The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1853-10-11 00:00:00

PIETA NOTICE.

25. " The Favourite Bathing-place," by WILLIAM UN-
DERHILL, is a happy representation of a secluded sylvan
nook, through which a tiny qtream meandering is dammed
up into a pool of,sweetly-pellucid water, overshadowed by
an embowering arch of lofty trees. The spot is both
suggestive of coolness and quiet retirement—the brook, in
its transparent serenity, is at once a temptation to the
rustic bath, which some blithesome damsels are preparing
to enjoy, and a foil to the sultry atmosphere with which
the picture is filled. In drawing, the girls are pleasing
and in good proportion, in colouring and painting rich and
harmonious, and they are delineated with tasteful execution.
As a whole, however, the picture appears heavy, and its
atmosphere seems thick and oppressive ; this drawback
upon its general excellence is, no doubt, much exaggerated
by the disadvantageous light in which it is placed, the
rays falling on it in such a manner as to render it exceed-
ingly difficult to see the whole subject from any point.
Such a situation is both unfortunate and unfair. If in
the judgment of the hanging committee the picture pos-
sessed such merits as to entitle it to the conspicuous and
prominent position assigned to it, it should have been so
placed as to afford the public_ a fair opportunity to pro-
nounce upon its qualities.
52. " Study for the Guilty Woman, in the Judgment
of Solomon," to be executed in fresco, in the New Palace
at Westminster, by J. R. HERBERT, R.A. This is a
powerfully-painted head, and evidently the production of
one well skilled in artistic manipulation. The expression
is depicted with much energy, and the whole picture, or
rather bit of picture, manifests vigour and self-reliance on
the part of the artist ; as the study of an individual
head, it is both interesting and withal clever. The some-
what ostentatious title which its author has bestowed on
it is another matter. In that there is manifestly some
intent of connecting the portrait before us with a great
historical, and what is more, with a great national histo-
rical composition. Such an intention is a failure and a
fallacy. An isolated head, like the one before us, is
no more to be taken as indicative of what Mr. Herbert's
picture of " The Judgment of Solomon" is to consist,
than was the brick exhibited by the foolish man in the
fable to be considered conclusive as to the structure and
convenience of the house he wished to sell. No one can
know better than an artist of 'Mr. Herbert's experience
and reputation that a picture must not be judged of by
odd bits and incidents, but that,on the contrary, it suffers
by being shown in details, in which the composition,
colour, and general treatment are neither apparent nor
even indicated. As a study of a head, the matter was well
enough ; but when an exuberance of penmanship converts
it into portion of a great national picture, it assumes a
different aspect, and what might have been very com-
mendable in the one capacity becomes very questionable
in the other. These strictures, it will be readily seen,
apply more to the title than the quality of the work,
which, as a mere Study, is, as we have already said, in
most respects, highly commendable.
180. " Arthur and (Egle, in the Happy Valley," by
Joux MARTIN, K.L. The works of Mr. Martin have
long constituted artistical enigmas, which the one now
named will not go far to solve. We have here, " rock
piled on rock, hill towering over hill," in all the wild pro-
fusion for which the inventive genius of the artist has
been admittedly conspicuous ; enriching this wilderness of
peaks and plains, is a sky of deep cerulean, studded with
stars, and decorated by a waxing moon of juvenescent
extent ; but after contemplating the terrestrial and serial
chaos, the mind remains as vacant as before. The picture
tells no tale, suggests no thought; unless, indeed, when
it provokes the idea that such an artistic pazzle has been
invented for the purpose of perplexing amateurs. A close
investigation shows an endless repetition of ill-defined
details, an inconceivable amount of labour, and absolutely
no result. The pictures of Mr. Martin are, indeed, a riddle
compared with which the Sphinx itself is a very common-
place mystery.

345. " On the Thames—Mid-day ;" 507. " The Thames,
from the Green Meadows ;" 550. "Scene from the Hills,
near Dolgelly, N.W. ;" all by H. J. BODDINGTON, are
pictures displaying, in almost an equal degree, the peculiar
excellences and drawbacks of the artist's style. They all
seem redolent of sun and atmosphere—bright warm-out-
of-door effects—fresh green meadows—transparent skies
and breezy uplands ; yet, all of them are, more or less,
mannered in their treatment. The same elaborate mani-
pulation of foreground objects, the truthful effect of which
is in no inconsiderable degree marred by a want of cha-
racter in the middle-distance objects. Trees of different
kinds are made to wear the same appearance of foliage ;
the brushwood also is made, in not a few instances, to
assume the aspect of the forest ; and a tendency to gene-
ralise seems everywhere to meet us in this artist's land-
scapes, to the destruction of their individuality. Notwith-
standing these defects, however, the truthfulness of at-
mospheric effect with which he contrives to envelope his
pictures renders them general and deserved favourites.
508. " Fast Castle, or Wolfe's Hope, Berwickshire,"
by T. M. RICHA.BDSON. The horizontal line of this
picture is placed so high as to render it a somewhat
difficult matter for the uninitiated fully to understand its
composition • yet it is a picture of much power and truth-
fulness. The broad expanse of ocean is beautifully
pourtrayed, and it contrasts grandly with the precipitous
rocks and hilly land. The figures introduced; and the
general treatment of the foreground, are masterly and
beautiful.

384. " A May Morning," by W. D. KENNEDY, is a
picture of little pretence but great beauty. The treatment
is simple, truthful, and pleasing.
392. " Eton Montem," by WILLIAM PARROTT, is a
subject difficult to handle, but here the artist has dis-
played no inconsiderable skill in his mode of treating it.
The figures are well disposed, fairly drawn, and cleverly
painted.
395. " The Young Baccus, or Joy in Nature," by J.
ARCHER, A.R.S.A., is a picture of much power and no
small amount of beauty. As a piece of colouring it is of
a high order. The design, though fanciful and con-
ventional, is well brought out ; and on the whole the
picture is highly creditable to Mr. Archer, who, we
understand, is comparatively a young artist.
99. " Edinburgh from the Calton Hill," by W. G.
HERRMAN, is a subject of great inherent pictorial beauty.
The admirably broken lines and contrasting masses of
picturesque architecture which characterise the "City of
Palaces" as seen from the point selected by Mr. Herd-
man form of themselves a charming picture ; but we re-
gret it is not in our power to compliment him highly on
the mode in which he has treated it. His perspective is
violent and offensive to the eye. In endeavouring to
effect a great deal, he has not accomplished much, and
what he has done is not of the best order.

234. " Portrait of Sir David Brewster," by W. S. HER-
wog. This is a truthful representation of the scientific
knight, showing, in an animated manner, his every-day
aspect.
473. " Portrait of the Right Hon. the Earl of Carlisle,"
by D. HUNTINGTON. This picture, which is painted for
the Historical Society of New York, is in a good style, and
indicates a true artistic feeling on the part of the artist.
35. " Street in Innspruck," by W. CALLOW. In this
picture, which represents a distant view of the " Golden
Roof," the artist has displayed a fine appreciation of the
picturesque. The lines of rugged buildings and distant
hills are treated in a pleasing and artistic manner, the
colouring is sweet, as well as powerful and effective.
74. "Macbeth," by H. C. Simons. This is an artistic
vagary of a very unaccountable kind. Mr. Selous is an
artist who deservedly occupies a good position in public
esteem. That position, however, could never have been
attained by the production of such anomalous works as this
one. If originality of treatment has been his aim, and his
only aim, he has succeeded to a miracle. In this picture
we learn, for the first time, that Macbeth, in giving
treacherous shelter to his aged sovereign, lodged him in
costly upholstery, which, with a matchless prodigality, he
has laid on a cellar floor, the steps descending towards
which, crowd and incommode the royal sleeper, whose rest
is further interfered with by the unquiet performances of
his muzzy and obtrusive grooms, who, not content with
slumbering on their post of guard, have actually obtruded
themselves into the royal couch, sadly increasing the in-
conveniences attendant upon poor Duncan's dormitory.
Of the murderous thane himself; least said is soonest
mended ; he appearS a very vulgar. murderer indeed, and
altogether such a one as no sane man would have put him-
self in the power of, for half a minute, on any terms.
There are, no doubt, good points about this picture ; the
painting of the old king's head, for example, is fine ; but
the good bits are as a grain of wheat to a bushel of chaff.
The picture is altogether a mistake, and by no means a
pleasing one.; it is excessively faulty in design, and poor
and sickly in colour. .

95. "La Perla de Triana," by Jonw PHILLIP, is a
powerfully painted and very expressive portrait.
203. "Dolly Varden," and 206, "Interview between
Queen Elizabeth :and the Earl of Essex, on his return
from Ireland," by W. P. FRITIT, R.A. Two very clever
sketches, in which the artist has, without labour, contrived
to crowd a great extent of character.

208. " A Dutch Town," and 210, " A French Town," by
A. MONTAGUE, are two sweetly-painted and well-coloured
little bits. They are very pretty and very pleasing.

NOTES, NOTICES, AND OPINIONS.

BY JOHANNBS lIIISTICUS.

IX. THE INCOME TAX.—It has been proposed by some
of the admirers of this most unequal impost to make up
the deficiency of post-office and stamp revenue, which will
arise on the adoption of the decimal system, by an increase
of the Income Tax. This would, no doubt, be a popular
measure with those financial reformers who, for political
or business purposes, are large patronisers of the penny
post, and who, at the same time, are able (and willing) so
to " cook " their Income Tax Returns as to be able to
evade a large proportion of the payment. But what an
outrage on common honesty it would be to annuitants,
clerks, and others, with small fixed incomes, who would
derive no benefit from a further reduction of postage, and
who have no chance of " declaring " for less than their
actual gross income ! For instance, suppose a merchant,
or manufacturer, or shopkeeper, with actual profits of
£5OOO per annum, employing a dozen clerks or shopmen,
at salaries from £lOO to £3OO, is called on to make a return
for Income Tax. The former may declare his profits to be
one-fourth, one-third, or even one-half less than they really
are ; but with this declaration he sends in a list of his em-
ployes with their full salaries stated. He cheats the
government of a large portion of his own taxes, and as
it were bids them mulct his assistants for the deficiency.
I Must these clerks or shopmen be still further plundered
to pay for their employers' correspondence and receipts P
Let the hundreds of clerks and shopmen, foremen, ware-
housemen, and journeymen in Liverpool, see to this, and
ask themselves whether, when they have added the Income
Tax to, their bakers' bills, they are not already paying too
dearly for Free Trade and Financial Reform ; and whether,
if they are entrusted with the franchise under the new
Reform Bill, they will not adopt some measure that will
adjust the balances more equitably.
X. Trtz NEXT ELECTION.—Mr. Robertson Gladstone
is surely seeking "the sweet voices " of the " finest
pisantry," located around Shaw's-brow, for the next elec-
tion. Having the vanity to consider himself of sufficient
purity to represent Marybone, Vauxhall-road, and Scotland-
road, he steps boldly out, as the patron of the priests, and
defamer of the Protestant clergy :expecting his return, of
course, in the exercise, by the priests, of that gentle and
genial influence which they are accustomed at election
times to use with their sacks. Is this bribery by the Act?

PARIS FASHIOiYS FOR OCTOBER.

(FROM THE COURT JOURNAL.)

SUMMER fashion is at length pronouncing itself van-
quished after the hardest struggle it ever sustained within
the memory of milliners, for during the last week, in spite
of the gloominess of the weather, white muslin dresses
were still beheld in great numbers in the promenades, and
the short stay made by the Empress on her Majesty's
passage thron2.,h Paris confirmed the fashion—no other
costume being observed in the court carriages, whether
driving slowly through the Bois de Boulogne for pleasure's
sake, or hurrying to and from St. Cloud on business con-
nected with the state. The trousseau of the future.
Empress of Austria is progressing rapidly, and has brought
many of our fair fashionables to Paris before their usual
period of deserting the country. We have been favoured
with a view of most of the nouveaute's riches already com-
pleted, and as theirfaron will most likely determine that
of the toilets for some time to come, it is perhaps as well
to describe them. The dress chosen for the nuptials is of
white drap d'argent, with two broad flounces of silver
blonde, each flounce headed with bows of narrow striped
silver ribbon, with long ends descending over the fulness
of the flounces, and lightening the effect in a most airy and
charming manner. The corsage is made straight and
plain. Two rows of silver blonde are gathered into a plain
band of silver, and the same bows seen upon the skirt are
repeated on the body following the fall of blonde down to
the waist. The same trimming adorns the sleeves, which
are made very short, the long ends of narrow silver ribbon
falling over the arm, and shading it for several inches,
rendering the length of sleeve hitherto worn unnecessary.
The train is a chef d'oeuvre of elaborate embroidery, being
of the finest silver worked in a deep wreath of orange
blossoms and lilies of the valley. The train is cut in the
most novel and elegant manner, which will, doubtless, be
adopted for court costume, and completely efface the stiff,
ungraceful manteau de cour as it is now worn. It is cut
l'Antigone, tunic fashion, short towards the hips, and
gradually increasing its length to the middle of the waist
behind. The full pattern of the embroidery is thus dis-
played, and the folds left to play in their natural position
where they fall, no longer flatten the dress beneath, nor
give that cumbrous weight to the figure which always
forms the great objection to this otherwise dignified
costume. Silver embroidery for court reception is deci-
dedly preferred to gold. The effect is far preferable by
night—more youthful, and more becoming—possessing the
immense advantage, likewise, of enhancing, instead of
deadening, the brilliancy of diamonds, which ornaments of
gold invariably kill.
The bridal coiffure consists of a short veil of point
d'Alencon, reaching barely to the top of the dress. It is
let in a pointed crown of emeralds, pearls, and diamonds.
The wreath of orange blossoms is very full over the
temples with drooping tendrils falling forward on the
bosom. The nuptial- bouquet is of a novel form, quite
small, and falling in long spiral tendrils as low as the waist.
This bouquet consists but of one single sprig with buds, it
is made to be placed at the top of the corsage towards one
shoulder, the ribbon of the Grand Cross being brought
over the other. The ball dresses are of all kinds, but the
most novel are those consisting of a single flower, embroi-
dered au colonise, either in white, coloured silks, or straw.
The under skirt is made much narrower than hitherto,
while' the flounce is gathered into the waist in more
numerous folds than have as yet been the mode. Some of
these in silk, embroidered in seed pearl, have been exhi-
bited with great success. The bottom of the skirt is quite
plain, while that of the flounce, shorter than the skirt by
six or seven inches, is elaborately embroidered and stands
stiffly out from the dress.

But little change is visible as yet in walking dress. No
newer material than cordonne d'ecosse has been ventured
on as yet. The tissue is novel in its effect, being shot
with many colours, and thickly corded. Some of these
stuffs reflect as many as five different colours in the shot,
which are so artistically blended that the effect of the
whole is neither harsh nor voyant. Large checks are
beginning to lose favour, and are being fast replaced by
Rees rayees, a small line running across the stuff, while
a broad stripe meets the other. The silks of autumn tints
already exhibiting at the great houses are more costly and
splendid than any we have beheld for years. The soie
Boucher, for evening wear, is marvellous for its richness
and delicacy of execution. Large patterns of elaborate
design, copied from the dresses still preserved, once
belonging to Madame Du Barry, have been imitated with
complete success. One of these, destined for the Empress,
struck us as being exquisitely beautiful in its tone and
nuance. It is of soie Pompadour triple trame, the ground
of a pale sea-green. At wide intervals are thrown upon a
white ground, cast upon the surface as if by a careless
hand, the attributes of the shepherdess—the basket of
flowers, the straw hat and sky-blue ribbons, the crook and
pipe— all these executed with so much delicacy and neat-
ness that, in spite of their unwonted size to which our
eyes are as yet but little accustomed, they excite neither
surprise nor criticism. It is made ala Francois 1., cut
square over the shoulders with broad passementerie com-
bining every colour in the design, with tassels of the same
colours crossing over the bosom ; the sleeves quite tight
and flat, descending from the shoulder but three inches,
and finished by the enormous bouffans, a la Medicis, so
much in vogue just now, and which have completely super-
seded the graceful sabots, a la grand-mere, which have
held their sway so long. These bouffans were made of
rich point de Venise, and finished below the elbow with a
deep fall of the same material. A complete parure is
necessary with this style of dress, and large ornaments of
sky-blue and light-green enamel are already presented by
the jewellers for the arms and neck of the wearer of the
robe a la Francois I.
,Much attention has been given to the perfection of win-
ter cloaks. Talmas are exploded. The Evangeline pro-
mises to continue in favour for young ladies. Instead of
being made in one material, as was the case during the
summer, it will be made of velvet or rich silk, while the
flowers which reach to the neck will be composed of broad
ribbon laid on full or plaited. An entirely new model has
been issued. It is called a souvenir, and consists of a long
paletot tunic, above which the cloak falls as far as the
hips, being gathered over the bosom and the ends thrown
across the shoulder. Its name is derived from the picture
of the great Napoleon at Versailles, and bears some resem-
blance to the cloak he is represented to have worn on his
passage over the Pyrenees. The mante ala Maja is also
novel and pretty; It fits tight over the bosom, and
reaches to the knees ; behind, it is short, not descending
lower than the waist. The sleeves are almost tight, set
into a rounded armhole, and braided from the shoulders
downwards with broad lacet and tassels. This sleeve is
turned back almost to the elbow, showing the lining
generally of some bright colour. A small hood hangs over
the shoulder, also lined with the same bright nuance, and
braided in a novel style. This form of manteau is,
perhaps, the newest we have yet seen, and likely to be
much patronised, owing to its extreme youthfulness, and
the warmth and comfort imparted by its fitting so tightly
over the bosom.

The great novelty in sortier-de-bal is the immense
change wrought by the adoption of lace instead of ribbon
as trimming. This lace, made expressly for the purpose,
is very rich and heavy, made to imitate the transparent
embroidery of silk upon Brussels net.
Bonnets have undergone a total change since last month.
The winter shapes are fast appearing, although made still
in light materials. They are no longer open and Irani to
behind the ears as formerly ; but although not a whit
larger seem to draw much closer to the side of the face.
The newest whim, for fashion we can scarcely call it, is the
total absence of any other ornament than a thick ruche,
consisting of lace, flowers and large rosettes of ribbon
laid on all round the (Age. The effect of this is s ngularly
bewitching—the face appearing to issue from a nest of
lace and flowers. The transparent shadow thrown by this
ornament is found to be most becoming. It is carried
completely round the bonnet, even over the bavolet.

Coiffures are determined 'to remain turned back from
the face, no others are admissible. The only novelty is
the Marguerite, a broad ribbon of bright colours, which
passing through the double bandeaux is left to encadrer
the physiognomy by coming down as low as the shoulders.
It is twisted spirally; and is sometimes carried from one
side of the head to the other without being divided. The
Princess Mathilde has adopted the Marguerite, and it
is destined to be as universally worn as the coiffure a la
Felix now exploded. It is to Leopold we owe the inven-
tion, and it has been successful in the very best circles.
Flowers are to be worn of the most minute description
and of mixed colours of one plant. Verbena, myosotis,
field flowers of the smallest kinds are to be most favoured.
Immense bunches of these fairy specimens are in prepara-
tion for the ball dresses. They are destined to serve as
heading to the flounces. We have seen a dress of
Chantilly blonde trimmed thus for the Queen of Sardinia.
Each flounce ornamented with bunches of the small Star
of Bethrehem, decreasing in size as they approach the
waist. The brides of lace which have replaced the berthe
as ornament to the shoulders, were also ornamented with
smaller bouquets of the same flower. The effect was that
of the most fairy-like freshness and beauty.
GENERAL OasEuvirfoNs.—Although the month is
considered but a transitory space from one style of
fashion to another, yet the initiated may, at this time,
perceive what is going to be. Necklaces, for instance,
which have so long been forgotten, are revived by the
greatest jewellers, and are of novel design, being made to
fit the slope of the neek, and to lie flat all round. Stars
and rosettes of coloured stones encircle the throat, and
between each, tassels of gold descend lightly, and dimi-
nish the stiffness of the ornament. The large beads,
called bombes, are also being introduced for approbation.
They are of dark blue lava—malachite or coral. The old
rococo shops have been ransacked for specimens of this
article, as worn by our grandmothers. Shoes, alas ! are
worn entirely without sandals, a result which we have
been in dread for the last few months. The fashion is
now quite prononc6, and it is useless to struggle against
it. A large bow of ribbons, of a nuance somewhat
lighter than that of the slipper, is much approved; but
we cannot help considering the fashion as slovenly and
negligent, and sincerely trust it will prove but a caprice.
We have some of the most charming sabots of walnut
wood, to supersede the ugly contrivances for carriage, even
during the winter. It is the most delightful chaussure
possible, elegantly carved on the instep, and lined with
pink or blue plush. -The wearer may, thus chauss4d,
defy both cold and damp—the satin shoe leaves the sabot
unsoiled, and uninjured. Nothing more graceful and
coquet, yet useful withal, has ever been presented to our
fair fashionables. _ _

Pocket-handkerchiefs are still made with a frilling,
embroidered at the edge. Much of the linen made for the
trousseau of the Empress of Austria presents the novelty
of being embroidered in colours—some of the handker-
chiefs being worked in minute wreaths of flowers, each
flower bearing its natural colour. In general, a struggle
is visible in fashion—the struggle between richness of
ornament and gorgeousness of detail, and the determined
simplicity of which her Majesty sets the example. The
partizans of each style are pretty equal at present, but we
dare not to pronounce an opinion, for when, on the one
hand, we behold the wondrous show of gold and silver
work, and calculate the tremendous cost, and, on the
other, behold the plain white garments, hypocritical hi
their unpretending simplicity, although covered with rich
lace and finest embroidery, we cannot help sympathising
with the Emperor Napoleon, when, in answer to
his reproaches of extravagance, Josephine promised future
"simplicity." "For Heaven's sake,
Madame, anything
but that (Tout ce que vous voudrez, mail pas de sim-
licite) ; I cannot support the heavy extravagance ofsuch
simplicity' as yours—it is costly enough to exhaust the
public treasury."

TUESDAY, OCTOBER 11, 1853'.