The Sun.
London, England, 1821-01-27 00:00:00

FINE ARTS.

EIUTIS[i 11\-,TITUTION.

Among the Pictures exhibited this year iri .the
British Institut:on, we feel-proud in asSerting, that many are
to be selected, Which in colour, composition, and execution,
raise the art Of painting in England, nearly to a levelwith
that-usually designated by. the general term of the -Italian
School. Though the magnificent pi MitictionS of 1)s ViNet,
Itarmaee, and ;NI:CII.:kW ANotLu, may be marshalled and
quoted as it to crest' by their very names, the attempt at com-
petition in our countrymen; yet When the veil of prejudice
is removed, and the bubble of ignorance hushed, justice will
declare, that the dignity acid moral utility of the Art is as
highly esteemed, and as nobly sUppiirted in England, as it
was by these extraordinary men, whose talent; and whose
works command and possess the admiration and, i:siltation
of the civilized world. Of • the second and lower "class Pic-
tures of the Italian School, but little need be said ; many
delight by the sweetness of the colouring, or the facility of
the execution, but out of the mass, few are worthy even of a
place in our galleries; since the subjects of them Lae for the
must part, either uninteresting or • indelicate, and cease to
attract atteetkion by their perpetual repetition mid in
adeli-
tion to thuSt;i4}illpef.:Lkie detects are too often-matilited and
unskilfully repaired:` However much the Claborateprodues
tions of the Dutch and Flemish Schools may astonish by the
patience necelisai ytv -preeilote-thent,-or the fidelity with which
the objects are delineated, with not inany exceptions,- they
disgust by the uninteresting vulgarity of ther subjects,..--or by,
' the barliarotur inattention to character and costume in their.
attempts to tread in the more elevated paths of art.—And,
except those which can be fairly enumerated among the ex-
ceptions, are now hut seldom 'called for, except by the
youthful Collector, Who is cajoled by the Merckant, or carried
captive by the chrtrin of a name; but those who.possess a true
feeling for the Art, and a cultivated taste, reject them .from
their collections as society -with which every man should be
ashamed u associate, and which-tend neither to improve the
heart, instruct the mind, orentertain the fancy. .
Though the Amateurs of EThgland have exerted themselves
to support the efforts oi genius, the peculiar circumstances of
the times render it impossible for many individuals to remu-
nerate the talent they admire, and which has produced, by
perseverance, souse noble work, the contemplation of which
either rouses the Mind of the beholder to a livelier sense of
virtue, excites a stronger abhorrence of vice, recals some'
classic imagery to his recollection, or softens his heart to
the milder affections of-charity. Thus the aspiring Artist is
compellid to curb the vigour of his imagination, arid pass the
greater portion of his time in inferior productions, Which
command a ready sale, hut which neither -establish his repu-
tation nor gratify himself. Those, then who, by superior ta-
lent, and more vigorous exertion produce, amid the difficulty
that surrounds thew,Works which bear the stamp of superior
taste and knowledge,.and persevering industry and research,
demand not only our comniendatioit but. support. In the
14ritish Institution the Artist has the fairest opportunityof
finding that his pictures will be examined and rewarded by an
enlightened Public, and his efforts fOstered by the Royal Pa-.
Iron and Members of an Institution, who -have done all that
can-be done towards increasing the taste and raising the es.
timation of British Att.

'The. first picture of which we shall speak is, Daniel at the
Feast, given by Belshazzar to the Nobles of Babylon, Inter-
preting the hand writing on the wall.
The first impression on the mind of the 'fel-snider, is that of
astonishment and awe, for-by whatever Artist, or in whatever
country this stupendous subject has been attempted, every.
attempt sinks into comparative insignificance; when placed in
competition with this extraordinary effort of the human
mind. The manner in which st is treated, is truly sublime.
The attention to costume, the introduction of the minute'',
incidents relating to the event, and which are to be learnt
only by research, and which so greatly brighten the effect of
the story; and the precision With which es err' accompanying
circumstance is pourtrayed, at once convince us, that the
mind that designed the work, possesses the rare combination
sat elevated. genius and patient talhaur. The sublime concep-
tion of the indefinite blazing Characters, - the4aidisince. of
:which illuminates the extensive hall beneath, cannot be too
highly appreciated. The blettanag- of the Egyptian and
Eastern Architecture, was a noble thought, Which left the
genius of Martin unfettered to compose a range of Architec-
which stands unrivalled in the fields of Art:—the extent-
of perspective through the halls is all that the imagination
can desire ; and the magnificence of the Royal Banquet,
'where were met the thousatid Lords of Babylon, cannot be
surpassed.
The Halls, which were too extensive to be voided, is an
historical incident, which has afforded an opportunity to the
Artist of increasing the terror of the scene, by introducing
the war of elements as indicative of the wrath of Heaven.
The Won in her eclipse—anti fading in the gloom and dis-
tance, t he imposing fabric; of Babel and of Belus.
The 'arrangement of the-complicated groups will admit of
the strictest scrutiny; Daniel, Belshazzar, the Assassins, the
womenkthe Chaldean sages, all hold their stations, each in
their tura-command attention and increase the interest of the
spectatof ; and on examination wilt be seen to possess a varied
and appropiiate expression. The dismay and frantic offer--
ings to the idol in the first Hall is-happily conceived and finely
contrasted with the dignified composure of the Prophet.lt
would exceed:our limits, and perhaps anticipate the surprise
of the.beholder, if we were to detail the endless beauties of
thiS eulditue picture. The chastened eye of the experienced
connoisseur may, after the enchantment is removed under
Which he 'has heen held, regret that the colouring of Mr:
Martin's Agurei does not possess that softness which would
add greatly to his artistial merit, and perhaps wish that some
part of the foreground was in a lower and more subdued
tone ; but these trifling shadows will never detract, but in the
eye of • envy, from a work which places Mr. Martin on a
proud. pre-emineuce, - and ensures hint the admiration ofpos-
tet sty.
The.. Lion with, his prey disturbed by a Serpent.—Mr.
Enwtet LASSEEIt has 'scarcely attained the age of manhood,
and yet Isis productions possess the knowledge and the bold-
ness of mature experience. His Alpine Mastiffs discovering
the frozen traveller in the snow, which was exhibited last
year, called forth the-warmest encomiums from every judge,
and every lover of the art : and as if justly stimulated by pub-
lic approbation, he lees this year produced a picture of the
highest class in his-line of art. The monarch of the forest
is represented as leis-lag killed ti fawn, which bears all the
characteristics of having suffered :a violent death, and,
when about to fetst on his prey, in the recess of a forest, is
disturbed by a serpent. Both appear appalled at the pre-
sence.of each other—the- serpent threatening resistance, is
dragging away his glittering coil, while the lion, as if aware
of its deadly venom, -snarls as if afraid to attack, since his
victory must be purchased "by his death. The correct and
powerful drawing of the whole group evince a -thorough
knowtedge of animal anatomy, and the care ansitrut Is of the
colouring tell us, that the studies have beets made from the
beasts themselves. 'flue size of the animals being that of na..-e
lure, renders the picture terrific, and ensures its le eservatiorr
in some noble gallery, for'which it is peculiarly adapted. Vi'e
do not think.the Picture happily balanced in its composition,
nor the back ground corresponding in grandeur with the
grotto, arid the colouring 'of the sky and distance is somewhat
too Idise and cold, which injures the harmony of the picture;
but when we- consider the. grandeur of the design, and the
age, of the Artist, such observations must only tend to in-
.crense our esteem for his talents and ind'ustry. The Pointers
standing on the iliscoswy of'game, depicts the character of
this species of dog totke very life ; and in drawing and truth
of colour, disputes precedence with his 'greater work.—
The Rival Candidates is :very *clever, as well as his other
Sketches, &c.—His Dogs attacking X Pig, is 4,Picture which,
fur its truths to-Nature can Ismail; be excelled.; but, we trust,
that Mr. Landscer will nut leave the higher range of Art, to
delineate that which may surpriz6-hut, can beter please.
Versus, after• heirs wounded• 14/ Diomede, conducted by
Iris-lo Mars, Mr. G.llarrett.—This is the same Picture that
ktas,as exhihited.last year at the Royal Academy, and we think
it improved buds in effect and tone. Mr. Hayter in this
Picture displays his • knowledge both of the Antique and of
the Italian School. _ The general effect is splendid and im-
posing, and on close examination it will. be seen that the
greatest attention has been bestowed on the finishieg
of every part. The head of the nearer horse pos-
sesses a high classic feeling. The car, the heels
ground, the armour, &c. are of the same stamp, whieh
makes us sincerely regret 'that we cannot commend the elm-
racterof the principal figures. Venus does not bear the celes-
tial form stud elasticity of the Cyprian Goddess, and is both
too old and too maternal its her figure. Mars conveys the
idea of activity and strength, but nut that of dignity;. and his