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This is a record of impressions. It does not aspire to the dig. nity of criticism. The writer is conscious of an eye and taste, not sufficiently exercised by study of the best works of art, to take the measure of one who has a claim to be surveyed from the same platform. But, surprised at finding that an exhi. bition, intended to promote thought and form the tastes of our public, has called forth no expression* of what it was to so many, who almost daily visited it; and believing that comparison and discussion of the impressions of individuals is the best means to ascertain the sum of the whole, and raise the standard of taste, I venture to offer what, if not true in itself, is at least true to the mind of one observer, and may lead others to reveal more valua. ble experiences.

Whether the arts can ever be at home among us; whether the desire now manifested to cultivate them be not merely one of our modes of imitating older nations ; or whether it springs from a need of balancing the bustle and care of daily life by the unfolding of our calmer and higher nature, it is at present difficult to decide. If the latter, it is not by unthinking repetition of the technics of foreign connoisseurs, or by a servile reliance on the judgment of those, who assume to have been formed by a few

Since the above was written, we see an article on the Exhibition in the North American Review for April, 1840.

hasty visits to the galleries of Europe, that we shall effect an object so desirable, but by a faithful recognition of the feelings naturally excited by works of art, not indeed flippant, as if our raw, uncultivated nature was at once competent to appreciate those finer manifestations of nature, which slow growths of ages and peculiar aspects of society have occasionally brought out, to testify to us what we may and should be. We know it is not so; we know that if such works are to be assimilated at all by those who are not under the influences that produced them, it must be by gradually educating us to their own level. But it is not blind faith that will educate us, that will open the depths and clear the eye of the mind, but an examination which cannot be too close, if made in the spirit of reverence and love.

It was as an essay in this kind that the following pages were written. They are pages of a journal, and their form has not been altered, lest any attempt at a more fair and full statement should destroy that freshness and truth of feeling, which is the chief merit of such.

July, 1839. On the closing of the Allston exhibition, where I have spent so many hours, I find myself less a gainer than I had expected, and feel that it is time to look into the matter a little, with such a torch or penny rush candle as I can command.

I have seen most of these pictures often before; the Beatrice and Valentine when only sixteen. The effect they produced upon me was so great, that I suppose it was not possible for me to avoid expecting too large a benefit from the artist.

The calm and meditative cast of these pictures, the ideal beauty that shone through rather than in them, and the harmony of colouring were as unlike anything else I saw, as the Vicar of Wakefield to Cooper's novels. I seemed to recognise in painting that self-possessed elegance, that transparent depth, which I most admire in literature; I thought with delight that such a man as this had been able to grow up in our bustling, reasonable com. munity, that he had kept his foot upon the ground, yet never lost sight of the rose-clouds of beauty floating above him. I saw, too, that he had not been troubled, but possessed his own soul with the blandest patience; and I hoped, I scarce knew what; proba. bly the mot d'enigme for which we are all looking. How the poetical mind can live and work in peace and good faith! how it may unfold to its due perfection in an unpoetical society !

From time to time I have seen other of these pictures, and they have always been to me sweet silvery music, rising by its clear tone to be heard above the din of life ; long forest glades glim. mering with golden light, longingly eyed from the window of some crowded drawing room.

But now, seeing so many of them together, I can no longer be content merely to feel, but must judge these works. I must try to find the centre, to measure the circumference; and I fare somewhat as I have done, when I have seen in periodicals de. tached thoughts by some writer, which seemed so full of meaning and suggestion, that I would treasure them up in my memory, and think about them, till I had made a picture of the author's mind, which his works when I found them collected would not justify. Yet the great writer would go beyond my hope and abash my fancy; should not the great painter do the same ?

Yet, probably, I am too little aware of the difficulties the artist encounters, before he can produce anything excellent, fully to appreciate the greatness he has shown. Here, as elsewhere, I suppose the first question should be, Vhat ought we to expect under the circumstances ?

There is no poetical ground-work ready for the artist in our country and time. Good deeds appeal to the understanding. Our religion is that of the understanding. We have no old established faith, no hereditary romance, no such stuff as Catholi. cism, Chivalry afforded. What is most dignified in the Puritanic modes of thought is not favourable to beauty. The habits of an industrial community are not propitious to delicacy of sentiment.

He, who would paint human nature, must content himself with selecting fine situations here and there ; and he must address himself, not to a public which is not educated to prize him, but to the small circle within the circle of men of taste.

If, like Wilkie or Newton, he paints direct from nature, only selecting and condensing, or choosing lights and draperies, I suppose he is as well situated now as he cculd ever have been ; but if, like Mr. Allston, he aims at the Ideal, it is by no means the same. He is in danger of being sentimental and picturesque, rather than spiritual and noble. Mr. Allston has not fallen into these faults; and if we can complain, it is never of blemish or falsity, but of inadequacy. Always he has a high purpose in what he does, never swerves from his aim, but sometimes fails to reach it.

The Bible, familiar to the artist's youth, has naturally furnished subjects for his most earnest efforts. I will speak of four pictures on biblical subjects, which were in this exhibition.

Restoring the dead man by the touch of the Prophet's Bones. I should say there was a want of artist's judgment in the very choice of the subject.

In all the miracles where Christ and the Apostles act a part, and which have been favourite subjects with the great painters, poetical beauty is at once given to the scene by the moral dignity, the sublime exertion of faith on divine power in the person of the main actor. He is the natural centre of the picture, and the emotions of all present grade from and cluster round him. So in a martyrdom, however revolting or oppressive the circumstances, there is room in the person of the sufferer for a similar expression, a central light which shall illuminate and dignify all round it.

But a miracle effected by means of a relique, or dry bones, has the disagreeable effect of mummery. In this picture the foreground is occupied by the body of the patient in that state of deadly rigidity and pallor so offensive to the sensual eye. The mind must reason the eye out of an instinctive aversion, and force it to its work,_always an undesirable circumstance.

In such a picture as that of the Massacre of the Innocents, painful as the subject is, the beauty of forms in childhood, and the sentiment of maternal love, so beautiful even in anguish, charm so much as to counterpoise the painful emotions. But here, not only is the main figure offensive to the sensual eye, thus violating one principal condition of art; it is incapable of any expression at such a time beyond that of physical anguish during the struggle of life suddenly found to re-demand its dominion. Neither can the assistants exhibit any emotions higher than those of surprise, terror, or, as in the case of the wife, an overwhelming anxiety of suspense.

The grouping and colouring of this picture are very good, and the individual figures managed with grace and discrimination, though without much force.

The subjects of the other three pictures are among the finest possible, grand no less than beautiful, and of the highest poetical interest. They present no impediment to the manifestation of genius. Let us look first at Jeremiah in prison dictating to Baruch.

The strength and dignity of the Jew physique, and the appropriateness of the dress, allowed fair play to the painter's desire to portray inspiration manifesting itself by a suitable organ. As far as the accessories and grouping of the figures nothing can be better. The form of the prophet is brought out in such noble relief, is in such fine contrast to the pale and feminine sweetness of the scribe at his feet, that for a time you are satisfied. But by and by you begin to doubt, whether this picture is not rather imposing than majestic. The dignity of the prophet's ap

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