The Press.
London, England, 1855-04-07 00:00:00

THE PRESS.

SATURDAY,

with history, and I can assure you that from the time of Hengist
and Horsa to that of Victoria and Albert, no Englishman was ever
afraid of a Russian."
They looked a little astonished, especially as I was in too great a
rage to speak French, and therefore gave it them in English ; but
Titoff, who understood me pretty well, rapped the table, and. said—
" Ear, ear, ear, Parlyment hooray, biftek, goddam."
"None of your ribaldry," said I, still more furious, "but you two
answer this at once, and without any humbug. Will your master
destroy Sebastopol ?"
" Mais," began the Count Gortschakoff.
" It's no case of may, for he shall," I replied. " Vouley vous, vouley
vote mate, ecrasey Sebastopol t'
The Count and Titoff rose, laid their fingers to their noses, bowed
profoundly, and left the chamber.
Buol was, I think, angry. Bourqueney pretended to be, and abused
me as much as he could for laughing. The Russians sent word that
they had written home for instructions.
So now you know where we are. Conference is adjourned until
the 9th of April.
Always, my dear Lord,
Yours, faithfully,
JOHN R--LL.

The Lord Palmerston.
PS.—Shall I go myself and take Sebastopol?

RESPECTING the late earthquake at Broussa,
letter from that place of the 20th ult., which is
published in the Moniteur, states :—" The shocks
are becoming more rare, and there is every reason
to hope that we shall soon be delivered from them
altogether. Everyone now begins to reckon the loss
which he has sustained, and there are few families
that have not some to deplore. The definitive num-
ber of the victims is 200 for Broussa, and 500 for
the neighbouring villages. The khans, the mosques,
and the bazaars, which were the ornaments of this
town, and which rendered it celebrated, have been
all more or less injured. All business has been put
an end to, and the numerous workmen employed in
the silk spinning works will be long without employ-
ment, in consequence of the destruction of those
establishments." .

vV
A SINGULAR CEREMONY took place at Madrid on
the 25th ult., namely, the public crowning of the
Spanish poet Quintana with laurel, as a solemn
acknowledgment of his genius and patriotism. The
ceremony took place in the Palace of the Senate, and
the Queen and the King presided over it. The
ministers, the foreign ambassadors, and many per-
sonages of distinction, were present.
THE GRAND DUCHESS REGENT OF PARMA, in
order to give encouragement to agricultural pur-
suits, has ordered that cattle-shows should be regu-
larly held in her States, and that prizes shall be
given for improvements in the breed of cattle, for
superior tillage, &c.
AN EXCELLENT COMPANY OF DRAMATIC ARTISTS
Will visit Paris during the period of the Exposition,
and play the most esteemed and classical dramas of
the Italian stage. The artists composing this troupe
are Signor Ristori and Signori Rossi, Gallinelli, Bel-
lotti, Tessero, Boccomini, and others.

THE SEVERE ETIQUETTE OF THE SULTANS, which
has already received more than one rude shock since
the commencement of the present war, is destined,
it seems, to experience one still more startling.
Abd-ul-Medjid (says a letter published in the
Gazette du Mida) has made up his mind to offer his
arm to the Empress of the French when she arrives
before the Palace of Balta-Liman ; to present her to
the first Sultaness (there are seven who bear this
title, and who take rank according to the order of the
birth of their children), whose face will be unveiled!
Four young ladies, chosen from the best Armenian
families, and speaking the French and Turkish lan-
guages, will also be placed at the disposition of the
Empress as interpreters and ladies of honour. Mag-
nificent presents, among them a side-saddle adorned
with precious stones, will also be offered by the Sul-
tan to the acceptance of her Imperial Majesty.
A REMARKABLE COLLECTION OF AUTOGRAPHS is tO
he disposed of at Paris in the course of this month.
Among the more interesting contents is a letter from
the Empress Josephine, and various curious auto-
graphs of Abd-el-Kader ; the correspondence of
Bossuet, Fenelon, the Abbe de Rance, St. Vincent
de Paul ; a sonnet of Tasso, a manuscript of Bernar-
din de St. Pierre, the author of " Paul and Virginia;'
a dictionary of music, by J. J. Rousseau; various
letters from Malebranche and Boileau, one from
Poggio, and a collection of satirical poems by Bussy-
Rabutin.

AN ACCIDENT which occurred to Lieutenant-Colonel
Commeline, while out hunting with the Warwickshire
hounds, last week, has terminated fatally. The gal-
lant officer was thrown from his horse when leaping
a fence, the ditch on the other side of which was in
a rotten state, thereby causing the horse's feet to 111 p
under him as be alighted, by his sudden fall jerking
his rider with great violence over his bud.

APRIL 7, 1855.

yittraturt.

The Handbook of Painting. The Italian
Schools. Translated from the German of

Kugler. Edited, with Notes, by Sir C. L.
Eastlake. Third Edition. London: Murray.
This " Handbuch " of Kugler was first pub-
lished in 1887, and, as he states, was some-
what hastily composed. A wider range of in-
vestigation enabled him to make important
additions to his materials, and further thought
induced him to modify his views. In 1847 an
enlarged edition of his work was published
with the assistance of Dr. Burckhardt, and the
improvements of that edition have been in-
corporated in these elegant volumes. The
editor has, however, judiciously maintained
the character of the history as relating to
Italian painting alone, and has forborne to
touch those additions which attempt some-
what awkwardly and incompletely to connect
with it the growth of the German and other
schools. In its present shape the work is
complete as far as it extends ; the progress of
Italian painting is traced from the age of Con-
stantine to its decline in the seventeenth
century, with great knowledge and discrimi-
nation; and the characteristics of each master
are happily seized, and distinctly and forcibly
expressed. It is this combination of historic
lore with artistic feeling that has made
Kugler's book popular through Europe. He
feels the peculiar merits of each master he
notices, and hence is enabled by a few descrip-
tive touches to express the character of his
greatest works, and give a true idea of his
genius. Fuller details on particular points
may be contained in other works, but in none
is there found so firm a grasp of the whole
subject, or such fine appreciation of ar-
tistic qualities and beauties. For this
reason the work will be valued by all who
desire to know not only the leading facts of
the history of the Italian school, but its pecu-
liar excellencies ; to comprehend not only its
forms, but its spirit.
The early history of Christian art (the
"later Roman style," as it is termed here),
embodies the most material information which
laborious research has been able to collect.
An ancient mosaic in the museum at the
Vatican, " belonging possibly to the third
" century," gives some idea of the style of
face which the heathens attributed to our
Saviour. The type of countenance is that
given to the philosophers of the period. The
earliest portraits which have descended to us
from Christian artists are found in the Roman
catacombs. A particular description is given
of the likeness in the catacomb of Calixtus :
Over the left shoulder is thrown some drapery, other
wise what is seen of the figure is naked. The face is oval,
with a straight nose, arched eyebrows, and a smooth and
rather high forehead ; the expression serious and mild ;
the hair parted on the forehead, and flowing in curls on
the shoulders ; the beard not thick, but short and divided.
The appearance that of a man between thirty and forty
years of age.

Another portrait found in a distinct cata-
comb, and perhaps of later date, agrees in
character with that above described :

The figure is, however, draped, and the whole work has
certain peculiarities which appear to mark a later period
of art. Both these portraits agree, if not strictly, yet in
general features, with the description in Lentulus's letter ;
and portraits and description together serve to prove that
the earliest Christian delineators of the person of the
Saviour followed no arbitrary conception of their own,
but were guided rather by a particular traditional type,
differing materially from the Grecian ideal, which they
transmitted in a great measure to subsequent ages.

Considering the number of Christ's dis-
ciples at the time of his death, the intelli-
gence and rank of many of them, the reverence
with which they must have regarded his
memory, the eagerness with which we know
That all particulars concerning him were
sought for and collected; and taking into
account the early period at which these por-
traits in the catacombs must have been
axecuted—some time, probably, in the fourth
century—it is far from improbable that they
may have been copied from earlier portraits
ascending to the time of our Lord himself. It
would certainly be rash to conjecture that
these likenesses, so strongly resembling each
other, and so well defined in character, were

THE PRESS.

inventions of the age in which they were exe-
cuted. Kugler's text is hardly correct in
stating that Eusebius refused to procure for
the sister of Constantine a portrait of our
Lord. If we recollect rightly, he evaded the
request by asking whether she wished a por-
trait of him in his divine or human nature,
and by saying that no painter had power to do
justice to either. Neither is it strictly correct
to say that St. Augustine declared that "as
" regards the person of our Saviour nothing
" was known." What he says is, that the
fleshly face of our Lord is varied by the differ-
ence of many opinions, and so painted—a
proof that a great number of portraits of him
were at that time in existence, and we know
that the numerous likenesses prevalent in the
fourth and fifth centuries bore such a general
resemblance as to forcibly suggest the idea
that all must have had a common origin. On
the whole, there is strong probability that
what is called the " traditional type" may in
its leading features truly represent the linea-
ments of our Lord. The second portrait en-
graved in this book from the Pontian cata-
comb, on the Via Portuensis, strikingly
resembles the beautiful heads of Leonardo da
Vinci.

The chapter on the Byzantine style is
marked by great penetration. The art of the
early Christian Church was rude, but it was
pure, cheerful, and what we should now term
Protestant, from its reality and its human
character. But the corrupting influences
which in the Byzantian court perverted the
Christian faith, darkened its art also. The
Infant Christ is exhibited with sombre face,
totally devoid of expression ; and as a man He
appears only writhing in the agonies of phy-
sical suffering. The conversion of Wladimir
the Great at the close of the tenth century
tended to perpetuate this frightful style by
spreading it through the vast empire of
Russia :
The Russians received the new doctrines with snpersti
tions humility, and the new art with all the ingenuity and
love of imitation which distinguish the Sclavonians, and
to this day have done little to raise either the theology or
the painting with which Byzantium endowed them. If in
more recent times the higher classes of Russia have
adopted the views and practice of art belonging to modem
Europe, this in no way affects the great mass of the people,
among whom religion and painting, whether owing to any
national deficiency of capacity, or to the despotic form of
government, or to the long-continued Mongolian yoke, have
both remained only an impoverished and barbarised
Byzantine tradition. One chief cause to which this may
be attributed, as with the modern Greeks also, is the reli-
gious prejudice by which the style of art prevailing in the
tenth century was honoured as something essentially be-
longing to, and indivisible from, the sacred subjects of
Christianity; so that every exercise of individual power
and genius is interdicted to the Russian artist. Thus the
picture itself became sacred, because its established forms
were sacred We therefore see in these Rus-
sian paintings a dark brown colouring, elongated heads,
mummy-like hands, and a gaudy drapery—that is, where,
instead of the latter, a robe wraught in a species f relief,
and embossed with gold and silver, is not spread over
portions of the picture : this is especially the case on fes-
tivals. The effect thus produced is something perfectly
spectral, inasmuch as the garment introduced in the mode
described is of a plastic nature, while, from a doctrinal
aversion to all plastic representation of the human form,
the dark-coloured robe is kept as flat as possible. It is
precisely this combination, however, frightful as it is,
which operates upon the senses of the worshipper, and
corresponds with his idea of divine and saintly majesty.

It is curious that there should be even
among us tastes so depraved as to ac-
cept as the ideal of Christian art that form of
it which is the most utterly corrupt. The
paintings admirably described in the above
extract are prized by a certain class of
connoisseurs, and, what is of far greater im
portance, are in some cases made the models
for ecclesiastical decoration.
An attempt is made here to explain the
causes of that decline of Italian painting
which followed rapidly on its first develop.
ment, but the author in his conjectures is less
successful than usual. The desire of the
wealthy classes to possess showy pictures
without much caring for their real merit, and
the facility of hand engendered by the growth
of merely imitative talent, may partly account
for the patronage of mediocrity, but does not
explain the absence of genius. It is said :

The decline of art stands in immediate connection with
the Raphaelesque period. A climax of excellence was felt
to have been attained, and it was now the general aim to
hold fast, if not to surpass, that (fferi in the great works
of art which appeared to have earned for their authors their
universal reputation. . . . A considerable share of

331

the blame must be imputed to the altered tastes of the
patron, and to the consequent change in the external posi-
tion of the painter. Tempted by the splendid productions
of Itaphael's time, princes and corporations thirsted for
the possession of vast works of an elevated kind, which
thus soon became objects of luxury which every one sought
to obtain according to his rank and means. That such
luxuries should be sought for at the least possible expendi-
ture of time or money was also natural, and as in point of
allegorical or historical representation a lower order of
conception was preferred to the really high and infinite in
art, it followed that the ready-handed and superficial
painter invariably took precedence of him who possessed
deeper and more lasting qualities. It is melancholy to
observe how from this time painters and patrons con-
tributed more and more to demoralise each other ; the one
playing the part of a courtier and an intriguant, the other
that of a capricious master. The most enormous under-
takings were now executed with the greatest rapidity.
" We paint," as Vasari says, " six pictures in a year, while
the earlier masters took six years to one picture; " and
how colossal these pictures are we see in the Sala Regis,
in the Vatican, and in the great saloon in the Ducal Palace
at Florence ; while he naively adds :—" And yet these pic-
tures are more perfectly executed than those of the early
school by the most distinguished masters."

But the greatest masters, as every one
knows, have been most distinguished for
facility. Michael Angelo completed the vast
labours of the Sistine Chapel in twenty-two
months, or in three years, and we know how
numerous were the works of Raphael, who
died at thirty-seven. It is contrary to nature
that the taste of a people should degenerate
with the finest models constantly before their
eyes, nor is there anything in the general ap-
preciation of art and its extensive patronage
to lead to its degeneracy. Besides, as we
read here, the decline in the Italian mind was
not confined to one branch of intellectual
exertion, but was general :
Contemporary with this corruption of art, we remark a
general decline of Italian power in every department—
politics, church, and literature.

Human intellect may be subject to some
law not yet discovered, by which, when it has
reached its highest development, it inevitably
declines—as fruit decays after it is fully
ripened, as the season wanes when the sum-
mer solstice is passed, and as the bodily
strength of man declines after his form is
fully matured. The noon may be sometimes
long, sometimes short, yet still be in state
of mutation; and hence, after conjecture on
what we deem to be causes of the decay is
exhausted, the primary cause may remain
behind in that constitution of nature which
our wisdom may ameliorate but cannot over-
throw.

Apart from the judicious translation of
Kugler's text, from the careful notes of our
accomplished President of the Royal Academy,
and from the elegant style in which this hand-
book is produced, the numerous illustrations—
in number exceeding one hundred—of the
celebrated works of great masters, would alone
give substantial value to the work. The merit
of that quality of art known as compoxition can
only be illustrated by example, and the cri-
ticism on a picture is always better under-
stood when a drawing from it, on however
small a scale, is before the eye.

Nos Micomptes et nos Esperanees. By M.
Guizot. Paris : Revue Contemporaine.
AMONGST living celebrities few stand so good a
chance as M. Guizot of escaping the " wrath
"of Jupiter, and fire, and sword, and the
" scythe of Time," which Ovid so haughtily
craved for his poems. And though, of the few,
some may enjoy wider and more dazzling fame
—none, assuredly, possess reputation which
will shine with a steadier or a purer light. For,
though neither as historian, writer, philosopher,
orator, and, least of all, as statesman, can the
very highest place be awarded to him, yet in
each of those capacities he has attained a posi-
tion so lofty as to be inaccessible to men of no
mean intellect after a whole life's labour ; and
in each has won renown which of itself would
be ample reward for a man of no mean ambi-
tion. And in doing this, as historian and
philosopher, he has had recourse to none of the
vulgar arts, and insolent cliquism, and brazen
charlatanism, which in his country are consi-
dered justifiable, and even necessary, means
of obtaining fame, arid which some of the
most deserving of his contemporaries and
rivals have unhesitatingly employed. As
orator, he has almost always abstained from
the inflated claptraps, the vehement appeals

years of age. - - aversion to an plastic representation 01 the numan torm,
the dark-coloured robe is kept as flat as possible. It is Nos Micomptes et nos Esperanees. By M.
Another portrait found in a distinct cats- precisely this combination, however, frightful as it is,
comb, and perhaps of later date, agrees in which operates upon the senses of the worshipper, and Guizot. Paris : Revue Contemporaine.
character with that above described : corresponds with his idea of divine and saintly majesty. Amososz living celebrities few stand so good a
The figure is, however, draped, and the whole work has It is curious that there should be evenchance as M. Guizot of escaping the " wrath
certain peculiarities which appear to mark a later period among us tastes so depraved as to ac- "of Jupiter, and fire, and sword, and the
of art. Both these portraits agree, if not strictly, yet in cept as the ideal of Christian art that form of " scythe of Time," which Ovid so haughtily
general features, with the description in Lentulus's letter ; it which is the most utterly corrupt. The craved for his poems. And though, of the few,
and portraits and description together serve to provofe that paintings admirably described in the above some may enjoy wider and more dazzling fame
the earliest Christian delineators of the person the
Saviour followed no arbitrary conception of their own, extract are prized by a certain class of —none, assuredly, possess reputation which
but were guided rather by a particular traditional type, connoisseurs, and, what is of far greater im will shine with a steadier or a purer light. For,
differing materially from the Grecian ideal, which they portance, are in some cases made the models though neither as historian, writer, philosopher,
transmitted in a great measure to subsequent ages. for ecclesiastical decoration. orator, and, least of all, as statesman, can the
Considering the number of Christ's dis- An attempt is made here to explain the very highest place be awarded to him, yet in
eiples at the time of his death, the intelli- causes of that decline of Italian painting each of those capacities he has attained a posi-
gence and rank of many of them, the reverence which followed rapidly on its first develop- tion so lofty as to be inaccessible to men of no
with which they must have regarded his ment, but the author in his conjectures is less mean intellect after a whole life's labour ; and
memory, the eagerness with which we know successful than usual. The desire of the in each has won renown which of itself would
that all particulars concerning him were wealthy classes to possess showy pictures be ample reward for a man of no mean anibi-
sought for and collected; and taking into without much caring for their real merit, and tion. And in doing this, as historian and
account the early period at which these por- the facility of hand engendered by the growth philosopher, he has had recourse to none of the
traits in the catacombs must have been of merely imitative talent, may partly account vulgar arts, and insolent eliquiam, and brazen
-executed—some time, probably, in the fourth for the patronage of mediocrity, but does not charlatanism, which in his country are consi-
century—it is far from improbable that they explain the absence of genius. It is said : dered justifiable, and even necessary, means
may have been copied from earlier portraits The decline of art stands in immediate connection with of obtaining fame, arid which some of the
ascending to the time of our Lord himself. It the Raphaelesque period. A climax of excellence was felt
thoolhdavfaest,
iefnnoattttaioned, and itth wtasffencr
inthte) genera
would certainly be rash to conjecture that
greatl awimorktos most deserving of his contemporaries and
rivals have unhesitatingly employed. As
these likenesses, so strongly resembling each of art which appeareaudir haa've earneda
for thelier authors their
other, and so well defined in character, were universal reputation. .. . A considerable share of tohnetor,he has almost always abstained from
inflated claptraps, the vehement appeals