The National Register. — London, England, 1812-03-01 00:00:00

~~. MM MOM lIINft THE NATIONAL PVGISTIFIL 140 canvas, no artist could guess that it made part of a scene where the brad of Christ, although nearly upon the same plan, is twice as big as hers. However, notwithstanding the general tone which is certainly too florid and too gay, the tout-cn-semble evinces a fertile genius, a daring mind, a well-stored memory. and conceptions which are much above the vulgar. On this account, and considering the improving state of Mr. Joseph's pencil, we do not wonder at this performance being already racked among the candidate pictures for the premiums of this year. No. 15, 514, 60, 68. Sleep Shearing and Washing. BY T. BARILER.— These four little subjects are executed with neatness united to strength. The attitude of the robust shepherd and the reluctancy of the stubborn animal entrusted to his care, are expressed with a considerable know kdLei of both human and veterinary anatomy : the colouring is appro priate aed clear, and the distances touched with spirit and truth. The style reminds us of Bastian°, but we are sorry that the artist has been so sparing of canvas. The subject, though small and simple, required a greater space to meet the eye with grace and elegance. No. 70. Venus borne cm the Waves, in her Skell,tothc Island of Ctiprus. By Mrs. .A NSL EY. We are told by Homer, in his short, but beautiful, hymn addressed to Aphrodite, that the Seasons or the Hours were the hand-maids of Venus; and Guiclo painted the Graces in that elegant ministry. Here a female artist, whose talents are well known already, has attempted to delineate the birth of the goddess of beauty, and took upon herself the task once allotted to the Graces, the Seasons, and the Hours; and indeed her efforts are entitled to a considerable share in our estimation. No one has yet been able to unravel the mystery, if there is any, concealed under the allegory of Venus being born out of the foaming waves a tile ocean, although it seems natural enough to sup pose that it alludes to the rising of the beautiful planet of that name from the sea; but the subject was so pleasing that many painters have adopted and treated it in the different schools from Apelles down to Mrs. Ans ley, who, following their example, bat evinced in Ler performance a superior knowledge of anatomical nicety, and whose outlines flow with ease and elegance around the well foreshortened figure. Yet we must confess that it is a new thing ; some, perhaps, will think it a ludicrous conception, to transform the shapeless inhabitant of the shell into the Goddess of Beauty and of Love, as there is nothing in the tenets of an— cient mythology to vouch the orthodoxy of such a metamorphose. However, the attitude appears correct and the positura happily imagined to avoid any objectionable display; but, perhaps, a little too mach of the mummy pigment and of waxy appearance may be obnoxious to the l i critical eye, and we hope that the fair artist will pardon us for saying, that had she co! suited her own mirror half as much as she studied Titian and other masters, her Aphrodite might have gained considerably ie loveliness of tints and fre-Iltiess of complexion. No. 57. lu.eri ,r of a Workshop, and No. 61. Interior of n Cottage. By hi. artist seems to be well acquainted with the rules of chiar . oscuro, and made, in these two little performances, a great effort towards effect. His objects in the dark tints are still visible, and the • decrescendo of his lights into deep shades produces harmony. The study of Ostade and Bega will contribute to develope his talents in this department of the chromatic art. klo. 56. Macbeth before he murdered Duncan. By B. R. Horoo V' lien we saw, in the exhibition of last year, the performance of this artist (the subject from Romeo and Juliet), having stilt present in our me mory the impression made there the year before by his Dentatus, we felt a certain doubt whether this votary of the historical muse could Ever soar higher in the spheres of painting. We experienced, indeed, some degree of fear lest, [elms like, he had felt already his faith' ss wings fail him, and, although the performance was not without merit, we were inclined to say of him, as Voltaire quaintly said of l.a Harpe, " ca hamme4a n'avoit Deane tragedie dans le ventre."—But we were agreably surprised at the aspect of hit candidate picture of this season, which by Its magnitude, its boldness, its importance, attracts, surprizes, and rivets the eyes of the spectators upon the animated canvas. The scene is awful: innocence and Majesty asleep—ambition and villainy teeming with murder. The composition is correct as far as it relates to the fast and the attitude of Macbeth suitable to the action. His head, w htehwonid do credit to one of the best pupils of Guertin°, is well imagined and full of expression, and the foreshortening of his right hand masterly executed. The " surfeited grooms" are in character; the blood-swoln band of one, the turgid jugular of the other, shew that they " du mock that charge with snores r and the rePosing Monarch esti!, . MARCH T. bits on his face comfort and security. The whole and its accessaries are aptly coloured, and seem to he the result of grand and mature concep tions. Bet,—and why should we be silent upon whet appears to us ob jectionable in opicture of such moment ?—Why not warn the ingeni ous artist of what he may avoid, If ever he treets this or any other sub. may avoid, jests ? The figure of Macbeth, considering the plan upon which it stands, is certainly too big ; the right heel is on a line with the bed, and therefore the proportion of Macbeth on the canvas should not he sen sibly larger than that of Duncan. The anatomical part of the while figure is classical, but hyperbolized; the same may be animadverted against is the Chamberlains. Lady Masi - cth, as seen at a distance, has no efTs:ct, no appropriated dignity ; the scene would gain by her beitig left out or glazed away to a greater distance. nut the greatest eaceisin in he whole performance is that the secret and horrid transaction is re -1• - esented as it taking place by day- light. Surely the well informed are • -.st could not have meant his colouring of the °ejects, there represented, as suitable to the yellow tinges of artificial or to the faint glim mering:: of the moon ; the whole is performed, as it seems, at mid day-• it ie the glare of sunshine ; yet, on another hand, he could not have lot. gotten, er unnoticed, that the night had been more than usually dark and tempestuous ! Does not Rosse say.-- L, By the clock , 'tie day, And yet dark night strangles the travelling lamp : Is it eielit's predominance, or the day's shame, That darkness toes the face of earth entomb, When living light should kiss it ?" Had the scene been enlightened by fleeting flashes of pale lightnings when " tha.earth was feverous and did shake;' all then would have been right. We shall have occasion again to expatiate upon and animadvert against, the failure of proportion in perspective figures, and in some of our following numbers, will lay open to young artists the easy and exact rules which they should strictly adhere to, in order to avoid such excep tionable irregularities. r ' FASHIONS FOR iIIARCIL AN IN-DOOR MORNING DaLss.—A petticoat and tunic of fine .ia conot bordered at its several terminations with needle-work, lace, heading, or small tucks ; made high in the neck, with a fan HU, and full plaited bishop's sleeves. A Spanish night-cap, formed of lace and white muslin, tastefully decorated with pink ribbon, and a simple flower placed on the left side; the hair divided so as to discover much of the forehead, and disposed in waved curls on each side. A pink silk handkerchief tied negligently round the throat in front; SpALish slippers of French kid, and gloves of pale tan colour. • EVENING FULL Da ess.—A round robe of white imperial crape or gossamer net, worn over white satin ; short Spanish pointed sieeves, caught up in the center of the arm with pearls or white beads ; wide stomacher of the same. finished with pendent drops on each side : narrow vandyke trimming at the edge of the bosom in front; the back and shoulders finished with a row of white beads. A Circas4:an tar-. b.tn of gold spotted muslin or tissue, embellished on the l e t; with botrs and enc.s of white ribbon. 1- i ' air divided iriei;ularly on il•.e :..re head, and in curls on each side. Necklace and ear-rings of briiii•ints, or two rows of pearl, with a drop in the centre ; bracelets en ,;cite. White satin slippers, witk gold buttons or clasp. French kid gloves, below the elbow. Fan of carved ivory or gold spangled crape. A small boquet placed entirely at the left corner of the bosom. SPORTING. BETTING ON THE DERBY, OAKS, ST. LEGER, AND O.kTI.AND I'AKES. DERBY.-6 to 1 agst Mr. Hewett's filly. 9to 1 agst Comus. 11 to 1 agst Whitburn. 14 to 1 agst brother to Joke. 15 to I agst brother to Dimity. 16 to 1 asst Lord Fgremones liumniltig-Bird colt. OAKS.-5 to 1 iq7st Mr. Heweq's filly. 7to 1 a the Duke of Rut land's I. .11 to 1 agst Catherine f. 14 to 1 agst Geo. Gower's 1. 16 to 1 agst Mr. 11,K1gson's f. 16 to 1 ag-t Gen. (;.thvenoi's f. ST. LEGER.-11 to I nit Nlr. Hewett's f. 14 to 1 agst Master Richard. 14 to 1 agst Mr. Beckwith's c. 15 to 1 agit Mr. Rob's c. OATLANI)S'—FIRST CLASS.-4 to 1 agst Sprightly. sto 1 agst Romeo. sto 1 agst Morgiana. 6to 1 agst York. SECOND CLASSr-4 to 1 agst Engraver. 6to 1 ag*t Poulton. sto 1 agst Stingtail. 6to I agst Cambric. THIRD CLASS..-4 to 1 agst Beverley. 4to 1 agst Sorcery. 6to 1 agst Whalebone. 6to 1 agst Britannia. 7to 1 agst Magic. ato 1 agst Victoria. • D. Dawson's trial 'comes on at Cambridge, for poisoning the horses at Newmarket, on the 10th of this month. One of the supposed accom plices has turned evidence. A pie was lately sent to Davison to prison, with a rope in it for him to make his escape, but was perceived by the keeper, who, however, had nor the presence of mind to go behind the pritom tone who were waiting to assist him in his flight. ‘, • • • -----~~ ~~ ~~