New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1857-06-19

ment as having taken place on Monday AZ ~. Denis
at the residence of NJ. Gisquet, formerly Project Of
Police at the commencement Of the reign of Louis
Philippe, and now an oirefner. By means of an
apparatus invented by NJ Bullot and in which cleo
trcity is the only agent, six pounds of beef were
boiled and perfectly cooked in five minutes and ten
seconds. Several trustworthy witnesses, watch in
hand, verified this rapid act of cookery. AT the end
of the go seconds the boiled meat and the broth
made from il were tasted, and both were found TO
be excellent although little too sat-a fault, how
ever. not attributable to the apparatus. Among the
persons present were NJ. COste of the Institute; Dr.
VGron and NJ. Achille Jubinal, members of the late
Legislative Body; DR.. Shannon, Niscountd' Amboise
NJ. Leduc, restaurateur, &c. 4. =. G.
TIE APPROXIMATIONS IN ENGLAND.
From Our Gossping Correspondent.
LONDON, June |, 1857.
"a thing Of beauty is JOY forever says one
of the inscriptions in the splendid palace which the
industrial and commercial city of Manchester has
raised to the glorifcatiOn of Art. Not unlike the
pious pilgrims who in medieval times went in hum
bic devotion to holy sbrnes and places consecraed
BY sacred history, in order to exalt their genial
enthusiasm, the lovers of the beautiful come in our
own days, to those marvellous exhibitions in which
"the soul is walked by tender strokes" NJ. Theirs
once spoke of Theology and Philosophy as two I'M
mortal sisters, going hand in hand, and achieving
the conquest OF the world; but II must be confessed
that these sisters have too often been engaged
in deadly feud, and are by no means willing
to divide their patrmOny 1t would be more just
and opportune TO call Art and Industry by that gentle
pane since the most industrial of all nations solemnly
acknowledges the social importance OF artsucal
work. Ii has often, and not undescrvedly, been
said of the English, that they are not very good
aud NAH r. a
treasures which they possess: it may be So but az
least they GEEK and buy those treasures, and boast
of their possession and are now impeled to let the
people at large enjoy and admire the great prOduc-
tons which have been 90 long hidden and almost
buried in private collections. At all events, 1t is IA
glorious idea to call on the happy possessors of
celebrated pictures to bring them together in pub
lie exhibition and fact still more to be admired tue
audeble eagerress with which the English connols-
seurs, whose almost religious jealousy Is well known,
have responded to the invitation. Thus, while the pro-
ductiOus OF the artists of own times may be con-
yenently appreciated aud judged in the annual exbl-
bton Of the National Gallery Manchester offers, for
the first time i'll the history OF the world, II tr',y
dazzling collection composed Of the galleries OF the
| Earl Of Marlborough the Duke OF Northumberland,
Lord Oyerstone, Thomas Hope the Earl of Carlisle,
Sir Duncan McDouga, Sir Robert Peel Lord
| Churchill Lord Aberdeen, Lord EDesmere, Lord
Grosvenor, the Duke of DeyOnshire, Lady Greyile,
and host of other distinguished collectors. En-
| gland was never subject 10 the nfatuaton which, on
| the Continent, deprecated at one epoch what had
been eagerly sought for at preceding period; her
amateurs, the contrary, have taken advantage Of
these different phases of artistic predictions they
| have bought with the same love, the works OF the
| Flemish or the Italian school, and put themselves
in possession of many masterpieces. The result is
the present exhibition OfchttS dGurr. But, first OF
| ALL must warn my readers that they have not To
expect III these lines complete criticism, Tor wnlcn
| time, space and ability are equally wanting The
field is too large and the harvest too plenteous 1t
| requires professional laborer simple and un-
pretending lover of art, gather at random the How
ers which most attract my attention by their bril-
liant colOrs and sweet fragrance, and venture to
offer my plain nOsegay to that portion OF the Amer-
can public who are deprived OF the opportunity OF
reading the elaborate papers published Oh the sub
iect in the English periodicals. Ii has been said OF
| julius Caesar, that he wrote on war IN the same
| spirit in which he waged it. At the risk of being
taxed with ambitious magnllOquence, let me state
| that will write on pictures in the same spirit in
| which have IL 1mned them, being almost inclined
| To ind fault with Beattie VINO exclaimed,
| Nor was perfection made for man below"
In the gallery at the right of the principal tran
sept the works Of ancient masters are exposed aud
arranged in chronOog cal order. The Italian and
| Spanish schools EI one side: the Flemish, Ger
| man and English on the Other. ADgeHcO Ga r fsOle
| is opposite Van Eyck Rubens opposite Guido Van
| Dyck opposite Nelasquez. In the center of the
first compartment, the eye is attracted by the great
picture of Leighton, which produced lively sensa-
| tion in the ROYAL Academy two years ago, and be-
| longs now 10 Queen Victoria. Ii represents the
procession which carries the Madonna of Cimabue
through the streets of Florence. On both sides OF
this capital work are the productions OF early lta-
ian art from the first essays OF Cinabue and the
bold productions Of GiUtto down 10 the remarkable
works of the fourteenth century.
Cinabue may be- considered the creator OF the
Italian school and a. be lived IN the pids of that
age which witnessed the supremacy OF the Popes, he
painted none but religious subjects. The great and
siyely TO tie hierarchy of the Church, and, in
quence he devoted his pencil 10 the adjoining of
cathcdrals and mOnasteries The artists who fol-
lowed him, and whom the Italians call Treceat.sti
and QHatirocentisti, lived under the influence;
even III their portraits the double character Of Chris
tan humility and religious eXaltatlon may be traced.
The beauty Of form became. II We're, accessory
part: nakedness is altogether prescribed. "a II was
later in the Subsequent age OF the PurItaus. WHAT
ever enthusiastic prc-Raphaeires may say 20 the
contrary this was the infancy of the art; and II no
artistic revolution had been brought forth by Michele
Angelo and Raiaele, Italian painting might still be
in the condition in which we find the artists OF the
Greek Church.
This revolution was favored by many clrcum-
stances, and several causes forced the painters u
open new roads. The Court of Rome had learned,
under Julius III. and Leo y, Ia exchange austerity
li-