New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1880-01-26

a clever and praotised hand working with the
masters wellknown scenic material. and producing.
not so much q copy rehasb to give an bnghsh
equivalent for the French pasehe The subject is the
same as that OF one OF the Turner's 10 the Natlona
Gallery, No $50 (Cat. 1862. Venice. the Canal OF
the Giudecca, the Dogma and the Church OF
Santa Maria della Salute" but we cannot
say II the compositions Of the two paintings are luen
iical II is the face OF the m'tter, improDao'e' W
say the beast picture Of such size ana Importance
rs this should made Its 10 this country unno
ticed and unknown. II It could be proved
authentic the proper market for 1t wonld be
London and not New-York; and even II its owner
should for reason, preferred this market j.
IN the highest degree unwise In him to conceal lts
origin. There IS, however. no reason nj ALL we
imagine for treating the picture seriously as
work OF Turner. Certainly, with the most favor
able Interpretation. It only be rough seaifold
ing on which later picture might have arisen In no
one OF Turner's finished and exhibited pictures is sncD
roughcast work 10 be such an absence OF AL ue
cacy everywhere, and such poverty OF INVENTION "
say nothing Oftruih in the details. With all tbls 'e
present picture, at distance. or by artheia'
hight. has charming atmosphere. and ms piece
scene painting credit 20 the skill OF whoever mas
tried render ACCORDION one OF Turner's msglc
airs
The Storm of Brigantine Shoals" by our own Han-
ton IL picture the merit OF which must be patent 10
everybody. II certainly neither beautiul hoi
attractive picture there Is nothing represented W"
an angry sea under angry sky; man has no part 10
play here except a safe and unseen spectator from
the shore From the scientific standpoint this picture Is
n successful work, never perhaps were waVe-iVims
more truly painted; never were their foroe
and motion more deeply fclt-the ordered
law which gives true submity 10 the seem
ing wdness OF this desOatiOD. But scientific truth Is
one thing and artistic truth is another; and, as
work OF art this picture, like tho limitations OF u
that have been made by other painters with mechhc
skill equal HamtOn's but without his spJntauely
ia not satisfactory For no picture or poem can
satisfactory out OF It's CALCULATION HIS
suffering his endurance, his herOism his victory ilst
be the real theme, or the work OF art cannot eI-
This great drama Of the universe aud II TO
leave him out OF tho humblest OF It's scenes j.
mistake surely omit him In hour OF such passion
rs this l. TO Hamlet without Hamlet turner,
for whom Mr.. Hamilton had 50 great an
admiration. should have taught hm this
lesson for he has never thought TO make the
sea terrible except by putting IL III conflict with man;
What would his {" Calais Pier" without the boats ana
the men: what the d" Slave Snip" without the doomed
vessel and awful to Der guilt weerlng IN
the hlood-red waves. IL is not the reflection OF ne
wrathful heavens that does The multludinOus seas III
man, and Turner. poet as he was, has known
how make moral truth ana truth 10 the
phenomena Of nature perfectly harmonic
in his picture that cannot separate thoD III our
thought In HamitOn's picture have only one Gle
mpnt the natural and TO give II interest. 10 make IL
take any moral mold upon mind must invent Tor
ourselves some human story suit with II. wanting
this IL IL scientific document. drawn M indeed with
consummate skill, but stlli only document not