The examiner. [volume] (Louisville, Ky.) 1847-1849, 1848-09-09

Those who wish TO enjoy an hour or two Of
great pleasure, should attend the exhibition ol
these paintings. The scenes represented seem
to be in all their reality before the eye. While
looking at the interior Of 81. Peters, one car
imagine himself in Rome, and he feels desire
TO "do as Rome does" 1t seems as If he could
absolutely walk up the aisle. and stand under tlIr
great dome, Of which glimpse is seen Ovel
the grand altar. So admirable is the perspective
Of this picture, that it is difficult not to imagine
oneself in it, as one Of its foreground figures
and there is an involuntary impulse TO move
and act as II the whole were reality.
The view of New York is certainly an ac-
curate portrait of that portion Of the city
which it represents; and the changes from win.
ter to summer, and from day to night, have q
magical effect; bur Notwithstanding this and the
ecstacies of delight with which the audience
departure Of the Israslites'' superior to 1t in
all those qualities which make the difference be.
tween the greaI and the merely teaUtifnl pic.
ture. The subject is sublime one, and hal
been sublimely treated in this painting. Afiei
contemplating scene so serious and elevatinf
in its character the last, it is delightful to b.
suddenly transported TO the "Fairy Lake.
This picture is beautiful specimen of fancy
creation, in her most happy and spOrtiVe mood
The strangely beautiful grotio of the fairies
rejecting its fantastic image in the water, ih'
little beings themselves, some dancing upon IN,
beautiful sandy shore, 10 the music of birds
some riding a moonbeam, or sailing on leaf
while others are in attendance upon their queer
who approaches in her shallop, drawn b,
swans, together with the magical effects grsda
lions, and changes of light and shsde, produces
scene that makes one forget for the momen
that he is in a land of reality.
The unlimited power of ehiGroseuro, obtain
ed in this style Of painting, is its peculiar ad
vantage over all Others known. Any one at al
acquainted with the limited scale to which III,
artist is confined, who has to rely upon the sim
pie opaque power Of pigments, can readily com
prehend the advantage Of a means which ena
bes him to represent an actual light, and all tn,
surrounding objects in their natural relation {,
that light, according to the laws of natura
chiaroscuro; and nothing short of this is tn,
result obtained in pictures of this sort.
The invention Is said to be Daguerres, bu
this has been disputed by the English; Their,
having been an exhibition in London Of pic
lures in this style, as is said by them, befor,
those of Daguerre made such a sensation in
Paris, about fifteen years ago. The introduc
ton Of pictures of this kind into this country
was about seven or eight years since. Thes,
were from the pencil Of Daguerre, and made al
Independent fortune for the exhibitors. Tn,
first imitation Of them In the United States
was, it is strange to say, in this place, and BY
a young man who had scarcely ever been out o
Louisville in his life. We refer to William C
Allan, who has now attained high rank among
the artists Of our country. He went farther
than any one else has done, and exhibited tire,
views Of the same object.