The Press.
London, England, 1853-07-02 00:00:00

oun LinnAin"r %nix.

The `Iflr!I .?‘. Coife euxtle. Right Ilan, Geo. Ilat►kea. 'Murray.
Meii,,ia, Viscount Ingestr. I'lu•ker and Muni.
./k/i)rat vi the l'exhisarethery Jurbolietht. Buttxmortit.
I'wmg. Sermiti EsWinn. Alexander Smith. Motile.
I 'est(4..xiosis tfralt Elogli.h Opiuwettler. titailikin, Marshall,
111111 CO.
Memoir,. of a Shmsterh. l'aistor.
3hwieret liaotextie l'iNikery. Murray.
stegor t'ulfiruf ;MI. A, illilliphlet. SIeNVIIIi 1111/1 Murray.
The Life and Muth el Sitax llfirtmlmle. Ily Talbot I:stilts..
Smith and 1.:141..r.
The Teitiv el fhe 1.1141. Lienteliallt I losper, U.N. Murray.

tint arts.

BRITISH IN sTarnox.
Is, I Notice.]

Wr. have already mentioned the pictures by Claude
as tine specimens of his powers. No. •f, "Apollo
tending the Flocks of Admetus," and No. s, "A Sea-
port," both the property of Lord Leicester, are tine
pictures anti in good condition, suffering at this mo-
ment, perhaps, from an overdose of varnish.
No. 10, "Cupid and Psyche," by the same master,
the property of Mr. Perkins, is not, perhaps, in so
good a state; it has been less scrupulously cleaned ;
and, it' we do not detect the brush of the restorer in
the principal parts of the picture, we see signs of his
heavy hand in the group of trees in the centre from
which the glazing colour has been heedlessly rubbed
away. We think, moreover, he has judged ill iu " tilling

SATURDAY,

in the cracks " in the sky and distant mountains, an
operation which, however carefully performed ( and
we have no complaint to make on this score), must
always remain perceptible. The cracks themselves
are of little consequence, and are hardly visible ex-
cept on the closest inspection, whereas the colour
that is superadded changes the atmosphere of the
picture, and renders it harsh and crude. This picture
is, nevertheless, a work of the highest merit, exhibiting
all those peculiar excellences for which the master is
celebrated—the graceful composition, a transcript of
all that is beautiful in Italian landscape, the rich
and mellow foliage, the distance melting into the
sky, and the whole glowing beneath a southern sun.
No. s:t, a fine landscape by I'oussin, belonging to
Lord Wicklow, is the best work of the master in the
collection.
Of the works of Canaletti the specimens are nume-
mus. In some that bear his name we detect little of
his hand ; for Caualetti, though a mannerist, is the most
difficult painter to copy or imitate. Two views taken on
the Thames, the property of the Duke of Northum-
berland, though so inferior in beauty of subject to
those which lie usually handled, will have a great in-
terest for Englishmen. We regret that they have
been rendered hard and crude by overcicaning.
By far the finest painting by this master which the
collection contains—perhaps the finest in England—
is a large picture numbered 173, and miscalled in the
catalogue "The Festival of St. Luke." The build-
ing represented is the Scuola di S. Rocco, a palace
belonging to a religious confraternity of that name,
amongst which Venetian citizens of all ranks were
indiscriminately enrolled, and of which the Doge for
the time being was ex-q§kio a member. The wealthy
brotherhood were bound by a Vow to render mutual
succour and assistance to each other, and on the 15th
of August, the saint's festival, the Doge, with all his
court, paid a selemn visit to the shrine, and having
offered his devotions, and witnessed the charitable dis-
tribution that succeeled the service, heiwas presented
with a nosegay (which will be observed in his hand in
the picture) by the superior or guardian. He took
his departure with the same ceremonious pomp
with which he entered. It is the departure that is
represented in this magnificent picture with equal
spirit, truth, and beauty. Every detail in architec-
ture, ceremonial, and costume is strictly observed.
The extraordinary accuracy observable in the works
of this master is not the least of his numerous merits.
No. 37, a beautiful landscape by Wynants, the
property of Mr. Leicester—a wood, a sunny bank,
and a tuft of trees, a combination which, pretty in
itself, yet requires the taste and execution of this
charming artist to form into a picture.
No. 61, a landscape by Both ; No. 107, "Scenery near
Subiaco," by the same painter ; a contribution from the
tine collection of Mr. Perkins. The last of these is the
best picture ; but both, together with some of the beau-
ties, have also the characteristic defects of the mas-
ter. The atmosphere of both is clear and sunny,
the tone equally mellow and harmonious, but they
have the same faulty composition. The objects
are unevenly distributed over the canvas, and
balanced ; a huge bill occupying two-thirds of the
picture, and a small opening on a blue distance
being thrust into a corner—a composition obviously
artificial, yet without the beauty and elegance we have
a right to expect in a fancy landscape.
No. 105, "Moonlight," by Van der Neer, and No.
43, another " Moonlight," by the same hand, both
tine specimens, and both possessing in a nearly equal
degree the same merits—a natural and agreeable
composition, lighted by the pale beams of a full
moon reflected in a stream which occupies the centre
of the picture. The effect is excellent, and the light
does not exceed that which a t'ull moon might cast
over the landscape on a fine night.
No. 57, "A Calm," by Vandevelde, another mas-
terpiece from the collection of Mr. Perkins. A fleet
of considerable strength is calmly lying at anchor in
water of glassy smoothness; a bright sun shining
overhead dissolving every object that falls within its
rays into a dazzling hazy white; the distant vessels,
their sails flapping in the air, hardly distinguishable
from the luminous sky, on which they seem a fleecy
cloud. All tell of a calm, but of a calm in a northern
sea which may at any moment be converted into a
gale. This picture has all the technical merits of
the admirable painter, all his knowledge of shipping,
his luminous skies and flat water.

There are several cattle-pieces by Culp, but not,
perhaps, possessing that distinctive merit which
would entitle them to any particular notice, at least
in a country which possesses specimens of the master
of such superior excellence.
No. 17, the "like des Chandrons," a contribution
from Woburn Abbey, possesses many of the best
qualities of Teniers. It has all his brilliant execu-
tion, that minute finish and perfect freedom which
we so rarely see united except in his pictures. This
specimen is defective, perhaps, in the aerial perspec-
tive for which he was also remarkable: the more
distant figures are not kept in due subordination,
and the distance wants both substance and atmo-
sphere.

JULY 2, 1853.

The landscapes by Wilson are four in number.
Some of them have the hazy atmosphere, the ideal
scenery, and the coarse manipulation too common in
his less careful works. No. 150, the "Cincinuatus,"
and No. 13t4, the "13auditti," are the best in the col_
lection. in both we have that depth of shadow, that
sentiment of solitude, and romantic combination of
the most beautiful features of nature fin• which his
pictures are remarkable—all harn 1111 l ised by atmo-
sphere, and enlivened by appropriate ►rod character-
istic groups of figures.
No. 164, " The Tenth Plague of Egypt," by Mr.
Turner, is painted in his earlier and happier manner,
and the preternatural colouring which he hind already
adopted might well seem fitted to represent the mi-
raculous judgments of God. N 0.169, "'fi►e Temple
of 'Jupiter in the Island of Egina," by the same ar-
tist, has brilliancy of execution and a luminous sky,
but the composition is extravagant, and rises in no
respect above the ordinary drop-scene of a theatre.
(To be continued.)

ON THE APPLICATION OF PHOTOGRAPHY
TO AltT.
So popular has the study of photography become,
that, as many of our readers are aware, there has
lately been established a society for its cultivation
and improvement, which holds periodical meetings
and publishes a journal of its proceedings. I low far,
indeed, the discoveries of photography are likely to
affect the progress of art is a question of much inte-
rest, which has only of late attracted its due share of
attention. At the last meeting of the Photographic
Society, whose journal is now lying before us, there
took place a discussion on the subject, in the course
of which we are surprised to observe sonic of the
speakers complain of an " angry" and " party" feeling,
which seems to us not to be justified either by the
exciting nature of the point in dispute, or by the
magnitude of the ditlerence in opinion which exists
between the disputants. As is usual in such cases,
it will he found, we think, that neither party lime
taken the pains to understand the other, or to ascer
tain the true limits of the point at issue between
them. The contradictions on matters of fact admit
of a ready explanation. Wiwi) one ►IIOM oer asserts that
photographic views are deficient in aerial perspective,
that is to say, " in rendering the exact gradation of
tint corresponding with the gradation which we find
in a natural view," and upon this is warmly contra,
dieted by another member, we believe that neither
party is wrong. The fault complained of is common
to the majority of sun pictures, but is much amended
in the best, and, as the art improves, will he still
further corrected. But at no possible point of per-
fection can a monochrome render the effect which
nature produces by the variety and contrast of warm
and root tints.

When it was also asserted and denied that photo-
graphic pictures are unfaithful in rendering the
middle tint, the Sallie explanation of the contradic-
tion may be offered. hr all but the best specimens,
the picture, though very beautiful in other respects,
is divided between high light and deep shado►v, and
scarcely presents any middle tint at all. More fidelity
to nature in this respect may be expected as the art
improves, and we are unwilling to put any limits to
its progress. Hut it is idle to deny that the difficul-
ties to I►e overcome are considerable : certain colours
affect the prepared surface more powerfully than
others which to the eye we of equal intensity, and
thus their relative value is unfaithfully given in the
picture. The effect of sunlight is strong, out of all
proportion to that of the local colour; thus dark
colours illuminated by the sun are too light, and
light colours in the shade appear too dark. The time
of exposure necessary to give the reflected lights
and the details of the shadows is more than is needed
to give the lights ; hence either the one will be
underdone or the other will be overdone ; and, till
means have been found of obviating all these
objections, it is no libel on photography to say
that it does not give the demi-tint faithfully awl
effectively, and that it is a very imperfect guide as
to chiaroscuro.

In discussing the service which, at the present
time, photography may render to painting, it is but
fair to consider it, not in its possible perfection, but
as exemplified by the average works of its professors.
The first and most obvious benefit which it confers
on the artist is, that it enables him to transport
to his own painting-mom a transcript of nature,
perfect as to term, and there to employ it as ho
thinks best in the completion of his pictures. 'f he
pre-Raphaelite question (as it is called), which
was so warmly debated at the last meeting of the
Photographic Society, appears to us to be entirely
foreign to the subject. Whether the artist goes
abroad to seek the details of nature, or whether he
brings them to his own study by the aid of this new
discovery, the use which he makes of them there will
be regulated by his own judgment, taste, and know
ledge. Sir W. Newton seems to have given much
offence by a proposal to obtain the general effects of
objects rather than their atlas by taking liews of

THE PRESS.

them with a lens purposely thrown " out of focus ;"
and the discussion of this point seems to have been
ekuTied au with as much eagerness as if the society
liossessed but one lens, and were all obliged to adopt
the same focus. We admit, indeed, that this is a
view Of the subjeet with which photographers, as
such, have nothing to do, and Sir William would have
done better to address his observations to his brother
artists. But if, by this means, he hopes to obtain
generalisations which will assist him in his chiar-
oscuro, let him at least make the trial : the public in
all eases will judge only by the results. if one
painter fails to please by an over-minute elabonttieu
of details, or another by a eloudy indistinctness 111141
confusion of form, it will be Ho daellVe to .ii y 111111
11144 one carefully copied a plattographie facsimile of
nature, or that the other faithfully rendered the effect
of an ill-adjmited lens. 'Ch, works at' both artists
111114 110 tried by the principles of art, which were
settled long before photography was 11 gilt or, and
W 1114•11 have 114.1 t in the least been altered by its intro.
duction.

In the field of art there is, indeed, a witde range
between the most sketehy and the most laboured
styles, between Rembrandt and Itibumer, Islween
iainsborough and %solider Ileyden. Each schtwol of
painting seems to have horned some system of
its own, to the (perhaps undue) itegleet of

others ; but in looking at the works of each the
candid critic is disposed to acquiesee for the time
in the view it has taken of nature, provided that.
view is ably and consistently carried out. And
we cannot but regret that the discussi sl hi have
been encumbered with such strange efteophollOlN
terms as pre-Ratfaellistn, Iteniltranthism, Reynolds
ism (p. 75, Photographic Journal), catchwords which
only exasperate the spirit of party. and by substi-
tuting sound for argument perplex the investigation
of truth.

For the present we decline entering into tuty 41i5
enssion of the prineiples of art : our purpose is simply
to ascertain how far and with what caution the
labours of the photographer luny be made subservient
to the studies of the artist.

We have said that the transcript of nature which
photography enables the artist to► Wile.; t► his studio
is perfect as t► fonn ; but it must be rcmcmlx•rcal
it is perfect in form only. There is nothing in
it to discriminate the coolness or warmth of the
tints and shades which constitute the detail. Tn
distinguish► these the painter must trust to his
previonsly-acquired knowledge of natural ctlie•ts.
And yet on his success in this particular mainly de-
pend the truth and spirit of his work. Again, till the
art of photography ix improved, the ehiaroseuro, as
we have already observed, must necessarily lie very
imperfect, and is, in fact, inferior t► that of a well-
executed study in black and white chalk. Ihi the
other hand, the mere reduction of the scale will
alone produce a generalisation of objects, which will
materially assist the student in indicating the infinite
complication and intricacy of nature ; while the mode
in which the view is stamped on the paper by the pho-
t,ographie process—the "touch," as it were, of nature'ai
own hand—will give him some important hints toguide
hint in his manipulation. It is probable that pho-
tography will promote, both among artists and the
public, a taste for arcurate detail—as it eertainly must
convince those whom the I hitch masters have not con-
vinced already that accuracy of detail is not neeemsa-
lily inconsistent with breadth of effect. Whether this
is an unmixed good is not now the question. It will
also create a demand for more eerrect drawing ; anal
of this the benefit cannot be doubted. In the practice
of art we think that photognqthy, properly applied,
may he of great service. It cannot supply a sub-
stitute for the studies which the young artist must
make for himself from nature. lint if, ill addition to
all the resources now at his command, be adds the
facility of taking quickly anal carrying home with
him, when time is scarce anal the weather unfavour-
able, studies of form which he can contemplate and
imitate at his leisure, the advantage cannot, be Lou
highly rated.
The course of the Photographical Society is clear.
It should be their aim, lay every mechanical improve-
ment of their lenses and apparatus, as well as by
fresh discoveries in chemistry, to improve the fidelity
of their representations of nature, leaning it to the
man of taste and the man of science to make what
application of their discoveries he may think tit for
his own special purposes. We do not mean that it
is not desirable they should occasionally discuss these
applications; but such discussions are only subsi-
diary to the main object of the society, and should
never be allowed to engender a " party" spirit.
It has been much disputed how far it is fair,
by touching up either positives or negatives, to render
the pictures more pleasing to the eye. The answer,
we think, is clear. It ciumot be fair to do so, under
any circumstances, without stating what has been
alone; and, on the whole, we are disposed to recom-
mend a discontinuance of the ',malice. In exhibi-
tions, the object of which is to display the progress
made by the art, it. would be desirable thud the defi-
ciencies of aerial perspective and den►i-tint should

211

not be made good by artificial means. The result of
this process, whatever it may be, can only be to mis-
lead. In views made by the artist to assist his studies,
it is advisable that he should not tamper with his
own materials; that he should not conceal from him-
self the imperfection of the copy of nainre he has
made, nor antieipate the eorreenons winch, in num,.
ferring it to his canvas, he may find it necessary to
apply.

fly puma.

111 NC ESS'S TH EAT RE.

Wr. wish it to be tlistinetly understood that, ahliongh
we by no Means atlvocate the sacritieeef titling to the
Mere aceessolies of scenery and costume, we are
nevertheless of opinion that nine) good will result
luau attention to the more minute details, and
we differ from those who hold that no attempt should
Ise made to render stage decoration an object of any
espeeial or lallailiennit inittoliallice. The Keene-
painter is an artist whose exertion?: am never suffi-
ciently appreeisited : his works, though of necessity
most ephemeral, still require the great and rare
qualities of breadth, colour, and atmosphere.; and no
hand is so likely as his to improve and instruct the
general public, if he lie employed in painting scenery
which may have p►etellswns to he considered as
it work of art. As Mr. Kean cannot give us
good acting we thankfully accept his exertions
in behalf of devolution. The general manage-
ment of his theatre is, in our judgment, entitled to
praise ; Mal We think that he has dote much to ad.
Vallee the returning taste for dramatic performances,
which is one of the most remarkable peculiarities of
the present generation. \No 110 not, however, agree
with his position -that, until the present moment, it
has been impossible to render Sardanaistiout with
Proper drallialtic effect, Weallse Until 110 W We have
kola( malting of Assyrian architecture and costume.-
Ilk reasoning is as hike as his conclusion. With
equal truth it might be argued that the works of the
great masters of the sixteenth century are neither
sublime nor atfisling representations of the seene.4
of sacred writ, because the artists have ill no instance
itortrayed the dress, features, or complexion of the
Inhabitants of Judaea, but have relied fair their etlret
upon their unrivalled ptIWCES Or expression moll comp°.
siti4lll. The 4441 Italian toasters cared hill little for
correct architecture lutd alaiMiliriaite costinne, and, as
we claim for them all incontestable superiority
to all after comery, me will readily admit that.
in soma 411,404 their ignorance or inattention has led
them into mistakes which earned be considered in
any other light than as positive defects. Nevertheless,
iu matters of comparatively unimportant detail, we
may easily be too accurate; ill point of fact, aim-
chrollimials ill art are only to IN' I.olldentliell in IlrOpOr-
tioli as they impair the general etlivt ; Mal It (Men
N 441001, in works of imarinatitan and tictitai, that
the adoption of the costume and scene?, of a more
classic or picturesque period than that in which
the action happens to he laid is productive of
the greatest advantages. Ti, give one instance :
31r. Kean, it his late revival of Morbeth, scents
to have gained nothing by recurrence to the rude
l'ltstumes and primitive arrhitecture of the days of
Edward the Confessor ; and We say, Withollt fear of
contradietion, that this great. Slodespeatian tragedy
was in every respect better illustrated when brought
out lay Mr. Mucready during his lesseeship of Drury -
lane Theatre.

We think, however, that in his revival of Surflana-
pahts 111.. Kean has done tell to avail himself of tho
Asst rim' discoveries, which are sufficiently good in
point of art to give a striking and characteristic pie •
titre. The costumes are gorgeous, and conceived in
good taste. If we except the ridiculous positions
imitated from the defeetho drawing of the Assyrian
artists ) in wide!' some of the subordinate clutractent aro
made to stand, the groupings and gutter-al stage arrange-
ment an. well conceived. The Ilan of N imnard, in the
second act, se,emeil to us the best scene in the play ;
and, rionigh we could easily find fault with the ex:*
cation of the details, it is but fair to admit that the
per mit:ilk(' is Irminged with more titan common
ability. In other respects the scenery is not deserv-
ing of much praise. The ri%er Tigris, with Mr.
Layard's most, audacious restoration of simr,„,,r,
lutlaco, is apperently the work of an int-oi„r halo,
and the elaborate attempt at producing the effect of an
Eastern sunset it a decided failure. The Tryrotechnie
exhibition with which the play concludes rivals the
etforts of Vesmitts in 31asaniello, but the Killion
&Tame of falling fiats i•; too great, and the smoke
stillOcating. A word of praise is elite to Mr. Hatton
for the very clever and characteristic music with
which he has illustrated the different parts of the
tragedy which required the aid of a musical com-
poser.