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would be an “ Exposition des Ou- cover a particular picture, the whole vrages de Peinture, Sculpture, Gra- being scattered abroad, according to vure, Lithographie, et Architecture, size, subject, or caprice, over the des Artistes vivans.”

wide extent of the various rooms ; Now curiosity is to the full as with this limitation only, that the much alive in the good city of Paris paintings are in great measure sepaas vanity; accordingly much was rated from the drawings, the drawsaid, and thought, and expected from ings from the engravings, these again this grateful display of talent. from the lithographic productions ;

On the day of Louis XVIII. the and, lastly, in spacious rooms below sun rose in more than usual bril. are collected the models and sculpliance; a long succession of lovely tured marbles. To such as had not weather had afforded ample time and visited the Louvre in all its former opportunity for preparations; a few glory, or even in its more recent seasonable showers had in the course state, shorn of its radiance, the preof the preceding week washed the sent exhibition must have inflicted dust from every leaf and flower the miseries of the cup of Tantalus. throughout the gardens of the Thuil- Immediately on entering, full in leries and the Chainps Elysées; the front, a sentry paced before the gates oleanders, the pomegranates, the leading to the galleries of ancient myrtles, and the orange trees ri- sculpture. “ On n'entre pas ici” was valled each other in a rich profusion the reply to many an anxious inof beautiful blossoms; a gentle breeze truder, who saw before him in their filled the air with their fragrance, vaulted chambers ranks of gods and while in mid air the flag of the Bour. demi-gods, in every attitude of digbons waved, contrasting its pure and nity and grace, like the senators of dazzling white with the deep clear Rome awaiting in silence the rush of blue of a cloudless sky. But neither the Gauls. Above stairs a similar these nor the multifarious and innu- disappointment awaited him ; a suite merable amusements prepared had of rooms in the old Louvre contained attractions sufficient to eclipse the the greater part, but the anti-room feast of art provided within the and about thirty yards of the grand walls of the Louvre. Accordingly, gallery were opened for the remainthe moment the doors were opened, der. A barrier like a gulph sepaa crowd (composed for the greater rated the ancient and modern schools part of materials which in England of perfection and imperfection, bewould have constituted a mob, in- yond which the eye was lost in the cluding the various dangers and con- interminable vista, where all was sequences therewith connected) en- silence and solitude, Not so on the tered with all that politesse and at modern side of the barrier,--a dense tention to mutual accommodation, in crowd filling up every foot of vacant which France stands unrivalled. In space, and the air vibrating with the less than a quarter of an hour about loquacious murmurings of we know 4. dozen rooms, more or less spas not how many thousand French cious, were completely filled, with tongues. out the slightest breach of order or The first glance is, however, suffidecorum on the part of a single in- cient to convey a tolerably accurate dividual.

idea of the French school; it is like It is impossible to attempt a dee their character--we seek in vain for tailed criticism of about 2500 works rest and quiet, there is an indes. of art. Amidst a glare of glowing cribably vivacious bustle in their getints it requires time for the mind to neral style; a spectator fully enters settle into sober observation, and the into the perils of Prince Bahman in eye to repose with tolerable calmness ascending the mountain of speaking upon the vast field spread out before stones; the idea of tongues in trees it. It may be remarked, first, that and in the running brooks becomes the pictures, as far as relates to mums familiar. There is, generally speaks bering, are very badly arranged ;- ing, neither depth nor solidity in the names of the artists being placed their touch, yet they have merits of in the catalogue alphabetically, with no ordinary stamp, peculiar to them. a list of their works numerically in- selves; there is a sharpness and lightserted below, it is impossible to disa ness very fascinating, kand sometimes

a Canaletti sort of clearness which portunity of qualifying the censare actually cuts the eye, like a fresh passed. If a French artist does not stereotype print on a sheet of shining pay that attention to nature which hot-pressed vellum paper. That they she justly merits, may it not be have not neglected the opportunities that, in many instances, it is for want circumstances have placed within of opportunity of making acquainttheir reach is very evident in the ance with her? Few countries, contouch and style. A slavish imitation sidering its vast and varied extent, of the old school is observable possess so little of what is really picthroughout: one old master, how turesque in forest scenery. A traever, it is as evident they have tbo veller may traverse the “

gay remuch neglected ; one far antecedent gions” in various directions without to Cimanue and Giotto, visible in the meeting with a single instance of a works of the best, but superior to all genuine mass of picturesque foliage. -Nature. I have heard some even of In France, there is a deficiency of our British artists maintain seriously hedges, and consequently of hedgethat Nature ought not to be too row timber, to which we in England closely imitated. This is incompre- are indebted for some of our finest hensible doctrine to those who are specimens of woodland beauty. Their disposed to look on painting as the forests are not like ours-cider and representation of nature. Amateurs charcoal divide the honours of the may be accused (and perhaps justly) field.- Accordingly the traveller's eye of superficial views, and incapacities is wearied with avenues of apple of entering into the depths of the trees, and as, in a country desubject; but, however, such as we void of coal, wood becomes a proare, we have our pleasures, and minent feature in domestic econoamongst them there is none greater my, from orchards it seeks relief in than this double power of enjoying vain among groves formally planted nature in pictures, and pictures in with the regularity of a Roman Quinnature. It may almost be called a cunx, “ omnia paribus numeris disixth sense-it gives to every kind of mensa,” which if allowed to rise above scenery its peculiar charm ; whether the rank of underwood, are composed in the brightness of a summer's sun, of naked stems, every lateral branch or the gloom of winter's storm, whes being lopped off then large enough ther on the mountain top or the flat to cut up into a billet. With this wide heath, we discover alike a series impression upon the mind, 1 looked of beautiful pictures in the varied over the rooms in vain for a fair testyles of our best artists ; #e trace the presentation of this finest feature in catching lights of Dewint-of Tur- natural landscape. An ample supply ner-of Calicott. In human life again indeed of well finished and tolerably we may equally pick out out groups touched middle distances, but not after the manner of Wilkie, of Mul- one specimen of a well represented ready, of Leslie. And in this view tree in a foreground could I discover. of the subject it is that the grand Again, a French artist no condifference-superiority I would say of ception of wandering about the coumthe English, in contradistinction to the try in search of the rural and picFrench school, is so remarkable. In turesque. A cabriolet may take him France no scenery recalls an artist's in every direction, north, south, east, peculiar touch. The absence of na- or west of Paris, for a day's jaunt, ture is more or less perceptible in all. but it will not bring him into contact Where, but amongst opera dancers with any thing deserving a minute's and the stiff formal characters of the exercise for his pencil. He may pace French tragedy, has David sought the up and down the gardens of the figures which stand in formal attic Thuilleries, and Champs Elysées, tudes on his canvas ? * But this de- amidst clipped avenues and formal ficiency is most glaring where forest shrubs; but neither there nor elsescenery is concerned ; and I gladly where will he see the massive groups allude to it because it affords an op- of elms which adorn Hyde Park,

* David has no works in the present exhibition, but exhibits one in the Rue du Richlieu, representing Mars attired by Venus, at the rate of two francs a head-a price in our humble opinion at least 150 centimes more than it deserves.

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the rich foliage of Kensington Gar- most remote points are as distinctly dens, or the beauties of a Richmond- made out and defined as the nearest hill, or, in a word, the countless pic- buildings, and seem as tangible as tures of nature in her loveliest forms, the moving scenes of a camera obwhich are scattered with profusion scura. It may be a question how far in every direction round London. As on the whole this is favourable to a it has been before observed, his pe- painter's eye. It certainly takes off culiar excellence lies in that which is from that diversified appearance which forced upon his observation, and is, shades and partial obscurities afford; if we may so say, ever above, below it operates as a check to imagination, and round about him-atmospheric and induces a sort of matter-of-fact clearness. We will venture to pro- style which must tend more or less nounce that no man ever had or can to render painting an art more of have an idea of the truth of Cana- knack than genius: nothing can be letti's pictures until he has crossed more dangerous than this; and the the Channel. Whether from clouds, consequences I conceive to be sufvapours, coal fires, we presume not ficiently exemplified in our views of to decide, but so it is that England the French school. Accordingly, is shrouded by an atmosphere most there we find much of this excellence triste and sombre. Nothing can throughout (I mean the brightness form so striking a contrast as the and clearness of their atmosphere), view of Paris from the heights of but nothing beyond it. Many of Montmartre or Notre Dame, and of their productions have so much of London, from Highgate-hill or St. what is really excellent in this point, Paul's. The former presents a pic- that the indifferent handling of the ture clear and vivid beyond concep- rest frequently excites astonishment. tion ; the golden dome of L'Hôpi- It would seem as if there was a certal des Invalides glitters as though tain point beyond which they could the gilding of Napoleon were the not pass. After all, it might be a work of yesterday ; every tower and curious discussion, and one worth turret rises up clean and sharp to the attention of more experienced meet a clear bright sky in which the judges, how far they have really proclouds float as distinct appendages fited by their superior opportunities. In the view from Highgate-hill,' It is impossible to look round the the scene below may be matchless, room without perceiving how much innumerable spires and steeples here they are indebted to the old masters, and there rising from a boundless and how little to their own unasmass of fog or smoke may remind sisted genius. With the same enthe spectator of the extent and couragement and favourable circumwealth buried below, but after all stances, might not the British school it is " ignotum pro magnifico.” have ranked higher in the nobler Again, let an observer stand at the regions of Scriptural and historical bottom of Portland-place, or Wim- painting? for on the subject of encoupole-street, and look before him : the ragement, a doubt may arise whether distance, if he be a pedestrian, seems painting in our country has that share infinite and appalling ; but when the of patronage, either public or private, attempt is made, a few minutes bring which, as an art, she is entitled to exhim to the end of the apparently pect. Our neighbours have, at all boundless space. How different in events, one source of patronage of Paris ! who has not lost his patience which we are unfortunately destitute. and strength in accomplishing what The spirit of the Catholic religion is appeared to the eye but a step? In not, like ours, adverse to the introfact, in Paris on a clear day there is duction of paintings within its catheno such thing as middle distance; the drals and minor places of worship.

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* Burke says,

" that all edifices calculated to produce an idea of the sublime ought to be dark and gloomy. In buildings where the highest degree of sublimity is intended, the materials and ornaments ought neither to be white, nor green, nor yellow, nor blue, nor of a pale red, nor violet, nor spotted; but of a sad and fuscous colour, as black or brown, or deep purple, and the like : " -arguing upon such data, where shall we find a more sublime view than from the top of St. Paul's ?

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In a few instances indeed we may find of his senses. He well knew how to exceptions to the rule, but they are touch a chord which would vibrate only exceptions. With them, on the through the very sanctum of their contrary, it forms almost an essential souls; he could suit right well “ their part of their church furniture ; and folly to the metal of his speech ;” a the consequence is that, in the exhi- shout, a word, a look, administered bition we are now speaking of, reli- at the proper moment, has been gious subjects, good, bad, and in- known to dispel the gloom excited different, form a prominent feature. by months of tyranny; and painting, In looking over our catalogue, the with equal success, was an engine following data are selected from with which he powerfully worked which some estimate may be formed upon their feelings.* Every scene of of the extent of the patronage they his eventful life found its record in enjoy :

. painting or engraving. The blow The whole exhibition exclusive of was scarcely inflicted at Austerlitz,

prints consists of about... ...1800 Marengo, &c. ere the effect was exOrdered by Le Ministère de la Maison hibited before exulting Parisians. du Roi.

35 And the Bourbons passibus æquis as Ordered by Le Ministre de L'Interieur, far as intention, though lento pede

of which the greater part are sacred as to dignity of subject, have followsubjects ..

27 ed his example. Vernet at the head Ordered by Le Préfet du Departement

of a feebler troop has recorded the de La Seine....

25 Ordered by Monseigneur le Duc d'Or.

progress of M. Le Duc d'Angoulême leans

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from the banks of the Bidassoa to the Ordered by La Societé des Amis des

Pillars of Hercules. He is visible Arts ...

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in every attitude: no opportunity, Ordered by Members of the Royal however trifling, is omitted of exhiFamily......

11 biting him within or out of reach of

shot, shell, and sword. Anxious, if posand as not more than 100 are marked sible, to ascertain the state of public in the catalogue as still in the hands feeling in these ignobly warlike transof the artists, we may conclude actions, 1 lingered and lost much that the greater part of the remainder time (which might have been better are also disposed of.

bestowed as far as related to the Politics are again a considerable subjects) before several of these source of encouragement. Napoleon achievements, in hopes of collecting a knew well the powerful effect of rous- few remarks; but, singularly enough, ing a Frenchman through the medium not a comment ever reached my ears;

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* As an instance of how far this was carried, there is a painting by Gilbert (No 767) - The Capture of the British Frigate Amethyst by the French Frigate Le Niemen. Thus speaks the Frenchman : “ Après six heures de combat, M. Dupolet, qui commandait Le Niemen, fait amener la frégate Anglaise. Il se disposait à amariner sa prise lorsquil aperçoit une autre frégate ennemie a une portée et demie de canon. Quoiqu'extremement endommagé, il se décide à tenter les chances d'un nouveau combat. L'Amethyst rehisse son pavillon, et la frégate Francaise mise entre deux feux pendant toute la nuit, ne se rend qu'à cinq heures du matin (le 5 Avril, 1809) après avoir eu 44 hommes tués et 72 blessés.” [The French official account of this action may be seen in the Naval Chronicle, vol. xxi. p. 93; and Sir M. Seymour's Letter to the Admiralty, in vol. xxii. p. 343.)

We quote no more of Sir Michael Seymour's account than the following. “ From one till past three, a. m. on the 6th, the action was severe, after which the enemy's main and mizen masts fell, his fire became faint, was just silenced, while ours continued as lively as ever, when the Arethusa appeared ; and on her firing, he immediately made a signal of having surrendered. The main and mizen masts of the Amethyst fell at the close of the action, and she had eight killed and 37 wounded.”

It is unnecessary to remind an Englishman that false accounts cannot easily be pawned upon the public without immediate contradiction. A free press in a free country utterly precludes the possibility of such an attempt. A Frenchman alone, who has yet to learn the full value of these privileges, may think differently, and die in the belict that an officer of Sir Michael Seymour's character would tamely surrender his ship to an enemy of equal force, or dishonourably rehoist his fag, had the Amethyst been compelled to strike to the Niemen !!

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the spectators seemed to regarding there were several fine prints, them with apathy and silence. The finished with a strength, spirit, aud only words at all connected with clearness, quite equal, if not superior scenes of blood and battle burst from to the best of our own school. Fo. a sallow-faced figure, who exclaimed reigners, indeed, have usually ranked to a companion, on seeing the defence high in the use of the graver. May of the gates of Paris by the national not this be accounted for, without guard under Marshal Moncey, “ah, le wishing to detract from their talent tricolor! (the tricolour cockade) voila and merit, by certain local causes? In quelque chose qui vaut mieux que countries where the necessaries of les guerres en Espagne.”

life are so much cheaper, an artist It would be satisfactory to be en, may be enabled to bestow a greater abled to state with any accuracy the portion of time and attention thau scale of prices asked by different in a country like England, where a artists, but as the exhibition opened similar, or even a larger, remunera. so short a time before the conclusion tion would not procure him an equal of my visit no opportunity of ascerproportion of the comforts required taining them occurred. I suspect by an Englishman of any education them however to be high, having and talent. But, however partiality heard of an insignificant sketch being may induce 148 to estimate our own valued at 80 francs. Of M. Isabey's works, in Lithography there can be Seppia sketches (few of them deserve no question as to their decided supethe name of finished drawings) the riority.* We have in London the public had an opportunity of judging, presses of Mr. Hulmandell and some when they were exhibited in London others, to which the art is indebted a few years ago. After all “ what for many improvements and several is the value of a thing, but as beautiful productions. But if an opia much money as t'will bring;” and nion may be ventured respecting an the only allowable regret is that their art so full of mystery and chemistry, popular taste does not admit of a Į should say that the fault is less better and purer style ; but this can with the printer than the artist. To only be accomplished by a revolution, produce a good lithographic print, ytterly hopeless, in national feeling. the drawing must be made by one A flimsy washy sketch on a bright who fully understands what he is gaudy square foot of canvas is sure about. He must, in the first place, to attract attention. Ah que c'est be able to draw extremely well in joli ce genre ci !” was the remark of chalks with reference to richness and simpering Frenchman as he pored delicacy of touch. In the next place, over a daub of this description : a he must be able to draw well with dozen specimens in modest sober reference to the future operations of colouring would have blushed un- the printer. He must know how, seen before the eyes of such a critic. and in what degree to feed the stone,

I have exceeded the intended ex- so as to produce proper depths of tent of my observations on this sub- shade and tint. He must do all this ject, but cannot conclude without with reference to the powers of the saying a few words on the separate acid, which may perpetuate or efface departments of Engraving, Lithogra- his delicate lines, and finally to the phy, and Sculpture.

roller, which is to administer the ink Of the first of these I feel disposed preparatory to its passing under the to speak in very favourable terms. A ordeal of the press. Probably the inportrait of Miss O'Neil in mezzotinto quisitive mind of a French artist, added proves that they are well qualified to the more frequent practice of to lay a rich ground, and handle the drawing in chalks as an essential scraper in a masterly manner ; but I part of his education, qualifies him recollect no other specimen worth peculiarly to excel in lithography, notice in this style. In line engrav, especially when we again consider

* A splendid work may be shortly expected by M. le Baron Denon, consisting of several hundred plates, illustrating the progress of painting by a series of prints from the best masters of cvery age. It is to be regretted that only 250 copies are printed, the whole of which have long ago been subscribed for.

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