Star.
London, England, 1830-09-03 00:00:00

PINE ARTS.

BOMBASTES FURIOSO—BY GEORGE CRUIKSHANK.
George Cruikshank has several imitators, but unquestionably no
equal t his brother Robert is far his inferior both in design and humour.
It is, however, in the latter quality that George will maintain his supe.
riority, inasmuch as design is a thing of comparatively mechanical at-
tainment The new edition of Rhodes's Boa/14sta ,Purioso, with
wood-cuts after George Cmikshank, has produced this remark; and we
do not remember any undertaking on which he bas been engaged which
better shows off his great and peculiar talents as a grotesque artist.—
The burleque drama itself was very worthy of his pencil, for in its way
it has always appeared to us to have only one fault, viz. that the King
and General at the close are restored to life without any attempt, on the
part of the author, to account for the resuscitation, by the power of ma.
gle, medicine, or otherwise. This publication, by Redd, of Great
Newpornatreet, will have one injurious tendency—that we shall never
laugh at lambastes Fur ioso again on the stage ; for George Cruik.
shank has rendered it so irresistibly ludicrous, that the efforts of the
actors, Liston not excepted, must hereafter appear "fat, stale, and un-
profitable.* Tom Thumb and The Mayor of Garret are also in
George Crulkshank's hands for illustration; but, above all, we recom.
mend to his pencil The Beggars' Opera, as that fine satire was origin-
ally written by Clay. Here he will have more to do with truth than
absurdity.
Ma. DALIENO'S UDORAMA AND COSMORAMA, BAZAAN, LEI.
CENTLE.SQUARE.—The Udorama is a model from nature, representing
the beautiful valley of Grindelwald, and the surrounding scenery, as
seen from the foot of the Faulhorn, in the Canton of Berne, in Switzer.
land. This admirable way of thus representing objects in nature or art,
is here managed with great skill and effect. The different appearances
of morning, noon, evening, and night, are correctly indicated. The
scene is well chosen, the colouring and effect of the rocks and glaciers
good—the real water-fall and lake—the cottages, cattle, figures, and
verdure, are disposed with correctness and taste; the mountains, stretch.
ing from the towering Skrekhom on the left, to the Jungtrou on the
right, give a most imposing coup The last named mountain is
the most magnificent of all the chain of the Alps. It is surrounded on
all sides by dreadful precipices, and terrific ranges of rocks, covered with
eternal snows, and rising to a height of 12,852 feet above the level of
the are. This sublime scene is got up with great taste and patience ;
and when a few proposed additions are made, is likely to be a source of
attraction for a long time. The Cosmorama consists of four pictures—
" The Cape of Good Hope," " Rome," " Warwick Castle," and the
"Menai Suspension Bridge" over the Blenai Straits, North Wales,
which unites the island of Anglesea with the main land. The bridge is.
perhaps, the most attractive work of art that now adorns the British do.
minions.

Tag OCTORAMI.—This exhibition consists of eight scenes from
engravings made by artists who accompanied the French Expedition to
Algiers. lit. The Town and Harbour of Toulon, whence the French
fleet sailed.-2d. The Embarkation of the Troops.-3d. The Review
of the Fleet.-4th. The whole Expedition, comprising 600 ships at
'ea.-6th. The Landing of the Troops at Sidi Ferruch.-6th. The Bar-
tle of Sidi Ferruch.-7th. The City of Algiers from the Bay.-Bth.
Triumphal Entry of the French into Algiers.—The principle of exhi.
bitten is similar to the other dioramas, only that this has a drop-scene
let down during the change of subject. The keeping, colouring, and
effect of the pictures are judiciously arranged. The figures are painted
with decision and spirit. " The Battle of Sidi Fennel," and " The
Entry into Algiers" are particularly animated. " The City of Algiers"
is sweetly painted. Every pains have been taken to make these views
worthy of public notice.
The Phrsiorama (or Cosmorama, for such indeed it is,) is got up on
a scale well adapted to exhibit the best pictures in Europe, and this way
of showing them would be greatly to their advantage. The pictures in
number are fourteen, of which we notice " York Minster on fire ;" the
perspective of tilling all very well—but the reflection is not that of fire,
it is theatrical—it is not the vivid reflection of flames, it is *coo scarlet—
the fire itself wants mere white mixed with blue and green. " Bel-
shazzar's feat" is all fire, and defective in the drawing of the figures.—
" The Needles, and the Isle of Wight" arc very effectively managed.
" The towel Rock Bridge, in America" deserves equal praise. " The
Wile," to make it interesting, should have better figures. " The
Interior of Charon Church Nils much to praise. " Elba" is pretty—so
is " Giant's Causeway." " Constantinople" conveys a good idea of
the buildings, but not of the climate ; it wants more warmth. " Hoot
Blanc and the Valley of Cluunong" have much nature. " Henry the
Seventh's Chapel" has a stiffness about it, but is very like. These two
exhibitions have a 1 ether twenty-two pictures, some of which are
really very clever, and the manner of showing them is good.