The Press.
London, England, 1854-05-27 00:00:00

tine arts.

EXHIBITIONS of FRENCH AND GERMAN ART.
[Second Notice.]
This second exhibition of German art has been
generally pronounced inferior to that of last year,
yet we are by no means sure that it in reality is so,
or that any attraction is wanting that the former
possessed, excepting novelty. Some of the historical
pieces are certainly not inferior : we remember no
picture of this class in the former collection that
struck us so much as M. Sell's " Defence of a Castle
during the Seven Years' War." The sketch (No.
27) and the picture (No. 52) painted from it are
both exhibited, and the artist may congratulate him-
self on the decided superiority of the picture. It
has less of breadth perhaps than the sketch, but it
has more expression: the contrast between the
wounded and sullen prisoners and the ferocious
defenders of the fortress is well maintained. Each
head has its peculiar and appropriate character,
every figure is necessary to tell the story, and none
is introduced to till a space or to help out the corn
position. The execution is careful ; and, while no
detail has been neglected, nothing is intruded un-
necessarily into notice. No. 19, " A Sketch of the
Battle of Grossberen," by the same artist, represents
a skirmish which took place in the neighbourhood of
Berlin during the patriotic struggle against French
domination in the beginning of the present century.
The subject is handled with a spirit and a distinct.
ness not easy to combine with the hurlyburly of such
a scene.

No. 1, " Where there is no money there is no law,"
by M. Siegert. This subject, representing military
prepotency in s cabaret, would better illustrate the
motto " Our might makes our right." A strong and
buff eoated man. atarms of the Sergeant Bothwell
stamp, having ate and drank his fill, laughs at the
simplicity of the hostess, who presents him his score
when he rises to depart. The subject requires no
great exercise of the imagination or dramatic skill to
represent; but it is happily rendered, and the effect
of the picture is broad and good. No. 59, " Fisher-
man's Return—Scene on the Coast of Normandy,"
by M. Rudolf Jordan. A clever picture • but there
is too much dejection and too little of hope and
anxiety on the countenances of the expecting group
to preserve dramatic interest; neither is there any-
thing in the state of the sky to warrant so much
distress. No. 12, "A Scene from the Peasants'
War," by M. Kneille, is a clever and spirited sketch.
No. 28, "Castel Gandolfo," and No. 34, " Lari-
cica," both by M. Achenbach. The trees and fore-
ground in both are carefully studied, and every part
is well drawn ; but the vegetation is not Italian—the
cold and cloudless sky belongs not to that sunny
region. We recognise, indeed, the low pitched roofs
and swelling cupolas of Italy, the form of Monte
Cavo and the Alban Lake, but they are all invested
with the climate of Norway. No. 33, "A Wreck,"
by M. Hiinten. A scene in which the painter is
quite at home, and which he has represented with a
truth and power rarely surpassed. The thick fog
which caused the misfortune is slowly clearing away
as the sun begins to assert its power; and the well
filled boats are deliberately leaving the wreck, which
looms in the hazy distance, and pursuing their way
to safety over a calm, dull sea, with a calm, dull sky
above them. The nearest boat just catches the rays
of the emerging sun, while those beyond are still
enveloped in the obscurity of a sea-fog.
No. 56, " Forest Trees," by M. Burnier—a fine
study, but the rushing brawling torrent does not be-
long to forest scenery. No. 58, " Norwegian Land-
scape," by M. Leu. Perhaps rather feeble in effect.
The silver birches which are scattered over the middle
distance are admirably studied and understood. No.
63, " Moonlight on the Fiords," by M. Lauson.
" Moonlights " can hardly ever be agreeable—they
are rarely true to nature—the bright light on the
water in the middle distance contrasts too strongly
perhaps with the murky atmosphere ; but effect, at
least, is not wanting. No. 2, " Norwegian Land-
scapes," by M. Bodom. The landscapes of this clever
artist, as well ELS all those of his school which we have
had the opportunity of examining, are carefully
studied, but are all designed and coloured after one
pattern. The artificial and meretricious compositions
which the great popularity of Claude introduced over
Europe have long ceased to find favour with the
public, but those cold green northern landscapes
afford no pleasure, leave no agreeable impression, and
can only attract by their novelty : this it, is, perhaps,
that accounts for the emptiness of the room, and the
imputed inferiority to the former collection.

THE NEW CHURCH dedicated to St. Mark, which
has recently been erected at Tollington-park, one of
the districts of Islington, was on Monday consecrated
by the Bishop of London. The edifice will afford
accommodation for upwards of 1,000 persons, in-
cluding about 100 free sittings.

THE PRESS.

Vusit.

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