The Press.
London, England, 1853-05-07 00:00:00

io

balustrades of Haddon-hall. We constantly seethe
palaces of Venice altered, ruined, or transiiosed at
pleasure, or the solitude of the lagunes invaded by
rafts, on which there seems to be carried on the com-
merce of the world, whenever it suits the painter to in-
trooluee a bustling foreground.
In costume the violations of truth are yet more
flagrant. Where the Italian peasantry and the Romish
clergy are concerned an unbounded licence is claimed,
and it seems to be the prevailing opinion that either
may be introduced in any colours, or in any way that
may contribute to picturesque effect. It is not neces-
sary that an artist should be an archaeologist or a
master of the ceremonies ; but a doge's dress is as
well known as a peer's coronation robe; and, by
dressing Marino Faliero as a procurator of St. Mark,
we think Carl Haag has injured the effect of a pic-
ture ( No. Ilk) which, though a little theatrical. has
much merit. In No. 274 Mr. Fripp has dressed his
cardinal in the red hat which is the emblem of his
rank, but which it would be as strange to see on his
head, as to meet the Bishop of London wearing the
mitre which is painted on the pannels of his carriage.
" l'ictoribus atque l'oetis," says Horace ;

"Quid libel. iindrudi Kemper Inuit slug ptri,tits."
We are not fimil of applying to painting the analogy of
poetry, which has been much abused by the critics
of the exalted school ; but we much wish that paint.
cos would be content to take no greater licence than
the poets. Why cannot it he established that it is
absurd to paint an action which a poet would think
it, absurd to describe? If, for instance, no writer of
romance would describe the Abbot of Bolton as going
to his larder accompanied by an acolyte bearing
liqueurs in sacramental vessels, does the convenience
of grouping and of colour excuse the artist for intro-
ducing this incident in his justly celebrated picture
of "Bolton Abbey ?"
We have no time at present to discuss the value of
truth fin• its own sake, which we rate very highly,
but the least scrupulous artist will iulmit that it
" hurts one's conscience to be found out," and that in
well-known scenes the want of accuracy is highly
disappointing to the spectator. Mr. "Rialto"
(No. 1$), which is otherwise a broad effective draw-
ing, is full of inaccuracies, and the changes are
anything but improvements.
But, besides the value of truth for its own sake,
there am two other considerations which should
make it an object. of veneration to the young artist.
The first. is his own improvement. If, every time he
feels a difficulty, he allows himself to meet it with
the first expedient, no matter how preposterous, that
suggests itself, he lowers his own taste, he fails to
expl re the resources of his own mind, and to
cultivate its faculties. Some of the finest pictures
which we have known have been produced by the
struggles of the artist to overcome the difficulties
imposed upon him by a rigid adherence to truth.
In the next. place, the only way of nrriving at pro-
bability is by the pursuit of truth. The artist who
avails himself of' every temptation to introduce con-
venient " bits of colour"---fignres to fill in. and pic-
turesque incidents---soon loses all air even of possibility,
and destroys the dramatic effect of his pictures in a
jumble of ineoherencies.
No much would be gained to art it' clear laws could
be laid down on the subject of this kind of truth,
that we have been tempted to enlarge upon it to an
extent that exceeds our limits. The instances which
we have quoted for blame are taken from one water-
colour exhibition ; but it is fair to add that they are
by no means so flagrant or so munerous as we have
often remarked on former years, and at other exhi-
bitions.