The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1841-07-13 00:00:00

LITERARY NOTICE.

Charles O'Malley. Curry, Dublin

We find in this number the gallant and gay lieutenant pro-

rooted : he is now Captain O'Malley
scrape through the ridiculous bungling of his servant Mickey
Free ; Major Monson is also in trouble. " The night on
the Azava" is a pleasantly-told chapter. The illustrations
by Phiz are, as usual, excellent.

He gets into another

MR. SALTER'S PICTURE OF THE WATERLOO
BANQUET AT APSLEY HOUSE,
AT THE POST-OFFICE PLACE ROOMS.

Who is there that can claim kindred or country with an
Englishman, Scotchman, Welshman, or an Irishman that
does not feel his heart swell with enthusiasm, and his blood
throb wildly with delight, when in the full assembly of his
fellow-citizens he hears ringing around the name of WEL-
LINGTON ? Who is there in the silence of his chamber,
while perusing the bright pages of history, whereon is de-
tailed by the historian's glowing pen, the gallant deeds of
those who met the chivalric soldiery of France in fierce con-
tention, and with them

" In one red burial blent,"
that does not experience the pride of patriotism rising in his
soul while he dwells upon such records of his country's glory ?
The old man feels his pulses quicken,—the stripling fancies
he is nerved with a giant's strength, while both hear the
magic watchwords of " Gp lads and at them,"—and their
hearts are with the brave guards as they charge down the
hillock, sweeping all before them ! The Briton rejoices in
the thought of the conduct of Englishmen at Waterloo. The
Northern shouts " Hurrah for bonnie Scotland," and recol-
lects the valourous deeds of the gallant 42d, and other high-
land regimentS,—while the Irishman has but an eye and a
thought on one man, and he "the hero of a hundred tights !"
—that hero is his countryman, "and that makes friends of
even foes in foreign lands."

If we feel thus strongly while we peruse the records of
that eventful day, and our sight is gladened to see a veteran
" With a Waterloo medal hung at his breast,"
as poor Haynes Bayley says in his song ;—what sort of
pleasurable associations must not Mr. Salter's picture
awaken ? In it we see upwards of eighty medals, the wearers
of which were all partakers in, and survivors of, that glorious
day, after a lapse of twenty-one years.—Tbere are the gallant
companions in arms of the heroic host—the cynosure of all
eyes,—there are those who cheered with him their men on to
victory,—there they are seated round their leader's social
board, while he-" thenoblest Roman of them all"-is standing
up to address them, while beside him is the excellent monarch
whose father's crown he drew his bright sword to defend.
There stands the Duke of Wellington, full of years, honour,
and renown. Talk of the works of the old masters—we need
not say how we venerate those mighty relics of genius, but
we would see this picture hung up in the most public place,
and where all men may view it, and where the mother may
bring her boy to look upon it, and bid him read his country's
annals. The picture represents one of the dinners at Apsley
House, on the anniversary of the Battle of Waterloo, when
the Duke entertains those who were with him " in the fight."
That chosen occurred about five years ago, when his late
Majesty William IV. became a guest. Standing up is the
Duke, at what time of the banquet we shall presently show.
On his right is his Majesty, on his left the present King of
Holland, the Marquis of Wellesley, the Duke of Richmond,
Colonel Egerton, Sir Peregrine Maitland, Colonel Gurwood,
Sir Henry I'lardinge, Sir Colin Campbell, Sir Colin Halkett,
Sir Andrew Barnard, Lord Sandys, Colonel James Hay,
Lord Hill, Lord Bathurst, while numbers of others are scat-
tered up and down. Near the door the artist has happily
introduced the gifted Lady Burgersh, Lady Fitzroy Somer-
set, and the Misses Somerset: near them stands Mr. Salter
himself; and call it not vanity in the painter to intro-
duce his own good-looking head in such an assembly—the
face of the painter of such a picture deserves to go down with
it to posterity : and there he is looking at a sight which would
be worth a dozen pilgrimages to witness—a sight which he has
not niggardlike kept to himself, but which hearty thanks to
him he has vividly placed before us, and which his friend
Mr. Greatbach will enable Mr. Moon to multiply, and give
thousands and thousands an opportunity of having it con-
stantly before them. The chamber in which the banquet is
held is the Waterloo Gallery, where poor L. E. L. exclaimed,
pointing to the hords of wealth heaped on the hero
by the sovereigns of Europe, " There is history of England !"
and then, turning to the iron-shuttered windows that the fury
of an ungrateful mob had compelled to be put up, " There is
the moral !" The pictures on the walls are of great value. A
Coreggio at the end of the apartment, near the magnificent
shield presented to the duke by the citizens of London, a
dealer will any day purchase for £13,000 ! It was captured
from the roof of Lucien Buonaparte's carriage in his flight
from Naples. Here a Vandycke—there a Titian, Murillo,
&c. The candelabra on the table, constructed of Russian
porphyry, were the present of the Emperor Alexander. The
silver plateau was a gift from the Portuguese nation : it is of
curious workmanship, most elaborate finish, and of great
value.

The faces before us are all portraits. Every individual
has sat to the artist at one time or another during the five
years in which Mr. Salter has been occupied with his work.
So capital are these likenesses, that when the Duke of Cam-
bridge saw the picture, he pointed out upwards of fifty of
the guests with whom he was well acquainted.
As an effort of artistic skill, this work is a most noble one.
It is hardly possible for the casual spectator to look upon it,
and duly appreciate the difficulties the artist has had to en-
counter. It will be equally hard to make those not conver-
sant with art understand what obstacles he must have had to
surmount. In the first place, there is little scope for imagi-
nation : it is all matter of fact that stands before us : there
is no impediment to be avoided by a little touch of fancy.
The whole has been overcome by the exercise of a brilliant
genius, and a daring, skilful, and successful hand. Here
are a number of figures seated round a table—a formal sub-
ject—habited in the most glaring colours that the palette can
display ; and these must be so placed as not to appear mo-
notonous, gaudy, or obtrusive. Have those difficulties been
overcome ? Let the eye rest where it will, it will not meet
with one unpleasant tone or touch. Then the attitudes !
How effectively are they not arranged ! What ease and
grace do they not exhibit ! The time chosen for the picture
is a happy thought; his Majesty having given the toast
of the Duke's health—and how responded to we need hardly
conjecture—the guests have broken into groups, and are
about resuming their previous conversation, when the Duke
rises to return thanks—he has that moment only risen—
another second and his voice would have attracted his friends
nearest to us to turn their faces, and their backs would then
have all been towards us. How happily are those lovely
women introduced; how they break any monotony there
might be existing, and how they lighten and throw a sparkle
over the whole picture.
The light which is so broadly cast is supposed to stream in
from the windows looking into the park, previous to a glo-
rious sunset. The shadows are fine " clear obscures," and
are most effectively thrown. The accessories to the picture
are all most delightfully distributed.
"Take it for all iu all, we shall not look upon its like again;"
and we recommend our readers to apply for a card of admis-
sion, and by all means put their names down for a copy of
this national work.
In conclusion we ought not to omit a passing remark upon
the very tasteful manner in which the room has been fitted
up, and the appropriateness of the ornaments, and graceful-
ness of the draperies.

THE FINE ARTS.-THE LATE BARON DE
COSSON'S COLLECTION.

We have availed ourselves of an opportunity of visiting a
collection of pictures which are now on view for sale, at Mr.
Lacey's, Bold-street, and amongst them had the gratification
of noticing some very pure specimens of the Foreign as well
as British schools. These pictures are from the collection
of the Geacral Baron de Cosson.

The first work that attracted our attention is by Salrator
Rosa. A Battle Piece. To the left is a castle, in the centre
the contending armies, Christians and Turks, are seen in
fierce combat. There is great vigour and breadth in this
work ; the groupes are admirable, and picturesquely ar-
ranged. The colours are briiliant and cleverly distributed,
and the lights effectively thrown. This Battle piece may be
considered a good specimen of this talented master.
Rubens

Meleager and the Wild Boar. This picture
represents Meleager presenting Atalanta with the boar's
head. The figure of Meleager exhibits strength and manly
beauty, and contrasts well with that of Atalanta ; the flesh-
ing of this latter figure is plump, and charmingly coloured.
The arm may be particularly admired for correctness of
drawing.

May. A Bosquet at Marley. A sweet little picture,

Watteau's style.

Lancret. A subject from La Fontaines Tale of the Faii
Spaniel. A deliciously painted little picture, and beautiful
expressed.—Teniers. A Head of an old Man. A snu

painting, but full of character and purity. This is quite a
little gem.—Friar. Pozzuolo, near Naples. A warmly and
purely painted landscape. Mount Vesuvius in the dis-
tance—the sky very transparent in'the manner of Both.
The lights broadly east.—Vanderburgh. Auricular confes-
sion. A plump and lovely girl is here at confession ; the
lustful countenance of the father confessor, is cleverly ex.
pressed.—De Jong. A Flemish girl. Sweetly coloured, and a
most pleasing picture.—Willaerts. A seaport. A spirited
painting; the water transparent and buoyant.—R.yckaert.
Interior of a Dutch drinking-house. In this work several
fine studies will be found. The old man filling his pipe is
capitally drawn, and the picture has great freedom and
breadth, and is a good specimen of this master.— Van Lien- I
tiers. View of Rotterdam. An elaborately painted and
very pure work ; there is a sweet sun-shiny appearance
thrown over the objects, which is very pleasing. Upon' exa-
mination every portion will be found finished with the.
greatest care.—Rembrandt. A Dutch fair. A sweet pic-
ture. The arrangement of the groups, the position of the
figures, and the distribution of light and shade is remarkable.
The ruined tower is exquisitely painted ; the light is thrown
upon it in a most surprisingly effective manner. The sky
sunn3 and Warm. Weenix.—Dead Game. Properly to ap-
preciate this remarkable picture, it should be seen through a t