The Press. — London, England, 1853-06-25 00:00:00

JUNE 25, 1853. equipages in St. James's-street exhibited some lively specimens. Fresh from the sight of some of the debutantes of the season, and with a hazy recollection of the verses of our modem Catullus, we entered the sombre and dry-as-dust atmosphere of Messrs. Puttiek and Simpson's literary sale-room. We re collected here, another contrast, what a thoroughly keen partisan poet was Moore. His lively libels upon the Prince Regent ; his vituperation of Lord Castlereagh, even in his grave ; his freely-vented abuse of the Roman Catholic creed in private, and his devotion in public to the aspirations of the Irish Rotnanists ; his worship at all seasons of certain great Whig families, —these things flashed across our memory as we entered the room where his correspondence was to be put up to the highest bidder. We anticipated a considerable sprinkling of old Whig gentlemen, some antediluvian specimens of the past school of Whiggery, who might, for the sake of a transitory sentiment, desire to purchase some of the letters of the most zealous instrument their party ever em ployed. How amazed we were at the dreary spec tacle of the deserted auction-room, where three or four trade-buyers of the lowest class appeared ? Recol lecting how dearly Torn Moore loved a lord, we allowed our frenzy to muse upon the dead bard's anguish if he could have beheld his " things " knocked down to the untitled members of the com munity. We thought of his own lines upon a tuft hunter, when he appeared to draw from what the Commons would call " subjective Nature " : " For, rest his soul, he'd sogmer Lo Genteelly damned beside a duke Than KATI in vulgar company." The only persons we saw in the rooms worthy of notice were Mr. Crofton Croker, who had been a use ful purveyor in furnishing Moore with some Irish airs, and Father Front, of ex-Fraserian celebrity, the author of "The Rogueries of Tom Moore," and other charming pieces of profoundly erudite extra vagance. On looking over the letters we observed that Lord John Russell had omitted a great many passages with reflections and remarks calculated to annoy the immediate friends of the poet and his correspondents. Thus, under lot 71, we found a passage casting some reflections on a literary connection of Power, the musicseller--omitted in the printed letters—and also some lines in which Moore avowed his to write as a party poet, but not so as to alarm a cer tain person's " nerves." Well ! we do not blame Lord John Russell for this delicate consideration of the sensibilities of living persons ; but we rather blame him for considering them so little in other instances. It would be only repeating the fault that we here condemn were we to prove our assertion by amplify ing these allusions. Lord Londonderry brought his lordship to account in one respect, and the apology of Lord John was sufficiently explicit to satisfy any one. In the case of Moore, however, peculiar vigi lance was necessary. Boswell was gibbetted by Mr. Macaulay, in his essay on "Johnson," for his meanness in taking down private conversations. But this was a practice which Moore adopted wholesale. The practice is a bad one ; but, if it must be practised by needy literary men to provide for their kindred, at least the feelings of living parties should be re garded, even though they were Tories and friends of George the Fourth. If the memory of Mr. Power, the musicseller, is to be spared by certain lines being omitted from letters of Moore, why should not more consideration be shown for others? But, peace to his shade ! and oblivion to his obsequies so carelessly performed by Lord John Russell. The deserted state of the auction-mom on Thurs day tells it own tale. Moore was associated in life with Byron and Sheridan, and his name, becoming identi fied with theirs, shines with the radiance of reflected light But already his literary star appears to pale, and while there has been a renaissance for Scott, and Wordsworth, and Schiller, and others of his contem poraries, it may be questioned whether the fame of Moore is not irretrievably upon the wane : nothing, indeed, can detract from the excellence of his Irish Melodies; but the scanty gathering over his remains on Thursday shows that he is not amongst those celebrities whose memory is worshipped with ardour by a host of admirers. An interesting ComEcTios of RARE AVTOGRAPIIS, the property of the family of Fuseli, in Italy, were sold lately by Messrs. Christie and Manson. Among these, an autograph letter of Marie Antoinette, dated 17k4, sold for U. 155.; one of Martin Luther to a friend, corn laining of the prejudice created by a pamphlet written against himself, 3/. ; one of Charles Edward Stuart, 31. 104. ; of Cardinal Richelieu, 2/. ; of Napoleon Bonaparte, dated February, 1791, 11/. ; of Jean Paul Marat, 3/.125. ; of James Stuart ( the Chevalier St. George), 21. its. ; of George Villiers Duke of Buckingham, IL 10s. The signature of George Washington to a document, accrediting the American minister to the Fernch Republic, sold for 1/. Os.; an autograph letter of David Garrick in French, written to De Latouche, who was translating Shakspeare, 11, 3s. THE PRESS; lint Arts. BRITISH INSTITUTION, 1553. WE have often felt surprise both at the variety and excellence of the pictures collected together for the yearly exhibition of this institution, and we cannot but express our gratitude to the liberal proprietors who, by the loan of their pictures, enable the artists and connoisseurs of England to become acquainted with the treasures of art contained in the less ac- ..... . eessible parts of the kingdom. Pictures are cer tainly nowhere Keen to greater advantage than in the apartments of this institution : we know none in which the light is better, and of which the size and height are so well adapted for the display of works of art. _ _ . The collections submitted to the public during the two last years have been of such surpassing excel lence that the present one by comparison appears inferior, but we believe, in fact, it does not rank below the average. If the great names amongst Italian masters are but feebly represented, and if the greatest are altogether absent, we have some favour able specimens of artists second only to the first ; and from other schools the contributions are of great excellence. Of Claude we have three specimens that. need fear comparison with none. Cum), Berghem, and Teniers are well represented ; and if, in our town schools, Sir Joshua Reynolds does not appear with his usual superiority, we have a remarkably fine portrait by Hogarth, and of Wilson the examples are numerous and favourable. We are bound, however, to admit that amongst the collection there are Nome pictures which the directors or managers, to whom the charge of selection is confided, would, in our opinion, have done well to reject. We should regret giving utterance to any opinion which may be disa greeable to the liberal owners, but we must remind them that, if the exhibition is to be of service to art, the greatest freedom of discussion as to its merits should be encouraged. The first subject that stands in the catalogue, and the first that meets the eye, is " Thomyris ordering the head of Cyrus to be dipped in blood," announced in the catalogue as the work of Itubens. The same ant Oct, handled with superior effect, adorns the gallery of tints venor-house ; and Lord Darnley's picture, though ps►s sessing undoubted merit, we can scarcely admit to be more than an old copy, painted perhaps under the eye of the master—the work of a favourite pupil. No. 20, " A Landscape," by Itubens, is a repetition of the much-admired" Waggon" by the same painter, in the Pitti Gallery at Florence. We have never understood that Rubel - is was in the habit of copying his own pictures ; he may have occasionally done so at the request of a powerful patron, but such could not have been his practice, and we cannot believe this performance to have proceeded front his painting room. We must take the liberty of reminding col lectors generally of the extreme danger of purchasing "original pictures," of which the great continental galleries contain " duplicates." No. 00, " A Study of Dogs," by Titian, the property of the Duke of Bedford.—We should have looked for a better specimen of the tine collection at Woburn. The design of this picture we cannot believe to be Titian's, still less that the painting is his. It is probably a Dutch copy by Fyt or some of his scholars, foe it could hardly be an original from a school distinguished for the spirit and facility of its manipu lation. No. WI, " The Flagellation," by Michel Angelo and Fm. Sebastian del Piombo. It is notorious that Fra. Sebastiano received the assistance of Michel Angelo in the composition of the famous picture in the church of San l'ietro in Monitorio at Rome (of which this is a miniature copy ), and that the hand of the great master may even be traced in the drawing of some of the figures; but it is hardly pro bable that Michel Angelo superintended the execution of every copy, sketch, or repetition of this favourite subject ; and, indeed, in the small copy now before us we discover no traces of either of the masters named in the catalogue. No. $7, "The Virgin and the Magdalen," by Leonardo da Vinci, repeats the composition of the celebrated picture in the Palizo Sciavra called " Modesty and Vanity." This last-named painting has usually been attributed by the critics to Luini. No. 50, " A Virgin and Child," by Mmillo. The hand of the restorer has lain heavy on this produc tion, which we think has little claim to belong to Murillo. The public has lately become too familiar with the best specimens of this master not to be fastidious and critical in any work professing to be his. No. 29, "A Female Portrait," we cannot consent to accept as an original by Leonardo da Vinci. No. 97, "A Lady with a Missal." 'f his portrait may once have possessed merit, but all traces of it are lost in the highly-stippled restoration that is now before us. No. 2, "Christian Duke of Brunswick," by Mere velt ; No. 10, "Charles 11. when Prince of Wales," by Tyssens ; No. 15, "Prince Maurice," and No. 11), 187 " Prince Robert," both by Vandyke ; No. 18, " Charles 1.," by Mytens ; No. 22, " Prince Henry of Wales," by Van Sotner—all fu ll-length portraits of the natural size, the magnificent furniture of Combe Abbey, contributed by the liberality of Lord Craven, but possessing rather historical than artistic value, and better adapted, perhaps, to ornament a baronial hall than to furnish a gallery selected principally for the improventent of art. No. 42 •• A Portrait of Queen Mary," by Sir Aim • thinly More, possesses a higher interest and more artistic merit. More had acquired in Italy a freedom and a knowledge of effect possessed by few of his ,•ountrymeu. This princess, whose character is now b eco me a party question," is represented in the rich and sober costume she was said to love ; and, if the painter has not dune her injustice, her comae nimeeexpresses all the obstinacy and pitiless severity which it was the creed of our youth to attribute to " Bloody Queen Mary." No. 111, "A Man's Head," by Francis, reminds us rather of the manner of Perugia°. It is a fine portrait. full of character and rich in colour. It may also possess interest at the present moment as a favourable specimen of continental cleaning. We trace the restorer's hand, but the reparations are by no means unskilful. _ _ . ..... No. 23, "A Portrait," by Moroni, belonging to Lord Dutferin, represents the half-length figure of a man with complexion anti feature betraying no very remote connection with Africa, dressed in a robe of purple silk, with blue sleeves of the same material, having Isis right win in an easy attitude on a table, and holding papers in his left hand. The colouring has all the sober harmony of the Venetian school, and all the simple dignity for which it is also remark able. We discover at once that the artists's aim waa to produce a strong resemblance, anti that no attempt has been made to soften the ugliness of the features or to lend them an expression they did not habitu- ally wear. No. 21, " Leonard Bramer," a fine and speaking portrait by Itembnuult. A man in the prime of life, with a calm and sensible countenance, seated at his ease, and dressed as becomes a person of opulence, but of simple habits, seems pondering over the con tents of the letters he holds in his hand. His coun tenance expresses that. thoughtful and abstracted look which we most admire in a portrait, and which gazes unconscious of the notice of the spectator or even of his presence. The tone of the colouring may, we think, be criticised as too mellow, and the shade east on the brow by the broad-brimmed hat is too warm in its tone and too deep and heavy. No. 141, " A Portrait," by C. tiausen. We have here an admirable specimen of the portrait-painting of the seventeenth century—a speaking countenance, agreeable features, and a simple attitude. The co louring is good, with great breadth of effect. No. 04, the fine portrait of Don Andres de Andrade, called " The Verger of the Cathedral of Toledo," by Murillo. It formed a part of the collection of Louis Philippe lately sold by auction at Mr. Christie's rooms, and was purchased by Mr. Baring for 1,02111. We regret that the nation has thus a second time lost the opportuntty of becoming the possessor of this noble portrait. We have understood it was once offered to the trustees of the National Gallery, before passing into the collection of the late King of the French, for less than half the price at which it. was Kohl by public auction. It has all the truth that distinguishes the portraits of that painter, with a greater strength and sower in the colouring than they always exhibit. We have already observed that the portraits by Sir Joshua Reynolds must not be accepted as fair speci mens of his powers. The best is, we think (No.1:19), " A half. length Likeness of La dy Waldegrave, after wards 1 nichess of Gloater," folding her infant daughter to her bosom. Several portraits of the same beautiful subject exist by the same painter. We do not think that which is before us does justice either to the painter or to the lady : the colour wants force and vivacity, and the attitude truth and simplicity. Another picture, by the same master, we notice rather for its singularity than for its merit (No. 124). It is termed " A Caricature "in the catalogue, the property of Lord Wicklow, and represents a travelling adventure of a young nobleman and his suite in Italy. It is, in our opinion, far too coloured and too important a picture to be considered as a more c aricature, awl yet the treatment is too grotesque to be taken as a serious representation. The principal figures, which the catalouge informs us were esteemed excellent likenesses, are too grossly caricatured to be witty, and the representa tion of the young Lord Wicklow, the hero of the piece, is positively a satire on humanity. No. 107, " A Portrait of tiarriek and his Wife," by Hogarth, the property of her Majesty, is in the happiest style of the artist. He has represented his friend sitting over his writing-desk in all the moodi ness of reluctant inspiration, the comic thoughts rising to his imagination which he is not in the vein to work up, the secret smile struggling with involun tory abstreetion, and the pen suspended UPCO4-