The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1853-09-20 00:00:00

The pictiire by TIFILNER, which stands number 24 in
the catalogue, is "Mercury and Argus," a title very little
suggestive of the painting or its subject. It is a finely
conceived landscape, embracing a beautiful combination of
land and water. The admirable aerial effect in this picture
is charmingly characteristic of TURNER'S later style, in
which brilliant contrasts are more studied than the broad
and massive effects of light and shadow, which distin-
guished his earlier and, in most respects, more meritorious
pictures. In the one before us, the composition is full and
flowing—the effect sunny and summer-like. Indeed it
would be difficult to meet with a pictorial landscape more
redolent of balmy sunshine than that to which we now
refer. The subject is divided by a ravine through which
a torrent dashes with impetuosity, its waters imparting a
cooling effect to the contrasting warmth of the sunburnt
earth. On the right hand is a mass of picturesque archi-
tecture, the mellowing tints of which mix and harmonize
with the glowing colours and radiant splendour of the sky,
while a grateful freshness is imparted to the whole by the
calm repose of the slumbering sea. The foreground, and
indeed the general colour of the landscape, is rich and warm;
its prevailing lines are harmonious, the parts full without
confusion, and the light and shade nearly all that could be
wfshed. It is no uncommon thing to hear even candid
and good judges of pictures objecting to Turner's land-
scapes that they are slovenly in the drawing of details ;
and the one now under consideration is a good illustration
of the remark ; the men and animals are oddly and ill
drawn; but take the general arrangement of the picture,
and its masses will be found graceful and well balanced.
The effect of its colour is sparkling and true to nature,
and, as a whole, it is a work of rare excellence and beauty.
29. " View of Gilnockie Tower and Bridge, Dumfries-
shire." By COPLEY FIELDING. This is a landscape in
many respects the opposite of that last spoken of. It is
natural and delightful in the general variety of its colour
and in its repeated horizontal lines. Expansiveness of
view, and truth to nature, appear to- have been the in-
tended features in the artist's mind when he elaborated
the picture, and the intention has been most happily
realized. Beautifully gontrasting and amalgamating tints
enrich the middle distance ; and the foreground is filled,
but not crowded, with picturesque objects of varied in-
terest and form. This picture is eminently suggestive of
a clear, cool, and cheering atmosphere, bathing a richly
wooded, undulating country, over which the eye swims in
gratified enjoyment: _

2. "An Old English Merrymaking," by W. P. FRITH, R.A.,
is a lively and pleasing embodiment of rural life as that
was witnessed in days not very long gone by. A group
of merry village youths and maidens are assembled round
the village " gathering tree," and for their amusement
and delectation an old blind fiddler and a youth are dis-
cussing such music as readily sets in motion the "merry
tinkling feet." A couple of hilarious damsels have made
capture of the village patriarch, and are busily urging him
to join the jocund dance. The action and expression of
this group are highly pleasing and artistic. The counte-
nance of the old man is brimful of happy and contented
enjoyment,proclaiming him at once to be—

The gay grandsire skilled in-gestic lore." .„
He evinces the readiest sympathy with the youthful
sports, and seems reluctantly to admit the time for such
sports with him is over. His youthful persuaders are
bus...some, guileless, and bent on their holiday. The other
corner of the foreground is occupied by a fortune-
telling gipsy, whose conscious knowingness contrasts
finely with the credulity betrayed in the confiding coun-
tenance of her dupe. Nearly all the heads introduced into
this large and well-filled canvass are cleverly painted, and
display careful study and a ready hand on the part of the
artist. The general effect of the picture is pleasing ; it is
rich and good in colouring, and a fine sentiment is trace-
able throughout the whole of the animated scene.

20. " Llyn Dulyn,byW. OAKES,
is a landscape in many respects highly meritorious. The
sky and middle-distance are finely managed, and indicate
a watchful eye for the less common effects of nature, as
these are to be witnessed on moorland and hill.

45. " Claudio deliberating the terms of the pardon
offered to him through his sister Isabella," by W. H.
HUNT. This picture, to which the academy's prize of
£5O has been awarded, is one of very considerable merit ;
and the position to which the award of the academy has
raised it, has given rise to a keen canvass of its merits and
defects. The latter of these appear to consist chiefly in
the common-place attitude and action assumed by the two
participators in the scene. The thoughtfulness of Claudio
is dashed and marred by the trifling,—not to call it mean
idea of his playing with the ancle-ring of his fetters,
while deliberating on the terms of pardon announced by
his heroic sister ; while that sister's earnestness of ad-
monition is in no small degree deteriorated by the familiar
style of placing both her hands upon her brother's breast,
not exactly as if in remonstrance with him, but as if
about to push him back with somewhat of a hoyden's
rashness. Apart from these drawbacks, however, there
are many points to admire in this picture. The air and
general bearing of Isabella, are earnest and commanding ;
Claudio seems much perplexed, by the communication
made to him, and but for the incongruity alluded to, his
demeanour would be apposite and just. In drawing and
pencilling, the subject is well treated ; the colouring is
rich, and in many particulars the picture is really
beautiful.

94. " Dante and Beatrice in the Lunar Sphere," by J.
N. PA TON, R.S.A., is a picture by no means striking on its
first presentment to the eye. Look on it—examine—study
it, and the spectator will be fully requited for the labour,
which can hardly prove other than one of love. The pic-
ture consists of two groups differing essentially from each
other, and each group displaying considerable variety in
itself. The head and bearing of the great poet are sug-
gestive of serenity and intellectual power ; those of his
spiritual conductress are expressive of beatified repose and
tranquil purity of thought and feeling. The mysterious
forms which, flitting through the air, arrest the earthly
visitants' attention, are fine embodiments of unimpassioned
.
thought. The scene conceived in a truly poetic spirit,
and is a highly artistic rendering of Dante's sublime
delineation. In the countenances of each of the chief
actors in the scene the expression of subdued yet devoted
attachment and unhesitating confidence is pourtrayed with
touching truth and beauty, yet not unmixed with inquiring
dubiety on the one hand, met by truthful serenity on the
other, while they contemplate. with differing emotions the
graceful and etherialized forms floating before their vision
with as sweet a harmony as the musical creations which
haunt a poet's dream. The mechanical treatment of the
subject is in fine keeping with its conception. The poet
is drawn and painted with firmness and decision ; the
colouring, though powerful, is simple and unobtrusive.
Beatrice is delineated with grace and tenderness, exhibit-
ing a fine admixture of ideal with corporeal beauty ; while
the aerial figures described by Dante's companion as
" true substances " are so delicately touched that they
seem melting into the subtle ether on whose waves they
swim. In this picture we are glad to recognise an absence
of that exuberance of fancy which has generally charac-
terised the works of this able artist, and has given to not
a few of them a peculiarity of mannerism bordering on the
extravagant. In this no artistic puzzle is presented to the
eye. Here the labour is simple, the effect charming.
42 and 50. " Portraits of two ladies," by JOHN ROBERT-
SON, are excellent specimens of portrait painting, and highly
creditable to the state of art in Liverpool. Albeit a little
heavy in style, both pFtures are treated with much artistic
skill. They are firm in the mode of their handling, juicy
in texture, and of a fine life-like aspect. The colouring is
powerful and pleasing, the attitudes well chosen, and the
accessories fresh and telling, without being obtrusive.
28. " Portrait of Thomas Berry
isgoo Horsfall,pictu Esq.,
with M•P
limuc"h"
bstyrengthPolfrTEeolmour' Aan.RdAno"small amount of excellent paint-
ing in it. The hands are well drawn and beautifully
painted, while the general action is easy and unaffected.
48. " Portrait of Sir John Bent, recently Mayor of
Liverpool," by P. WESTCOTT ; a full-length portrait, skil-
fully treated. The head is well painted and the colour
fresh and pleasing. As a whole the picture is a good
specimen of portrait art, and will form a gratifying me-
mento of the esteem in which Sir JoHN BENT is held by
his friends and fellow-townsmen.

THE STEAM-SHIP GREAT BRITAIN.

LIE following are extracts from a letter which has just
been received by a gentleman in Liverpool:—
On board the Great Britain,
St. Vincent, Cape de Verds, August 26, 1853.

I never enjoyed better health, not: have I experienced
the least sea sickness. * * * On Saturday,
the 13th, we spoke the ship Sciotta, of Brunswick, bound
for London. Although we have had the disadvantage of
head winds and calms, on the 19th we sighted and passed
the Island of Madeira, the distance from Liverpool to
Madeira being about 1,300 miles. On the 22d, we spoke
the ship Alexander Barham, from Liverpool, bound to
Calcutta, lat. 24 deg. 8 N., had been out 37 days, thus
demonstrating the sailing qualities of the ship Great
Britain. The fact is, we fly past every vessel we meet.
We sailed past two full-rigged ships this morning. While
I am writing, they are preparing the anchors ready to
enter the harbour of St. Vincent, which we expect to
reach in the morning (Wednesday morning), to take in
coals and water.

Messrs. Gibbs, Bright, and Co.'s overlooker, Captain
Martin, has come out with us to test the sailing qualities,
&c., of the Great Britain, and to report upon the same.
I expect he will land at St. Vincent, and go to England
by the Southampton mail boat. Captain Matthews is
very kind to the passengers—he is a very humane gentle-
man, and worthy the command of such a ship.
We have a Wesleyan missionary and likewise a minister
of the Established Church on board. We have morning
and evening service on the Sabbath days, which is a very
great privilege. Captain Matthews has prohibited swear-
ing under a penalty of five shillings. * * *
While I am writing this letter, one of my messmates
calls me on deck to see an emigrant vessel called the
Hope, from Glasgow, bound to Melbourne. She left
Glasgow on the 10th of July, it would have delighted you
to see how surprised they were to see our ship. We have
left her like all the other vessels, far behind. Just now
we spoke another vessel, a three-masted schooner from
Liverpool to Port Natal. She left Liverpool a fortnight
before us. _

We are now in the Bay of St. Vincent ; we have just
caught a large shark, about ten feet long—they knocked
out his eyes—they also ran a boat-hook into his mouth,
the handle of which he smashed off directly. St. Vincent
is the most barren place you ever beheld, not the least sign
i
of vegetation. All n the vegetable way is brought from
an adjoining island called St. Antonio.

TILE CnoLERA.--The London Gazette of Friday con-
tains an Order in Council that the provisions contained in
the Act for the prevention of Epidemic, Endemic, and Con-
tagious Diseases, be put in force throughout the whole of
Great Britain immediately from and after the date of the
Order, for period of 54 calendar mouths,