, for common purposes, in their primary state, they may with nearly equal advantage be studied through the medium of skilful imitations. Were we called upon to train a youth to the practice of art, we should, if his bent were Landscape, take the Liber Veritatis and the Liber Studiorum as the basis of our system of instruction, availing ourselves occasionally of the works of other masters as illustrations of the varied range of art. If the Figure were the object of acquisition, we should, in conjunction with the Cast, follow the same plan, and avail ourselves of the fine copies made by such men as Ryland and Bartolozzi, from the great designers of former ages. The study of natural scenery and of the human body, would come advantageously after this, if the bias of the mind led to the cultivation of the arts as a profession. But to this, we are not now adverting. The only genuine object of general tuition in drawing, appears to be that of enabling the individual to realize the scenery and the living forms which may attract his eye, and impress his fancy; to provide himself with a delightful recreation for leisure hours, or to contemplate, with just and discriminating admiration, those works of illustrious artists on which the multitude look with a languid and unintelligent gaze; and this is to be effected only by impregnating the mind with right principles, and accustoming the hand to trace the most accurate lines, and the noblest forms. The copies from Claude, by Earlom, of which the Liber Veritatis consists, are full of instruction; their fine sketching, and exquisite effects of light and shade, can never be too closely studied. Some of them, it is true, are unworthy of their associates; but a fair proportion of them is entitled to scarcely qualified praise. That they are somewhat more highly finished than their origi nals, may affect their value as correct transcripts, but is immaterial in our present view. The Liber Studiorum is more complete and elaborate. The subjects are wrought up to the VOL. XX. N.S. 2 N

effect of finished pictures; and such is the magical power with which the various forms and accidents of nature are realized, that we scarcely regret the absence of colour. The glow of sunset, the dewy freshness of the dawn, the fierce brilliancy of the tempest, the play of sunlight amid dense foliage, the alternate shade and lustre thrown on scenery by a stormy sky, the rainbow on the bosom of the shower, the wild and appall ing desolation of the Mer de glace,-all these are represented with the utmost vividness and truth, and with inexhaustible variety. There is a beautiful view of the vine-covered hills and 'gay mountains of France,' with deep shadows and catching lights, rich plains and Alpine distances, that is perfectly enchanting. The story of Esacus and Hesperie is richly decorated; the nymph combing her long dark tresses, the silent dell with its sunny foliage, the cool stream broken by ripples in the distance, and spreading into a deep glassy pool in the foreground, with the fern and foxglove fringing its margin, the fantastic forms and intersections of the overshadowing branches, make up a scene of romantic attraction. There is a sort of counterpart to this, in the noble Salvatoresque sketch of Jason stealing on the slumbers of the dragon, amid a close scenery of rock and foliage, and shivered trunks and skeletons. The way in which part of the monster's scaly coil is shewn at the entrance of his lair, is intensely indicative of magnitude and strength. Solway Moss is a capital specimen of the artist's skill in giving interest to an insignificant scene, and the engraver (Lupton) has given it its full effect. A deep black cloud stretching athwart a strong gleaming sunshine in the distance, throws its deep shadow over the middle and foregrounds, while a winding train of cattle coming forward in dark perspective, breaks, in the immediate van of the picture, into well managed light and shade. The story of Rispah, watching the dead bodies of the sons of Saul by moonlight, is singularly, but powerfully treated. But, were we thus to particularize every interesting subject in the collection, we should extend this article to a most unreasonable length; we shall notice only one or two in the last published number. A church with reader and congregation by lamp-light, is excellently represented. The chandeliers are dazzling in their effect, the plate and gilding of the altar are lustrous in the gleam, and the dark gothic arches make a good foreground. The last is a beautiful scene, representing Christ and the Woman of Samaria at the well. A bank with beautifully disposed trees overhangs the spring, near which lie scattered cornices and masses of hewn stone, the vestiges of some building thrown down by violence; the foreground sinks into a woody valley,

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