The National Register.
London, England, 1812-01-12 00:00:00

THE NATIONAL REGISTER. ,

BRITISH INSTI I UTION.

The overflow of political matter durng the last two
weeks, and the important domestic intellivnce with which
they abounded, .compelled us to delay our remarks on the
paintings expoied for imitation in the rooms of the British
Institution, and on the merit of the copies taken frein
them. We now resume oor task, and in order to be able
to pursue it uninterrupted by the same causes, will re-
strain the pruriency of descriptive observation, and the su-
perfluous verbosity which generally attend comments on
the various productions of art.
The Holy Family, by Sebastian del Piombo, though not
a painting which would enable.this master to make eiood
' his claim at rivalry or even at ccmpetition with %Thad.
possesses considerable merit. Its colouring is too sombre,
and the complexion Of the Virgin in particular, remarka-
bly dark, a hue little expressive of the idea of purity inse-
parably attached to her character. St. l'hn is repiesent-
ed older than he could be at the time ; but this anachron-
ism is little, when compared with the introda:• ion of the
head of a Friar under the protection of the V:rgin. The
conception and colouring of this picture are therefore de-
fective ; but these faults are in some degree redeemed by
the correct style and elegance of the drawing. The latter
forms the sole object worthy of imitation. This seems to
have been generally felt, and few copies hive been taken
from this work, perhaps through the fear of not being able
to catch its particular and distinguishing excellence. A
young lady has, however, displayed uncommon courage
in attempting so difficult a task, and considerable skill in
executing it. The copy ma.le by Mi ;s Jackson is a faith.
ful and energetic transcript of the original, except in tine
point, in which she has been bold enough to dopart from
it, in order to attempt an improvement. She has removed
the head of the Friar from the picture, and substituted that
of St. Charles in its place ; but this alteration leaves. the
hand of the Virgin unsupported. The whole IP Weyer., is
executed with so much spirit, as to deserve to he, ranked
amongst the most successtul imitative attempt of native
talent in the room. The original i 3 taken from the collec-
tion of Sir Thomas Baring. Sebastian del hembo, the
friend of Michael Angelo, was a disciple ;.f Bell nit whose
taste, and perhaps whose touches, may be ohsei ved in se-
veral parts of Sebastun's works. The Friar's head, in
this picture, is an illustratioe of. this assertion, as it so elosc'y
resembles Bellini's style, as by some to be deemed his,pro-
duef on. The esteem in which Sebasiian de Pinmbo was
held in his time, has not been eradicated by-years, and his
paintings (:ontintte to be deemed
The White horse, by Sir An'hony V :ndyke, has occa-
sioned the display of much talent. 'The wh,ich
is from the collection of the Right Honour,:b!e Chailts
Long, is a master piece. Struck with suCr.i.en fear, Rnd
teeming with animation,. the courser seems to start from
the canv.iss.' The boldness of its attitude, the just and
forcible action of its muscles, and its admirable fore-
shortening, font) excellencies which bring nature itself
to our view : whilst the blast of wind in the corner,
seemingly expressed by a sing:e dish of the brush, gives
a cause for the position and terror of the hors,,, and shows
how attentive the ter was to natural probability as
well as to poetical effect. Variou,s accotur s are given of
the reasons which induced Vandyke to ..ct this subject
for the exertion of his powers. Some co :ider th;s
pro-
duction as a finished sketch for a greater composition, such