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THE ROYAL SCOTTISH ACADEMY'S EXHIBITION OF 1849.

The great refage of the destitute Edinburgh || Thebes--has he done anything like this? Far loungers having resumed for the season, we care from it; he has filled up the atmosphere with natunot if we saunter in amongst the garish array ofral colour—the grey of the ert tells at once of leads and pigments, just to say what our annual the clime and country ho depicts still more does friends, the President, and Secretary, Bonnar, Bur- | the fiery furnace of the Egyptian sand, amidst which ton, Crawford, Fraser, Faed, and all the rest of the Coptic crowds are walking, proclaim the rainless them, in alphabetical order, have been doing. Wel region of the African isthmus. When we look at don't pretend to criticise. The toute ensemble of the these works, we are forced to confess that our Scottish exhibition is not worth it. What would become of artists know nothing about expressing the sentiment us, were it not for the English paintings, it is im- of a landscape. How different was it with Thomson possible to say. Most of our own artists evince anof Duddingstone; an engraving of whose “ Dunluce improvement in their little particular walks. But Castle, county Antrim”-about to be presented to they have not contributed a single great work last year's subscribers to the Association for Proamongst them to the six hundred paintings in the motion of the Fine Arts--hangs in the doorway of exhibition-unless, indeed, David Scott's enormous one of the rooms! And to him we must add one or canvas might deserve the name, on the score of su- two honourable exceptions, amongst whom we inperficies. The majority are men of one idea. Scottclude D. 0. Hill, and almost Edmund T. Crawford. himself, with all his gigantic grossièreté of imagina. The former has been extremely fortunate in his tion, reproduces himself incessantly. As for the large picture of “ Ballochmyle" (220). The unothers, they manifest the same difficulty in escaping utterable loveliness of the spot, and, it would al. from the mill-horse track. Daniel Macnee must most seem, some of its associations (for one of the paint pink beauties by a well ; Alexander Fraser, | abutments of the great central arch is founded in with a hopeful partiality for an early era of the art, the rock where Peden had his hiding place) have never aspires beyond the painting of an alehouse been arrested. With singular candour, the artist sign. Scott Lauder himself has got hold of one has also contributed to the exhibition his original perennial female model, and we are sure to have sketch (176). To younger aspirants this must her wandering indifferently amidst oriental scenery, teach an admirable lesson ; for it is quite evident or buckling the belt of a border knight. Even Sir that a further study of the subject has induced Mr. William Allan seems determined to stick to the Hill to open up the channel of the stream, thereby field of Waterloo ; whilst D. 0. Hill, having ob- imparting its very life to the scene, besides extendtained celebrity for striking out interminable dis- ing the play of his magical perspective. The cir. tances, in the mild warm haze of his sunlit skies, cumstance of a masterly painting, of this railway has made more than one of them as mere matters scene of matchless beauty, being produced, is a of sunshine as Horatio Macculloch and the High-source of general prise and delight; for it is land artists have made mere matters of moonshine not amongst the steam viaducts of the land that of others.

Then there is that set--Perigal, Mac- | artists instinctively seek for subjects worthy of their calloch, the late William Simson, the greatest of pencil. But, certainly, if any railway scene will their school (de mortuis nil nisi bonum), one might bear pictorial management, the Bridge of Ballochtake affidavit they had served apprenticeship upon myie, railway bridge though it be, with or without steam-boat panels of the highest Birmingham | the accessories of its “Braes,” would stand the polish. There is no mistaking the style. Perigal's test. Yet, the Braes themselves, sung in the love. " Glencoe,” in the present exhibition, has an ultra strains of Burns (and these strains were his best), papier maché finish. So have they all. The skies were equally beautiful, without the bridge. This and backgrounds of these unfortunate landscapes paradox, perhaps, requires a bit of explanation; are generally overgrown amethysts, topazes, tur- and the explanation redounds immensely to the quoises-anything but the colours we behold in na- credit of the proprietor, William Maxwell Alexander, ture ; whilst the foregrounds, which in general are of Ballochmyle. The scene is a celebrated one, admirable studies, both in colour and conformation and cynosured within that gentleman's private -Datural looking trees, lichened rocks, beautifully policies ; and we all know what price he might transparent water, or—if living figures of men or have put upon the passage of the Glasgow, Dumanimals be intruded on the solitary scene, capital fries, and Carlisle Railway, through his romantic expositions of the pigmy existence amidst the lone demesne. Mr. Alexander, however, stipulated, we majesty of nature, these only render the contrast believe, for nothing on the score of amenity, save and conflict betwixt the studied and unstudied parts that the engineer should design such a bridge as of the picture (for thereby hangs a tale) painful to would not impair the beauty of the scene. The the beholder. The foreground details secured in task was an easy one to Mr. Miller, who had altheir sketches, the rest is left to conventionality to ready spanned the dizzy altitudes of the Pease Pass complete ; and hence the incongruity of the very with an arch of unrivalled beauty and proportions; finest of these productions. Now, has David Ro- and Mr. Alexander had his reward in the present barts

, who has given us two of his magnificent pic-arch of 180 feet span, finely relieved by six smaller tures of the East—the Ruins of Baalbec in the arches of 50 feet each, standing 178 feet above the Desert, and of the great Temple of Karnac at li level of the river, and even more exquisitely pro

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VOL. ITI.XO. CLXIII,

portioned than the Pease viaduct. The artist, in which he has rendered and realised the mysterious his treatment of this imposing subject, has thrown architecture of these strange lands and forgotten in some lovely touches of nature ; we do not so oras, endowing them with all the attributes of their inuch refer to his fine rocks, limpid water, and present life. graceful trees, as to his distance and perspective, Mr. J. M. Müller, another favourite English arand to a sunny shelf of elevated sward, extending tist, has a tolerably extensive “ View on the to the left of the picture, which is really senti- || Thames.” It is the property of Mr. Birch, of Harinental.

bourne Hall. It is novel, to a startling degree; and, We have spoken of the English pictures as the we fear, with all its excellence, which is marvellous, gems of the exhibition ; and we mean to stand by betrays much unwarrantable eccentricty of manner. the assertion. The late William Collins's “Skittle Nothing could be more admirable, for instance, than Players,” the property of a gentleman in London, the dredging-machine or barge; mechanism is put is the best thing in the collection. There is a per- together as if it were a working model. Sails, vading freshness and vitality, yet a perfect repose, shipping craft, &c., are equally brought out. But in this picture, which is delicious. The life is life the sea perplexes us. We know not what to proin earnest, whether manifested in the ardour of the nounce it. There is a delicacy in finding fault with combatants in the game, the anxiety of the on- a great picture, the property of a private gentlelookers, young and old, the indifference of the man, whose only motive in subjecting it to general topers, enjoying their beer and tobacco, seated at criticism must be to enhance the attractions of the the table under the tree, or the zeal of the little exhibition. But we must say, that, by ripping up fruitseller and potboy, who ply them with apples a feather-bed, and dispersing the feathers pretty and heavy-wet. The tone of the painting is freely over a ground of blue tick, a fair model might masterly; the light and shade is distributed fear- be realised of Müller's “painted ocean." It is a lessly, freely, but with unerring precision ; and the frothy ocean, a flaky ocean, an ocean of spray and harmony of the composition as a whole is, we broken billows; but marvellously like a disrupted should think, unrivalled. The very skittles seem feather-bed. And yet the piece has its fascinations. to play an important part in the piece, so admirably | You sniff the fresh breeze, and enjoy the laughing are its details adjusted; but there is not a blade spray. The only misfortune is that the sky is of grass, the leaf of a tree, a sunbeam, or a shade sprayed too; and, but for that, we could not give upon the paling, but does the same. It is a fine the picture up. specimen of the manner of the artist, and does We are not forgetting, all this time, that there are honour to the English school.

two Wilkies in the room—very opposites, antipodes The Times complains that the London exhibition of each other-one of them (54), “ Alfred in the has not a single Stanfield. We have two here- || Neatherd's Cottage.” The sketch for the large old ones—and somewhat of the smallest; but, one picture, “Familiar as a household thing;" the other of them at least, bearing the finest characteristics (145), “Benvenuto Cellini presenting, for the apof the master. They are the property of Mr. | proval of Pope Paul III., a silver censer of his Charles Hargitt. The squall coming on at the own workmanship.” The sketch is interesting, and, mouth of the Thames (20) is as beautiful a work into artists, instructive. It leaves room, we think, to its way as Stanfield ever painted; and no picture expatiate largely on the amplification of Sir David's could better convey the tale. There is no exaggera- ideas in the progress of execution. The less-known tion. The billows are not tempest-tossed ; but, in picture, which is the property of Mr. Birch, already a small corner of the distance, the briny green gives mentioned, is one of those efforts in which Sir David way to the dark, almost livid trace of the squall. Wilkie may be said to bave failed. The figures The wrath of ocean is awakening; and even in that are too solitary, the details too circumscribed, for small streak the ominous darkness of the scowl that his genius, which revelled in variety, and made up traverses the face of the deep is imaged. Theother a long inventory of telling effects. picture of the giant of Caledonian railway land- And now to dispose satisfactorily of the strangers, scape-"Criffel, at the mouth of the Nith,” (21)- we have but to notice a Turner_* The Wreckers" is in a very different style. The mountain is in (339), the property of Mr. Bicknell, of Herne Hill

, shade. The sea has receded from the shore. The Surrey. This is a magnificent picture, apparently sands, on which a vessel is laid up, are minutely and an old one, with less of Turner's fantastical illubeautifully detailed, with semi-marine objects; and sions in it than usual. The terrible catastrophe is the distant sunset proclaims the hour through a sort thrust forward with great breadth and power. Spars

, of gorge in the mountain, and warms up the dark-cordage, all the débris of wreck and disaster, tumble ened masses into effect.

up through the raging surge, in its recoil from the Robarts’s two pictures (12 and 376) represent the iron-bound shore of a dark precipitous coast, castel“Ruins of the Temple of the Sun at Baalbec- || lated like Culzean, on the sea-board of Ayrshire

. Mount Lebanon in the distance--from sketches on The harmony of colouring throughout this picture the spot in 1839”—the other, “Ruins of the Great is equal to anything from Turner's pencil; and, al

Temple of Karnac at Thebes, Upper Egypt—the though the magical vistas of half-imagined archiNo-Amon of Scripture.” Those who have only seen tecture are inadmissible in the scene, his attempt Mr. Robarts's sketches of these scenes will bear in to depict the beauty of sublimity” (for, let pbi

. mind that these are finished compositions. Those losophers analyse as they will, there is such a thing) wlio have seen neither his sketches nor elaborated has been here as successful as elsewhere his depictures will hopelessly conjecture the fe!icity with lineation of its evanescent and intangible dreams.

Sir William Allan's companion pictures, an on which it is invariably the fate of Wellington to “ Incident in the life of the Duke of Wellington' be mounted, whether by Marochetti, in bronze, or (138), and an “Incident in the life of Napoleon” || by Allan, in oil and colours—the neck, especially, is (149), solicit our attention at once on entering the stiff, turgid, inflexible. It may seem unreasonable great room; notwithstanding the gigantesque pro- to say it, but it outrages the whole sentiment, so trusion of Scott's “Vasco di Gama," and the “Soap strongly depicted in the countenance of the hero. Bubbles” of Harvey's “ Past and Present. The | What could you expect from a horse? urges the first of those pictures, by the accomplished Presi- | apologist of the painter. Everything. Horses are dent, is not the best; nevertheless, it has an epic the best actors we know. In every pageant in which majesty in the story which it tells, the very choice they play a part, they do it well-wedding or funeral, of which was an achievement in heroic portraiture. | drive or parade, the horse comports himself accordIt is neither more nor less than Wellington weeping ingly; and we would have a little dash of sentiment —and on the field of Waterloo! He--the Iron and sensibility, therefore, thrown into any horse Duke—the hero of a hundred fights-dissolved in honoured by introduction into a principal place in a tears, and in the hour of victory! It is the triumph scene which, in our estimation, rises to the sublime of human nature ; and Allan merits the glory of of pathos. The scene stands altogether unparalleled painting it, for having had the genius to select the in the conceptions of the historic muse. Alexander incident. But the reader seeks to know how it wept; but not like Wellington. Selfish, wolfish, and could happen, instinctively imbued, we hope, with rapacious were the crocodile tears of the Macedonian the trust that the fact may not be a fiction. Well--but the shower of human sympathy that rained then :

from the modern victor's eyes welled from the foun“As the Duke of Wellington slowly returned over the field of tains of a mighty heart. And yet he would be either battle towards Waterloo, the noise and confusion, which so lately

more or less than man that could wade to victory reigned, were heard no more; and all was hushed and still, save when through seas of gore, and experience no emotion. the means of the wounded, or the agonising shrieks of the dying, The Napoleontic incident delineated by Sir Wilberst upon the ear. The moon shed a pale and mournful lightliam Allan is quite dramatic, like every incident on the horrors of the scene. When the Duke contemplated the ples of dead which were heaped on every side, and thought, with personal to “the Emperor.” The subject is less the lives of how many brave fellows the glory of that day had extensive, the interest more concentrated, and the heen honght, and how many hearts even the joyful news of this painting itself, where there is no "moonshine," and victory would sadden, the sternness of the soldier was forgotten, but little chiaroscuro at all, more careful in drawing, the frelings of the man resumed their power, and he could not grouping, and finish, than the companion piece. restrain tears."

Napoleon is at Boulogne, distributing the cross of Please give the catalogue full credit for this the Legion of Honour (we really cannot quote the quotation. We know nothing of " Bryce” or his catalogue-it is the panorama again) when two " History," whence it is stated to be taken: and English sailors are brought before him, charged can no further youch for the incident.

The lan- | with attempting their escape from Verdun, in a guage in which it is told assuredly smacks more of little boat or raft composed of small pieces of wood, Marshall's panorama, and the flowing diction of the and covered with sail-cloth. Napoleon is splendidly describer, than we altogether like. But Bryce, for mounted, his brilliant staff are grouped around him, aught we know, may have been as honest a man as and he is in the act of generously extending liberty Macaulay, although he would have made more of and a couple of gold pieces to the gallant tars, who the matter. B., we admit, has somewhat minced are dauntlessly telling him their story. The cosit. And Sir William Allan, we regret to add, al- | tumes here form one of Sir William's most successthough he has produced the Duke himself effec- | ful studies, and the vigour of tone and colouring he tirely, and in the melting mood, has literally failed has imparted to the picture are conspicuous. in the principal figure of the piece—and that is, We may now turn to George Harvey's felicitous the Duke's horse. “ Around a slaughtered army composition (41), unquestionably the most pleasing, lies-"rider and horse," &c.—all the red ruin and in domestic interest, contained in the room, “ Blowmelancholy detail of the “ romance of war.” Anding Bubbles—the Past and the Present.” We are oh! the ghastly play of one particular moonbeam told in the catalogue, that Mrs. W. F. Tayler, of on the steel cuirass and pallid countenance of a London, the lady whose property the piece now is, prostrate corpse in the foreground! There is some- was the holder of the £300 prize in the Art Union thing unearthly in the pale, cold light reflected from of London, in 1848, and selected this picture from the face of the dead. The fallen brave lie near; the Royal Academy exhibition. Her choice does the reviving wounded rouse themselves to gaze at honour to her taste and judgment. The bubblethe passing staff. Far o'er the carnage-strewn blowers are a group of children, disporting within plain

, in heaps, accumulate the wrecks of battle. the grass-grown ruin of an old manorial hall. Victors, worn out with the contest, crouch It makes us young again to see them. The leader round a thousand watch-fires, recounting the of the sports is elevated, but not alone, upon a exploits of the day; and the unquenched smoke fragment of mouldering wall, covering, like a slab, and flame of Hugomont still tell of the recent the dismantled fire-place, once surmounted by a

Sir William Allan has, in fact, repro- very different set of chimney ornaments. This duced another great sketch of that terrible vic- rough but intelligent looking urchin blows lis tory, in which nothing is forgotten, to the crushed bubbles from this altitude, intently watched by the gauntlet, the broken cuirass, and neglected drum. tyke” that half gravely stands before him on the But, in the midst, appears the identical wooden horse same pedestal ; immediately under which a lovely

battle.

little girl, in the vulgar glow of health, spreads out figure, a boy, whose violent terror contrasts with the more conher pinafore, as if to coax the last of the soap-bubbles posed guze of the hardy sailor, to whom he clings. Beyond idto it. Further off, the remaining children of the these

, a knight in armour raises his lance; and abore, to the

right, are various of the crew, of different ranks; one, clamber. group are variously engaged in pursuit of the fragile ing by the edge of the ship, faces the spirit; and another vows globules ; some catching them, others contending money to his patron saints; some look with suspense into the for them with breath and fists, and some contem- | sky, and others, with anxiety, watch the resolves of their complating them as they burst. The soap-bubbles mander. A sollier opposes a crucifix to the spirit, which he has themselves are delicately yet brilliantly rendered. I snatched from the Dominican behind him, who is wholly over

come by fear, and whom a Moor attempts to rouse from his stu. We almost expect them to float forth from the

por; while another in pallid faintness implores his intervention. frame, and give the fashionable loungers once more Behind the last-mentioned figure, two others, with suppressed a chance of enjoying the innocent sports of child- emotion, and hands locked together, endeavour to support each hood. The interior of the ruin, involving only other. Towards the centre, lolling upon the deck, a mutineer, perspective, and not distance, is something finer in behind his back, so as to be unseen by Gama, towards whom he

turns, draws a dagger; and, by his side, another openly imprelandscape detail, if we may employ the expression, || cates the commander. Others in different parts of the picture than we had given Harvey credit for.

He has con

who have fallen down in dread, in prayer, in abject and in furious quered his besetting haziness throughout; and the despair, fill up the individual features of expression meant to be fragments of architectural sculpture in the middle intimated.” distance tell upon the eye as vividly as the emblema- || And fill them up with a vengeance! Fancy all tic fox-glove in the foreground. The figures of the these figures, as large, at least, as life, if not absochildren are painted with consummate skill. One | lutely colossal, crammed together on the deck of great lump of a boy positively looks as if he were Gama's vessel; and add to their inextricable confugrowing while we gaze on him. Speaking of Har- | sion a small touch of the earthquake, which is obvey and landscape just reminds us, by the way, that viously either the cause or effect of the supernatural he has also a composition of this sort, and a good || visitation; and you have attained a conception of Mr. one, in the Scottish Exhibition (271), “ Auchynore, || Scott's painted Epos. Far be it from us to say Argyleshire." This is the only original contri- || that the artist's own conceptions are not of the bution, indeed, with which he has favoured the in- || highest and most intellectual order. We only renstitution that fostered him, We hear of great ture to suggest that he fails in execution; and, but things on his easel ; but, alas, they are all for for this same practical deficiency, there would unLondon. Let them go ; the prizeholders of the Art-|| doubtedly be many more great painters. We know Union will probably favour us with a sight of them. that Mr. Scott possesses theories on this point, oriBut, en passant, we may remark as a legitimate re- ginal and peculiar to himself. We only wonder that sult of the popular movement amongst the members he has never yet discovered that the most cherished of the Association for Promotion of the Fine Arts theory, when waged against the world, must sooner last season, whereby the patronage was distributed or later be given up. more in the direction of small purchases, the ab- The Messrs. Lauder-we mean Messrs. Robert sence from the walls of anything like a great origi- || Scott Lauder, and J. Eckford Lauder, (for Mr. nal picture in the present season. And yet, when | George Dick Lauder by no means enters here) £400 was given for Mr, Scott Lauder's great pic-|| are the next who come under the order of review. ture of last year-with one exception the highest The former has won his spurs, as a border laird, sum offered by the Association for a single subject- || by a finely-conceived group of “ Border Life in the it was no proof that the patronage of important Olden Time,” (171). A fair vision of womanhood works was declining.

is buckling the belt of the border knight, whase David Scott's immense canvas, (1.) “ The Dis- || eldest hope appears begirt with mimic sword, and coverer of the passage to India, passing the Cape burdened with the ponderous helmet which the of Good Hope,” has long been claiming our atten- bold baron is about to don. The clustering tion; and, in all this gossiping, we have scarcely at-arms appear behind, hastily accoutred, and the bestowed a glance upon its Titanic forms and sal- || still-life details of a stronghold are filled in to block low countenances. That Scott is a man of original | up the distance. The picture has faults, of, mind, his very eccentricities establish. It occurs rather, improbabilities. The delicate beauty of the to us that there is more coherency in his present female model is, for example, overdone; as, also

, production than in any previous emanation of his the urchin could never sustain the helmet or morion pencil. He has caught up fairly the epic spirit of without a greater apparent strain upon the hand. Camoens, and construed the supernatural appear. But the whole group is instinct with life: and the ances of the passage of the Cape, and their vari- || painting, both of chain and plate mail, is faultless ous effects, on Vasco da Gama, and the knights, and effective. We protest against “The Toilet," nobles, monks, mutineers, Moors, &c., that sur-||(199), which, though prettily painted, is not ex round him, with immense force:

tremely modest. Besides, we don't know that it « Gama is represented in the centre of the principal group,

is quite handsome, either in artists or amateurs, to his look fixed upon the obscure form of the spirit, which mingles snatch a back view of a strapping girl lacing her with the clouds, and pressing his sword-luilt to his heart; it is corsets. The brilliant little cabinet picture, (402, intended to display determined and concentrated finness, to a “ Burns and Captain Grose,” however, compen. certain extent awed, but unsubdued. Behind him, drawing a sword, is a young Portuguese noble, supposed to be less under sunbeams, to produce this highly-coloured, gem,

sates. Mr. Scott Lauder has dipped his brush in the intinence of deep emotion than, with fearless conrage, ready to meet every danger. On the other side, kneeling, is a pilot, || There sits the captain—" a fine, fat, fodgel wight," accustomed to look stcadily into the tempest ; and, above this] / slightly but visibly debilitated by the gout, traces

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of his old regimentals peering out from below his the limner. What immortality can an artist hope dressing-gown. Burns, half-grave, half-comical, from “the portrait of a lady,” or “the portrait of stands behind his chair, with his rich dark eyes and a gent. ?” and yet the average quantity of those unmaply form; whilst the matter in quo seems to meaning images occupy the wall. Mr. John Balbe a collection of

lantyne (153) has contrived, however, either from "Rusty airn caps and jinglin' jackets," the excellence of his subject, or the felicity of his arranged upon an antique chair-but we rather pencil, to produce, cven under one of these quessuspect the attraction for some of the parties may tionable designations, a picture of considerable inirather be looked for amongst the rosy damsels interest. Trautschold’s “Signor Tachella"(78), and his the opposite corner, assiduously producing the an

“Miss Julia Fontaine," are graphic instances of a tiquarian relics for inspection. The picture, which style of portrait painting wherein the conventionis glazed, is surcharged with colour, but most har | alities of our absurd portrait school are spurned with moniously.

advantage for graces of character and expression Mr, Eckford Lauder almost disputes the niche which are graphic without being meretricious. he shares with his more illustrious brother. His Amongst the landscapes, the most pleasing are * Miranda," (9), from a scene in Shakspeare's || Miss Stoddart's “Balmoral" (70), and Macculloch's "Tempest,” (Act v. sc. 1.) seems only to possess " Inchmurrin” (85), despite its stringy birches—for the fault of being copied from the conventionalities || birch trees, though graceful objects, are paltry of the stage, instead of being drawn from the artist's enough when faithfully resolved into a picture, and own suggestion; but it is difficult to get over this. Macculloch has forgot to flatter those of Loch LoThere is a superabundant chalkiness about the fe- || mond. They are amply redeemed, however, by male figure, who, we dare say, was a mere mortal to his finely painted deer. Perigal's “Loch Rannoch" everybody but Prince Ferdinand; and, as his back (88), his “Invercoe and Entrance to Glencoe” (104). is towards her in the scene, we see no cause for and his “Glencoe" itself (30), are not equal to the inresting her form with anything approaching to a late W. Simson's “Scene in Novar Deer Forest" halo. But, except in the case of “ The Toilet,” ||(120), where the dead stag on the pony, and, indeed, where the female figure is hard, softness predomi- | the whole figures, are admirable. Sir William nates to excess in the feminine delineations of the Allan's “Strachur” (110), Linnell's landscapes (124 Lauders. The other figures of the male group are, and 195), “ Landscape and Cattle, North Wales, however, well done, though theatrical. The still. || and “Hillside Farm, Isle of Wight,” struck us as life details, as the chess-board, &c., are exquisitely being beautiful embodiments of natural scenery,

The Fresh Breeze off Burlington Pier," by Copley The portraits are always worth noticing in an Fielding, is also an excellent example, like Linnell's exhibition of "the works of living artists”-a title, pictures, of the distinction betwixt the Scotch and by the way, which the Edinburgh exhibition has English schools of art. Ours, on the whole, breathes quietly and judiciously dropped; and the reason is, more of intellect and refinement; it is at the same that they form a test at once of the proficiency of time more sickly as well as sentimental in execution; art, and of the encouragement it happens to meet theirs has the advantage in respect of warmth and with. The painter who can make a picture at all vigo:ir of colouring. The manner of Thomson of out of any given arrangement of physiognomy may Duddingstone was more English than Scotch; and be set down as good, bad, or indifferent, precisely | yet he came closer to nature than any artist we now according to the modicum of his success. Some have. To proceed—we also admire as landscapes features, indeed, partake more of the picturesque Schihallion" (130), a moonlight effect of Peri. than the wearers feel at all pleasant; and here I gal's, “The Town and Palace of Falkland," painted the painter is called upon to place his genius upon with tolerable care and freedom by J. C. Brown, the bed of Procrustes; he must shorten or lengthen an artist with many pictures, though not many his strokes according to the caprice of his employer. | good ones, in the exhibition--and we include If , under all these circumstances, the imitations of D.O. Hill's “Ellangowan” (178) and his “Sunset” humanity that adorn the walls of a public exhibi- ||(197). The “ Highland Reaper’s Return” (323) is a tion contrive to pass in reasonably fair array, it large and ambitious picture, by J. C. Brown, with may be admitted that the excellence of the collec. a tolerably good landscape and a group of figures, tion cannot be impeached. The artistical powers which, but for a blue bandbox tied up in a coloured of the Scottish Academy have passed through this handkerchief (a pretty good“ property," however) ordeal, in the present instance, with very tolerable would hardly unfold the story of the piece. “ Oli. success, Sir Williain Allan's portrait (185) taking via's Garden” (319), W. Douglas, must bave been the lead in clearness and purity of tone; those of painted, not from nature, but from the boards of Gibson, the sculptor, by Graham Gilbert (2), Master | Drury Lane. D. O. IIill's “ Border Tower" (338) is Campbell Colquhoun and Pony, by Colvin Smith a lonely pile which lends point to the artist's admi. (8), the Rev. Dr. Gardiner, Bothwell, by Grahamrable atmospheric effects. The “Allan Water, near Gilbert (18), and some by Mr. Smellie Watson and Kinross" (262), by Macneil Maclay, is a good but others, furnish instances of pictorial flattery in its rather florid landscape. "Auchynore, Argyleshire," most delicate forns of homage, and cannot be said||(271), Harvey's great landscape, has been extravato outrage the feelings of the scrutinising inob of gantly admired; but Harvey is one of those idols indifferent spectators half so much as portraits used whom the Edinburgh public adore against all reto do when ladies sported yellow turbans, and gen-monstrance; and if the picture were as bad as it tlemen in brocaded dressing-gowus sat in state to happens to be excellent, there would be no possi

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